In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

I work with nature, although in completely new terms.

I used to build up to sensation, accumulating tension until it released a perceptual experience.

His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.

Focusing isn't just an optical activity, it is also a mental one.

As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge.