Robert Diament

And how the grief goes on, but you kind of have solace in terms of you're surrounded by the world of your mum, this world she created.

Yeah, when you were kids.

What was it like being the child of two artists?

Because it's such a unique experience, like not everyone gets to have that.

And obviously you're a creative yourself, but it sounds like your grandparent was also a creative, like there's always been this creative thing in your family DNA, I think.

What was it like?

Because I also heard your mum in the documentary you made about her talking about how when you were kids, she would never let any of you in the studio.

And she had this real separate psychology as to her as the artist and then her as a mother, which she was happy and she felt like she loved you guys and she had all that tenderness for you.

But in order to be the artist, she had to be separate or at arm's length in a way.

I thought, wow, that's good.

Yeah, well, I heard you didn't want to explain the work.

You were very conscious not to just be like, this is the meaning behind the painting.

You didn't want to lose the magic or the mystery or the secrets, actually, because she didn't want that either.

So it was a big responsibility.

And also, I think there's that thing with artists where the outside world can see them as quite narcissistic or self-obsessed or self-absorbed or all these things, you know, because they're so dedicated to themselves.

But actually, artists care so much and they have so much empathy because otherwise they wouldn't be able to make the work.

There's that amazing work by your mum of the tortoise hands, like the turtle hands.

And the story of that, how this guy has two turtles for hands.

And in the end, I think they give birth to so many animals, like an army of animals or something, and he gets murdered by them or something.

But it was this idea of anxieties and how your foibles or your obsessions or your overthinking can end up taking over your body that you get destroyed.