So, I was completely just experimenting. I think I was just experimenting in my studio, I’d done all this stuff, also with clothes dye as well. And then I think one of my gallerists, Gigi, he’s not been around anymore, but he — the other gallerists with Hannah, he came to the studio, and I was like, “Oh my god. This is what you’re doing now, this is amazing!” and then he was like, “Just make a show of it.” So, I think it was a sort of mutual decision to sort of pursue it.
But I hadn’t seen anybody else doing bleach work, and I think since I’d been working with ballpoint pen, and sort of connotations to it being a kind of crappy material, and I was very interested in Arte Povera, and at the time my gallerist was friends with Boetti’s wife, so there was a kind of like lots of connections between that whole part of Italy and what I was doing, so exploring materials which were kind of lowly, was very interesting to me, and then making something which is so high brow as a Rembrandt out of something so lowly, I was always really — I was quite fascinated by that, how you could make one — the transformative nature of something.1