I have never fitted neatly into the arts section, I don't think.

I think I was a late developer because I'd been stuck in the country and was a little bit shy and withdrawn.

After leaving college, I was in a show called Sculpture by Women where I was asked to talk about my history of victimisation in art, and I genuinely didn't think I had been victimised. Although I obviously believe in a lot of the feminist aspirations, I was wary about being dragged down by the politics of it.

My mother was German, and I was brought up with 'Struwwelpeter' stories, which are invested with all sorts of horrors waiting for you if you do the wrong thing.

Even though people think I am more of a conceptual artist, I am actually very intuitive. For me, it is still a matter of allowing things to naturally rise to the top of my mental pile, and then I make them.

I like drawing from all kinds of territories in art.

Traditional conceptual art is very dry.

I am interested in the press and what they do.

I'm not very party-political, really; I am more strategic than that.

When people listen to music, they don't worry about what it means like they do about art. Everyone's an expert on music, but with art, I always find I have to defend its existence.

The best ideas come out of getting lost.

If I was prime minister, I would declare a state of emergency on climate change.

That's the problem with working and living in the same space - my studio is downstairs, so I often get distracted by domestic things.

Art historical reference is like learning to drive a car - you always know how to drive even though you're not analysing how.

I don't particularly look at other artists when I'm working. But references do come into my work intuitively.

Beauty is too easy. Often in my work, I take beautiful objects and do extreme things to them so that they are overlaid with something a bit more sinister and violent.

I definitely didn't want children, because my childhood was not a very happy time.

I think I'm a feminist, hopefully by example. I just feel it's important to do as much as I can as a woman, to the best of my ability.

I try to avoid the 'art world' as much as possible. It's too much about fads and fashions - who's getting the best prices at auction and things like that.

People often want the big dramatic works, not the smaller quieter ones, but I don't worry about how it fits together anymore; I just have to do it. I feel compelled to make a work: it's like an itch I have to scratch, and once it's been scratched, it goes away.

My parents were always doubtful about my making a living as an artist. Even when I was up for the Turner Prize, my mum suggested I apply for a curator's job.

I don't skip meals, because I get blood sugary.

I do 10 minutes of Pilates every morning if I'm in the mood.

Jeremy Corbyn makes me angry. He seems vain.