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.

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.

Art is more to do with observation than invention.

In Britain the power of authority was weakened. There was much more individual freedom and there was great academic freedom.

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.

If you try to copy something exactly you won't get it correct, because you don't share the same tradition and context.

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