This feature originally appeared in Issue 29.
Why do you make art?
It’s how I interact with the world. Specifically, fine art (as opposed to film) is something that allows me to take a step outside of my primary mode of expression and examine subjects from a different perspective.
What are the central themes of your work?
Persona, public personas and fame.
How do you wish to be perceived by the art world?
As a humble guest just trying to make some shit.
Who do you look to for inspiration?
The poet Frank Bidart is probably my biggest source of inspiration. Whatever I do—write a poem, direct a film, give a performance, paint a picture—he is in the back of my mind as the person I am trying to impress. He has been a friend for almost ten years.
What is your favourite museum?
What are your favourite films about artists?
Pollock, Painters Painting and Larry Clark’s “Tulsa”.
What are you currently reading?
A biography of the writer Richard Yates (Revolutionary Road, Easter Parade); Slow Days, Fast Company by Eve Babitz; Night Studio: A Memoir of Philip Guston; Lunch Poems by Frank O’Hara; Lie Down in Darkness by William Styron; Light Years by James Salter; The Fire This Time, The Fire Next Time and Notes of a Native Son by James Baldwin.
Which piece of art do you keep coming back to?
Paul McCarthy’s Sailor’s Meat; Richard Prince’s Cowboys; Mike Kelley’s Day Is Done; Douglas Gordon’s 24 Hour Psycho; Ryan Trecartin’s everything.
What are you most afraid of?
Where do you go to escape?
Usually the beach. Any beach.