Faucet Repair

21 April 2025

Almost four and a half years into painting and I've fully boomeranged back to my instincts, which is to say that my paintings are spawning from / relating to / in dialogue with the small, introspective, private moments of my own daily life again. Don't have a choice. Joe Brainard has been on my mind as something of a North Star: boldness in simplicity, clarity of vision, the sanctity of the internal monologue. Those are my factory settings.

The size of my work is shrinking as my focus narrows like a microscope onto the molecules that make up the dust that settles on the negatives of my memory. Self-contained worlds yet further contained by some wider structure, the scaffolding of my past or the hands that have molded my awareness into its particular shape.

I think that's partly why I'm gravitating towards this mode of focused play with the blank canvas as the ground. The finality of choices layered on top of it and left naked like some alien life landing in the desert. There's love in the care taken with the knowledge of what that exposure implies (maybe that forever should either be taken seriously or not at all).


19 April 2025

Looking at my calendar / sitting on the toilet / taking a shower / thinking about death / thinking about LA / counting to thirty (average length of a month) / counting to thirty-two (my age).

Lovely visit to Jonathan's studio in Hackney yesterday, and that discussion around parameters came up again. Or structure, as Jonathan referred to it. Structure for honing and deepening inquiry. Mine and his have a little bit in common right now, namely the clear-primed canvas foundation with that transparent gesso that leaves a toothy destroyer surface. He puts his faith in the thin dry drag and I go for the fluid line that leaves a little splashy wake on its way around. We talked in both cases about confronting material comfort, the hand making good like a golden child while allowing some humbling at the same time.

Also relevant was a discussion around forgiveness in the process. I'm coming more and more to a process that enjoys raw canvas too much to keep the idea of burying it alive as a failsafe. I'm happy with a built-up history to slosh around on top of when the idea is dense enough, but there's something about clarity of intention that I'm drawn to now, even if that intention is almost guaranteed to become obsolete as it departs my brain through my hand.


17 April 2025

1957 Brooklyn Dodgers:

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15 April 2025

There's an interview BOMB Magazine did with Sedrick Chisom in May of 2024 where he talks about how, for him, “there has to be a site of disaster in the work” when making a painting that steers it away from the directionless world of endless hypothetical outcomes. That has been in my head a lot this week as I've worked through a couple new ideas. The first came from seeing a solar flare on a walk to the studio—I painted a version of what it lingered as in my memory and it ended up solidifying a bit in paint, its rainbow rings taking on a kind of chainlink feeling. But it was completely lifeless on the canvas, floating there with no apparent context or reason to exist, so I took it off the wall to put aside. But as I did, I noticed that it felt a little like a figure lying supine when it was oriented horizontally instead of vertically. That presented a new path to follow, a new challenge to confront, a more interesting mix of instincts to unpack. It's a bit of a contradiction to try to remain open to wherever the painting wants to go while seeking concrete problems to solve, especially because you can't manufacture those problems intentionally. Or, you can, but then something disingenuous will lodge itself in the paint and you're stuck with it shooting finger guns at you.

Anyway, that painting has enjoyed a fruitfully frustrating journey so far. But I've had another one going at the same time of a blanket in grass (based on visiting Hampstead Heath with Yena last week) that has not yet revealed a good disaster. The whole thing has appeared in graceful hog brushstrokes over well-planned early layers and has settled neatly into the confines of the canvas, which is to say it has no guts. I have given it a couple days to sit though, so we'll see how it feels when I go back in tomorrow, and I do have this one idea that keeps popping up to maybe introduce some mini memories floating over the blanket shape. I'm slightly wary of constructing that as a problem to solve as I just mentioned, but I think it's a vague enough concept that it will take on a shape I can't predict, so I'm optimistic.

If you're reading this, listen to Walt McClements's new album On a Painted Ocean.


13 April 2025

I think I'm going to spend a while making paintings of the things I see on the ground while walking around every day. I'm usually averse to that kind of declaration for fear that it will harden into rigidity, but I re-titled the aforementioned Uvula by calling it Bag on the ground in Camberwell, and something about that choice just clicked. I have a few paintings in this vein on the go right now, and I am enjoying the process of using humble, discarded objects as starting points for paintings that aren't beholden to observation but still maintain a place-specific character—it feels good to let paint expand these objects until their realities are stretched into discovery while keeping the title grounded in the neighborhoods I notice them in. I'm with Toby in that I don't want my work to simply clarify reality, and this feels like a way to walk that line between looking with care while fragmenting freely.

The ground under my feet also has rich potential in its relationship to the concept of the painting ground, which will be interesting to unpack as I get more acquainted with the language hiding behind this impulse. I also think there's something to the fact that in 2025 everyone on their phones is looking at the ground and yet not looking at it at all. Gazes are shifted downward but are only focused on a foregrounded screen. Might be a good time to try a rack focus and get my eyes trained on the background terrain they're used to blurring.


