You’re well known as a musician and visual artist. How do the two things inform and complement each other in your work?

I’ve never really separated the two. I often used to worry much more, asking myself where do I belong or fit in work-wise, but then over a long time of just trying to continue making work, I worried less about it!

You’re about to unveil your first major solo exhibition in Scotland. What are the pleasures of putting together a solo exhibition as opposed to working collaboratively or participating in group shows?

I love the freedom of a solo show, but when you’re working with other people it’s such an exciting feeling that you are part of something and excited by other people’s contributions. When I worked with Life Without Buildings it felt great to be swept up in something that you could feel yourself in and express yourself and feel energised and surprised too all the time, by everybody, and what you can make together.

What do you think of Inverleith House as a space?

I’ve always loved how their programme mixes up older and younger artists with such care. The light is amazing within the gallery and just the beauty and sense of the botanical gardens being just there, outside the window. I’ve never been to Orkney but I wonder if the Piers Arts Centre has a similar thing going on … just art facing nature and vice versa, so great!

Susan Philipsz won the Turner Prize last year for a sound installation. Do you feel that this will increase interest in sound-based artworks, including your own work?

I think the Turner Prize is such a world unto itself, I’m not sure it actually increases an awareness of/love of/interest in any particular genre. It heightens the public’s awareness of a particular artist at an exciting part of their career but that’s it. It would be great for a performance artist to be on the list at some point.

Sue Tompkins, Inverleith House, Royal Botanic Gardens, Edinburgh, until Sun 17 Apr.