Cy Gavin

But I'd bring paintings in to her and she would just sort of give her opinion about them or challenge me.

I remember one moment she would challenge me to be like, well, you make...

All these paintings are showing me have a certain kind of point of view.

What happens when you work larger?

Like, where would that point of view, will it expand the painting as if you grab the corners of it and draw it out?

Or would you clutter it up with the same scale of activity inside that larger painting?

And since I couldn't access, you know, barter canvases, she had canvases people had left from years past and I would have to, you know, sand them down and paint over them.

And they also left paint, oil paint and oil paint was way beyond like accessibility.

So yeah, that's, was incredibly important for me to have a person who would just like carving out five minutes to do that.

Not Bruegel's alone, but I mean, I think van der Weyden, I think van Eyck's, Bosch.

I mean, because oil paint was, you know, made in these places.

It's like a new moment in painting.

And it was very fascinating to see the kind of intricacy of the way that they were made in composition, but also in loading them with data, right?

And to contrast that with, say, like a courtly image, it wasn't seemingly meant to serve any one person.

It felt like it was more for an audience, not one person or one religious entity.

And they were fun to look at.

So like, yeah, I would go to art school, like many, I guess, have like a homeroom sort of thing.

And you could go to the library in the morning.

So I would go and

It was called Flemish paintings.