All the basic information should be in the object itself.

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] 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.

My idea for every exhibition is we should be able to see every individual work without being distracted by the others, and it doesn't matter if it's quite crowded.

The complexity of the language of images is disguised by the ease and rapidity with which we read them. I've tried to make work that is as transparent and simple as possible. No matter how much I strip away the result is always more complex to me than I expect.

I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.

It's just that some things more important for this and less important for that, and this is true regardless the style of the art.