Art star Christina Quarles on the joys of her 'chunky' studio in the U.K. countryside, and the Home Depot purchase she can't do without:
Christina Quarles in her studio. Photo by Tara Darby. Courtesy the artist and Hauser & Wirth.
The studio is an old building and from what I understand, they used to process grain here. It’s this crazy building that is unlike anything I’ve ever worked in before. There’s almost no walls—behind me are the few walls in the studio that I’m painting on, and everything else, I mean they’re walls, but they aren’t white pristine walls, they’re like crazy stonework and windows.It’s been really nice because it’s literally across the driveway from the house that we’re staying at.
Another thing that’s been really significant, being in Somerset, is that the quality of light is different because the sky is not as polluted. You would think, “Oh, you just came from L.A., isn’t that where the colors are?” But somehow being here, I think that sort of unfiltered light has led to this real saturation of greens and blues that I’ve not seen for a period of time.
Let’s see… chunky? There’s something to do with the thickness of the space, the walls are super thick, they’re also rough, and there’s these big, beautiful deep set windows here. It’s weird because it was this thing that I just randomly picked up at a Home Depot in Los Angeles for like $4 and thought, “Oh, this will probably work.” And little did I know that it was the only brush that would work for this specific brush technique I wanted.
And so when I’m doing the one, that’s more fluid and emotive in a way, I like to listen to the same five things over and over again. I eventually hook back into this rhythm. I have a playlist on Spotify that I’ve been making, really, since I left grad school, so I usually listen to that. And then it’s super embarrassing, but I do like to listen to musicals a lot in the studio.
All this has been happening, and there was this moment, I think when we were talking back in 2020, where I felt very optimistic about the potential for going through this as a species all at once, and that there was this real potential for some good to come from it. I really feel like if the pandemic had somehow magically ended at the end of the 2020 calendar year, we would’ve been better people, but it just kept going.
I really was inspired by seeing the Venice Biennale exhibition. I’ve never been to Venice or to the Biennale so aside from the thrill of seeing my own work there, it was just so inspiring to walk through the show. There’s certain curatorial exhibitions that set a tone for everything that you see thereafter.
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