"I was very interested in Fellini. I like the anecdotal and narrative qualities and also the bizarreness. Most of the prints that I started to do at Wolverhampton were actually ideas for films, that's why they have narrative qualities in them".
On Fellini's film 8 ˝ a firm favourite of the Artist's he says he was interested in the way it:
"Constantly refers to the Artist's childhood".
On Victor Burgin and John Stezakers photo based works he comments:
"Their work intrigued me, but I didn't want to make dry conceptual pieces. I saw myself instead as a film maker, who also made prints".
On Cézanne's apple paintings he notes:
"He wants to pin something down. To establish one absolute fact in the world. It has nothing to do with the apple".
On the comparisons with Richard Hamilton he says:
"I knew that the pop thing was going on - screen printing was there, photography was there, the everyday objects were there - but I was much more interested pictorially in Velasquez and Vermeer. These prints had much more to do with painting. Just because I was using imagery that was contemporary and easily read, because I was trying to speak to the person who was looking at the picture, didn't mean that my prints were related to Richard Hamilton's collages".
"People used to say that they were like Hamilton's collages, which I used to resent, because I thought they were nothing like them. I would use imagery that was easily read, because I was trying to speak to the person who was looking at the picture but was more interested in Della Francesca and Velasquez or Vermeer. I like the constancy of life, like Shakespeare in modern dress - you can take Shakespeare again and again and just change a few things and it's still totally relevant. You can still learn from it and I suppose it's to do with the continuum of what people do".
On the influence whilst at School of Henry Moore he admits:
"I'd seen some of his things and just liked the way it was off reality - it was to do with the figure, but it was aside from it as you understand it when you are fourteen or fifteen (years old)."
"My idea at first was to be a Sculptor. I admired Henry Moore and Philip King. I'd been stimulated by Eddie Delaney's street pieces as a young child in Dublin".
On Picasso's influence on his print 'The Journal' Tim say's:
"I think it (a fruit press) had a kind of animal or human characteristic. It looked like a screaming head to me, when it was opened up and it reminded me of the horse in 'Picasso's Guernica'. The lampshade also has associations with the paintings shocking light source".
On Velasquez painting 'Las Meninas' he said:
"The painting has a painter in it, and the back of the canvas as well so it is about it's own construction and it is saying "this is only a picture" which helps the viewer enter the pictorial language, to understand the conventions and to be drawn into the Artist's world. I always seem to be referring to 'Las Meninas' somewhere in my work".
He again quotes this painting when discussing his own work 'Mirrorman', 1970:
"For me the 'studio set up' section of the print is a reconstruction of the whole print being made and relates to the Velasquez painting 'Las Meninas' it's that kind of parallel".
And on other Artists:
"I'd been introduced to Francis Bacon and I'd noticed his hands, his watch and the way he wore his sleeve pulled back. Then I happened to see a painting of his a couple of weeks later, and I immediately recognised these features in it".
"Some of the definitive images of Artist's like Hockney, Dine, Hamilton and Warhol are in fact prints rather than paintings".
"I must admit that I've just enjoyed the Rauchenberg show in London".
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