Interview With
Fuzzy and Blurry World and Cookie Monster
3/21/24
FILE: 0030
Tim Gatenby
Archive00
Hi Tim. I’d like to start by going back to the beginning. What’s one piece of memory from childhood that you still clearly remember to this day?
Tim Gatenby
A piece of memory I clearly remember is being engrossed in a drawing of Thomas Beecham. I was probably around five years old and I was so obsessed with this mug that had a knight on horseback rearing up with a sword really high above his head. Maybe I think I went to a medieval history re-enactment so I guess that helped me really connect to the image. Copying the image and trying to get the likeness was such an absorbing feeling and at the same time, I was thinking wow all the stories of knights fighting in great battles. The immersion that came with this experience got me addicted to drawing and from then on I have been hooked.
Archive00
In what ways did you “connect” with the image of the knight at the time?
Tim Gatenby
I think it is a common experience for young English children, especially when I was young, to be fascinated by medieval knights. The legendary tales of Robin Hood vs the Sheriff of Nottingham, stealing from the rich to give to the poor is certainly a boyhood fantasy in England. Other famous myths such as Excalibur and the Knights of the round table filled with incredible characters such as Merlin the Wizard and King Arthur, almost certainly were the romantic stories that helped me to connect with the image of the Knight at the time! The house where I drew the Knight was in-between moving from the place where I was born to our new home in a completely different area of England, so in a sense I felt like a Knight heading out on a new adventure.
Archive00
It’s fascinating to me that you say that drawing for you started with “copying” and “getting the likeness” of other images. Because for some artists it can be all about giving shape to their own personal and idiosyncratic things going on in their head. Sounds like painting is your way of immersing with subjects that interest you. Can you tell us a bit more about that?
Tim Gatenby
Often when I am painting I will have films or series playing in the background because I really respond to listening to narratives, specifically the tones of the film, the different characters voices, external sounds and music. I have tried audio books but often they don’t have the same impact on me because they’re usually one voice narrating the whole story. If I am painting a specific character or film reference I will have that playing at some stage while making the piece so that I am fully immersed and more of their personality come out into the work.
Archive00
It really sounds like that you are not just trying to capture the immediate moment in the painting but create an entry point to an entire story world through your canvas…
Tim Gatenby
In many ways the image is an entry point to explore the potentials of oil painting in terms of its more abstract qualities. Of course the final image is incredibly important and can be humorous but the process of trying to understand the subtleties of painting is almost more exciting, I think that’s one of the lures that keeps artists going back to painting.
Archive00
How did you envision adulthood as a child? Was becoming an artist always part of the picture?
Tim Gatenby
Actually, even though I really enjoyed drawing, I remember when I first started a new school I had a similar feeling to the Knight drawing when working on a picture of a big wave with a surfer on! Now when I think back I was very absorbed by art but I never consciously thought of it as a career, as a child everyone in England wanted to be a footballer. If I wasn’t a footballer I really wanted to be an actor, I was obsessed with films really young and would sneak down early in the morning and watch my parents' recordings on VHS, I must have seen Lethal Weapon at around 8 years old.
Archive00
What is it about cinema and acting that fascinates you?
Tim Gatenby
I love cinema for its combinations of music, spoken words and visuals. The power of these three forms all working together to create something is spellbinding. For me, going to the cinema is one of my favorite experiences in the world. I love sitting in a dark room with a huge screen allowing the film to wash over me. It’s a refreshing communal experience to sit amongst other people, and going through a range of emotions together heightens the sensations to the point that you become fully submerged in the narrative of a great film. There is so much range and iconic imagery in cinema, from road movies like ‘Badlands’, to war films like ‘Apocalypse Now’ or great romance films like, ‘In the Mood for Love’. The ranges of experiences and lives you can inhabit is incredibly inspiring and entertaining.
Archive00
You gave an excellent explanation of the power of film. The “combinations of music, spoken words and visuals”. This is a tricky question, but being deprived of the access to music and spoken words, do you think painting is able to create a similar impact? Or perhaps its different artistic experience renders it a different strength that film doesn’t have?
Tim Gatenby
It has always been interesting to me that portraits require at least three people for the artwork to exist - the sitter, the artist and the viewer. The experience of the painting is an alchemy of these elements mixed together.
However one aspect that put me off pursuing portraiture was an alienation I found when looking at portraits of random people. There can sometimes be a bit of a disconnection and the work becomes more about technicalities than storytelling. Especially with academic training paintings are so governed by ‘rules’ much like classical music that the work can become a bit stagnated. Although visiting the recent Sargent exhibition at the Tate Britain one does experience a ‘vanity fair’ snapshot of society in the 19th century.
Despite painting being such a traditional medium it still doesn’t lose anything from a lack of sound and music because it is a more meditative medium, the imagery is complex and not limited by time. It‘s completely up to the viewer how much time you spend looking at a painting and also what the viewer brings to the experience. For example you could look at the same Monet ten years apart and experience something completely different emotionally. Both film and music are constrained by beginning and end points whereas painting is timeless.
Archive00
I also really like your note on the communal experience in film watching. I think it’s something that happens across almost every genre of art, but with film, having to sit in the same physical space for the same period of time experiencing the same narrative brings that collectivity to another level. With art perhaps the experience feels more…fluid (i.e. viewers can walk int and out of the world in a painting easily)? Can you tell us a bit more about how the collective experience manifests in art?
Tim Gatenby
On the whole I would say looking at paintings is a much more private or individual experience than watching films. Having said this I watch tons of films on my own. Last night I watched ‘Poor Things’ on my own at home. I really enjoyed the imagination and story of that film and felt it was far more feminist than ‘Barbie’. Afterwards I thought to myself that I wished I had gone to the cinema to watch it so that you can share the experience with a room full of people, it would have definitely heightened the emotions. Feeling the electricity in the cinema as everyone locks onto the same tensions or excitements in a scene is invigorating.
On the other hand last week I went to a great private view at No.9 Greek Street to see some of my friend Antony Micaleff’s work and the place was so full you could hardly even see the work, thus it would be better to go back on my own to experience the pieces!
Archive00
Are there films that you watched as a child that you consider to have influenced who you’ve become?
Tim Gatenby
There are so many films that I think have influenced me in different ways, for instance the first film that I remember seeing that got me hooked on the cinema was, ‘Jurassic Park’, the part when the raptors are jumping up at Lex and Tim when they climb up into the air vent made me jump out of my seat! As a young teenager I really loved Terry Gilliam’s, ‘Brazil’, the fascinating mix of reality and fantasy is still a big theme in my work which I often think of as Fantastical Realism. Later on, watching Julian Schnabel' s ‘Basquiat’ definitely romanticized the idea of being an artist at a time when I was really becoming a huge fan of Basquiat’s work but not much of it was available to see in England.
Archive00
I noticed that you have a BA in film. What was it like being a film student? And how did you end up in the art industry?
Tim Gatenby
Around the time I was applying to university at 17, I was becoming more and more interested in painting. Growing up I had always painted as well as made short films but I think the immediacy of painting plus its accessibility took over from filmmaking. It was certainly interesting being a film student; I watched many incredible films that perhaps I would not have otherwise discovered! After my film degree I applied to study traditional portraiture in Florence, Italy. In the Uk most art schools were conceptually led and I was more interested in learning the craft. I had visited Florence when I was 18 and was blown away by the city. It feels as though you are stepping back into the Renaissance when you are there. Artists such as Leonardo da Vinci had always been my favourite so it seemed like a no brainer to go to study similar techniques in the city where he lived and worked. By chance I lived on the next street from da Vinci’s studio where the Mona Lisa was painted.
Archive00
I have met artists who prefer to train under institutes that put more emphasis on concepts as opposed to the craft, considering the fixation on technical skills to be sometimes exclusive and limiting. How did you develop your interest in studying the craft?
Tim Gatenby
Looking back now I completely agree with the paradox that learning the craft can actually make painting much harder. The tools I learnt by studying a strict academic process means now that I have a fairly well trained eye and solid approach to technically structuring a painting. The price I paid for learning these techniques is a voice in your head that is hard to break free from and perhaps an over emphasis in my work on reality over emotion. After completing my training it was a huge undertaking to break free from the rules of academic painting and make work where the subject matters created paintings that I wanted to see. If you approach painting from a conceptual education perhaps you are not weighed down by the expectations of the past and with that there is a freedom.
Archive00
Many popular characters feature in you painting. Do you have a favourite character personally?
