Be spectacularly great at what you do. Wear your passion on your sleeve and hold your heart in the palm of your hand. And work hard. Really hard.
I have the deepest admiration for Angela Palmer and her work so having my helmet as her subject has been a true honour for me. I think the sculpture is stunning and very striking, it's the most incredible combination of strength with fragility.
As far as someone who I would like to work with - this is super out of the box, and I have put this on my Twitter - Pam Grier. I love her. I just love her fierceness, and she's kind of, for me, one of the first black superheroes. I would love to have a chance to work with her.
My house is full of paintings by my mother Pam. She was a fantastic, prolific artist but had no confidence in herself, thanks to my father running her down. They married during the war when she was 19 - she had planned to go to art school. But my father didn't want her to work, so she became a housewife.
I used to go to a lot of Pam Hogg shows. The thing about London Fashion Week is that, generally, we're on tour and traveling around, so it's very rare that I actually catch it. I like to go to Burberry because I know a few girls who work there. I kind of follow friends.
I've always liked the tradition of publishing work serially in the comic-book 'pamphlet' format and then collecting that work in book form, so I've just stuck with it.
When people ask me about color in my work, I tend to say that it came from spending a lot of time in Panama.
I would experiment with porridge - make porridge pancakes, fry porridge - and so friends started calling me 'Porridge.' But I got to feel that I was becoming a character, a work of fiction, in a sense.
There are real tricks to getting a job that I just don't like or understand - it feels too close to pandering. I've tried it, but it doesn't work.
I think people can tell when you're pandering to them, and they feel insulted. I think that one thing that is really nice about the work that I do is that I can just sort of make mistakes or try out different ideas or be inconsistent and be vulnerable.
Using the Internet as as vehicle to work with people is fascinating. It's sort of a Pandora's box of energy for me.
I grew up with the mindset that when you get home from work, you go to dinner and watch a movie. I don't want to be going to a club and taking off my panties.
It's especially important for my little girl to see her papa at work.
I have been going to Italy since 1980, but I always went to do work. I did not live overseas, because I do not like running around with everything I own in a paper bag.
The technology I like is the American paperback edition of 'Freedom.' I can spill water on it, and it would still work! So it's pretty good technology.
My father went to work by train every day. It was half an hour's journey each way, and he would read a paperback in four journeys. After supper, we all sat down to read - it was long before TV, remember!
I've always wanted to work in America because of those brilliant east-coast political movies of the '70s and '80s - great scripts, wonderful performances, gritty urban parable.
If you have distance from the events, then your story can work as an analogy or parable rather than its literal narrative.
If you want small changes in your life, work on your attitude. But if you want big and primary changes, work on your paradigm.
I work very hard at creating complex characters, a mix of positives and negatives. They are all flawed. I believe flaws are almost universal, and they help us understand, sympathise and, paradoxically, feel closer to such characters.
