Cy Gavin

I had sort of two sets of sketchbooks.

I had no bedroom door, like this is not too, but like there was no sense of privacy in my youth.

And it became very apparent that I had, you know, my father would rifle through every sketchbook I had copying them and taking them to the church.

It was dangerous to them somehow.

But when I realized that there was this kind of like power in that, which was more than I had otherwise, it was something that I obviously like played with.

So I could have basically two sketchbooks and one would be like the one I knew that they were going to find and then one was not.

Absolutely.

Yeah, for sure.

But those were drawings.

These are paintings.

But I included this because I think probably our conversation will go to a place where it talks about the act of painting.

And I think these are really like illuminated drawings more than paintings.

And that was...

And when you look at a book that you get from the library that says how to paint, that is what they tell you to do.

And also when you look at Titian or something, up close you see that there is actually a chalk drawing under it or a drawing.

And so I thought that that is how a painting had to be made.

And so the idea of painting felt inextricable to drawing.

And I don't feel that way now, but I back then did.

Yeah.

I was hesitant to talk about that because I didn't want them to like close it up, but there's multiple ways, but now you don't have to tell us where it is exactly.