In the past Berlin was much more radical and extreme and now it's becoming much more of a conventional European city.

I do not think making art alone makes it any better than making it with a team of people.

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 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.

I think an artist has the potential to investigate both form and content within one activity, to show that there can be coherence between form and values in our society, as in thinking about a city and building one.

I am not opposed to the art market. I have lots of friends who are collectors. But the whole idea of the art market is complex. Sadly we have a situation where auction houses and secondary market dealers are creating a lot of confusion and unnecessary pollution.

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.