 One of the most interesting pieces, I think, was the marriage bed, and then later on, which started off as a little bed, which I picked up a little, like a model bed in an antique shop, and I put the roses and nails in it. I wanted to show the conflict that men and women have in marriage, and there's not always a bed of roses, and so I did that, and then later on I made the large one, which is in the museum, and that was really exciting. It's quite a different thing. The large one has an impact because, well, it's a full-sized bed, and the roses are giant, and it's more dramatic. The other, when you see a little one, you get the idea, but you don't get the sort of full blast of the impact, the visual impact that you get with the big piece. I think with this piece, as with many things I do, I like to juxtapose, this is a sort of juxtapositioning of the soft and the hard, the harsh, the cruel and the happy, the sad and the happy, and all these things that are, one plays against the other. I think the conflict between man and woman in a marriage, I mean that's when sometimes marriage is really happy, which you hope it will be, but sometimes it's a prison, and I think especially in marriage, the bed can be, for some people, a pure delight, and sometimes it can be something that's a duty or even forced upon you, and I think it's an ever-continuing, interesting subject. Well, I think in marriage, suddenly it is getting better, I think, but it used to be the case that a woman was identified by who she was married to, and if she was married to somebody, she was the baker's wife or something, and she didn't have an identity of her own, and now she is more able to, but I still think that a woman often puts up with a lot more in a marriage, and even though now most women work in some form or another, when they've done their work, they still, more of them, go home and do the work again when they get home.