How would you present your work?
At M77 there were corridors off to the side where we put paintings. It created a much more intimate way to look at the work. Because the work is small, it seems kind of nuts to have this enormous room with the work just on the walls.
I would like to have some kind of maze of corridors to show the work. I wonder if someone can arrange that for me? I would really like to make that happen.
Words and images are strictly linked in your works, why?
Are they? I am not so sure they are any more. When I started doing it seriously the paintings were not as good as I hoped they would be but I would make it something more by writing on them. Something funny usually.
Then it just became something I did.
The importance of colors in your paintings?
Very, of course.
In the exhibition at Galleria M77 in Milan you show sixty gouache, why didyou chose this particular painting's technique?
It is pretty much all I have been working on in the last few years. Except for 3 or 4 oils.
Where do you make your works?
Anywhere I am.
What can’t be missing from your worktable?
I have a couple of brushes that I really love but nothing is indispensable.
A collection you wish at least one work of yours was part of?
I don’t really think like that.
A museum where you’d like to have an exhibition?
I have several in mind and am waiting, not so patiently, for them to find me.
The market or your need to express?
I think anyone who chooses the former should not be painting. Actually, I don't even think they should be living.
Lightness or depth?
Day or night?
More night than day.
Indians or cowboys?
What? Are you okay?
Question you’ve never been asked but one you’ve always wanted to answer?
Answer that question…
That is actually a very good question but off the top of my head, I don’t have a good answer.
Could you briefly describe one of your latest works?
Nesrin has been being attacked by mosquitoes both here and in New York, even though it is November. She hardly gets any sleep. So last night I hunted one down. I took hours to find and kill it. Then I put the blood on a piece of paper with the dead mosquito next to it. I also added a nice note to her. Nesrin is my assistant and has been a hero in my life.
What are you reading?
I just downloaded a book to Kindle by Rabih Allameddine but haven’t started it. Also a book by Kelly Carlin
This actor Mark Rylance was in that Spielberg spy movie with Tom Hanks. I didn’t know about him.
There really are a lot of great actors these days. Not so many good films but some really great actors.
Where would you like to live?
Italy is pretty wonderful but also like to swim in the ocean every day.
Do you have reference artists?Artists you’d like to work with?
No, but there are many I would like to never hear about again.
A project, related to art, that you’d like to do?
I would like to put helium in all of the more objectionable politicians and film float them out of the earth’s atmosphere.
If you weren’t an artist, what job would you like?
I am good at washing dishes.
Let’s imagine a group show. Who would you like to exhibit with?
Yes or no to curators? If yes, who would you choose?
I have found many curators to be ridiculous or proceeding with agendas that are insidious and self aggrandizing or financially beneficial to themselves. But what just happened with Michele Bonuomo and the M77 show was just about as wonderful as things get. He and the gallery really see the work. Respect it. Find magic in it. I am really happy about what just happened.
Dream of yours?
I would like to play on a professional basketball team and to do a talk show. But not at the same time.
Monday, 12”x9”, Watercolor, oil pastel and graphite on paper, 2013
Goat floats, 12”x9”, Watercolor and ink on paper, 2013
Some cows have blue legs, 12”x9”, watercolor on paper, 2013
Teacher of the year. 1974. Mr. Anthony Johnson. RIP, 12”x9”, ink, oil pastel, graphite on paper, 2012
Men going to work over flowers, 14”x10”, Watercolor, graphite on paper, 2013
Things inside the studio, 14”x10”, watercolor on paper, 2015
You were in my dream. It wasn't good, 14”x10”, watercolor on paper, 2012
A man planted a tree. He put his head to the ground. Then the tree grew through his brain. There is no moral to this story, 14”x10”, watercolor on paper, 2013
Censored by the artist, 14”x10”, watercolor oil pastel on paper, 2013
There is a God, 16”x12”, Watercolor, graphite on paper, 2013
It’s rude to stare, 16”x12”, watercolor on paper, 2014
Home is not a place. It is something else. 16”x12”, watercolor ink on paper, 2015
I am St. Paul. I wear funny hats. 16”x12”, watercolor, oil pastel, graphite on paper, 2013,
Tuesday, 12”x18”, watercolor, oil pastel on paper, 2012
Bull + Socks, 12”x18”, Ink, Oil Pastel and Graphite on Paper, 2009
After she left, he would stand out in the yard at night and quietly say her name, 20”x14”, watercolor, graphite on paper, 2014
The score is two to nothing. You know the rules. Two to nothing, 20”x14”, watercolor, graphite on paper, 2014
Decaying Blue Lynx Head, 24”x18”, watercolor on paper, 2015