I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

I don't think you need to be so result-oriented when you're trying to define the success of an art work. I think we can allow some unpredictability.

By bringing Little Sun to Tate Modern and the London Olympics, I hope to realise an art project for those who typically have no access to global events of this scale.

I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

I see the artist as a participant, a co-producer of reality. I do not see the artist as a person who sits at a distance and evaluates.

I want to expose and evaluate the fact that the seeing and sensing process is a system that should not be taken for granted as natural - it's a cultivated means of reality production that, as a system, can be negotiated and changed.

It would be wrong to say that the city of Berlin is not regulated. What I think is more interesting is to what extent a city creates a sort of safe haven for its users, so that people feel confident that the city works on their behalf.