One of Britain's most internationally respected artists and winner of the Turner Prize seems as illusive as the titles he gives his work. Sir Howard Hodgkin, knighted in 1992, has a reputation as one of the finest colourists in contemporary art.
Although best known as a painter,he has explored printmaking over the past 40 years and in Howard Hodgkin: Prints displays 43 prints at the PM Gallery in Ealing, spanning his entire print career.
While the work is stunning, with dramatic swathes of vivid colour,the shapes and details rarely allude to their titles.
They include: Here we are in Croydon, Away, The Pair Mourning and Bleeding and, most enigmatic of all, For Jack Shirreff.
At 76 and recovering from recent surgery, Sir Howard is too ill to speak to me directly but his studio assistant, Andy Barker, does his best - although he is equally elusive.
Andy says: "His paintings are about a memory or moment when he might have met someone for lunch. For example Seaford is not representative of Seaford, but probably refers to a specific meal. The title is a clue."
Almost contradicting himself, he then adds: "The titles can just be references for himself. He wants the painting or print to stand on its own merit; for you to read what you like into it." Andy gives one clue away, though: Jack Shirreff is Hodgkin's admired main printer who worked with him at his Bath workshop.
Sir Howard has said in a previous interview that he doesn't describe his pictures. They are "representations of emotional moments".
His beautifully crafted prints, which use a variety of techniques and media, do convey emotion, even to the most untrained eye. His various palms, which Andy says "probably" related to his wide travel, are warm and vibrant - conveying an energy you can almost feel - while the dark and heavy brushstrokes of Mourning live up to its title. Andy says: "Maybe that's how he felt at the time."
Sir Howard's favourite subjects include the interior, the portrait and scenes from everyday life and Andy says he has been influenced by greats like Matisse, Bonnard and Vuillard.
It is hard to get at the man, as his private life seems as jealously guarded as his public persona - maybe since his slating last year by critics for a career-spanning retrospective at the Tate.
Sir Howard studied at the Camberwell School of Art, followed by the Bath Academy of Art. He was a married father-of-two when he came out as gay in the late 70s.
According to Andy, he "had always wanted to paint from a very young age".
His first experiments with printmaking were as a student, when he used the more traditional processes, as well as breaking many of the rules of the craft.
He introduced hand colouring in 1977 and the effects of his textured and layered work is stunning.
So what made him switch from paintings to printmaking? In the most unambiguous answer, Andy says: "He wanted to reach as many people as possible; more people can see his work and more people can afford a print than a painting."
Sir Howard can also spend a very long time on a piece of work, with a painting taking up to nine years.
In one interview, he was plainly dissatisfied with his work, retorting that he wanted to do "better, more expressive work". Andy seems surprised by this and sidesteps the question with: "He is 100 per cent going to continue to work, which is amazing at 76."
He does add at the end of the interview that he hasn't "given me much," and I have to agree. Fortunately the work speaks volumes for itself.
* Howard Hodgkin: Prints, organised and toured by Barbican Art Gallery, is on at the PM Gallery, Mattock Lane, Ealing until February 28. Admission free.
