I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.

When I look at some of my old work, the pieces I find most interesting are the ones with people in them.

I've had to do all kinds of jobs to pay the rent. I've even worked in a Cornish tin mine.

As a kid I quite fancied the romantic, Bohemian idea of being an artist. I expect I thought I could escape from the difficulties of maths and spelling. Maybe I thought I would avoid the judgement of the establishment.

I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.

I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.

I think most people see drawing as subservient to the subject, a sort of meditation, a studying, a searching observation, in my case, for its own sake.