True painting, in any form, always develops a concrete existence of its own, independent of what it represents. But, if painting is to manifest itself completely free from visual representation, then this principle becomes absolute. To emphasise this condition I started by abandoning the paintbrush, with its illusionistic associations, and adopted the paper collage technique of early Cubism in which the painting was built forward from the picture-plane. – Alan Bowness and Luigi Lambertini, ‘Victor Pasmore’, catalogue raisonné, London: Thames and Hudson, 1980
Victor Pasmore with his dog Zulu at the farmhouse in Malta, 1985. Photo by John Pasmore. Published in Alastair Grieve, Victor Pasmore. Writings and Interviews, Tate, 2010.