I think visual seduction is really a lovely thing. To be able to look at something and feel you want to get closer and closer to it, and as you get closer to it, the more you drop your guard.

I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.

I was an altar boy and heard the Bible being read out repeatedly. The stories have stayed with me, although they're completely remixed in my head. And often, when I do further reading, I'm quite surprised by the difference between the real story and my memory of the story.

Doubt is important because it suggests progress. Total certainty can mean there's no assessment of things. Doubt, if you don't panic, can allow newness to come in and challenge something that's an established mode.

London was an exciting place to work at one point because, socially, it was very progressive - a catalyst. There were very interesting artists making all types of work, but it got to a point where the social aspect became claustrophobic.