All the basic information should be in the object itself.

Today, in British education, we don't have that kind of freedom. Now there are many regulations, many rules, and bureaucracies in the education system. So, it doesn't have the flexibility that it had in the '60s, '70s, '80s.

I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.

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

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

You can take things from the past, from the culture, from the immediate past and things that have not yet entered the culture, so they have no history yet. You can create your own context.

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.