More recently he has become known for his Mott Collection,[2] an archive of UK punk rock and political ephemera that includes over 1,000 posters, flyers, and fanzines.

At some point, the scholarship was withdrawn, and he went on to complete his schooling at Pimlico Comprehensive, where he shared a classroom with the screenwriter Amy Jenkins and Patrick Harrington, an infamous leading member of the National Front.

[5] Mott was a founder member of the ASA (Anarchist Street Army, a late 1970s organisation that caused disturbances in the Pimlico area of London).

[2] In the early 1980s he lived at the Carburton Street squats in Fitzrovia, a centre of artistic activity at the time – other residents included Boy George, Marilyn, Cerith Wyn Evans, Fiona Russell-Powell, and Mark Lebon.

[6] In the late 1980s and early 1990s he was based in New York and Los Angeles working part-time as a bicycle messenger and as an art director for MTV making music videos for various groups, among them Public Enemy, A Tribe called Quest and The Rolling Stones.

The ASA's motto and anthem was 'Running Riot' a punk rock song by the band Cock Sparrer,[11] later adopted by Right Wing factions within the Oi!

The following year they mounted an attack on Cork Street, then the centre of the London art world, splashing grey paint on the windows of a number of galleries.

When GO disbanded in 1991, Mott pursued a solo career[14] exhibiting at White Columns NYC, The Thomas Soloman Garage, Los Angeles and Interim Art, London.

"The show is comprised of collection of new paintings addressing our culture's present preoccupation with fame and success versus the historical background of nihilism and anarchy as epitomised by the punk movement.

In addition to the iconic works of the era, notably those produced by Jamie Reid for The Sex Pistols and Linder Sterling for the Buzzcocks, it includes propaganda from political groups such as Rock Against Racism and the British National Front and memorabilia from the Silver Jubilee of Elizabeth II, an event that collided with punk's high-water mark in 1977.

[24] Exhibitions and books from the Mott Collection include: On the occasion of the exhibition at Honor Fraser a panel discussion took place moderated by Professor Vivien Goldman of the NYU Tisch School of the Arts, panel members: Gardar Eide Einarsson, Artist, Billy Idol, Punk Musician, Toby Mott, artist, writer and collector, Simon Reynolds, British author and music journalist.

45RPM, designed and printed by Ditto Press, ISBN 978-09573914-0-6 In the catalogue's introductory essay 'Kraftwerk, Yesterday's Tomorrow', Mott describes the group's aesthetic as "an analogue past dreaming of today's digital present."

Accompanied by the exhibition catalogue American Hardcore 1978 – 1990, designed and printed by Ditto Press, ISBN 978-0-9573914-2-0 A publication exploring one of the most controversial and radical subcultures.

The exhibition was accompanied by a publication of the same name reproducing various group's cover artwork including the iconic "God Save the Queen" by the Sex Pistols.

In an interview with Peter Aspden in the Financial Times, Mott discusses how the Queen became an icon of the punk movement after the Sex Pistols defaced Cecil Beaton's portrait of her with a safety-pin.

[42][43] He spoke on a panel on the Jewish roots of punk alongside Geoff Travis, Daniel Miller, Charles Shaar Murray, and Vivien Goldman.

[45] The debut collection showcased works from contributors such as Angel Rose, Skin Deep, William Ling Fine Art, and The Photocopy Club.

Mott began making paintings based on detention school 'lines' such as "I Will Try Harder"; these were then transferred onto T-shirts, transforming them into a recognisable design motif.