In a letter dated June 1988 the artist described the work as being ‘ from a series of ‘folded’, double square images made since about 1981 and ranging in size from 7 feet by 14 feet to drawings 2 inches high. All explored a process of image construction, invention and identification. Paint is spread by hand onto canvas and the cloth folded and the paint blotted making an unforeseeable image. The Cherries painting had three layers of paint. The painting is then stretched and I look at them and try things out. This process generally goes on for some months before the painting is finished. What I hope to make is an image which had elements of physical process, curiosity, representation – all legible at a controlled level. Until 1986 the ‘depicted’ part of my work was seldom nameable or very tangible but in the last few years I’ve consciously moved from tracing and copying certain areas toward finding the suggestion of an object in the initial painting process. Generally this is ‘worked up’ as a depiction of an object, but one without a precise function or identity, rather like some of the objects in the sculptures I’ve made’.