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.

Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.

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 always try to make work that activates the viewer to be a co-producer of our shared reality.

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.

For the sake of sanity, the brain and the eyes keep things simple. But take away the sense of sight and suddenly things are not so simple.

In many rural areas of the world, local communities use kerosene for indoor lighting, which leads to asthma, poor quality of light, and the desperate cycle of oil-based products that continually degrade the environment.