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.

I don't ask for an apology because it's only tomorrow's fish-and-chip paper.

If I were really, truly in love with someone who was truly in love with me, then I would get married, but that would be the only reason I'd get married.

Because of the amount of press attention, people went to see this dirty bed, as if it was a freak show. But when they got there, they saw something else - the bed, stuff on the walls, whatever. For the Tate, it's the highest attendance they ever received for the Turner Prize show. There was a massive queue, and when you got into my bit, you couldn't move.

My influences were from Europe from between 1900 and 1945. My favorite artists were Egon Schiele or Edvard Munch. I wasn't interested in contemporary art at all.

Criticism on my works is like this: you've worked hard all of your life, you went to Oxford, and you've done this and that, and you're an art critic. Your job is to unravel the "secret" or whatever, and you come across an entity like me. It's going to piss you off. Because there's no great secret, what you see is what you get, and anyone can understand what I'm doing. So, it's almost like I make this critic-person redundant, just by my attitude, and they resent me for that.

I had become conscious of my physicality, aware of my presence and open to the ugly truths of the world. At the age of thirteen, I realised that there was a danger in innocence and beauty, and I could not live with both.