I would say that the whole way that I have approached the body is as a space, not a thing - not an object to be improved, idealised or whatever, but simply to be dwelt in.

If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.

It doesn't matter if you can't speak the same language. If you have pictures, or better still, if you can draw things, then you can communicate anything to anyone.

It's a wonderful thing to make work that is unadorned either by context, framing or label, that can exist in the changing conditions of light, weather, wind.

It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.

Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.

Making beautiful things for everyday use is a wonderful thing to do - making life flow more easily - but art confronts life, allowing it to stop and perhaps change direction - they are completely different.

Most big cities like London and Glasgow have great big rivers that are unmissable. What's brilliant about the Water of Leith is that it's so hidden. It's a secret.

My best travelling experience lasted several years: between 1971 and 1974 when I bummed around the East. All I had with me was a cooking pot, a stove, a map and blankets and a couple of dhotis.

There is no question that creative intelligence comes not through learning things you find in books or histories that have already been written, but by focusing on and giving value to experience as it happens.

Western Australia is covered by granite, the largest single piece of Achaean rock that still lies on the surface of the, of, of the Earth, that's 2.5 to 2.9 billion years old. It's one of the most ancient and intact bits of the Earth's crust.

Art has to change things, and if it was immediately acceptable it would not be doing the job.

I feel terribly misunderstood; I feel terribly misunderstood.

I just want my work to be part of the elemental world.

I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves.

I want people to be excited about cooling towers and megasheds; they're as much part of our history as the rural barn.

I was educated by monks - I thank them dearly for the education they gave me, but I am no longer a Catholic.

I'm trying to make work that is reflective and is encouraging of reflection.

It is a depressing business talking to journalist.

Public money should be spent on art but through individuals not committees.