08:40- Mick: ‘‘… to make a show that, essentially, seemed about making a show just as much as anything else. So the figures in there seem to be almost kind of battling the zips, so the figures are kind of this intermediary between you and sculpture… it’s familiar, this person, he’s doing things, they look like they’re installing or building it. At the same time, they’re kind of doing battle with the sculpture in a way, it’s a bit like a fantasia thing…what they’re industry is is a bit ambiguous, so they’re trying to display the zips on this… thing that could also be a big plinth. So you’re almost making a show about the difficulty of making an enormous show…’’

11:25- Mick: ‘‘… a drawing doesn’t go together with a thing that’s very animated [sculpture], with lots of bits sticking out it. You know, the two things shouldn’t inhabit the same world…’’

16:20- Tom: ‘‘… you have these set against these very peculiar sort of graphic elements… the image almost seems to appear to run through them like writing through a stick of rock… you look at the front and turn around and see a front again, you look at the back and the back’s always with us. You were saying to me earlier: ‘these come from drawings on sheets of paper and a sheet of paper doesn’t have anything on the back.’ ’’

Mick: ‘‘ (talking about cartoon casts)…where the cuts are on one side make less sense on the back, the guy’s carrying the zip, from the back, [he] doesn’t have an arm, because it’s only on the front. Things like that, I quite like the wrongness of that.’’

- extracts from ''Mick Peter in conversation with Tom Morton on the occassion of 'Pyramid Selling' at Drawing Room, South London