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During our first studio visit, Myles listed a few things he was staunchly against in painting, citing them as frustrating and fruitful bruises to press into. An impassioned ranker, once he has a list of things he likes most to least, he flips it and teases through his dislikes.
One of these things (as Myles established early on in the visit): text paintings… in other words, paintings that you have to read… in other words, paintings with words. The show is titled ‘I Can’t Read’. I think however, that Myles’ paintings demand to be read. He has developed a pictorial language chalk-full of images, inside jokes, and secrets that self-refer into loops: webs of chopped and screwed storytelling. There’s so much that I do not know about them.
He moves things around. Organizing, reorganizing, reorganizing seemingly unrelated things until they suddenly start to fall into place—like solving a rubik’s cube™ by sorting the warm colors from the cool.
The show emulates moving t…
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Press Release
During our first studio visit, Myles listed a few things he was staunchly against in painting, citing them as frustrating and fruitful bruises to press into. An impassioned ranker, once he has a list of things he likes most to least, he flips it and teases through his dislikes.
One of these things (as Myles established early on in the visit): text paintings… in other words, paintings that you have to read… in other words, paintings with words. The show is titled ‘I Can’t Read’. I think however, that Myles’ paintings demand to be read. He has developed a pictorial language chalk-full of images, inside jokes, and secrets that self-refer into loops: webs of chopped and screwed storytelling. There’s so much that I do not know about them.
He moves things around. Organizing, reorganizing, reorganizing seemingly unrelated things until they suddenly start to fall into place—like solving a rubik’s cube™ by sorting the warm colors from the cool.
The show emulates moving t…
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