"So that actually adds another dimension but that’s not the reason . We really felt that the spiritual and immaterial aspects of his work would really make for a strong statement with respect to a work paying tribute to Teddy.."

“I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.”

“Jerusalem is all about a very special relationship between the ground and the sky. This work attempts to bring the two together.”

“Architects have always hoped to find a way to skip that stage between design and finished building.”

“It will remain most definitely.It will need periodic polishing – it’s there”

“The UK has two things, the arts and education, and both of them it pushes into the corner. It's the hugest, hugest mistake. Why do British ministers meet anyone from the arts other than to cut them? Compared to Germany, Britain has got quite a long way to go there, frankly.”

“I think I’ve had three or four moments in my work over the last twenty-five years that have been real discoveries. The pigment pieces felt to me as if they were a discovery about an object and what an object can be; how an object can be and not be. Then, of course, the void pieces. The idea that if I empty out all the content and just make something that is an empty form, I don’t empty out the content at all. The content is there in a way that’s more surprising than if I tried to make a content. So, therefore, the idea that subject matter is somehow not the same as content. Then, in a different sort of way, moving from matte surfaces to shiny surfaces. In terms of the fact that the traditional sublime is the matte surface, deep and absorbing, and that the shiny might be a modern sublime, which is fully reflective, absolutely present, and returns the gaze. This feels like a new way to think about the non-objective object.”