Ben Luke

To explore digital guides to all the partnering institutions, download the app today.

It's available from the App Store and Google Play, and you can keep up to date by following Bloomberg Connects on Facebook and Instagram.

And are they sort of up in different studios?

Because there was one point where I know you had a studio in Aberdeen and in Glasgow.

So as you travel between studios, would you take postcards with you or would you have sort of set-ups in each of the studios?

There's a visceral shot when you see them in the flesh almost.

You almost have to relearn how to look at them again.

A different way of looking in front of the physical matter of the painting.

It's got a very particular kind of collection.

It's quite unusual in terms of the balance of all the parts of the collection.

That's one of the things that's so great about visiting a museum frequently is that you do notice those kinds of things and they become important to you.

Yeah.

I mean, having that freedom to regularly visit a museum somehow means that you have almost a personal relationship with the works.

Did you know that you wanted to do art then?

Or were you still in that moment where you were, you know, kind of curious, as you say, like literature curious, film curious and so on, music curious, you know.

But in a way, did it help you make art later or even then?

It's a great segue into our next question, which is which writers or poets you return to?

I see that a lot in your paintings, actually, that sense in which recollection is being represented.

And of course, because of your language, it's never pristine, precise, and you don't want it to be those things.

But there's a painting called White Noise, I think, which is, it occurred to me that there's something about that, that