When I would first come to New York on tour, I hated the place.

To finish a song is the best feeling in the world.

With science and reason throughout history, what people believed turned out to be false. So I like to keep an open mind to all perspectives and learn and become more fully realised as a person. I just feel we're never going to know what the full picture is.

Music is unique because you can get behind enemy lines a little bit, get into people's houses and into their heads, on their stereos, and win hearts and minds.

It's dangerous to buy into praise and criticism for what you do when you're trying to present your music to people. I don't ignore it completely, but I don't dwell on it too much.

I've thought about the idea of, 'Can happiness and creativity co-exist?' So much of what I've done, I think, has been based on being dissatisfied or incomplete or lonely. The answer is, 'There isn't an answer, necessarily.'

I like ideas, but I don't like being preached to.

My favorite rhymes are sort of half-rhymes where you might just get the vowel sound the same, but it's not really a true rhyme. That gives you far more flexibility to capture the feeling you're trying to express. But sometimes it's best not to have any rhyme.

I don't feel real confident expressing myself except when I'm writing. I feel kind of scatterbrained. I can see everything from both sides and that makes it hard to reach conclusions. Writing enables me to clarify things.

The best feeling I ever get is when I finish a song, and it exists, and it didn't exist before, and now it's there, and it makes me feel a certain way.

I've been part of running a label since I was a kid, so I understand how it works. But the more and more I learn about it, the less and less interested I am in it.

I've given up trying to understand what people think about me. It seems like a lot of people don't like the music we make and don't know me, or something.

My work has threads of ideas from all over the place. I try to crystallise them in something simple and direct that the viewer can then take where they want.

My mother became mentally unwell with schizophrenia when I was in my teens... We couldn't watch television because she thought the people on TV were sending her messages. She thought there were hidden cameras everywhere, so we had to have the curtains drawn.

Design impacts me in everything I do. Because, as I say, everything I own is designed. So the building I live in, the objects I choose to boil water in for example, even drinking vessels.

I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.

I don't want to feel like an ambulance chaser, but very often, when I hear about a fire, my first instinct is to make a piece of art out of it.

Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'

Living in a warehouse is great - but after a while, you just want a garden.

Violence is part of everybody's life, whether you like or express it or not. My work utilises all the energies that I have, and part of it is violent, and I'd rather it be out than in.

I need eight hours of sleep, but I never get it except at weekends.

I am 5ft 10in. I got my height from my dad, who was very rangy. I like being tall.

You only get one life, so it seems to me you might as well do the things you want to do.

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.

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.

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.

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 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.

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

Product design is fed by the avant-garde.

My iPhone has always been my sketchbook.

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?

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

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.

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.

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.

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

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

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

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

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

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

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.

Dust, in the end, settles on everything.

My father wanted a boy badly and didn't get one, so I was happy to be the surrogate boy. I was very strong, always doing manual labour.

A lot of my work has been about stuff I've been frightened of: cliffs, explosions, meteorites, that kind of stuff. I would have been this trembling blob of fear if I hadn't got into making art, which is a good way of deferring it.

I think your subconscious knows far more than your conscious, so I trust it.