“I’ve been in this space in Bermondsey for two years. I still have my studio at home in Finsbury Park…”

“…but I need this for larger-scale works.”

“This is a very busy period for us, as we’re in the middle of working on the Duveen commission for Tate Britain.”

“I started using assistants for the very large works in the early 1990s.”

“It’s always odd being the artist with assistants, because it looks like you’re not doing anything!”

“These are very skilled practitioners, but there just aren’t the opportunities around now for artists. If you’re an artist, you don’t necessarily want to be making somebody else’s work…”

“… but at least this provides them with some stability.”

“In my home studio, I use very simple and limited technology – simple hand drills and the like. This is almost working on an industrial scale.”

“I don’t know in advance how any particular project will work out. It can’t just be designed by me for somebody else to execute. So it all happens here in the space – the process is sort of performative in that way.”

“I enjoy the idea of reaching into the space of the space, beyond the human scale, exploring overhead or underfoot – my work is often parasitic or antagonistic to the building. I see each space as something to be explored, rather than just a place to put something.”

“I don’t know any art that isn’t traditional in some ways. The minute you’ve decided it’s art, you’re immediately involved in the tradition of being looked at and being seen.”

“On which note, here are my daughter and granddaughter – just in time for lunch.”