that in order to be fully entertained by a movie or a magic trick or certain kinds of media, you need to pause your belief in it as a fiction; the idea that in order to live at all we need to suspend our disbelief in the fact we are dying. Semple discusses his practice towards making exhibition like that of a musical recording artist on the BBC and also in a conversation with IndechsPainting in a way is like a recording of a moment, a live moment, where you were what you did, how you physically moved your body. A music recording is the same. I can think of a series of paintings that go together like an album, that make thematic sense that sit together, that's useful for me. I can get a little phrase, or a hook or a melody in my mind. It's an image idea though and I live with that and churn it over, I might draw it or just remember, then I'll get in the studio and put it down. Sometimes I make a little study, I guess that's like a musicians demo of a song. Then I work them into bigger finished things. Collaging is the same as musical sampling. Layers in a painting are like layers in a mix. In an interview with Doug McClemont he refers to the mimetic industries of mass-production; which has been a running critique in Semple's work. He discussed the "idea of taking the mechanization out the pop stuff. Because I find a lot of it non-emotive." He also alluded more to his studio practice; "I used to paint alone when I had a tiny studio middle of nowhere. It had mice and was freezing. Now I have assistants who help me paint, because I'm doing massive, massive stuff, right now. It's not the same..." In 2014 he discussed his studio routine with The Irish Times explaining how he preferred to be more solitary but market pressures had dictated him to expand his studio. His studio was documented during BBC filming in 2011 and 2014. In 2014 the solo exhibition "Anxiety Generation" takes a snap shot of contemporary culture and communication. "My generation is the fulcrum for decades of anxiety and we have been made so inert and fearful that we dare not even face it to understand what it is." Reviewed in Trebuchet "Where previous