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  • I never thought of my work in terms of being radical, although I tried to make it radical- that is, to shift the premise of what goes for pictures on a wall. I wanted my work to say something other than the usual- the usual format for an artwork being a rectangle, a square, or anything flat, framed, and attached or hooked on the wall. That was accepted practice, mainline thinking.

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I never thought of my work in terms of being radical, although I tried to make it radical- that is, to shift the premise of what goes for pictures on a wall. I wanted my work to say something other than the usual- the usual format for an artwork being a rectangle, a square, or anything flat, framed, and attached or hooked on the wall. That was accepted practice, mainline thinking.

When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.
There are times when I wouldn't rule violence out. I personally don't like violence at all. But it wasn't until we had the Trafalgar Square riots that the Poll Tax went out in Britain. When people take to the streets and fight the police, it's the one thing the government can't control. You can march round in circles for the rest of your life and they can ignore it, but once you start damaging property and fighting with the police, they can't. Even though they tar you with a brush and say you're a set of bastards, they have to actually tone down what they are doing.

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