I’ve been working on this series where I make a painting of the sky during the day every Sunday. So this was made in September 22nd 2002 at 6 pm in Ucross, Wyoming: [reading] ‘Cherie, GC and I went to the Tepee circles to see the full moon rise last night. It was orange and fast. Today I baked a very black bread to grow mould on; my model of the universe.’ My name is Byron Kim, and we are in Park Slope, Brooklyn. My studio, as you see it today, is not normal. Usually it’s a bit more organized, although I’m not the most organized person in the world. I had another space, and I’m just in the middle of moving everything from that space to this one. I go back and forth between working on one thing till it’s done, and working on a lot of things at once. I often work in series. This is a diptych. They are each 5 x 5 feet and they are paintings of my two palms. It was shown maybe about four years ago. I recently realized, even though I thought it was finished then, that it could use a lot of work. I will never let anything out of my studio that I don’t think is finished, but a deadline will certainly help me get there. Working on paintings doesn’t literally mean painting. A lot of it is just getting my thoughts together enough to come up with an idea, or get myself interested enough to work on something that I’ve been working on, or that I thought was good in the past. This is a painting called Delacroix’s Shadow. Apparently Delacroix was painting in his studio. He was trying to paint, he was trying to depict yellow drapery. He got stuck, and so he decided to go to the Louvre to see how Rubens would have managed it; so he stepped out of his studio and hailed a carriage, a public carriage, which were in Paris at the time; they were called cabriolet, which I’m sure is where we get our word ‘cab’. And they happened to be painted chrome yellow, which was a lead-based yellow; and he saw the shadow underneath the carriage, and that’s all the information he needed, so the story goes that he went back, he paid the cab man his fare, did not go to the Louvre, went straight back into his studio and finished the painting. I was trying to make a three stripe painting. The cab, its shadow, and the road. I finally decided that I would work with an actual shadow instead of trying to depict the shadow. Obviously without the light you can see that this was just one uniform field of colour, and then [switches on light] there’s Delacroix’s shadow. The most exciting part, to me, about making art is coming up with a good idea, and then the second most exciting part, to me, is the moment of finishing something that has come out well.