In the past years and so the tablecloths on which I set out my still-lives steadily engulfed a traditional compliment of glass, ceramics, flowers and fruits. In the rich glowing contrapuntal compositions painted here in my studio in London, individual oranges, plates or pots lose their separate identities in an overall decorative pattern. I restart my engine as a painter by setting out a still-life on a length of fabric, ranging from the strip of satins or the various scraps of folded cloth that alter accordingly. I work from living models, imagination and sketches or perhaps a blend of all three. On the whole I found myself to be engaged by Art from the European past, Titian, Canaletto, Pisanello and Dutch school of art. I keep my sketchbook at hand and always intend to include pencil drawing, or out of my head from memories. I usually begin with the proportions of the large sheet of paper, which I prefer to be either a perfect square or a ‘golden rectangle’, that is, one where the sides are related according to the golden ratio with clarity, clear thinking and logical structure.