Mad Lab 2010-11; oil on board 56 x 88 cm.

I started with the toy and a self-portrait using the same facial expression, but the result was too horrible to contemplate finishing (below left). For a while I continued version two (below right) without considering alternatives; it was only in the last few weeks of painting that I decided to include a mirror that reflected the back of one of the heads; and the fortuitous placement of a book cover gave me the chance to include Mona Lisa. The mirror disrupts the flat picture plane of the patterned background, and creates spatial ambiguity while introducing chance elements and a varied light effect. I often find late decisions to alter the composition and/or bring in another object (in this case the mirror and book cover) provides the energy required to complete the painting.

Hermaphrodite 2010 (left) oil on board 52 x 42 cm

Garlic 2010 (right) oil on wooden chopping board 20 x 29 cm (double-sided)

Webcam Self-portrait 2009/2011 oil on canvas 76 x 61 cm

Webcam Self-portrait (Lap-top) 2009 oil on canvas 45.5 x 61 cm

Consumer's Pride 2010 (left) oil on paper 56.5 x 34.5 cm mounted on cardboard box 81.5 x 60.5

Consumer’s Pride 2006-07; installation view Norwich EAST 2007

At Norwich EAST I was trying to replicate an effect that had been previously successful (see 'Bouquet' and 'God' below) but the exhibited work didn't feel right.

I decided to flatten the box and mount the cardboard on wood painted a warm yellow (near right) which brings the graphics into play with the painting and frames the image.

Consumer’s Pride 2006-07 (left) oil on paper 56.5 x 34.5 cm mounted on cardboard box 57.5 x 36.5 x 12 cm.

Study for Consumer’s Pride 2005 (right) oil on cardboard 60 x 42 cm.

His ‘n’ Hers, 2007, oil on wooden cabinet with mirrors

Some of my paintings take a very long time to make, but this painting was finished in three quick stages which I always trust as a sign for direct speaking of the subconscious, and having found the right form for the initial feeling-idea.

The subject is a mask I bought from a local charity shop that represents both Punch and Judy by splitting the features down the middle. I have now painted the mask several times but never as straight representation – each time I have contrived to represent the two halves as being distinct male and female while sharing similarities. The view here is a privileged one – the viewer in the gallery only sees one face at a time (plus their own features reflected in the sliding mirrors).

Punch and Judy April-July 2006 Oil on plyboard 48.5 x 41.5 cm. with bell

This Punch & Judy mask has become a symbol to me of many things, but perhaps primarily of a dualistic existence that nonetheless contains the seeds of unity; similar to a yin-yang symbol. Of course each viewer brings to the work of art their own stock of private imagery and symbolism, and whatever meanings I may have intended, the artwork must also be an empty vessel waiting to be filled.

Ghost 2007; oil on canvas mounted on wooden box containing light bulb with fitting, plastic suit, wire coat hanger, shoes

Night 2006-7, oil on plyboard 39 x 52.5 cm.

'Night' was made using artificial lights, 'Day' (below) in daylight. The polystyrene forms are fascinating as objects and I had in mind doing an abstract-looking painting superficially like a Ben Nicholson or Naum Gabo but painted entirely from observation, but I soon realized the real subject was the light. I often think that light is always the only subject for a painter, and what is represented is similar to the pointing finger that oriental philosophers advise us not to confuse with the moon.

Day 2006-7, oil on plyboard 39 x 52.5 cm

The view on here is a privileged one – in the gallery the viewer can only see one painting at a time while holding the other in their visual memory. I have made several double sided paintings because I like the viewer to become aware of the act of looking, and this double aspect requires I be inventive as regards the exhibition of such works which causes the viewer to be an active participant rather than a passive receiver. This double aspect is also alluded to in the subject – night and day being complimentary but mutually exclusive.

Another reason for making double sided paintings is to make obvious the artifice of paintings that attempt to represent some aspect of the world – the thinness of the paint surface upon the thinness of the support while still appearing spatial when seen head on.

