Unfortunately, I kind of, you lose touch a little. You know, you can’t go in and out. You know,
when I move to my studio in Chelsea, I thought I would see more and kind of get back in touch
with stuff and the opposite happen. I go to my studio and I leave my studio and I don’t see
anything because I think, oh, I’ll do it tomorrow. When I use to go there, I use to go just to look
at stuff. I mean, again, I have to go back to, there are painters that I see, whose names I can’t
recall but, you know, I leave this question off on a kind of a very big and very hard to define
word. Which there’s work conceptually, there’s work that I think as being very soulful, very
filled with a lot of feeling. And that’s the work I respond with the most.
Who could I think of? I mean, it could be hard-edged, it could be, you know, there’re so many
different variations on that. But, I mean, you know, very young painters, someone like Dana
Schute is, to me, a really terrific painter. Someone like, what have I say? I mean, I just saw
Sugumi Sagamoto show, which I thought was really beautiful. Sight trampling new paintings
has, as he gets older, his paintings get more magical. They, in a way, kind of begin to lose their
anchoring. A lot of, you know, photographers that I see, I like. Some of the German
photographers, Jim Welling, man, I still like Barbara Kruger’s work. I like work that’s direct,
work, you know, I mean, there’s a, the work that really delivers the, Richard Sarah. The work
that delivers the experience, you know, emotionally, perceptually, historically, and talks about
this contemporary life.