If I'm feeling desperate, I'll go out image-hunting. I'll go to news agents and stand at the rack flicking through magazines or go to second-hand bookshops. And then, bit by bit, like concrete poetry, I start to realise that I am drawn to particular things, and then I start wondering why that is.
A painting should be tough; it should have muscle, but I have to find some tenderness in it, too. There has to be that dynamic.
I do think you get lonelier and lonelier being an artist as you get older.
I don't make political work. I don't make work that criticises the state. I make as human work as I can.
I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.
People constantly describe me as a formalist or even a minimalist, but I'm not really bothered with the rules of painting or the history of painting. My approach is that everything is mine. I take what I can use from wherever, and then I forget where I've taken it from. But there is no point me making anything that looks like anyone else's.