Well, I think because I was making very figurative works to the point where they were becoming like — I don’t know, they weren’t going anywhere, so I was sort of trying to kind of break them down in my studio over a couple of years, and took a couple of years off of having shows, because I’d been on this sort of, show after show sort of weird treadmill. So, I took a couple of years off, and then I just started breaking down the images until eventually there was nothing, and they were the sort of processes — dissecting all the pictures that I’ve been working through, so one of the paintings where I’d had like 50 or 60 images, and then eventually I just erased them all.


So, the paintings became kind of like erased stories or something, like the Erased de Kooning Drawing, it was like all these different marks and everything had been taken away. And I quite liked seeing what would happen if I worked at the completely opposite end of the scale, one thing very figurative, and one thing with nothing there, and I really liked the tension that I was starting to create in that work, and it actually was developed over quite a long time, but obviously because I wasn’t showing anything, it went from showing pictures to showing non-pictures, so I think I’m now trying to find a way to consolidate them with my next show, which is going to be this year in London with both things existing together, the figurative and the abstract.

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