For Iain Andrews, the physicality of a painted surface is tangible and substantial. Working as a psychologist with young people in psychological distress, he is familiar with the world of the unseen as physical manifestations of trauma become the tangible means of communication for feelings that cannot be verbalised. He is interested in how faery tales tackle ideas of greed, abandonment, neglect and transformation by locating them in the world of the everyday and the prosaic. In a similar way, painting functions as a way of nailing down and giving form to abstract ideas that cannot be communicated by any other means. Andrews was struck by the physicality of Milner’s painted forms, reminiscent of the gingerbread house in Hansel and Gretel, and the children’s greed in which they consume that which should give shelter and safety, the house.
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