Andrew Cranston

And there was just one point in the year when we did them and me and a colleague, we'd open up the cupboard and there was all these jugs that had been there from the 50s and 40s and, you know, the old things.

And my colleague always used to say, ah, old friends.

It sort of was like, yeah, is that that kind of connection that you have in different ways?

Yeah, it becomes a kind of archive that you sort of connected to, but strangely detached from at the same time until it's reawoken.

Yeah.

I mean, it's funny how when you're living your life, you often have moments of remembering something.

the in each day, you know, kind of thing.

So, you know, when I'm turning in bed and, you know, my face might go in a pillow, I do think of my friend, Billy, you know, so just momentarily kind of thing, you know, somehow it doesn't seem any choice in the matter.

You know, there's some filter that you're not actively choosing to remember that it's somehow just embedded in a kind of bodily way as well, kind of thing.

So that,

I'm kind of, you know, yeah, yeah, I might think of that.

And the figures lying, yeah, it's interesting.

I'm sort of, I mean, there's something about painting being a medium of stasis, of stillness, silence.

You know, these things that, you know, in some ways you could think of as limitations, but they're actually, I'm really interested in that.

So I'm quite interested in a way when life is still, you know, when I thought of that quite a bit when making some of these paintings because there's a sort of element of sport in them and movement.

But, you know, I was kind of quite interested in the moments where pauses, you know, when things weren't moving.

So, you know, things like people sleeping and lying and actually when they're static in a kind of way, I think that's a kind of interesting sort of...

moment for painting yeah yeah it's like hoppers figures sometimes they're on the bed and you can see they've got that kind of frozen they can't move because they're so in despair you know it's a sort of you know recognition sometimes when you see some of the figures that they're they're not still just because they're in a painting they're still in their life you know absolutely yeah

Yeah.

I mean, absurdity is really important to me, actually.