“I’m not interested in a totally direct art historical dialogue,” Mosley insists. “My paintings aren’t intended to be political. I’m interested in this idea of reviving things when you don’t know the original. For example, a Pringle jumper has a devil’s cloth pattern, but it’s now associated with high fashion; or a Gaultier kilt could be that of a Highland Chief, or drag, or pantomime – they create their own cultural meanings and dialogue. Panto is the closest thing we have to northern European carnival, and I wanted to get under the surface of that. There’s a ritual aspect to regional fetes i.e. cheese rolling etc. You forget these things and information is lost, it comes back as narrative recollection. Scouts, St. George’s Day parades, and campfire singsongs, etc. have a half-baked history you patch together and build on – we have a rich heritage that is becoming lost. When visiting museums overseas, where you see work which isn’t on hand locally, you see these weirdly familiar paintings that have an occult quality to them, and this was my initial attraction to making these works.”