In the studio interview with Alexis Harding

Your work seems to be as much about time and movement as abstraction…
'I'm pleased that you've said that. Although I use modernist devices like the grid, and more recently lines and arrows, I've always tried to avoid cold descriptions of the paintings such as “process-driven abstraction”. They are more about imbuing paint with behaviours such as leaving or escaping. And there is a visible durational element in that you can see how the paint surface has moved and wrinkled, either through gravity or by myself physically massaging and squeezing it.'

What about the series of 120 small works in your new exhibition?
'They are all unseen works made during the last six years on the cardboard backs of an old catalogue of mine. They've been given the title “Bi-product Depositories” because they began initially as a means of using unwanted paint and other materials created during the painting process.

So are they now a body of work in their own right?
'I'm sure that they will feed back into the main paintings but they do have their own recurring motifs such as tower blocks and heads, which create a type of speedy, schematic illusionism. Now I'm thinking that “Bi-product Depositories” may not be quite the right title. Perhaps they are “Wayward Accomplices”.'