Andrew Cranston

Yeah.

It can be a bit of a... You've got pots and they have to be kept warm and, you know, it's in some ways a sort of... It's a faff.

But it did lead me to a way of working that felt new but also sort of familiar somehow at the same time and...

Yeah, absolutely.

I mean, in some ways, I don't think it suits to be super detailed or precise with it.

Right.

The way I approached it, it led to a simplicity.

Yeah.

Which actually I was looking for.

Interesting.

I mean, it kind of wrecks your brushes in a kind of way, you know, it can be quite useful because you just get sort of different type of marker.

Yeah.

Yeah.

And it does connect you in a kind of way to some very distant past.

We think even cave painting, but certainly, you know, Egyptian painting and Roman painting where you think, you know, the simplicity of this powdered rock and a glue, you know, and just put together, you know, you're into something quite basic.

Yeah, so it sort of did really instantly suit me, I must say.

And especially this thinking and almost separations.

Yeah, Talar and Peter Doig, definitely.

I really like Kai Althoff as well.

Yeah.