Tim Gatenby
It’s hard to say who my favourite character is, I feel a little tired of some of the American titans at the moment and recently I have been looking at more Anime characters and using them for my paintings. Having said that Cookie Monster is always fun and I could see myself working on a few ideas with him this year!
Archive00
That sounds super exciting. What is your experience with Anime like?
Tim Gatenby
My first encounters with anime were the studio Ghibli films such as ‘Spirited Away’ and ‘Howl’s Moving Castle’, both of these I watched at the cinema and they were huge in the UK. The rich imagination and storytelling in Hayao Miyazaki’s work is incredible and I would like to do a series with his films in mind. The dark and futuristic world of ‘Akira’ is something very different that I would be interesting in exploring, I love the intensity of the story and the colour palette, it feels so much more mature than most western cartoons. A few years ago I painted a series that included ‘Demon Slayer’ which was a series I really enjoyed watching, the dark and complex tone really resonated with me.
Archive00
Based in Tokyo, I’m surrounded by the anime culture constantly and would definitely agree that cartoon and anime storytelling can be very different from each other. With your works depicting Western cartoon characters such as Cookie Monster and the Simpsons there are some conspicuous commentaries on consumerism and commercialisation, which are things deeply rooted in the West. What would be some conversations that you would like to start with anime characters?
Tim Gatenby
This is part of my reservations as to painting more anime although I have painted Goku eating burgers before. I would love to have an exhibition in Tokyo and make paintings that have more relevance to Japanese audience because sometimes I feel as though the Western influences or references are slightly more distant.
Archive00
Does paintings Anime characters feel different to painting American titans in any way?
Tim Gatenby
Anime characters often feel different because the lead characters are drawn as humans, lots of western cartoons like The Simpsons seem to have a much bigger distortion of human form. There is definitely more of an exoticism in Anime for me as a westerner as they are not quite as commonplace and perhaps not as recognisable to Western audiences. For example, everybody knows Homer or Marge Simpson as they are the most recognisable cartoon characters in the world.
Archive00
Does the distortion of the human form play a big part in the magical-realistic style that you deploy in your paintings?
Tim Gatenby
Part of the reason I was drawn to cartoons to begin with was due to how they reminded me of illuminated manuscripts and the way fantastical imagery was being used as signposts to embody morale tales and insights to modern life. The framework established by the familiarity of cartoon characters provides a vehicle to explore themes of philosophy, theology and social commentary. It also gives me great pleasure to subvert the tropes of contemporary culture in order to try to understand what the fascinations are with fast society, which evidently leads to so much destruction.
Archive00
What’s your daily routine like?
Tim Gatenby
My daily routine has changed a little bit at the moment because of the shorter days, it goes dark around 3:30/4 at the moment! This means I try to start earlier than in the summer months to make the most of the natural light. Even though I use the natural lightbulbs in the studio if it gets too dark it’s always best to use natural light if possible you get a match clearer view of what you’re working on. Over the last year or so I’ve been trying to use the lucid dream part of the morning when you first wake up but your mind hasn’t fully come into consciousness to look for ideas. At some point I get a strong urge for coffee and thoughts of the day take over and it becomes impossible to let your imagination run wild. After coffee I will usually go into my studio to paint or if I need to work on some ideas I will use my iPad in a different room to my paintings to create a space between the worlds.
Archive00
This is the first time I’ve heard someone actively using the lucid dream part of the morning in their creative process. What made you start doing that?
Tim Gatenby
The process of lucid dreaming is fairly similar to meditating, it is about trying to free your mind from the immediate physical world and allow your imagination to explore possibilities. The idea is from Francis Bacon, “If I sit and daydream, the images rush by like a succession of colored slides.” After seeing this interview with him I decided to try it myself, I learnt that lying down and closing your eyes to disconnect from the world is an extremely powerful tool.
Archive00
Is there any painting we that know whose inspiration came from the lucid dreams? More importantly, is that experience responsible for the fuzziness we usually see in your paintings?
Tim Gatenby
No, the fuzziness is not from lucid dreaming although I can see why you would make the connection. The fuzziness or blurring out is a result of my terrible eyesight. Without glasses or contact lenses I can only see about 30cm before the world loses focus! Growing up I was too self-conscious to wear glasses so for most of my childhood the world was a blur and I would have to make up the details of people’s faces in my mind. This became quite scary at times so eventually I started to wear contact lenses which coincided with me becoming more into painting. I suppose now I am recreating that experience of not having full visual clarity because of it’s familiarity to me.
