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Once you are successful, there's a very seductive rhythm at work that keeps you wanting to outdo yourself. By the end of 'Spirit' I felt like I didn't want to get into that trap. It almost makes you cartoon-like.

My work is of me; it's not me. I want it to be far more extraordinary than I am.

I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.

I was raised by free-spirited people, though my father gave me a very strong work ethic.

As creative people, we should be really conscious of being of service in our work, being as generous as we can.

Being essentially a creator, I never set out to shock, always thinking about creating my work and not about the benefits it could produce.

I never thought that I would treasure doing my job, and I have reached that point. I've gotten to a point where it's like the priesthood: this is what I was called to do.

My work reflects a relationship to the built world that shifts between control and randomness, strangeness and beauty, comfort and fear.

When I view the world, I don't think of my own work. I think of my hope that, through art, people can get a sense of the type of invisible fabric that holds us all together, that holds the world together.

It is always encouraging and kind when people say nice things about my work but I know that it is not me that did it then and it is not me that is doing it now. It is God living in me and for that I will always be grateful.