Caragh Thuring

And, you know, the engineering that goes into something like that's incredible.

And I'm sure there's people working on those things that are totally against war or what the end result is, but they're excellent engineers.

And the madness of them, you know, it's these things that are sort of, they're impenetrable, but they're so strong in a way and so seductive, but horrific.

And so you've got all that conflict going on within that.

And the bombs in the painting, I thought of as almost like sperm or sort of even those canisters, those NOS canisters that people use, that I see littered all around, you know, near my studio.

Okay, yeah.

Yeah, the whippets, as they're called.

Are they?

I didn't know that.

But they are laid out in these stealth bombers, you know, loaded.

I mean, it even made me think of those ships, the slavery ships, I mean, loaded with humans like that, you know, just laid against each other in rows and rows and rows.

You know, the sort of horror of all that is in there.

And then I love looking in churches, actually, and looking at those medieval tombs or effigies.

And the beauty of the work that goes into that and the humour, there's a lot of humour in there.

And they're also people that have been in wars and fought and probably have quite terrible histories as well.

You know, there's love that they could be holding hands.

They could be, you know, they're lying next to partners or on their own with the sword, which is what is in one of these paintings.

It's just that combination that things don't change, you know, it's timeless.

You know, we can be looking at 400 years ago and things don't change.

They might just be projected in a different way or carried out in a different way.