During the 1990s the focus of Craig-Martin’s work shifted decisively to painting, and to increasingly complex site-specific wall paintings. Ordinary but carefully selected functional objects are rendered in a flat graphic manner, sharply outlined without tonal variations or surface texture. His paintings are conceptual rather than painterly and gesture is reduced, if not removed. Craig-Martin uses colour as an extension of drawing, using it to distinguish between one object and another, or one part of an object and another. It is used as a way of isolating the parts; their inside and outside and/or the materials they are made from.