After my interim show in March it was evident that this idea of having a ‘rupture’ and pushing for more in a painting and breaking away from being cast under the niceties of abstract painting was key. It was also an enjoyable discussion with a few painters on the course and in my head, which extended to my most recent paintings and something that I’d like to keep pushing. The first came in the form of seeking a new source material, and discovering some of my life drawings lying around tied in with a mate asking if I’d thought about bringing figures into the work seemed a right time to try and using the techniques I’d honed in transforming the Slade catalogue. However I found that my drawings although having good shape to them didn’t have enough going on within them, and it was at the same time I’d been to the ‘All To Human’ exhibition at the Tate Britain, where I found Francis Bacons’ room of paintings and spent most of my time in. This also coincided with a trip to Turin visiting a friend and stumbling across Bacons ‘Mutation’ exhibition at the Palazzo Cavour. And believing in responding to coincidental things like that pushed me more to pursue the idea. Having such a painterly style I new I could take an essence of them and with my style make them into something very different. And I think flipping it on its side, doubling it, slicing it up and filling in only two sections in the black does that. Having a more complex image as on this occasion where precision of detail was more apparent I used a projector to sketch out the image. At first I was a little resistant to the idea, however it was pretty essential with the individual bands, and to create the uniformity of the repetition was part of the work.