I greatly admired him as a teacher I didn't teach the same way as Josef Albers at all.

I do think I paid a price as an artist, and I am trying to make up for it now - I work six days a week in the studio, and I've never been happier.

I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.

At the Summer Exhibition, I didn't really change anything; it's the same exhibition. All I changed is the presentation. I didn't really change the rules.

[I] don't want people to see it [paintings] as a specific intention on my part. If somebody has that interest in these objects, of course they can see that, but from my own point of view, I'd rather stay as neutral as possible.

Whatever happens to the art world, art will go on regardless. As for obscurity, it looms just over the horizon beckoning us all. Why worry.

I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.