This is the spray-paint and stencil version of  “The Face” I drew everywhere. This piece is more complex than the lithograph. I used multiple stencils and, by barely pressing the nozzle, stumbled onto a speckled spit that gave great texture—maybe a glitchy can, holding the nozzle part way down. I leaned into it, layering colors and watching them react wet-on-wet. Different papers let the paint sit on the surface so parts looked enameled, almost like cloisonné. Hours went into fine-tuning pressure and distance, turning the studio into a test lab. It was a cool, fun way to work. Around ’91–’92 I’d just switched from oils to spray paint and stencils, even working with huge canvases that took over the whole studio and had to have another person around to help position the stencils.