The great patrons of fine art today are not Charles Saatchi, the Arts Council or the Tate Gallery but the artists themselves, who finance the enterprise to an extent they do not recognise, and are fleeced in the process. Part of my meagre income comes from frame-making, using skills learnt from my grandfather who was also a maker of coffins, and in building my pauper's collection I have had to rely on barter, gifts, and payment in kind. My collection reflects upon the history of our century and I feel an obligation to preserve those traces ignored by orthodox
histories. The time has passed, however, when narrative artists could assume a common store of myths with their audience and so it falls to me to tell what I know of these images, the remaining stories being yet to be invented.