On the eve of his two retrospectives in Paris, the artist discusses the works that have shaped his practice and thinking

James Holden, Solstice/I Have Put Out the Light, 2002. Courtesy: Silver Planet

The artist reflects on the sounds that have shaped their thinking

‘Her oeuvre was a radical departure and fiery negation of the masculine art-making that was prominent in the 1970s’

‘Eichwald often reveals her journey through her direct, yet humorous and heady titles’

‘I remember being hit by the odour of smoke and the soft, hazy light bathing the enormous space of the abandoned factory’

‘Green’s installation doesn’t exist to serve as evidence of well-established narratives’

‘She has such authority in her tangled daubs and streaks’

‘I love the sense of compulsion and joy present in this painting’

 Child’s dress, Greenland, mid-14th century, wool. Courtesy: Nationalmuseet, Copenhagen

‘The fact that it was most likely made with recycled fabric touches me immensely’

‘I have learned from John that you don’t need to shout in order to make an impact’

‘When her mother died, she stopped talking. What is there to say when all is lost?’

‘Hesse was an adventurer and brave with her materials’