look like from the back – in the round – from 360 degrees instead of 180. What does it look like from above? How does it behave when you look through it, because it’s not a solid mass? At that point, it really started to help with and inform my paintings because I had to add on to the style and extend the reasoning of it so that it looked the same despite being in a totally new context. I’d been so used to painting the front, that I’d never concentrated on the back before – I had an inkling of what I figured was going on back there, but I’d never made it a focus. And that’s exactly why I knew my sculptures had to be free standing rather than wall reliefs. I had to study my style all over again and complete and confirm ideas I’d been playing with throughout. Where do you go from here – what’s next There’s a video that’ll be out by the end of year that’s me doing an animation of my letters and exploring how a 3 dimensional form can be woven into a wall. It’ll be the first step of a long conversation I hope to have detailing the professional animation of letters not done on a computer. That’s my kinda mad scientist, little baby project. Other than that, I’ll be down in Miami doing a couple of
murals for Art Basel and I believe I have a huge commission coming up here in San Francisco in January. There’s an old tunnel in the centre of San Francisco – an alleyway that runs through an old San Francisco Chronicle building, and while the Chronicle is no more, the proprietors still own the property and have been doing various art engagements there. The tunnel is 20 feet tall and about 300 feet long, and they’re going to let me paint 360 degrees around the tunnel – the roof, the street you actually drive on and of course the walls. There’s a certain level of community engagement in the project, but stylistically, it will be very much one of my murals. It’s a tunnel I grew up looking at, and to be able to paint those kinds of dimensions in full 360 is very, very exciting.
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