Luminosa; 2004-5, oil on paper mounted on cardboard box 39.4 x 59 x 15 cm

The chandelier was found, bent and broken, in a South London street near where I used to live in Tulse Hill. Once I’d checked the chandelier still worked electrically and I’d sourced some candle-effect light bulbs, a chain of associations started to form in my mind between the object, an old fruit box I was using for storage but whose graphics interested me, and a possible artwork.

Initially I intended only to make a painting on the box leaving the viewer to make the connection between the graphics and the object, but as the painting progressed the idea of incorporating the working chandelier increasingly took hold, forcing me to consider ways in which this could happen. In the gallery the painting is exhibited at an angle of approximately 30 degrees, on a plinth that contains the working chandelier within a mirrored interior that reflects the flickering lights. The viewer can see this through a gap between the plinth and cardboard box.

Bacchus 2001; oil on canvas with drawing pins

Energy; 2001, oil on canvas, 19.5 x 32 cm. Private Collection

Living Flame 2001; oil on canvas with assemblage (destroyed)

Inspired by the public demonstrations of grief outside Kensington Palace when the Princess of Wales died.

Balance 2001; oil on canvas with scales

Veronica 2001; oil pastel and oil paint on wooden table

God 2000-01; oil on board, red cotton shirt, 138 x 45 cm. Private Collection

Lost World 1997-2001; oil on canvas 51 x 61 cm, mirror, various objects. Private Collection.

Mint 2000 (verso & recto) oil on wooden chopping board with paint brush and metal fixing.

Private collection

Whenever I show slides to students this artwork often generates the most questions, which initially I couldn't answer myself. Since then I have found sources that reflect some of the same concerns as this artwork. Click on the link below:

Other 1999 (left) oil on cardboard 30 x 30 cm.

Mirror 1998 (right) oil on board 48 x 34 cm oval. Private collection

The Great Outdoors 1998; oil on canvas and wooden tray with air fresheners and plastic trees

Nature Morte, 1997-98; oil on board. Private collection

Bouquet 1997; oil on canvas 51 x 46 cm., bucket, box of flower food. Private collection

Charity 1998; oil on canvas

Eternal 1992-94; oil on canvas 122 x 107 cm. 1st state 1992 (left) final state 1994 (right)

Private collection

These photographs demonstrate the various changes a painting may undergo before being resolved  

Rudge Bi-Frame 1992-3; oil on canvas

For J & B Hammond 1993 (left) oil on canvas, approx. 30 x 30 cm. Private collection

MGM 1992 (right) oil on canvas, 23 x 15 cm

The first job I had after leaving art college was at MGM Multiplex Cinema, Grand Central, Stockport. This small self-portrait in the uniform I wore at the cinema was completed in one week after giving notice I was leaving. I'd saved enough money from this job and some part-time teaching to visit Spain & Italy for three months.

I wanted to paint myself as objectively as possible without reference to the act of painting, which is why the pose has both hands so prominent (a combination of painting the basic form of my dominant right hand with my left, and tidying it up afterwards with my right).

Boots 1992 (left) oil on canvas, 33 x 33 cm.

Bag 1992 (right) oil on canvas, 33 x 33 cm.

Flowers for Sylvia 1990 (left) oil on canvas, 91 x 76 cm. Private collection  

Ladan 1990; oil on canvas

Janet 1992; oil on canvas

Wheel 1990; oil on canvas. Private collection

Head 1990; oil on board. Private collection

Studio, 1989-90, oil on canvas 152 x 183 cm.

Painted in a second floor studio at Chelsea College of Art & Design (back when it was called Chelsea School of Art and was in Chelsea - Manresa Rd off Kings Rd). In the background is future Turner Prize winner and Venice Biennale representative Chris Ofili, through the window can be seen the spires of the Natural History Museum and the V & A Tower.

Chelsea Self-Portrait 1989 (left)