It’s one of those things that makes you say, “That would be great if that could be drawn live.” I do. So I don’t say that. But it’s one of those things… It’s called a pencil drawing, right? You know, pencil drawing.
I think it’s the art of knowing what kind of a concept a room will give you, and really, really knowing what the room needs. It’s not like the idea “Hey, let’s go to this space and put some stuff in here.” These are ideas, and they have to be thought of in a way that works.
So for me, it’s always about finding the right space—I have a studio in Brooklyn. I’ve always wanted to work in the East Village and the East Village can be a bit difficult, a bit cold. And in that kind of space, the idea for the idea—I think is you have a big canvas where you can put things, but also have room for them to breathe. So it’s a bit of a balancing act to make something very small and then have it really come alive by being larger.
Do you have a favorite piece to draw in particular or is it mostly just the same old stuff you do?
I’m not sure. A lot of the stuff keeps changing. I do like sketching out some of the other things that I’ve done, for better or worse, so it’s not quite like a perfect catalog of everything that’s out there.
But yeah, yeah, it’s always been my favorite for me. Just just in terms of making room and putting stuff in, so that the composition is always there, and I’m able to move around the space. But, yeah, I really love it.
That’s something I never realized that you do. In the previous interview you mentioned you had a favorite piece that you had drawn, in a similar way as the sketchbook. Is it anything in particular you’re working on as you’re working here?
In the last year on “Mood of the City”—it’s a book about my life in New York—I’ve been trying to do a book of my photos, which are all in black and white.
My favorite ones have been my photos from the ’90s. I still do a handful of the ’80s, but that’s all I’ve got now.
I thought the one I was drawing was one of the last few of
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