I don't want the ideas to be limited by what I can physically do. The ideas come first.

My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.

Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.

I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.

I am particularly interested in the way that the everyday realities of the world around us change these relations.

It's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right.

The way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution.