this color range: beige, taupe, gray, light brown. It's supposed to disappear and not be offensive. There's something horribly ugly and really attractive at the same time about those colors. If you put that taupe next to this green paint, the green's afterimage reflects a little red onto it and it starts to get buzzy and sharp. Yet it's much different when it's next to the yellow woodgrain. Even though I haven't brought myself to make something that's all beige and taupe and gray, I enjoy pulling those colors into what I do. BLVR: As a writer, I have certain go-to words I use over and over. Do you have go-to materials? JS: That's an interesting comparison. I don't think there are as many materials in the world as there are words. I use paint all the time, and in the last ten years or so I use a lot of plastic. I use furniture a lot. But I don't feel that way about materials that I use. I feel that way more about how I use them. BLVR: It's more like go-to gestures. JS: Yes. I think the geometric structure of the paint I use is a way of orchestrating paint and shape I use over and over again. That might be analogous to using a word over and over. It serves me that those hard edges are related, and equivalent to, the hard edges of an object - the ladder. On the other hand, I try to bring