Andrew Cranston

this little moment in the picture that I'm so drawn to that.

It's like almost subversive thing in Bruegel.

You know, he'll have Jesus carrying the cross, but it's like, where's Wally?

You have to find it, you know, in a way.

And there he is.

So, you know, actually, this was maybe when I was like 16, sort of first really found him.

So it appealed to that kind of childish game playing side of me as well, kind of thing.

But there's something so interesting about the way he circulates the gaze and where he moves the eye.

So, yeah, there is points in the painting where I think, you know, maybe making a hierarchy between that bit's kind of just that bit more important.

And then sometimes it can be a perverse thing where, like, it might not be the figures.

It might be the outside through the window, that bit that's given more importance.

Yeah.

Other than Bruegel, which historical artist do you turn to the most today?

Paul Klee, somehow.

I've probably got about 20 Paul Klee books and I just keep buying them, you know, kind of thing.

And, you know, in some ways it's not like my work looks like Paul Klee's exactly, but I just need to glance through a Paul Klee book and I'm sort of instantly kind of charged with

I think I like as well that there's different registers in his work.

You know, he's not a macho painter, I would say, but he's kind of quite a sort of gentle painter in some ways.

But there's an interesting mix between something organic and something quite structured.

He almost gives himself things to do where you say, well, that part of the painting was just kind of, you know, methodically done kind of thing in a way.