Archive00
That process of “making up” people’s faces adds a really interesting tinge of subjectivity to your visions. It is interesting to think that a large number of memories from your childhood are perhaps ‘manufactured’ to an extent by your own conscience. After hearing that I began wondering whether all the faces seen in your paintings can in fact be something/someone else…
Tim Gatenby
Recently I was thinking of painting from my imagination again, for example how much could I remember of the ‘Mona Lisa’ or ‘The Scream’ if I didn’t use source material? It is an interesting experiment that I will test out and let you know the results!
Archive00
I’d be really interested to see how that turns out. When you mentioned that you use iPad in a different room “to create a space between the worlds”, it sounded like you prefer to keep the worlds in your head compartmentalised as opposed to in one grand worldview. Can you expand on that a little bit more?
Tim Gatenby
Yes, I have noticed that I do compartmentalise different parts of my mind in life, I suppose it is how my brain works in ordering things. Luckily I have a pretty good memory and so maybe this is part of my minds’ process to keep things separated so that I can build some sort of mental fact sheet! In terms of creative process I am confident everything will link together naturally so to keep various stages or worlds independent will enable me to see each aspect with a fresh eye. If I become too stuck on one piece or look at it too long then I feel as thought it is very difficult to look at it independently.
Archive00
Just out of curiosity, how many worlds are there usually in your head at once? For example, is there a Cookie Monster World, then a Ghost one? Or does each painting have its own space?
Tim Gatenby
When I am working I rotate the paintings, for example I will work on a motorway for an hour or two, then switch to a cookie monster then maybe start something new and rotate to a ghost painting for a few hours. Going into each painting world is a different mindset and a separate world, so far I have never really looked to combine too many elements for fear of them becoming confused although maybe it could be an interesting path to go down in the future.
Archive00
I saw many cool portraits of you taken in your studio. Tell us a bit more about your working space! What is your studio like and what is your favourite thing about it?
Tim Gatenby
Recently my friend, a friend Giulia Savorelli photographer who is from Florence in Italy, living in London came and took some photos of me working in my studio and I’m really happy with the photos, she’s a really great photographer. My studio is in my house and it has been like this for around 10 years so I’m really used to it and I love being able to pop in there any minute. So obviously my favourite thing about my studio is that it’s part of my house, it’s a incredible luxury although obviously sometimes you think I would be nice to have a space outside a bit external space just to compartmentalise my life for a little bit more but I don’t have to travel anywhere which is great. It is quite a residential area of London so it is good for detaching from the rat race of the City.
Archive00
You spent sometime doing art in Florence before returning to the UK. What brought you back?
Tim Gatenby
Florence is an incredible place to live and study, it is a very beautiful city and the quality of life can’t be rivalled. The problem is that it is sort of stuck in the past in many ways, it often feels like a museum so it made sense at the time to move back to London. It is time I will never forget and a place that will always mean so much to me, transitioning back to the rat race of London was a challenge and I still dream of returning!
Archive00
A lot of discussions about your paintings revolve around the keyword ‘nostalgia’. Personally, what makes you nostalgic?
Tim Gatenby
The idea of nostalgia in my work really just comes from the idea of memories. For my artistic training I went to Florence to learn traditional portraiture in the birthplace of the Renaissance and where oil painting began. There was a real sense of history living in that city and because the place is so old you get a feeling of being in Disneyland for adults surrounded by ghosts of the past.
The idea of nostalgia, sort of like fading of the past memories, has always been something that’s inescapably intertwined with oil painting as a medium because paint changes how it looks over time. With subject matters I like to reflect on culture or look back at memories or childhood experiences and with oil paint (or airbrush more recently) it’s possible to soften the paint and blow the paint and it almost creates this idea of the intangible memory somehow moving further away. These memories that you can’t quite see clearly anymore, going out of focus as your life moves forward, like a rear view mirror in the car and the horizon behind you.
Archive00
That’s beautifully said…as we have discussed above, memories can be deceptive and os repeatedly reconstructed in your head. There seems to be this pressing futility around trying to capture memories.
