The psychological core of my practice has been relatively constant over the past four decades in that content, context and idea have been imperatives. Aesthetics, formalism and style have tended to coalesce into what is referred to as ‘process’, the term I use to cover the three activities I continue to engage in: object making, site/venue-specific installation and performance video.

Although I believe drawing is the engine of praxis for the plastic arts, it is the working method that has been the most fluctuating and distracted in my work. This I now regard as a grievous fault line in my efforts to create a cohesive plastic language with which to express a philosophy of absolute uncertainty.

Often, in place of drawing, I have since my student days explored writing as an interrogative methodology; in particular a form of faux stream of consciousness originating in an essay on Joyce’s Ulysses entitled ‘Molly’s Bloomers’ for Frederick Samson, my liberal studies tutor at the RCA, who with Peter Kardia represented for me the very best that that institution had to offer. I learnt from them that mindless making would never sustain my particular creative pathology, and that challenge remains as ever it was.

It is fortuitous that Peter lives near enough to enable ease of contact, and consequently there is no escape for me via intellectual vacillation or ideological skulduggery, even though I keep trying it on.