1 What is/are the primary reason(s) for you to make work in the first place?
It is an Obsession i have, to make paintings using 80s New York graffiti styled words and comic styled fonts with characters and scenery composed together from many sources.

I am addicted to painting in rich slow drying oils. I love painting, drawing and doing graffiti everyday. There is no stopping me. Try it! .Not a chance, pump up the drum and bass music and I'm away. Lets go...

2 What do you intend your work to convey to an audience?
I make a painting that has all the influences i am currently in to (see above). To convey to an audience a scenario, or theme. i paint firstly and foremost for myself about my own life long obsessions and passions. Then exhibit it and see how the audience reacts. I try to make the painting perfect in many different ways and looks, be that trashy or rich and crisp. I want the paintings to grab peoples attention and blow them away. Leaving them with the image burned on there brain. Visually addicting an audience.

3 Why do you work in your chosen medium and format?
(See above) also- I paint the panoramic canvases because that's the shape and format of a New York subway car, letters on the bottom, Characters and scenery above and at each end (see Swamp Thing). I paint the portrait canvases because that's comic book and pulp fiction format.

4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
I sketch in using acrylics and pens that i use for tagging to get that hand style look, feeling with graffiti energy all over the surface. Then i stain areas with inks and dyes. Next i stain it again with rich oils using brushes and then finally apply wet look slow drying oil paints. Guston it up, lovely and juicy.

I never use a projector, i sketch and compose them by eye, so my paintings flow and there rhythm is fluid, alive from my brain, a Mind to hand-flow.

5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Starting with the earliest, Its Peter Paul Rubens, his paintings such as Lion Hunt or Hero and Leander are full of movement, diagonal rhythms and energy that influences me. If i need to paint a forest for example i open up my Rubens book, hold it in my hand and sketch it up. I love Van Gogh, its all about the direction of strokes and impasto, Vincent rules. Phillip Guston for relaxed style and juiceyness.

Bill Ward and Gene Bilbrew 1960s sex book cover masters.

Lastly New York Subway legend "Seen" for his whole cars in the 80s like "Hand of Doom" ,green lettering with black outline, white highligts with blood dripping,Grave stones on the edge and a hand welding a dagger, wow! say no more.The whole of 1970s and early 80s New York graffiti phenomenon.

6 What stimulates/informs your work from the world around you?
Seeing a good show like Tal R at Victoria Miro last year. Adverts, Graffiti and the Swedish landscapes (i now live and paint in Sweden), Swedish forests,rocks and ponds, and Freight trains that stop at the bottom of our garden here with graffiti on them.

7 What stimulates/informs your work from your own personal experience?
(see above)

8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
I paint from old B movie posters, American comics, New York classical graffiti and 1960s sex sleaze paper backs. I cut the pages out the books and hold them in my left hand sketching up straight onto the canvas, collaging, transcribing or straight copying-sampling the eye candy with jessop energy.

9 What are the main problems that you face in making your work?
If my work stopped selling and i could not paint full-time as i have been for three years now, then i would have a problem in making my work.

As long as i can get in the studio 5-6 days every week, there's no problems. In 2003 when i worked 60 hours a week as a security officer and never got to paint, that was a problem in making work, getting the flow on and keeping good form like a footballer. Every day just flies by these days doing what i love most- painting with loud 90s Drum and Bass and Hardcore rave pumping out.

10 Where do you intend to take your work from here?
I take it one painting at a time. It is a logical progression of painting obsession. Ten years ago in 1997 i was painting panoramic lively abstracts, ten years on in the 2007 its panoramic Spoof Horrors. Check out my latest paintings, that's whets important now, The Future can wait!.