Caragh Thuring

And not because I was feeling lazy, but just to enable that sort of magic really and mystery to occur within the painting.

Well, yeah, at that point I'm probably running away from discomfort, but also you have to not obliterate that and sort of let it settle.

And often when you come back to the studio, those paintings have some life in them or potential to go further.

When you're satisfied at the end of the day and you think, oh, I've

you know achieve something often you're like oh yeah so what you know and I'm not sure whether that's just because but usually it is like that and I find that with looking at work if I'm immediately satisfied that's it it's gone the next day you know or seduced immediately so I've never really wanted to seduce with paint in that sense.

Absolutely.

So there's no...

preparatory work for any of the paintings and occasionally I make drawings after the paintings but I do think they are like drawings a lot of them and there's definitely drawing in there and there's no need to do preparatory drawings because you know I don't understand where someone works something out and then replicates it in a painting often I mean even if you look through historical paintings

The sketches are usually more exciting than the finished work because they're trying to behave themselves or they've lost some of the sort of impetus or the enthusiasm, the rawness that was there at the beginning.

So I've always tried to avoid that as well.

So all the mistakes are there.

Everything's there and you can't really avoid it.

You know, that's what makes the work.

That is the work.

When I was 15, I went to Paris and I saw one of those sort of 80s ugly Frank Stella wall sculptures in the Pompidou Centre.

And for some reason it resonated.

It was very exciting.

I didn't necessarily love it, but I just felt this is really exciting.

There's something here.

You know, this is exciting.