Andrew Cranston

But he has something that's actually sort of

Yeah, that's right.

I mean, I think, you know, the kind of almost idea of fragments of things that, you know, there's a sort of little section of a painting or a thing.

I mean, I remember travelling in Italy quite a lot when I was in my 20s on a kind of scholarship thing.

And you would get these frescoes where there's maybe a section of the fresco that's left intact.

You know, the rest of it's kind of fell to pieces and you'll get a section of a Piero where there's a little bit mysteriously kind of detached from the rest.

There's a beautiful one in Arezzo where there's a little river, kind of a figure on the river, a house in the distance.

It's a tiny little...

You don't know what it connected to.

And so there is that approach to other paintings where you can kind of enter into them and in a way move around in them, but also sort of enjoy particular elements of them and not the whole.

In some ways, it's like a film where you might have a great sequence, but you might not be so interested in the whole film or something.

Yeah, absolutely.

I mean, I remember seeing them on a college trip in Paris, the bath paintings, actually.

And, you know, I was totally blown away.

And, of course, with Bonnard, there's great doubt in his work.

You know, it's just built in.

You can see that, you know, he's hesitant or he's not quite.

But that is such a quality, I think, you know.

But, yeah, I mean, in some ways, sort of, when I became a parent...

My sort of life changed and, you know, in a way, domesticity became a bigger element in my life and being indoors and interiors.