Andrew Cranston

And what's interesting when I've worked with it, there's almost a kind of photographic kind of approach where, you know,

You know, you might be developing a photograph and it's just appearing and you're interested when you stop it developing.

Yes.

So there's a kind of point of putting the bleach on and waiting for it to reach a certain point tonally or something like that and then stopping it.

It's a chemical process.

Yeah, exactly.

So there's a sort of slow emergence of something.

That fragile thing, it's a real quality in art I always like very much is when things are just barely there.

Yeah.

Or they've just survived, you know, in a way.

Yeah, that's lovely.

Yes, yes.

That's right.

I sort of, I think I like how viewpoints that are not the official viewpoints.

I mean, I'll tell you a story which somehow relates to that.

I had terrible trouble with my tonsils for a long time and had gone to see my mum who was in a nursing home and had, you know, dementia and she would come in and out of that.

And I managed to tell her about my tonsils.

And for a moment, she became quite lucid.

And she said, oh, you know, I had my tonsils out.

I remember I was in hospital and it was morning.