Andrew Cranston

There's one of the piano lesson, which has just, like, lost its colour almost entirely.

I've got some Egyptian painting as well.

Oh, yeah.

The portraits.

No, no, there must be paintings from a tomb somewhere in Egypt, friezes of figures, lots of white kind of chalky paintings.

I mean, I've got a whole batch of postcards that I've carried around, but they're always the ones that are up.

Yeah, probably just slightly different influences or, you know, things.

They're almost subliminally kind of working on you.

I've got a postcard of Kai Bo's floor scrapers as well.

Oh, right.

painting that really spoke to me when I was when I was about yeah when I was about 17 I saw it and I was kind of doing jobs like that so I thought yeah it's almost like me in the painting you know yeah not a lot but you know there's just a few things yeah do the things you have around you act as an influence in a moral support kind of way more than there's things to refer to for imagery and so on or even sort of techniques or whatever

Yeah, absolutely.

I think there's a lot of painting from a certain period, almost like, you know, Matisse and Munch and, you know, things that you think.

It's the sort of, yeah, the boldness of their work, you know, really sometimes is just a reminder, you know, kind of like that was so long ago and they had the confidence just to leave that like that.

You can create a little gallery as well, I think, a little mini museum kind of on the wall where I think maybe John Berger wrote about that, but there's a great democracy in postcards.

And to the point, actually, that you've lived with a postcard so long that your relationship is with the postcard rather than necessarily the actual painting.

Yeah.

Yeah.

Funnily enough, when I was at the Royal College, one of the tutors there arranged for me to go to Vienna to see the Brueghels in the Kunsthistorisches Museum.

Wow.