Andrew Cranston

It's happened, but I suppose through drawing, I sometimes draw the paintings in a way, you know, from them sort of thing.

Is this in the middle of making?

Yeah, yes.

So sometimes you're just sort of...

I don't really do preliminary studies.

I'm kind of sort of more working it out as I'm going.

And so that's a kind of moment where you can see jumps and you obviously see it when you take pictures of it and in different stages.

So it's something you're translating into tone all the time.

Is it working on that level as well as the color?

There's definitely a relationship there.

Yeah, I mean, there is sort of almost obstacles in the way sometimes, but, you know, in a way, I'm still a bit of an old punk, you know, when it comes to materials, you know, and sometimes working with something that's either not an art material, you know, it's like bleach or something, or it's...

you know die or something first it was a sort of slight form of evasion really to the the scariness of just painting directly yeah you know it's quite naked in a kind of way you're you're exposed very very obviously in a way so there was kind of ways of somehow printing the marks on or or you know finding tools that that would make the mark kind of different um

And then it becomes a way to really move work somewhere, start work.

I don't know if you've come across this, but in Scotland, certainly the part of Scotland I was from, when people say how, they mean why.

Somebody I knew went up to Scotland and it took them six months to realise when the kids were saying, yeah, but how?

That actually meant why?

But the how of things is so strongly related to why.

Yeah.

And that is a disruptive kind of thing, you know, like even almost to get not too comfortable with expertise in something.

I mean, you know what I mean?