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My father had to flee from what is today Pakistan when he was a child, and he became a manager at IBM, and any item of consumption he would acquire was a direct measurement of his success in life. But that same equation wasn't going to work for me - I was quite clear about that in my early teens.

The nature of my work is my subjectivity meshed with other people's subjectivity. So there's a correspondence with that... Even if you write about me, it will reflect on you; everything is a kind of weird collaboration.

I don't see myself as somebody who looks particularly good in photos.

One often forgets that even if art is a very successful field in contemporary culture, there are still a lot of people alienated by it. Even if people don't fully understand where my work is coming from, at least there's somebody who looks kind of sane standing in front of you and politely engaging with you. People react.

Kids are very sensitive to the value system of their parents, and I just felt my parents were attaching too much importance, too much meaning, to things.

I wanted to do dance with the same seriousness as art was done and acknowledged, not with the entertainment factor that is always connected to theater and film.

I am for fetishisation! All of us have our favourite things, and they speak to us.

Attention is the material I work with.

For the general public, my work is sometimes easier than a painting because there is someone addressing you; it can actually be a relief. What's interesting is the idea of a tourist randomly coming in and the experience they'll have.

Our culture is hung up on and overemphasises what can be derived from material objects. I think this is something quite new, over the past 200 or 300 years - that life has become about accumulating material wealth. The 21st century is not about accumulating material wealth like the 20th century. It's already eroding.

What my work is about is, 'Can something that is not an inanimate object be considered valuable?'

I have this belief that if you have an idea, and you have to write it down to remember it, then it can't be a great idea.

Because of this high status of the object in our culture, something has to be a thing. Live efforts are almost marginal. I think dance, for example, is just as much a thing, and I want for it to have the same status. I don't want it to be the thing that comes in the evening and is, like, the happy music.

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