Hampton, USA, 1975.

I always think of the paintings as props in the sense of their own interior specifi city in relation to an outward meaning or function, which, to me, is one of incongruence. The defined logic of the paintings individually bears little resemblance nor has much bearing on the way in which the painting functions in the larger whole. The prop’s allowance of or sort of attention to detail is one that is of proliferation, that is not confi ned to fulfi ll a function and therefore able to shoot off into any sort of direction or whim.

(Richard Aldrich)