These notes ended with a mention of the use of dots (which relates to other analogous pictures): these neither related to the true disposition of the dots in the postcard printing (although the cards were studied with a X6 magnifier) not do they follow any purist system of optical colour (unlike true pointillist paintings). They merely proceed from the decision to work in separated colour and the desire to make adjustments continually as I worked from the often coarse-grained information at my disposal.

The initial ikon of the figures on the Battersea Park bench continued to haunt me and three of its cast featured in close up as a series of cards called Come & Go after the Beckett play of that name. The group as a whole formed the central feature of a tapestry in which each of the master weavers of the Edinburgh Tapestry Company found their own solution to resolving the problem of working from elusive dots of crude offset reproduction.

The motif of park benches, as well as occurring in other works (Fisherman's Walk Gardens, Inferno, etc.), also finds its way into 20 Sites, in which it has extended its echo despite attempts to suppress it.

Works and Texts (1992),  pp. 47-49

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