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.

If I have the choice of traveling to Russia, India or New Zealand alone for a week for preliminary discussions or to spend that week with my family, I routinely choose my family.

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 was interested in how we engage the world. How do we use our skin as our eyes? If you read a cityscape or a landscape with just your mind, and not your body, it becomes like a picture or representation, not something you really engage with.

Artists are valuable to public discussion: They show the correlation between doing and thinking.

There are 1.3 billion people today who have no access to electricity. Many of them rely on kerosene lanterns for light, but kerosene is both expensive and hazardous to the health.

Over the years, in making art, I have constantly explored issues dealing with space, time, light, and society. I am particularly interested in how the light of a space determines how we see that space and similarly, in how light and color are actually phenomena within us, within our own eyes.