Even though everybody who looked at me would call me a Chinese artist, that's the 1980s. New York in the '80s was not so interesting. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.
All the rich people collect traditional Chinese art. So it's very natural for Chinese families to still see art as the highest human performance and send their children to this field.
I think the pearls - one is a necklace, and another you have five hundred pounds of pearls, which may be one million pearls in a bowl - really show a kind of [society] condition.
It is not an easy job to govern China, I am aware of that. There are crises and emergencies all the time, we might not even be aware of some. But I am afraid we'll have to wait and observe precisely what the government is up to.
I don't think it's worth discussing new directions in the context of Chinese art - there were no old directions, either. Chinese art has never had any clear orientation.
In the '80s, you couldn't walk in the neighborhood without looking back to see if anyone was following you. You had your key in your hand before you got to your apartment and you'd rush in so you didn't have to stop.
I don't believe in the so-called Olympic spirit. I speak from personal experience. When China hosted the Games, it failed to include the people. The event was constructed without regard for their joy.