You studied at Central St Martins and the Royal College of Art – how important has that formal training been for your career? 

Incalculable. I was incredibly fortunate to receive the training that I did, when I did. At both I was taught by the best practitioners out there and surrounded by outstanding fellow students – from whom, of course, you learn most. At that time art schools were still unique in higher education in that it was (quite rightly) understood that failure was as important as success, and their purpose was to provide the time, space and support to allow that to happen. With the subsequent introduction of tutorial fees I can only imagine that failure is no longer an option, which changes everything radically. 

How long did it take for you to feel you had developed a distinctive style? 

If I have a 'distinctive style' it’s not something I’m aware of and I certainly didn't/don't consciously work at developing – that sounds far too defined and rigid. I like to think that my work is in a state of flux, for better or for worse. For me, when something becomes formulaic it’s time to shake things up. 

Why did you decide to set up your own screen-printing press? And do you have any tips for someone thinking of doing the same? 

Out of necessity. I bought a second-hand, manual flatbed press in summer 2008 to make work for an exhibition that I was preparing that autumn. It would have been impossible to delegate the kind of work I had in mind to a commercial studio as I wanted to explore the terrain between the original, one-off piece and the edition, and that meant me pulling the squeegee! Having my own print facilities was very liberating – I hadn't felt that freedom since I was a student; I suddenly became independent and anything was possible. Of course, things also became infinitely more complex… 

Having said that – and it took me a while to realise this – for anyone starting out, if you get your screens made externally you don't actually need a lot of equipment to print, just space. I’m currently printing large-format (2 x 1.5m) 'free-form' one-off silkscreens in Berlin on a big table using G-clamps. You may or may not want to try this in your bedroom. 

Do you ever get creative block? 

Yes, and although it can be alarming, I realised some time ago that it’s not necessarily a negative thing. When you have a block the chances are that you are in fact learning/analysing/evolving more than when you’re simply churning out work. When (or if!) you come out the other end, you’ll be the better for it. Just remember that Miles Davis had a three-year creative hiatus in the late ’70s and returned to create some of his greatest music. 

What advice would you have for a young graphic artist just starting out?

Unless you love you’re doing, you’re wasting your time. Shut down your Facebook account; immerse yourself in art. Avoid trends, work with and learn from people who are better than you and be prepared to work very, very hard. Talent alone is not enough. Oh, and on a health note, if you’re screen-printing, use water-based inks.

Patrick Thomas is exhibiting at Outline Editions’ Christmas Showcase, Deck The Walls, which runs until 24 December at Lomography, 3 Newburgh Street, W1F 7RE and at the Outline Editions pop up show, which runs from 6 to 16 December at The Gallery, Stoke Newington Church Street, N16 0JS. 

Main image of Patrick Thomas: © 2012 Robert Charbonnet. All other images by Patrick Thomas.

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