CO: Yeah, I was also thinking about color schemes, associations, and the way a color scheme really
hits you in the gut with a certain kind of meaning; something I thought about in my flag painting too. That meaning, who knows where it came from? It has nothing to do with the thing itself. It’s about the cultural association that you may have with the color scheme. Red, white, and blue or the Halloween colors. I was just thinking about how you can’t use orange and black without it being Halloween.
22: (Laughs) I do it all the time! Specifically for that reason! CO: Good! 22: So what are you working on now? CO: The beginnings of a series that has to do with The Iliad. It's in the very in the early stages. That's what these shaped canvases are for.
22: What appeals to you about The Iliad? CO: I’m still trying to figure that out. A lot of what appeals to me is that it’s so different from the last
series in a lot of ways. Plus It’s the oldest piece of literature there is. It’s established enough that it can withstand whatever I put it through. I don’t need to claim ownership of it, everyone owns it.
22: Have you done any human figures before? CO: Not since I’ve been making work that I show. I think [the paintings] will have a lot to do with arbitrary colors, maybe less to do with space.
22: Are you choosing the canvas shapes for any specific reason? CO: They're chosen very much at random, but I like the illusion of fragments of pottery and the utter arbitrariness of the decision to even put them on shaped canvases, because it will crop people’s heads out. It will be really hard to work with them so I probably won't be composing quite so much directly on them.
22: Well it’s been lovely talking with you. Thank you, Colin. CO: Thank you.
LEFT: Shapes (YELLOW), 2011, Acrylic on canvas