Niv: What is your inspiration? What artists are you looking at?

Kyle: I see a lot of things on Instagram but I don't look at other specific painters really. I feel like I passively consume a lot of art because I work in Paula Cooper gallery (One of the most well-known art galleries in New-York, Located in chelsea). In most paintings one figure fills up the majority of the space, so I take pictures or invent the bodies.

An artist I really like is the photographer Ren Hang. Kate Klingbeil is a friend whose work is amazing. She makes goopy female figures which I think are charming and exude energy. I feel that what I do with gay boys, she is doing in a way with girls. It’s a similar trajectory but with a different approach.

Niv: It seems that your paintings which were shown in the exhibition are situated in the same space. What is that place for you?

Kyle: The architecture around the figures is all invented space. I structure each composition based on diagonals of light that rake across the image. I am going for that feeling in a room when there is an intense sort of sunlight cast, maybe just for ten minutes a day and only from a certain angle, that has a cinematic charge. In this one, for example, (Blue Crush, 2017) there is city night light coming from the outside. And in this one (Three Cigarettes in an Ashtray; 2017 acrylic and crayon on fiberglass and plaster reinforced foam, 48 x 45.25 x 2") the figure’s composition is structured around their interaction with the mirror, so the “architecture” of the space is just to support that interaction.  It is all about framing the figures-- the subjects determine the pictorial space, and not the other way around. I’ve been using puddles and mirrors to reflect the figures and as devices to interact with color, or as devices to look around or through. It’s very rarely looking just straight at something.