Tim Gatenby
It is the nature of moments that they are always changing and thus always passing. Even a photograph that tries it’s hardest to capture ‘a moment’ struggles in a sense with emotional contextualisation in favour of scientific accuracy. With painting memory is explored through form but also the physical brush strokes on the canvas that make up the image. Memories of course become distorted and even two people experiencing the same event could remember it completely different based on their perception. In this respect maybe it seems futile to chase memories and examine them because they seem to become less reliable as time passes but these are the events that have led us to arrive in the present so deserve respect and analyzation.
Archive00
Your earlier paintings seem to take on denser, more somber colours, while your later works gradually adopted a brighter, more humorous tone. Was there a conscious decision to move towards a new colour palette? What prompted the change?
Tim Gatenby
With the more colourful works, especially last years series with Bluey Bluey Gallery, I definitely was trying to push colour to see how bright are how sugary I could make the characters. I’ve always been obsessed with sfumato and how the transitions of the gradient between two different colours or sections of the painting with brighter colours you can sort of go from green to yellow through blue and really explore these transitions. With more monochrome or greyscale works they create perhaps a bleaker more apocalyptic vibe. It’s funny you should ask this because recently I have been thinking of new directions I would like to explore such as washed out television or false colours. I’ve been moving away from cartoons a bit and more interested in film or internet imagery again as well as bringing back more of the monochrome colour palette.
Archive00
In 2019, a series of your landscape paintings put forth dark and ambiguous portrayals of motorways in England. A number of your later works reference, in not directly borrow from this series of works, adding creative twists to them. What sort of narrative potential did you see in motorways?
Tim Gatenby
When I was a child I always had a reoccurring dream where I was stuck on a car journey. For the whole thing nothing happened, but I can remember vividly how feverish it felt. Motorway paintings are an ongoing series and I have been producing a few more recently which is interesting because having painted so many different things in between I definitely have noticed a fresher approach. I’d really like to make a life-size motorway painting at some point this year so it feels like your are standing on the road. Thematically I love the idea of the open road ahead of you; a big influence for me when I was a teenager was Jack Kurouac’s ‘On the Road’. The opportunities for adventure on the road are vast. Another influence was J G Ballard’s ‘Crash’, the idea of motorways being teleportation devices in the way that you go from A to B in metal vessels zooming along completely man-made concrete paths that cut through landscapes.
Archive00
Can you expand on the “fresher approach”? In what ways have you found yourself changed?
Tim Gatenby
Maybe it is more of a sensibility than approach but I don’t feel quite the same classical mundanity in the work. Instead I am thinking of different more abstract ways of representing the cars, in a recent piece ‘Rear View Mirror’ I was happy with the results of using an airbrush to paint the car lights and electronics. The glow of the airbrush gives the painting a really realistic feeling as though you are actually in the car looking out on the journey ahead. I don’t really spend as much time on the road these days since selling my car a few years ago. Before I would be on the road a lot, visiting my mum in the countryside or driving up to Manchester to watch Manchester United play football. This means a bit of the mundanity of the motorway is lost on me, it feels more like a fresh experience albeit very claustrophobic.
Archive00
When witnessing familiar “high art” trespassed by pop cartoon characters, I often experience the opposing emotions of intrigue and discomfort. The latter stems from a sense of solemn, self-contained artistic spaces in the past being intruded by anachronistic presences. There seems to be a comment in your works on the terrifying potential of modern capital to penetrate all sorts of spaces, both physical and abstract, perhaps even interpersonal. Are you able to expand a bit on the idea of intrusion of spaces?
Tim Gatenby
There are a few aspects to be the famous paintings that I’ve been infiltrated by pop cartoon characters. On the surface I like the juxtaposition of putting the world’s most famous cartoon like The Simpsons in the world’s most famous painting, Mona Lisa. Also in the sense it’s a full circle as I guess many artist who created the pop culture characters to begin with would’ve been influenced by famous artworks so there’s a dichotomy there.
Fundamentally though it’s a kind of destruction to put commercialised cartoon characters into these beautiful famous paintings with a spirit of punk to disrupt and try to question society’s value of the pieces and relationship with commercialisation. We kind of live in a world now where Internet makes everything so accessible and immediate that a certain degree of magic is lost. Colliding the slowness of the old world where painting was the greatest technology for image making with the internet age perhaps explores where is our place in culture at the moment and what is our cultural identity.
Archive00
When you talk about commercialisation, a lot of classical art like the Mona Lisa and Starry Night are commercialised in itself. It’s a complicated question since some people believe commercialisation does make what used to be an exclusive “high art” more accessible to people of other classes. What do you think about the relationship between art and commercialisation?
