The artist Eliza Douglas opened her first solo show in New York, “GHOSTS,” the same day that her gallery in Paris announced it was closing. On view are reworked paintings that Douglas had exhibited at the erstwhile gallery, Air de Paris, over the past decade. To create the new versions, she combined existing compositions with manipulated photographs taken by her aunt, Leslie Kean, a journalist who has spent decades reporting on UFOs.
“GHOSTS” is the first installment of a new series of exhibitions organized by the veteran curator Francesco Bonami at Gagosian’s Park & 75 location that aims to present innovative work by younger or less established artists who are not necessarily represented by the mega-gallery. While Douglas is perhaps best known for her high-profile collaborations with the designer Demna and the performance artist Anne Imhof, this show underscores her signature approach to painting as an independent artist. “Douglas makes distinctly post-painting paintings that represent the complex life cycle of contemporary images,” CULTURED’s critic John Vincler wrote recently.
To mark the show, which is on view through July 31, Douglas invited CULTURED into her New York studio to discuss her collaborative approach to making, the studio visit that changed everything, and the benefits of painting without pants on.
Tell us about the best studio visit you’ve ever had.
Meeting Francesco Bonomi, who curated “GHOSTS.”
Any rituals to prepare for a studio visit?
When I met with Francesco and representatives at Gagosian, I wrote out a detailed description of the show I was proposing. I’d never done that before, but ended up finding it really helpful so I plan on making that a ritual.
Who’s the first person you show something to?
My girlfriend, Marianna. At first I didn’t want to show her anything because I was intimidated by her, but she’s brilliant and helped me so much when I was working on my recent show.
Do you work with any assistants or do you work alone?
The first thing I did after I sold my first paintings was put out an advertisement in search of an assistant. I had ideas for paintings that I didn’t have the training to make by myself. A lot of my work has involved a mixture of areas that have been painted by me, and segments that I have outsourced.
There are a lot of costs that come with being an artist. Where do you splurge and where do you save?
Hiring people to paint for me and paying them well is definitely the most expensive part of my practice. I splurge on labor and save on time.
When do you do your best work?
When there’s some sort of external pressure, such as a deadline.
What’s on your studio playlist?
I tend to get very distracted by lyrics, so if I am doing something that takes concentration I often listen to ambient music. Lately it’s been Sega Bodega’s I Created the Universe so That Life Could Create a Language so Complex, Just to Say How Much I Love You
If you splurge on materials, what are your must-haves, and where do you get them?
Golden Gel Medium from Soho Art Materials.
What was the last time you completely lost track of time while working?
When I was watching the UV printing process while working on “GHOSTS.”
Is there a studio rule you live by?
No social media.
What’s your studio uniform?
I like to take my pants off.
If you could change one thing about the art world, what would it be?
Fewer artists.
If you had to choose, would you rather go to the studio drunk, high, or hungover?
I haven’t had a recreational drink or drug in almost 20 years. So I guess it would have to be sugar high.
If you could have a studio visit with one artist, dead or alive, who would it be?
Mike Kelley.
When was the last time you felt jealous of another artist?
Anohni, for being able to sing like that.
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