It does seem like you're genuinely interested in the scene, though. You're always posting images of work you like on your Tumblr.
That just happened. I was taking pictures of work anyway. I love to go to Chelsea. I love to go to the Lower East Side. That's almost like a second job. I go every Thursday or every Saturday. But that's what I do when I'm not painting. I don't do much else. I make art. I look at art. I figured I would just put the pictures out there. It's great for me to look at, too. I look at the work a little differently. I choose my pictures carefully. It's just a little curated thing I enjoy doing it.

 

I don't do much else. I make art. I look at art.

 

How much time do you spend painting?
About eight hours a day.

Do you work on one at a time?
I try to. But sometimes, I go between paintings. Right now, I'm working on this black-on-black series, which is really intense and repetitive. When I need a break, I go to the grays. [Laughs] It's two bodies of work that I'm building that are complementing each other.

You've started using different materials.
One thing I've noticed as I've pared down the color is that it becomes a lot more about the material. I've been working with gray acrylic. I use a lot of house paints. I use a lot of enamels. 

For a long time now, I've been using industrial materials. It's always been a part of my process. A lot of my new stuff is canvas, but before I was working on wood panel. The industrial primers and wood painting brushes seemed really natural. With the canvases, I really love how the materials play into the subject matter. I love industrial shit. All the canvases are wet sanded down in multiple layers, and I love to use industrial paints with them.

Did you think you were going to be a fine artist when you were growing up?
I hoped. [Laughs] That was the goal. I've always been pretty calculated. Growing up in Providence, I wanted to go to RISD.

I remember going into the city with my dad in the 1990s when RISD was really crazy with the huge mohawks, the Andre the Giant Has a Posse stickers, and the Buddy Cianci billboards. I didn't realize until high school the stature that RISD had, but I always wanted to go there.

And now you're in Bushwick. Is it both a blessing and a curse being here because there are some many amazing artists that it's inspiring, but at the same time, there are so many amazing artists that it's hard to stand out?
It sounds obvious, but you build your own network. The thing I like about being out here is that when you're out and you're meeting people, everyone's studios are really close. That's really what's nuts. For me, that's what makes Bushwick Bushwick. It's not so much the openings, the open studios, or the "scene," but it's about the scene that you make for yourself. Everyone is centrally located. You can be a stop on the studio visits tour. That's cool. I think that's what makes it so unique. It's about location. It always has been. Soho in the 80s. People who were there were there.

It also must be nice to know that other people are making art close by. I imagine it can get lonely in the studio.
You have a lot of time to think. It's not always a good thing. You do question it. For sure.

What happens now?
Keep painting. More shows. It's on to bigger and better things, hopefully. I've started having a dialogue with friends about studio visits. That's a great place to get feedback. I like to have people in the studio. That's where it's headed for me. That's what really makes opportunities. You're out there, looking at art.

And I hope some new shows. I've been talking to some galleries and looking around. 

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