Caragh Thuring

There's an interesting book, Picasso and his masters.

And you just see how much of his work is just transcriptions of other people's work.

And that's what everyone does, you know.

No, I didn't.

I didn't have anyone in mind.

I just knew loads of people have done this, but I didn't have anyone in mind.

And I mean, it's like looking at that Uccello painting, the battle in the National Gallery.

Yeah, San Romano.

And Guston, half of his...

Totally.

And I think also bringing out parts of the painting that are irrelevant or enlarging them into huge bits of my painting.

And I think also it lets you understand, to look at something like that, you understand how people work.

It's almost...

It's a bit like sort of ADHD.

You're concentrating on that.

Suddenly you're over there and you've forgotten about that bit.

And so the hand isn't finished or, you know, there's something going on like that in a lot of people's work, I think.

And when you're in that sort of grey zone, when you're making a painting, you don't really, even though you're so attentive to the whole thing, there's all these moments of slippage and meandering around in the sort of space of the canvas.

Well, I love Via Selman's.

I mean, they're quite old, but they're still contemporary.