Andrew Cranston

I know, there's a sort of...

Yeah, absolutely.

It's a really nice surface, you know, especially the...

the rabbit skin glue version kind of thing, where you get this lovely chalkiness and sometimes slightly sparkliness.

But yeah, probably similar kind of sort of feeling.

I mean, I had noticed that Tal R was using it and Peter Doig as well.

So it began to interest me.

And especially when the larger paintings I was making, this was maybe...

more than 10 years ago, but I wasn't completely satisfied with him.

So I kind of felt like taking up a piece of Clement Greenberg's advice, nothing else interests me, but where he said, if you want to change your work, change your method.

Yeah.

That came into my mind.

And so I thought, I'll try this.

And it actually instantly kind of suited me because you tend to think about one colour at a time in a way.

Yeah.

Because, you know, you might mix up a pigment with size or a binder of some sort.

And it's not the same as oil painting where you might have 20, 30 colours, you know, you're dipping into them.

You tend to work in this kind of sort of...

saturated way with one colour and then another colour brought in.

So very light fresco painting.