Caragh Thuring

And, you know, it's very easy for us to look at things that are historicised and know what's good.

And it's much harder to do that with contemporary

It's like when you go to you go to freeze masters, everyone's relaxed and having a nice time and you go to the other freeze and everyone's like headless chickens hysterical because they're panicking about what's right here, you know, and we don't have that privilege in the contemporary art world to.

sort of relax, whereas you can go to all these things.

And they're moments of very obscure artists that you can enjoy.

But there are some people that are just generally good, you know, like Velazquez or, you know, even Pieter de Hooch, who's a funny Dutch painter, but I've always enjoyed looking at the wrongness in his work.

Yeah, just sort of plonked from one painting to the other in quite clumsy manner.

That's the thing that I enjoy, actually, about a lot of work is fallible in a way, you know, the vulnerability, and the slippages.

And, you know, we exist in a world where everything is about perfection, and, you know, growth and moving forward and better and bigger and

whatever it is, actually, that's not what a human being is.

They're messy.

And I love it when you see the best painting you've ever seen by, you know, apparently this grand artist or it doesn't matter what period of history or now, it doesn't matter.

There's always slippage in there.

And that's when the work becomes exciting, really.

Yeah, when I did that, I didn't admit to anybody that's what I was doing because I thought this is the, you know, it's like going back to college or doing foundation or something.

And I'm doing the most obvious thing with the most obvious painting and something that many other artists have done and still do.

and so I made all the work and then admitted what it was finally and you can only add a tiny little thing you know we can't reinvent this canon all we can do is add something and it's the same with music you know as you say it very well you you overlook something that is actually brilliant because you've just seen it to death you know and that's the joy of sort of spending time looking at things you can actually just see them for what they are eventually or listening to music you're

You know, you might be hit by it instantly and then you move on, but you can go back to it because it's just good.

And it's such a complex painting that.

And I also wanted to do it for the cliche of just doing a transcription and the thing that many other people have done.