11 April 2025

A little reflection on making music with Calvin now that a few days have passed. Have been thinking about how the afternoon we spent in sound felt like such a literal flow; a drift down a river together, taking turns gently suggesting ways to shape the wind. What I so enjoyed about that process was the freedom we both felt to follow intuitive impulses towards contrasts: humble and giant, human error and programmed machine. And if one of our offerings became a rock in the current, we would only get stuck on it for a moment before eventually floating around it. That relaxed neutrality elevated the whole experience—friction lost any negative connotation. Instead it was just a color to observe and move through, or maybe mix with another to see what would happen. When I showed what we made to Yena, she said it sounded like nature and reminded her of a recurring dream she used to have as a child where she fell down a black hole.


9 April 2025

About to start a new painting that will most certainly not be called Vibrating city, but those are the two words that have stuck in my head and led me to start it. The seed was planted during my recent trip to see Toby in Brighton just before I boarded the Thameslink from Blackfriars—saw another person's silhouette heading towards mine in the window of the arriving train in strobe-like movements. Felt almost like stop motion, little lines struggling to outline its form as it moved. A similar effect filled the rest of the mirrored surface as the glinting river (윤슬) and the buildings on the horizon (they reminded me of an ECG graph) all glitched and strayed from their optical anchors until the train squeaked to a stop. Want to make a painting that circles a similar sensation.


7 April 2025

In my studio looking at a recently resolved painting that I'm calling Urge to perform. Started from seeing a plastic bag on the street in Camberwell as an inviting void. I like how Yena described the piece's core contrast as “filling in versus filling out”—that feels true. Think it is also about solidity coexisting with thinness and transparency and warm against cool; the little asteroid shape is darting into the cold dark space from the angle that the sun fell on the bag. Like Lying in bed, there's something about concealment and enclosure too, the expansive view of the optically small. And its composition feels like it wiggles within the container of the canvas without making too much of show at its edges, which is nice. Kind of looks like a uvula too. Maybe that's a better title: Uvula.


20 December 2024

Exhibition text from No Smiling, a show of my mother's photography curated by me and my sister Tessa at West End in Los Angeles December 20-22, 2024:

Growing up in front of my mom’s camera, I was trained early to obey her lone photographic directive: “no smiling.”

I have more than a few memories of watching first-time subjects react with visible discomfort to this rule. But after a lifetime of confronting her lens, I’ve come to understand its function as a mnemonic portal to an ethos grounded in uncompromising empathy.

What it really holds is a desire to portray unfiltered truths in and of individual people. To lift whatever veil stands between her subjects and their ability to let their insides out. Look at enough of my mom’s images and you’ll start to notice how often she shoots from their perspectives; she’s on the ground with infants learning to crawl, meeting animal gazes on all fours, or crouching into a child’s eyes.

It’s this merging instinct that allows her to dissolve walls (and conjure the kinds of smiles she authorizes, which are the ones that can’t be helped). In her pictures we witness first kisses and changing bodies in bathroom mirrors. Bare pregnant bellies and secrets in playground crannies. Private naps and baby butts. The distinction between domestic and public blurs—she inspires intimacy naturally.

Like any kid blindly craving autonomy, I went through a period of time where I reacted to this impulse with embarrassment. I think my siblings felt similarly. I didn’t understand why she couldn’t leave us or anyone else alone. Why an awkward Halloween costume or mid-shift cigarette or good light on a face just had to be captured.

That our family became a small army of artists is proof enough that we all eventually understood. But what struck me after spending time with the totality of her work, (thanks to my sister Tessa, who led the charge through decades of negatives when we decided to produce this show together), was the way it reflected her selfless approach to motherhood.

Because a mother knows that it’s messy business when we’re launched into a world of endless choices and find ourselves fumbling around in the dark for our identities. How clothes and haircuts and hobbies don’t fit. How lovers and friends come and go. A mother recognizes that lives are sculpted from these sputtering moments and, very often at her own expense, teaches us that we are not alone in them. That they are not only worth remembering, but celebrating. How radically this empowers a young mind to see life as a gift is immeasurable. That is love.

So No Smiling, then, is a product of love. It’s a gesture of gratitude for our mom’s unifying vision and total sacrifice. For her fierce devotion to creating and forever preserving space for us to learn; to be ourselves, to be of service, to be together.


2 November 2024

The other day I was walking in my neighborhood and came upon a Mastiff panting in a parked convertible. When I stopped to say hi, his face drooped into a pretty goofy limp-tongued stare. We held eye contact long enough for him to drool a nice long glob, and with the laugh that gave me I continued on my way.

I started what would become “Copilot Blues” to extend the levity of that moment—the studio had been heavy in the preceding days and I needed it. Working out its composition did feel playful as shapes stacked up on that wheel like limbs on a unicycle, but a different door opened when it began to turn blue.

As this happened I was looping Autechre’s Quaristice, an album that sounds (and literally is) blue, so I think that had something to do with it. But as the palette cohered, I realized with unmistakable clarity that it was also facilitating a communion with Dani and Tina, two canine members of my family that we said goodbye to within months of each other this year (Dani just weeks ago).

It seems obvious now; the dog is alone in the vehicle, physically stagnant but still heading somewhere else. His expression is a little frightened, maybe confused, but also relaxed in the way it can only become over a lifetime. And he’s looking right at us with the unwavering eyes of a loyal copilot.