I still take photographs for my own use, personal studies. I do not feel that I can fully express my views through the medium and this is why I have moved towards painting.

St Michaels Mount is a favourite place of mine; people will walk across to the Mount all day and assume they will be able to walk home. The spectacle of hundreds of people realising that the path they walked over on is disappearing under several feet of water is very amusing.

I paint what I see, not what a camera would see.

I really enjoy squeezing out a big lump of paint directly onto the canvas and leaving it; fresh, immediate and sometimes shocking.

And he that will this health deny, down among the dead men let him lie.

I studied for my degree in London and consequently ended up spending five years away from Cornwall. I deliberately moved away from the coast to experience a different way of life.

On my return to Cornwall I discovered that I was living in a tropical paradise. For now I am content to explore my own home and our nearest neighbour France.

I have been surrounded by artists and paintings throughout my life. My father Ted Dyer is an artist, and from a very early age I have spent time painting and drawing.

I used to own a dingy and can still sail one if pushed, but I like the pleasure boats.

I have lived in Cornwall from the age of 4, so I have always been aware of the artistic heritage that the county has. I feel very proud to be able to connect to this.

Painting is really good fun, I have always enjoyed it. As long as I paint what I want with the freedom that I enjoy, I never tire.

I use about 20 different colours to retain the luminance in my work.

I have improved the way in which I paint. The colours are cleaner and there is more energy in the brush work.

The paintings by Van Gough and Chagall had a big influence on me.

I decided to become a painter when my first four paintings where all published and attracted a great deal of interest. I exhibited one of them and it was sold.

It's a terrible thing wishing that it can be someone else's tragedy.

The lifestyle that an artist can have, the freedom to wander in the landscape with no real pressure or deadlines, was a very attractive one.

During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.

Digital media has destroyed much of the magic and mystery of the medium.

My father is a well known artist, Ted Dyer, who has been painting for many years. Our work is very different, but growing up surrounded by paintings, paints, easels and art books does have an effect.

While I was at college studying design I decided to paint. I was also greatly inspired by the colours that I had seen on my travels in the Brazilian Rain forest.

I love the sea's sounds and the way it reflects the sky. The colours that shimmer across its surface are unbelievable. This, combined with the colour of the water over white sand, surprises me every time.

I still take photographs for my own use, personal studies. I do not feel that I can fully express my views through the medium and this is why I have moved towards painting.

My optimism for life carried through my work.

I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.

In some parts of the world there is very little tidal movement.

The majority of my work is from life. I spend most fine days from May to October painting outside.

My great love is my home county of Cornwall, I love to sit and watch people enjoying themselves on the beaches and in the harbour towns of Cornwall.

I want to paint big, bright, optimistic pictures of the place I love.

The most amazing thing to me about the sea is the tide. A harbour like St. Ives is totally transformed in a very short space of time by the arrival or departure of the sea.

I realised that if I did what I wanted to do, it would work.

I was told I was talented when I applied to Falmouth School of Art and that I should consider skipping the course and proceeding directly to degree level.

I apply paint directly from the tube and with my fingers.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I don't know if it was the whole audience getting stoned out of their minds getting ready for the Floyd thing or what it was, but it was like playing to a painting.

Painting is just another way of keeping a diary.

I don't like painting flowers in my music. I like painting guts and pain.

Painting is a faith, and it imposes the duty to disregard public opinion.

If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

Life is painting a picture, not doing a sum.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

My movement from painting to film was a very conscious one.

I believe that painting should come through the avenues of meditation rather than the canals of action.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.