Well, it seems I’ve been in a vacuum of art since the spring. And now, its just a week or so out from the upcoming Young Blood exhibit, which features my paintings and opens at the Opera Gallery in New York. I find myself feeling both excited and nervous at the thought that this show is just around the corner. These past few months have seemed like one of the great feats of my lifetime. I have been working for five months on these two upcoming shows, immersed deeply in the studio, being on a complete mission to create what will be my debut show in Manhattan alongside a handful of other rising international artists. I would wake at once at 4:30 in the morning, to a strict regimen of coffee by five, and paint through the sunny summer days into late in the evening to complete these works.
This has left me with four paintings for the upcoming show at Opera Gallery — one of which is my largest to date at 96 inches tall — and six paintings for Open Studios in San Francisco. Every time I finish a body of work, I find myself depleted and wanting a break, and so I have been spending the past few weeks catching up with friends, my life, and my city, and resting my arms before I break into a new body of work this winter.
Inspirations for this body of work were largely calling to the political circus we have found ourselves in these past months, the rebirth of life in flowers after devastating wildfires that swept the California landscape, and the subtle beauty of my foggy days here in San Francisco. It is such a gift to be allowed to view and interpret the world I live in through art, and I grow stronger in my path and quest with each brush stroke. It has been an epic summer of painting, and I’m honoured to be showing these four pieces at the Opera Gallery