For many years I hoped to have an exhibition in China, because of my family connection.

The identifying personal association with objects, which are not personal, is an important modern experience - our real association, the strands of our feelings about the objects that surround us. It's also because they are so familiar, we don't think of them as important in the world, but actually they are the world. We are living in a very material world.

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.

In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.

I think the best approach is not to be too much like the thing that they are referring to, see it as a guide.

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 came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.