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 myself have already spent a third of my life in Germany, first in Cologne and then, since 1994, in Berlin.

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.

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.

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.

Light has an evident, functional and aesthetic impact on our lives.

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