Which artists do you relate to the most, work wise and also, possibly separately, in regards to their story or personal narrative?
The artists I relate to most have been primarily painters who I think approached painting as a unique opportunity for object-hood, ready-made, and a sort of raw materiality. In no specific order: Kounellis, Hesse, Duchamp, Stella, Andre, Bickerton, Johns, Warhol, Ruscha, Sillman, Martin, Mehretu, Ray, Marden. I also relate to designers like McQueen and photographers like Mann and Lorca-Dicorcia. Personal narrative is harder to really know, but my hunch is a lot of time was spent thinking and dreaming about what, fundamentally, a painting, a sculpture, an image is and could be, is shared by all of these artists – something I relate to.
You haven’t always worked in this practice, what were you doing initially, and what changed that made you want to do this?
My practice of making these New England Journal of Medicine works happens alongside my larger scale painting practice in the studio. They have been a way for me to conduct a more urgent feedback loop with the work. Partly because of less labor required to finish them and partly because of the immediacy of concept generation when mixed media is being collaged onto such a pre-activated surface, like that of the Journal. This collision of imagery is exciting and effective, and simply felt like my direct gesture and sensibility. The authority of the NEJM is a compelling container to deal with a wide array of contradiction and exaltation.
How does it feel to put a show up for the public that holds so much of your own story in it?
It feels very good. When a painting is finished, and hanging in a new space, it becomes its own new thing. I relate to it in a more distant way. I walked around this recent show and felt like a viewer discovering something. It's not so sentimental. I like my work to feel like a found object or a ready-made during its creation and at its completion, so by the time the show is up its living a different life. I’m sure I would notice if something was off.
What gives you hope?
Anything, everything. For me, being an artist is the most optimistic and hopeful privilege. Cynicism has always struck me as completely uninteresting and naive. For me, even profoundly hopeless times near death, have resulted in hope. I'm inspired (made hopeful) by so much of life - sadness, a glass of water, humiliation, a song or film, a sandwich or cup of coffee. Mostly small things, but also meeting someone who is smart and warm.
What’s your ritual when you’re in the studio, if you have one?
A few important ones: Obsessive pre-work cleaning, music or podcast on too loud, and a large water or tea close by.