Andrew Cranston

That like you're kind of always at a point of learning something new or how can I get this to work?

Yeah.

It's sort of guarding against slickness.

Yes.

Yes.

Skills are...

complicated thing for artists you know because you know i think when i was younger he had that tendency to show off in a painting you know and never drop that kind of skill and then

Yeah, I think that can obviously really get in the way of a work, you know, where it's, I suppose, in music when people are showing off on a guitar or something like that.

It's like to punk.

It can be so boring.

Yeah, well, exactly.

Yeah, there's that.

So...

There's a lot of nuance sometimes in things that are rough or, you know, you mentioned the Hessian.

I quite like the thought of sometimes being brutal and subtle at the same time, you know, kind of that actually there's a lot of subtlety in brutality here.

and it's often a death when you're being too precious with work you're trying to refine it in a kind of way too soon yeah so there's ways in which i slightly disrupt if you like traditional painting but i think it started out as a sort of almost tricky thing you know like you thought i'll do this line with thread rather than draw it and

Well, I mean, we'll get on to maybe the book cover paintings, but...

Often the books I collect are all got a kind of history to them and many of them are bleached with a light.

Part of the books sat underneath a load of other books for decades or something, you know, so there's a bleaching that way.

So in a way it occurred to me to manipulate that further.