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Well, i was painting a painting which... it was during the laugh paintings, which i painted in the �*90s when everything was doom and gloom and thatcher, and i started to try and paint the laugh cos it was the only thing to do. and the paintings were becoming more and more like an object in space, do you know? the image of an object in space. and so i, being rather slow coming from suffolk, i finally realised i should be making the things rather than painting them. and quite often i could be working on a painting for quite a while and realise it was a sculpture or work on a sculpture for a w...

Many people around the world will associate you with soho, central london, a bohemian art scene in the city. but in recent years, you've been doing your work in the middle of the suffolk countryside. has it changed the way you work and what you do? not at all. not at all? not at all. even though the atmosphere around you is so very different? not at all. i still get up at five in the summer and six in the winter and come into the studio and make a drawing and get going. if i stayed in bed, i'd just worry about everything, so it's far better to be up and at it. and yet, i suppose what's missing...

Many people around the world will associate you with soho, central london, a bohemian art scene in the city. but in recent years, you've been doing your work in the middle of the suffolk countryside. has it changed the way you work and what you do? not at all. not at all? not at all. even though the atmosphere around you is so very different? not at all. i still get up at five in the summer and six in the winter and come into the studio and make a drawing and get going. if i stayed in bed, i'd just worry about everything, so it's far better to be up and at it. and yet, i suppose what's missing...

Yes, yes. i don't know if they're finished yet, but they're part of the ice cap melting. yeah, yeah. we are destroying everything, aren't we? do you really... ? do you feel it that bad? yes, i feel it. i feel it in my bones. and so when you called part of the series the edge, you feel that we are how close to that edge? well, maybe not in my lifetime, but, i mean, are your grandchildren�*s grandchildren ever going to see a tiger? i mean, and the rest of it. er, we are doing our best to make a hash of everything, it seems. let me take you back a little bit. you grew up in suffolk, so in a sen...

In the coffin, like my mother or my father, it's the last time you're going to see them before they go down there. so it's quite obvious to make a drawing. but it's not necessarily a time or a moment where... ..where you feel like working, cos it is sort of work as well as an act of love. but it's the last time you see the person and this whole thing about death, i mean, if you love someone, they... for anyone, they go on being alive inside you, don't they? tell me about the shift from being a pure painter to then embracing sculpture as well. why did you move in that direction? well, i was pai...