I've always been an outsider. Even in London. If I returned to Scotland, I'd feel a complete foreigner.
It's still an escape for me, painting, so it also takes me elsewhere. I don't think I would do it otherwise.
You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
When I was growing up, I never felt that I belonged anywhere because we never lived in a house for more than three months. That's all I knew, and that's why I don't really belong anywhere.
It's not about perfection. What's a perfect painting? What's interesting about a perfect painting?
I do feel Scottish in some way. Maybe it's to do with visiting my grandparents here every summer as a child, but I am aware of my Scottish ancestry. It's there all right, but it would be pushing it to label me a Scottish painter. Or, indeed, an anywhere painter.
Painting becomes interesting when it becomes timeless.
What is bad painting? Picabia made some deliberately bad paintings, but they were by him, so great in a way.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.