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

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

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.

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.

I see the artist as a participant, a co-producer of 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.

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.