I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.

I am personally happy for artists to make as much money as they can while they can to carry them through the times when they can't.

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 was poorer than anyone I'd ever met. But it was a great time to be a young artist - I remember it as a period of exceptional creative freedom and adventure, when one was regularly presented with works of art unlike anything one had ever seen before.

In the period of '60s to the '90s, British art schools were small, and the number of student was small. The personal contact was great.

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.

Usually people start with painting and then go on to make installations; my painting came from installation.