A brush with... Andrew Cranston
4/28/20261 hr 13 min
Andrew Cranston talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Cranston, who was born in 1969 in Hawick, Scotland, draws on experiences—moments seen, felt or remembered—which are filtered, embellished, complicated, and sometimes almost obliterated through the process of being painted. As well as reflecting on personal events, from childhood memories and the recollections of family members, to more recent rituals and exploits, Cranston’s pictures are rich in cultural resonance. Images and ideas from the history of art and cinema, from poems and television series, are central to his work, whether as a core motif or a subtle reference in the title. As a result, his practice is deeply concerned with time and history—not just in recalling past events and experiences and transforming them in the present, but in his materials and methods. He often uses the covers of old hardback books, bleached by light over the years, as a surface, for instance, and the paintings hold time in their very physicality—in the immediacy of a painted gesture, in the steady build-up of layers and marks, and in the hints of their journeys to completion. Cranston’s paintings reflect his medium’s capacity for thrillingly diverse effects, modes and moods; they are full of poetry and longing, as well as absurdity and joy. He reflects on the fragility of his images, how with reiteration they gain meaning and weight. He talks about the silence in his works and what he calls his “fight with visibility”. He discusses a wealth of painterly influences, from Pieter Bruegel the Elder to Paul Klee, Pierre Bonnard and Winifred Nicholson, writers including Hugh MacDiarmid and Elizabeth Bishop, and cinematic and televisual references including the films of Nicholas Roeg and the teleplays of Dennis Potter. Plus, he gives insights into his life in the studio and answers our usual questions, including the ultimate: what is art for?
Andrew Cranston: I’m going in a field, Modern Art, Bennet Street, London, until 30 May
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First 90 secondsBen Luke· Host0:00
[instrumental music] A Brush With is sponsored by Bloomberg Connects, the arts and culture platform. Created by Bloomberg Philanthropies, Bloomberg Connects lets you access museums, galleries, and cultural spaces around the world on demand. Download the app to access digital guides and explore a variety of content. [instrumental music] Hello, I'm Ben Luke, and welcome to A Brush With, the podcast from The Art Newspaper in which I talk to artists about their influences from writers to musicians and of course other artists, and the cultural experiences that have shaped their lives and work. And this episode is a brush with Andrew Cranston. Before I continue, look out for a video version of this interview on the YouTube channels of The Art Newspaper and Bloomberg Connects. Andrew Cranston's works draw on experiences, moments seen, felt, or remembered, which are filtered, embellished, complicated, and sometimes almost obliterated through the process of being painted. As well as reflecting on personal events from childhood memories and the recollections of family members to more recent rituals and exploits, Andy's pictures are rich in cultural resonance. Images and ideas from the history of art and cinema, from poems and television series are central to his work, whether as a core motif or as a subtle reference in the title. As a result, his practice is deeply concerned with time and history, not just in recalling past events and experiences and transforming them in the present, but in his materials and methods.