Andrew Cranston

I think it's a consistent thing, yeah.

When I'm sort of working with an image or a form, you almost can see how to create a relationship that's sometimes challenging.

So, yeah, I think it is quite a strong force that takes over sometimes.

Or, you know, I find myself doing.

I think I gravitate towards things that are quite close together.

so that there is a bit of work for the viewer to do, actually, in a way, so things don't just get given to you.

Yeah, totally.

I mean, I'm kind of all for misunderstandings, creative misunderstandings, you know, in the sense that I think how the thing is read is often kind of not clear always, but there's interest in ways in which you interpret things, you know.

Yeah, yeah, that's right.

I mean, I think it's a push and pull between something that's like instantly readable and then you want to slow that down.

So it's something to do with the speed of how we receive things and how the image kind of releases itself in a way that...

Yeah, so that he can somehow transform even kind of quite banal things even or so, you know, things that that maybe you've seen kind of all the time into a new form, you know, a new sort of way of looking just through changing something.

Yeah.

Yeah, I think, you know, it's like colour and tone are always really, really close bedfellows for me.

So it's sometimes interesting when the colour and the tone are very similar, but, you know, they could be different.

I mean, it sounds kind of a bit of a leap, but...

I grew up with a black and white TV, you know, so you'd watch snooker or something on TV, you know, because the distinction between the kind of red balls and the green balls and the table itself, you know.

But I think that for a long time, that kind of relationship between colour and tone is really important.

I think I have done it.

I've not necessarily done it systematically.