Caragh Thuring

If he could have just pushed that and been brave enough to go with those sort of aspects of his work instead of, again, trying to neaten it up or make it something palatable.

Whereas Turner did the opposite.

He was actually sort of quite clumsy in a way and went to something much wilder and that became what he was known for.

But still, I think that was a very strange, it was almost like two sort of diagonal lines crossing each other and going in the opposite direction, seeing that exhibition.

But I love Constable's little sort of clouds, paintings and little sketches.

They're beautiful, actually.

Well, being here, it's the National Gallery, I guess.

I love going into a room and just knowing I want to go and see a bit of something on that thing.

And I might see something as I'm walking to that thing, you know.

And it's not about having to absorb all of it.

And there's a lovely painting, I can't remember, you know, what they have in churches where you're on both sides.

It's near the Uccello in the Sainsbury wing.

Oh, yeah.

And there's all this sort of angels and feathers and there's on the back there's something else.

But it's just little things you know you like and then you'll find something.

And another...

painting I think I can't think who it is now where there's someone playing a lute and there's a sort of hole in the roof of this sort of shelter and so there's just funny little moments of things that I like to go and investigate and then you see the stub's horse at the end and that that's exciting but yeah always just sort of picking around and and then going just for you know even for 10 minutes sometimes it

It's mostly a lesson in courage.

It's about getting excited about something.

And also you can see the same painting over your whole life or many times and it always looks different if it's good.