Caragh Thuring

And then various volcano sort of, you know, like a pocket volcano and stuff.

Ronnie O'Sullivan signed photographs, the snooker player, things like, you know, random things.

It's more about a different space, I guess, within the painting so that without having to make another painting...

I'm allowing this thing to exist within the painting.

So I'm taking you to different places.

I mean, Helen Martin, when she wrote the essay in my book, she said it's like, I can't remember the exact words, but the paintings are like someone arranging furniture in a room.

And it's something similar to what you were saying earlier as well.

But it's about allowing these other spaces to exist within the space in a way.

And maybe there's a different way of painting in that moment as well.

It is.

And also, it's actually like a visual portal in a way.

I mean, that's why it ended up on the back wall, because you've got this storm, you've got this submarine at the bottom, and then these two frames that I kept a slight border on, you know, purposefully, not so that they didn't go to the edge.

But you go into a different storm.

So you've got like three storms going on in this storm.

So there's sort of, you know, like a worry of wind somewhere that could be like a, you know, a hurricane in one area of a big storm, you know, in real life.

But I felt when you were looking at that, you were going through into some other place.

Yes, I did look at that, actually, because funny, that Turner and Constable show I really enjoyed in a way that I wouldn't have expected.

And it made me think that Constable, I'd never really liked all that sort of white highlighting and sort of lumpiness there.

Apart from that sort of crazy last painting he made where it was really lumpy and looked like a snowstorm.

But the delicacy and the brilliance of his sketches, I would say he is a better painter than Turner in some ways.