1. When you were young, what job did you picture yourself having as an adult?
I remember wanting to be an architect, which might explain the linear aspect of my work today.

2. When did you first realise you wanted to be an artist?
There was no epiphany moment – I always just had a love of ‘making things’ and this impulse evolved into creating art, so I became an artist organically.

3. Were you good at art at school?
I think I was lucky enough to be slightly ahead of the curve creatively at a young age (probably due to an artistic mother) and this naturally creates a knock-on effect where at each stage of school you’re encouraged further and further. Thanks Mum.

4. Do you remember the first exhibition you went to?
One of the first painters I was obsessed with was Jenny Saville – I remember seeing her work in the (very fleshy) flesh and being blown away by the scale, the texture, the subject.

5. Which artist do you most admire?
I am a major fanboy of quite a lot of painters but the ones who still hit me the most are Hockney, Uglow and Diebenkorn. I had a big phase for Klimt and Schiele too.

6. Which talent of theirs do you covet?
Generally it’s colour choices, strong lines and that well balanced tweak of reality. All of those artists I find almost frustratingly good.

7. If you could own any one painting in history, which would it be?
Either The Kiss by Gustav Klimt or A Bigger Splash by David Hockney. Coincidentally, fairly sound investments too!

8. What’s the best exhibition you’ve seen recently and why?
All Too Human at the Tate included some of my favourite artists and works so that was a banger for me. The Summer Exhibition at the RA is usually my favourite for the sheer diversity and personality.

9. Is there one place that’s had a decisive influence on your work?
It’s obvious to say but good old London town has been pretty influential on my work and my life over the last ten years. I’m drawn to images where natural, organic shapes and man-made structures meet, so a dense city like London has inspiration around every corner. My first solo show was a series of small paintings from around South London.

10. Where in the world would you like to spend six months making your art?
I think LA would do the trick. Blue skies, architecture, Diebenkorn West Coast vibes sprinkled on top.

11. What subjects are you always drawn to in your work?
Brutalist buildings, botanical plants and side profile sitters, strangely.

12. Which colour do you find yourself using in your work more frequently than others? Is there a reason why?
I like to play with a pastel palette a lot of the time – I think it helps inject a sense of contemporary optimism into classical subjects.

13. How often do you produce a new picture, on average?
I think I’ll usually have a couple of new pieces a week if I’m not working on too large a scale. I love painting.

14. What’s your studio like?
I share a space at Wimbledon Art Studios with a lovely artist called Daphne Stephenson. It’s a big studio with loads of light and lots of plants. I generally like to work in a very tidy environment.

15. How do you relax?
I’m big into health and fitness so this constitutes a large part of my life. I’m currently training for my first Ironman (ultra-distance triathlon). That, and all the films.

16. What’s your most treasured possession?
I take a lot of photos (mainly shot on 35mm film) and every few years I’ll make a book that chronicles that time in a series called the ‘Good Times Annuals’. These are my favourite things.

17. What’s your guiltiest pleasure?
I have been quoted saying that I think Miley Cyrus is an iconic pop star from our generation. I also have a lot of baths.

18. If you could go back in time, when and where would you go?
I’m currently reading a book about mid-20th century British painters so I think I might go back and hang out with Freud, Bacon, Hockney, Coldstream and the gang. I would like to know if it felt momentous at the time or whether hindsight has glorified the era.

19. What plans do you have to develop your art?
Keep experimenting, keep mucking up, keep learning, keep enjoying. I would like to continue to work on a larger scale and have a chance to be a bit more expressive.

20. How would you like to be remembered?
I would really love it if my work helps people see all the colours of life.

Fred Coppin, Orchid & The Ghost, oil on canvas board, 40 x 50 cm