For many years, my studio was wherever my school was. The studio migrated alongside the school from place to place, always in search of better conditions for the classes. Each move meant transporting the school's ever-growing belongings and an ever-increasing number of paintings.

I always prioritised creating the best possible working conditions for my students, not for myself. I felt no need to set aside a separate space for my own practice. In any case, it would not have been possible — the two activities were thoroughly intertwined.

I painted before classes and after classes, and in between. Everything shared one space: syllabi, notes, projects, working materials, books, catalogues, audiovisual equipment, paints, brushes, drawing boards, easels, my own paintings — and along the walls, a multitude of students' works. Everyone made use of everything. The only essential requirement for my large-format canvases was the ceiling height of each successive studio space. Now that the school is no more, I work at home. There are advantages to this — and it is, indeed, the arrangement I have embraced. The warmth of home and a good cup of tea within arm's reach are meaningful pleasures of this way of working.