Every painting is still new to me - the questions, the bright paint coming out of the tubes, the effort to gain the friendship of the shapes and the space. More and more now I work on still-life, which to me (perhaps because of my intense interest in the human face and form in all other areas of my work) is practically an exercise in abstract art. There is the globe of the fruit, the ponderous warmth of a clay vessel, the shrinking shadow sheltering from the inundating light. Frequently I portray the pottery made by my sister Amy Myers; pieces I am close to for many reasons, not least that of having seen them come into life from mineral dust under a pair of skillful hands, but also that of the theory and the personality behind the ceramics which makes their primitive clay forms suddenly powerful and rich. And through time, fruit from tree or vine has also expressed this basic wealth - the response of a generous earth to water and light. Bright, clear light, like that which is so often the anonymous, invisible sitter for these still-life portraits.