In the studio

It's how I see... it deepens my sense of what colour is there by eschewing the colour.

What I see on a cold April morning in 2004 - 300 feet up looking down the Thames - is best and more accurately, and actually, conveyed through not having a palette of oil paint, than having a palette of oil paints.

The colour would be a cul-de-sac, the colour would be a blind, the colour would immediately refer back to Claude, would refer back to Turner, would refer back to Constable. The very things that would suck you into a way of painting that is not only referential - it is almost subjugated by that tradition.