“What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.”

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.

I just say I’m an artist who works with pictures and words.

Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.

I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.

I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.

Teaching at university isn’t like teaching in an art school.

I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I’m trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.

I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.

Art is as heavy as sorrow, as light as a breeze, as bright as an idea, as pretty as a picture, as funny as money, and as fugitive as fraud!

I think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.

I work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.

We are obliged to steal pieces of language, both visual and textual.

I’m living my life, not buying a lifestyle.

Architecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.

A poem compresses much in a small space and adds music, thus heightening its meaning.

You should be able to use the pieces you already own and add to them. Because they are like timeless classics.

I came here with the perfect chemist’s perception. The formula they had was perfect and any added ingredient could make it go bad or worse.

Apathy adds up, in the long run, to cowardice.

The past is our definition. We may strive with good reason to escape it, or to escape what is bad in it. But we will escape it only by adding something better to it.

I’m back – now watch this!’ It all boils down to the music. The mask is a slight theme for people to enjoy, and it adds mystery.

The ‘Doom’ thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out.

A brushstroke of vanity is good to add into the mix, to balance your timidity.