![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRyR3QaPqwjpE4_zXAJE8Wp5luGPgbNsJTBhivAhC6zXHeVUAfC4nz1g3Lk-GFJkrapfCBSKZnwql8lHCR97C2HoOey92tPwwEaAsNzrj1GZoYlOaF5q43MhVaghuDAErqmeo-K6ATctQA/s1600/4197565759_8f80627f0a_o.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYnKFIivlE7LS5_pVhjjzs3jE0BhLirbWg7Xp7CseR7I0CtLU0u1ZFQKq8E0sFWREw4nZUEXJdwOTPtA4s7R-dRas-8MGpn74JqN-ikNkeTwv1gMPJwVL-_a8ewRq45T0L8dU2_DpJlTA/s1600/4198318784_b0eea64cb6_o.jpg)
First, I cut away the areas from the lino-block that I wanted to stay white, and then printed it in red. Then I cut away the areas that I want to stay red, and print that in black, on top of the red.
The image itself combines the influences of lots of things that I have been looking at recently (though the effect of the influences is quite diluted by the time they reach the paper):
-- the "Revolution on Paper" exhibition of Mexican prints at the British Museum
-- (deceptively) simple linocuts by Robert Taverner and Christopher Brown
-- the Warhol room at the Tate's Pop Life exhibition which had a wall of his celebrity portraits
-- and even the way we hung my paintings in groups of four and nine at a recent exhibition.