Andrew Cranston

So there was an echo, you know, maybe his painting started to look a bit like my life, you know, kind of thing in a way.

I love his cats.

They're so weird in a way.

They're so sort of still cat-like, but he stretches and exaggerates and just, you know, plays with it.

Yeah, totally.

I mean, you know, his relationship to the world and the translation of the world is so interesting, you know, that he seems to have a kind of sense of being what it is to be inside your head and looking out the optical, you know what I mean?

You're not seeing like a photograph you're,

You know, you've got things floating in front of your eyes and, you know, the colour you might look at, you've still got that etched on your retina when you're looking at something else.

I used to have really terrible migraines at one point and that seemed quite a Bonnard kind of experience, you know, where it's just sort of... I take that all from his work, that, you know, that there's that so interesting relationship between looking and you're representing something, you know.

Yeah, yeah, yeah.

Yeah, absolutely.

I mean, those passages of the tiles and the floor tiles in the bathroom, I think they're

there's some of the best things in the history of painting and you can see almost like a kind of in a way slightly like clay that there's he's not got the ruler out and yeah they're still believable and they're still kind of there's a sort of movement in them that keeps you kind of looking but definitely there's like other artists you know you've seen them maybe at one point in your life and then

then again, and then they're sort of a companion, really, to you.

Yes, he's one of the best.

Well, I think painting can be a real Trojan horse, actually, sometimes, where you sneak things in under the kind of guise of painting that people in some ways kind of think,

Well, it's decorative as a kind of maybe there's color.

There's all these kind of things which in some ways are kind of pleasurable distractions and that bit, you know, within that there could be darkness or there could be complexities, you know, of thought, you know, or of.

association you know in a way bernard's bath paintings are a bit like that you know you think they could be quite troubling i think sometimes we think is this person died in the bath or they've been in there too long the sarcophagi yeah and i think paintings really has that in it or can have it in it so you know winifred nicholson's on one level there's a sort of purity and a kind of just simplicity and and kind of beauty to them

You know, but there's tension in there as well, actually, when you live with them longer.