When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.

If I didn't want to work for a couple of years I wouldn't have to - it's a great feeling, to know I'm doing it because I want to do it.

People don't remember. Revenge is sweet.

The people in Miami are so different from anywhere else I've been in America. They're so down to earth, really friendly, and quite self-effacing, with a good sense of humor. I'm not saying other parts of America don't have a sense of humor, but Miami maybe has to have a really good sense of humor for lots of different reasons, and it works. It works for me.

I've never been married because, first of all, I don't think I've ever seriously been asked by anyone who I wanted to marry. [...] And also I'm monogamous.

I like poor materials. I couldn't see myself making a bronze sculpture - it's not me. I like neon, because it's moving constantly and like drawing. The chemicals going through the neon turns me on really - it's sexy. I like fabrics, but one of the main things with objects is that I really have to love them before I can use them. I have to have the object around me a long time. The little chairs I used in my last White Cube show are ones that my dad bought for me. A sort of a psychometry with objects and things. It's like the pieces I've made are my things.

When it comes to words I have a uniqueness that I find almost impossible in art – and it's my words that actually make my art quite unique.