Dust, in the end, settles on everything.

I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.

I have always had a bob haircut because my hair is so fine and doesn't like being long.

As you get older, things don't work as well. I do Pilates, and that helps.

I don't mind getting older; I just don't want to be in pain.

I'm trying not to go through that midlife dip that artists tend to have.

Art and creativity are crucial, whether you're a mathematician, a scientist, or an artist.

I didn't make any money out of my art until I was in my 40s, but it preserved my sanity and my freedom.

I was very physical as a child - we lived on a smallholding, and I was always outside making mud pies or building structures up trees.

As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.

Our cultural industries are our biggest export, our biggest manufacturing base. Every pound spent on art education brings disproportionately large returns. It's the biggest bang for our buck. If it ain't broke, don't fix it. In fact, the more you put in, the greater the successes for the U.K. economy.

If it is good enough for Prince William and Kate, why is studying art history not good enough for the masses?

Who thought it would be a good idea to undermine art in the school curriculum? Who thought studying the history of our visual culture was a waste of time? Who thought that only private schools should have that privilege? Was it someone who said we don't need experts?

My iPhone has always been my sketchbook.

Product design is fed by the avant-garde.

I'm from a working-class background - I had free school meals all my life and then spent six years in art school.

I was selling bric-a-brac in Portobello and Camden Market. I love objects. But I was embarrassed by the idea of collecting, so I began using these things in my art.

I take things that are worn out through overuse, that have become cliches - like the shed, a traditional place of rest and retreat - and I give them a more incandescent future.

I think it's quite obvious my work is made by a woman, because I have never wanted to make anything that is not ephemeral. But I definitely want to be thought of as an artist first.

I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.

At my degree show, someone said, 'It's nice, but it's very feminine.' I said, thank you, taking it as a compliment, but they obviously meant it as an insult.

I think design means, for me, almost when man, back in time, decided to do something conscious. You know... to shape something and make something different from just using things that were lying around. So whoever designed the wheel were onto a good thing.

When I was a kid, my mother used to say, 'You always want to be different.' I couldn't work out what she meant. I was just trying to be myself.

There's only a couple of coffee cups I'll use, because I like the way they feel in my hand. I realise I've got lots of others, but I won't use them because I just don't like... the thickness of the ceramic is too much, or the glaze isn't right.