“They’re like giant watercolours,” Mosley says of his works. “I build them up through translucent thin washes; painting one colour over the top of another might suggest something – for example cadmium orange over yellow suggests gold. They’re quite gestural, they look like batik or dyed canvas. The surfaces are ‘slippery’, they have an oily seductive quality – the brush just glides over it. Sirens comes from Greek myth, and I was interested in 19th-century paintings of far-flung Greek narratives that were done in a very British way. The characters look quite mechanical like Automatons but perhaps are also able to hold an interesting conversation, so they can suggest something else, especially the costumes: a rahrah skirt, Danish milkmaid’s outfit, devil’s cloth. It’s both frightening and enchanting.”

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