Caragh Thuring

I feel like I have to do it in the work.

I mean, I don't want to sound limited in that sense because it's not that I wouldn't want to read those things or I don't think they're brilliant, but it's almost like I haven't got the space to digest that and do the work because it's like writing a book.

I'd like to try writing, but I haven't found a way to do that.

Well, that is interesting.

But I think the reason I also avoid that sort of close relationship to words or ingesting words in a sense is because I think so much work does rely on something else.

And I don't want that to be the case.

I don't want to be reliant on that in a sense.

I want to sort of find it somewhere like in a reality or something and almost make that rather than rely on it, if you see what I mean.

Yes.

I am, yes.

And I actually collect gouache volcanoes that are sort of from the Grand Tour or even later.

I worked in a shop years ago where a woman sold them and I've always collected those.

I mean, I look at lots of books, but it's not necessarily the words.

I've got lots of books about volcanoes.

I've got lots of books about bricks.

I've got this lovely book called The Ashley Book of Knots.

So I look at a lot of books, but I'm not reading the words necessarily.

I actually often think of a book and a painting as quite similar things because they're rebellious.

You have to open the book and spend a long time reading all those words to get what the book is telling you.

And a painting you have to look at for a long time and bother to do that.