Caragh Thuring

But humans are basically behaving in the same way, you know, and it's that sort of horror of that, really.

And just putting those two things together seems like completely inconceivable, but they're actually much the same thing.

And there's some very funny medieval graffiti on the foot of scratched into the sort of base of one of these things.

And there's a great beauty to them as well in the way that the planes are beautiful.

I mean, that's mostly what I look at, I would say, in painting anyway.

I used to love Roger van der Weyden, a lot of the Dutch Golden Age painters.

And it's always moments of things that I enjoy rather than someone's whole work.

But, you know, obviously, you know, I look at Manet, I look at Goya, I look at Frangelico.

I love Di Cello.

All these people have things at different times.

You know, there's a fickleness to it.

There's moments where things are very relevant and then you move on to something else.

Absolutely.

And it's, I mean, that is the Titian painting that I took that from, and I've done various coin paintings.

And then I think of that in relation to, it's almost like a sort of immaculate conception.

It's like a golden shower.

It's like the economy that we're dealing with, this high capitalism, you know, being thrown at you, you know, there's so many things it can represent.

And it's absolutely that you get excited about little moments, like even there's a painting, and I can't think who it is in the National Gallery, and there's a strap over the women's

sort of shoulder of the cloth, and it's just exquisite.

So and even if you don't want to take that, it just ignites something.