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In the later years of his life Picasso visited an exhibition of children's drawings. He observed, "When I was their age, I could draw like Raphael. It took me a lifetime to learn to draw like them."        Children's drawings are amazing to their parents and grandparents, but I believe they are even more amazing in the way they display the hallmarks of the very great artists. How often do you look at your child's drawing (or perhaps your own, if you're as accomplished an artist as I) and think, “Yes, I can see Miró here in these dribbles and scribbles...”? Or, “These splashes do indeed seem to reference Jackson Pollock...”? I remember overhearing a parent mumbling whilst at the White Cube Gallery, “My God! Is it possible that Damien Hirst actually stole the idea of the dot paintings from our little Jamie's drawings?”        Of course he didn't, but it is a splendid thought. The quality of my brain—my unusually powerful level of perception in matters relating to art, and a reckless desire to mix nonsense with rigorous academic research—allows me to see what the parents of little Jamie, and dare I say the parents of the little Damien Hirst, could not see for themselves.		No sooner could my children hold a crayon than they begin scribbling all over inappropriate surfaces. Instead of anger, I saw inspiration. I started seeing many, many intricate references imbued in their work. “How could my son already know about the work of Kasimir Malevich?” I recall thinking one morning after seeing what he had done to my linen suit with a black crayon. “If my daughter is practicing Synthetic Cubism on my bank statements, why can't she keep her milk down?” I was curious, so I sat down to deconstruct their works the way I would those of any great artist. It wasn't that hard. After all, I went to Goldsmiths College of Art. I was well trained in the art of making sense out of nonsense. People saw the essays and they liked them. I was commissioned to do essays for the children of friends. And that, dear friends, is how it began.

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