Working as a painter whilst utilising the medium of film instilled a sense of liberation. Knowing little of the craft of film-making meant that I was unencumbered by principles and laws; I have a particular fondness for some of my earliest work. The early films embody a kind of primitivism, and were produced in a broadly oppositional mode.
Over the course of my career I learned different strategies for negotiating with funding bodies; by 1983, with 'The Pharaoh's Parachute', I had learned to do two things at once, producing a coherent sense of narrative while remaining true to the integrity of my own visual language. The days of primitivism were over.
Most recently my work has become more abstract;the new films are a reaction against narrative and as such they re-confront my earliest interests in experimentation, but do so with a newly found simplicity.