David Dawson

Yeah, it's different, isn't it?

Yeah, yeah, yeah.

So that in a way feels more like a studio painting.

Whereas the cows, this other painting that you mentioned earlier with the cows, I've worked on it again quite a bit in London.

A month or six weeks ago, we had a good snowfall in Wales and we were feeding the cows out with hay and stuff.

It's that excitement of paint and subject.

Yeah.

I think, you know, painters need to paint and do a lot.

And sometimes if you keep at it, certain things just pop.

And that's paintings done that.

And others, you know, you never want to kill off a painting, but others take longer and it doesn't quite all gel.

I'm fascinated with painting that every inch of the canvas of the surface has to be alive.

Oh, really?

That's what I like about looking at good painting.

So every single bit of the painting, right.

It has to be breathing for its own, for itself and to its neighbours of brush mark and subject.

Yeah.

Abstract's the wrong word, but a sense of atmosphere of being out on the hills.

Again, it's that, you know, the local weather plays a part in how it affects you.

So those days when the sun bursts through, but yet it's showery and the clouds are traveling fast across the skyline.