Something that has long preoccupied me as a painter is the relationship between the painted surface and the object (upon which one surface has been singled out for preferential treatment), between 'surface' and 'objectness' if you will, and indeed between the 'edge' of a work and the flatness of the wall or floor upon which it rests. Of course, as soon as one starts to consider the intersections between surfaces (and consequently the biggest surface of all, the wall) one is naturally, logically led to to a consideration of the whole environmental context of the work and hence to site-specificity. In recent years the work I have made has been increasingly determined by aspects of it's context, both it's physical environment and it's psychological purpose.