“After all, I would like people to see my work. Whether they see it for free or they pay for it, you know, it doesn’t matter that much to me. So I have found a way of surviving as an artist and doing what I’d like to do, by having a teaching job, which I’ve had always, part-time but never full-time, which, you know, provides me and my family, and then this allows me freedom.”

“My subject matter is very personal, and I deal with things like memory, or memory loss, and family history, and it's important for me to do it.”

“It [the space] has an effect on that [the sort of work I make], sure it does…but it doesn’t in a way I’m still managing to do big pieces, though it's not easy, just getting a piece of paper up is a bit of a challenge, but it's fine. I would also love to have space which is clean, and it needs to keep clean, because the trouble with here is that this is kind of floor you can't keep it clean easily so I can't let anything drop on the floor [...] it might be that the drawing is destroyed. Even though paper is easy to store, you’ve got to be careful handling it here.”

“I do some work at home. This is my messy space. And before this studio space, if I needed a bigger space, I would have used temporary spaces. So I haven’t had a permanent studio in London before this [...] I’m sure a lot of people work like that, I mean it. At the same time when I draw my small drawings, I can do that at home at the kitchen table and that, of course, saves you from travelling. I don’t because dust gets everywhere, but I could do it at home. The nice thing of [having] a space which is outside is you can leave things as they are and off you go, and then you come back and you can just pick up the pencil and carry on.”

“Open Studio day is great, being part of that is great, it could be better organised, and we could be more active, and, I think some years ago, from my point of view I felt that I can be more actively part of organising things. We had meetings but they sort of fizzled out for whatever reason it may be [...] twice a year, beginning of June and beginning of December, I think it's a little bit too often [...] It's a nice opportunity; people come in and they see a piece of work or a couple of things, but of course most of the stuff, it's put away so they don’t see it […] it is not an opportunity really to promote your work much, nor sell it. Even though it could be, it'd be nice if it was, but maybe my work is just not interesting enough. I really don’t sell much during the open studios either.”

“I do not use any other platform to promote my work, except exhibiting it. I'm online - I’ve got a website. but, it's not something that [people] come and buy a drawing from me. I have friends who actually do that really beautifully, and I admire that [...] and then they’ve got a website with prices on and I’m just thinking 'Oh my God!' that’s terrible!”

“I don’t necessarily show them [my work], because showing takes a lot of time to organise, and again that’s an expense, and so forth. [...] But you only have a certain number of hours. So that is something which this community [at Pullens Yards] maybe could [do] [...] there are a couple of people [who] have organised a little exhibition for the Yards, during the open studio, and that’s been great, so that they actually take a piece from different artists [...] they curate something, and then they hang it, and then they are there and they can talk about the art yards, what it means and who are here to people who come and see it. So that’s nice. But of course, that’s one kind of an exhibition, it's like promoting the Yards. Showing work in London is very difficult. I've just had a single show in Islington area, was just great, and I don’t know whether I’ll be lucky enough to show soon again.”

“I accumulate things. They rolled up and they’re all around me, and they pile up, and working on paper is quite good, cause you can fit lots of it in the drawer. So, you know, it becomes a practical choice as well, working on paper, because I can store it, and it's not an issue.”