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.

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.

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.

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.

When museums are left with so little money that their future is in the hands of private donors, then they are unable to develop their own signatures by collecting themselves. On the other hand, though, I think we should also celebrate the fact that there is a lot of art that lives outside of, or on the outskirts of, the art market - and it is doing quite well.

Every city is always changing, on its own trajectory.

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.