9 June 2026
Stand (working title): something of a flattened and raised still life of the yellow mimosa flowers Yena got me a couple months ago in a vase on my nightstand. Been wanting to paint them for a while because I enjoy how they look like a small controlled explosion, but I couldn’t figure out the approach until today. Arrived at the simple idea of a volatile form rendered in a subdued palette—finding that negation of a defining characteristic often opens up possibilities, even if that negation is happening behind the scenes (perhaps especially). I suppose I must have been thinking of those Santa Maria Zobenigo marble reliefs I mentioned a couple days ago. As well as the Polaroid I took of the campfire Yena and I made in Winchester in the summer of 2024. And Duchamp's literally seminal Paysage Fautif (Wayward or Faulty Landscape) (1946) painting that I’ve had on my studio floor this week—came back from New York with one of the publications from the MoMA show. This all has to do with the surface as well, trying to find some way to divert attention from it by muting and smooshing it as much as possible while still retaining an active sense of motion and depth and change through it.