A strong work of art really leaves people speechless. They feel a little angry because they don't understand it.

People ask about art and commercialism. I think that if someone tries to sell their work at a high price, that is the wrong way of doing it.

The erotic and the art historical imagination is something that gets very little play when people talk about my work, and when they rarely do, they try to problematize it.

People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.

Only 10 percent of people who go to art school will still be making art in 10 years. To some extent, you have to want to do it. It's hard. It is something you really have to stick with for it to work.

But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.

Few people in contemporary art demonstrate much curiosity. The majority spend their days blathering on, rather than trying to work out why one artist is more interesting than another, or why one picture works and another doesn't.

I think people should be given a test much like driver's tests as to whether they're capable of being parents! It's an art form. I talk a lot. And I think a lot. And I draw a lot. But never in a million years would I have been a parent. That's just work that's too hard.

Many art-worlders have an if-you-say-so approach to art: Everyone is so scared of missing out on the next hot artist that it's never clear whether people are liking work because they like it or because other people do. Everyone is keeping up with the Joneses, and there are more Joneses than ever.

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