Andrew Cranston

Absolutely.

I mean, you know, I think if you have any kind of audience in the studio, it's other painters often, you know, you might be kind of somehow having your head, you know, that... And none more so than Lorna Robertson, your wife, of course, who's in the neighbouring studio.

She's next door.

So, yeah, we are in constant discussion about things that are developing and, you know, or even notions for paintings and old paintings that come out and things.

So...

So, yeah, so that's been such a gift, really, sort of, you know, having that dialogue.

But, you know, I've got a lot of friends in London, you know, a painter, Paul Housley, I'm in contact with a lot.

He was a tutor at Royal College, of course.

No, we were students kind of actually at the same time.

And Peter was teaching there as well.

So Kai Alto's work I really do enjoy every time I'm seeing it.

There's a real strangeness there, right?

Absolutely.

And they're melancholy somehow as well.

There's a sort of real pathos and sort of sadness to them.

Yeah, kind of longing in some way.

Yeah, they're very strange.

And it's the strangeness that I kind of respond to that

What do you have pinned to the studio wall?

I've got some Matisse postcards, and they've changed colour so much because of the light.