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.

There was something really wonderful about being able to feel confident about doing my first exhibition in China, that people would have no trouble recognising the images and understanding my work. I also have a lot of freedom in the way I use colour, and I think that kind of freedom in colour is also understandable in every culture.

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.

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

If you were really interested in being creative in teaching, it was possible to try new methods and that was really what we did in Goldsmiths - we used the freedom of the time.

For example, in England, we teach about Expressionism, but it is not the same in England as it is in Germany, because Expressionism is more important in the history of German art. So although it is the same history, the emphasis is different.

The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.