Andrew Cranston

So sort of very privately for a long time, I was kind of writing on my work in a way that I thought is useful to me, helping me maybe develop a piece of work or understand what I've done

And I don't know, I think it's like Kierkegaard or someone said a thing where life is lived forwards, but understood looking backwards.

And so it was often like a case where, you know, a work's ongoing or done, and I'm kind of reflecting on it.

But I didn't really do that often, you know, at the time of painting, you know, kind of allow a flow there.

And so, yeah, it has become a really useful way.

And then golf.

I'm kind of escaping more, yeah.

I mean, you can't ever switch it off.

It's a blessing and a curse, you know, because you're sort of 24 hours a day, you're sort of, you know, somehow receptive to things coming in, you know, and it must be great to be completely turned off.

Yes.

Funnily enough, even though when I was a child and was young, I played a lot of golf as a teenager, I can almost recall seeing things and experiencing things and it was the aesthetic of them that actually... I mean, for instance, when you see a golfer from a distance and they take a swing and they hit the ball and then there's a second later where you hear the sound of the ball.

So you just watch them in silence swing and then...

I can remember sort of really enjoying that, the look of that.

And I wouldn't have called that aesthetic then, you know, kind of thing.

No.

The town I grew up in was really sporty.

And actually, I think sometimes the way you gravitate towards a particular sport or things is aesthetic.

Yeah.

It's the look of it, you know, the kind of whole architecture around it, you know.

So when I'm playing golf, yeah, I'm sort of still taking things in.