"The idea of integrating screen-printed images derived from photography into paintings was in the air, as was the use of photography generally. Bowling had visited New York in 1961 and again in 1962, and he was well aware of the excitement growing around Andy Warhol and the emergence of American pop art, though he was never greatly interested in it. At Camberwell sometime in 1964, not yet knowing how he would use the image-motif (or how often!), he amassed a stockpile of canvas pieces bearing the image of his mother's emporium – always referred to by Bowling as 'mother's house' – screenprinted in red or green. For Bowling the image clearly had a powerful emotional resonance: it would become a recurring thematic reference point, a motif that carried the allusive charge of a memory of home, a signature intimation of origins."
Mel Gooding, Frank Bowling, London 2011, pp. 35-37