I'm my own worst critic. I mean, I know what's wrong with everything that I've done.

I have to say, I'm not someone who's really big into my family history - never really was very curious about it. The only thing I know about it is what I picked up from my aunts and parents.

I like a lot of good European films, good - anything really. I'm a big fan of Netflix and I get films from them all the time. If I hear about something that I don't know, that I haven't seen, forgot about, I immediately jot it down and add it to my Netflix list or if there's a film that's available that I haven't seen for many years, I get that.

By being critical, you also develop your own style of what you like, what direction you want to move.

The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.

I work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

I am very generous with my dealers in terms of the art that they have of mine. They all have a very good selection of work that they can work with. And it is up to them to find the dealers. I don't interfere with their selling.