“When I’m painting a New York scene, there’s distance but also taxis and people walking about; everything is flowing. You won’t be able to see the people in the foreground as recognisable figures because I never put lots of detail in the face or expression as then it becomes too rigid and still.

“As you go further back into the painting, you have that movement like you’re taking a photograph using a slow shutter speed. So I try and inject that energetic painting process, which is coming from my mind onto the canvas or metal.

“If I’m working on a piece, I know the location – so it could be the name of a place, or a feeling or action. Once I’ve finished a piece, I’ll title it.”