Tim Gatenby
Art should be democratised and more accessible. The internet has certainly helped more and more people discover art and over the last few years there has been a boom in new galleries representing more exciting artists that relate to street fashion cultures. Classical art has been completely rebranded from the history books and we see it everywhere now in advertising and clothing. Maybe the nature of image based art has changed forever now that it is so easy to reproduce and share imagery, especially with the introduction of ai.
Archive00
Speaking of AI…when I learned about AI generated art I felt like being able to ‘create art’ by giving the accurate descriptions kind of changes the emphasis on skill and craft all together. What is your opinion on this? Would you be open to trying it out?
Tim Gatenby
Ai description based mash ups were basically exactly what I was making with the famous paintings mixed with famous characters so think how I felt.
On Dall-E there is an example for a prompt, ‘Otter with a pearl earring by Jans Vermeer’! It is incredibly interesting that one of the first mainstream functions of AI has been to produce art, it shows the complexities of human communication and how art fundamentally binds society together. With the emergence of this new technology the most obvious reaction is to really think about what separates an AI artwork from a human artwork, how to emphasise the human touch.
One aspect of this I have been looking towards in my work is more installation pieces where the paintings must be viewed in situ for them to have meaning. The current series I am creating is based on old TV shop windows, where analogue TVs would be stacked up on display all playing different programs, except in my piece time will be frozen as the moving image is painted on one frame. It is an exploration of analogue nostalgia through the format of television which now seems like an old and almost distant technology. The screen is moving closer to our eyes; what started out as a cinema projection at circuses evolved to television in our homes, to iPhone in our hands and now glasses. Next it will be plugged directly into our minds, which is a scary thought.
Archive00
Re your comment on the immediacy of the internet, combined with your interest in memories and nostalgia, there seems to be a call to return to the past that connect your works together. How do you try to find the balance between savouring the the good things about the old methods and keeping up with our time?
Tim Gatenby
This is a great question because I have been thinking more and more about when I am using the airbrush it is moving perhaps too much from the traditional oil painting techniques of the old masters that I learnt in Florence. I am always looking to combine the two approaches of the traditional with the modern but clearly with renaissance work the colours are more browns and grey and with modernity bold colours and whites are associated. If I go too much towards modern colour schemes of Internet and popular culture perhaps I am simply mirroring instead of looking to investigate a mash-up of these two contrasting worlds. By combining the modern world with pre-20th century techniques of image making it is possible to bridge time and have a better understanding of how the past has created the present day. For example in the renaissance, the discovery of perspective in oil painting was the height of technology for replicating the visual image. In churches paintings would hang behind the alter providing a visual point of reference while the priest would give the mass. Candles would flicker across the images and give them a sense of movement and music would accompany the services, in many ways the experience has the elements of watching a film in the cinema. Nowadays film and information is shot through a phone on to a tiny screen, the scale of paintings and details are completely lost. This way of thinking has inspired my next exhibitions that will be much more of installations so that there is a physical world experience instead of just swiping on your phone.
Archive00
Let’s talk a little bit about hamburgers. They permeate your works. I love that! But out of all the fast foods out there, why burgers?
Tim Gatenby
I started putting fast food into my work because it is integral to the modern lifestyle, never has it been so easy to get fat lying on your sofa. In a similar way to cartoons fast food is an emblem of the cheap commodification of the world. Visually hamburgers are so iconic that you can’t really beat the simplicity of and I think of most a lot of people can again connect with a burger. I’ve recently got a recipe book that I’ve started making my own burgers, and it’s very fun, and I don’t think you can beat a double cheeseburger with bacon or a quarter pounder with cheese.
Archive00
A reoccurring figure in your works are ghosts. Personally, do you believe in them?
Tim Gatenby
I love Aliens and Ghosts of course they exist. Ghosts, for me represent a connection to the past, the idea of memory comes into many of my works. They are sort of fun figures from haunting around in dark rooms dragging with it past experiences like a sort of shadow. Although recently I was put off them a little bit when I was planning to get a tattoo of one in Madrid and somebody told me that in Spain a ghost represents someone who is a hypocrite which really isn’t how I see them!
Archive00
This conversation has been a pleasure. Lastly, tell us a secret.
Tim Gatenby
I used to draw street portraits for tourists around the west end of London.
