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.

The person you admire was true to himself. You can only truly honour him by being true to yourself.

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.

It's important for me to give each thing the possibility to speak and also to allow artworks speak to each other.

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

[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.

When I started teaching in the late 60s, in a time of student revolutions and changes, they changed in question of society and authority.