Caragh Thuring

I think, yes, it probably comes through from the way that I start them because I have a very clear idea eventually of how I want to begin the work.

So I feel almost like I'm a projector when I get to the point where I'm in the studio, I'm surrounded by these canvases and I have certain things that I want to include in any particular painting.

So I start with one of these items or ideas or visions in a sense or something that I want to refer to and then it begins and then the next thing comes in and the process of making the work sort of evolves and it goes off piste of course.

And sometimes the painting stops.

Sometimes it's done quickly in one day.

Sometimes it takes two years.

Sometimes it takes six months or three weeks.

So there's this constant movement and this clash of imagery as well.

And it's about what you can put together to convey something that you're intending to convey.

I mean, that's evolved since I began painting again.

And I guess I'm at a point now where there are those sort of motifs and motives, actually.

And they have come through over a period of time and built up.

And of course, the volcano is the first painting that I ever made when I started painting again.

Yeah, I mean, I actually didn't really start then, to be honest.

I was still running a gallery with my friend at that time.

So 2003, exactly June 2003, I left and sort of went into the studio.

But anyway, the first painting was a volcano.

And that's continued throughout all the work.

That imagery has come back and will probably continue forever, I imagine.

Yeah.