This modest collection of paintings, collages and drawings represents a small part of the speculative investigation that, for me, is carried on across a wide front in association with the manufacture of films.

We have all seen the evidence in nearly a 100 years of film-making, of the two-way traffic between painting and cinema, but I unfailingly experience much very particular stimulation from those especial characteristics of painting and draughtsmanship that will not collude in the partnership, that will not suffer a transference of message, that will steadfastly refuse to translate their form, their substance and their metaphor into cinema.

The items in this modest collection cover some 20 years of parallel film-making, and serve various functions. They are sometimes, as in the map-paintings for A Walk Through H and the image-texts of Vertical Features Remake, objects used in the construction of a film. Sometimes they exist as evidence to indicate some part of the journey taken to reach a film. They can show evidence of unproductive cul-de-sacs or rejected solutions in a project, or are evidence of solutions way beyond practicality. Sometimes, they demonstrate an extended afterthought since it is always difficult for me to leave a film behind. Sometimes the drawings are all that remains of a project that has been entirely abandoned or, more interestingly, are evidence of a project that is still striving to begin as with the large drawings for The Cheese And The Worms. Finally, there are those works that ostensibly refer to themselves - though I can never really believe that that could ever be the case, for nothing exists in such an impossible vacumn.