SCENE 1 – EXT. NIGHT. HOUSE OF YES = BOWIE DIED, SO DID LOVE

KiNo and Amy Van Doran head out to Bushwick, to House of Yes, a club where one of Amy’s dear friends, Eric Schmalenberger, was involved in some capacity.

It was January 13th, 016. The first major public event celebrating Bowie’s life, just three days after his passing. We were all gutted, ready to dance our arses off in that big fuck-off club, packed with David’s tribe. Bernd Naber was there. He must have known Bowie quite well. Omnipresent Bernd knows everyone.

Amy and I were smitten with each other. But that night, she pulled me in front of a mirror and said, ‘Look at us, we’re so in love.’ That hook completely took me out. Stars, birds tweeting, thunderbolts, cartoonish rapture. She pulled me into the abyss of whatever it was we shared.

And then, at the end of the night, this scene transpired. A total headfuck. A WHITE NOISE WALTZ.

This was the last time I ever kissed someone with my whole being in acceptance. Never again would I experience this fleeting proximity to a naked connection, an interest in a woman who could meet me eye to eye, the mind that I possess. She peeled me off into The Madamless Sir.

While I make my digital paintings, I record the screen and therefore not only reveal the process but also I get to create a multi-dimensional intersection for all the elements that inform the painting. In this case, you’re looking at a moment in time in January 2016, at a club called The House of Yes, on the night of Bowie’s death. The lady who is kissing me is Amy Van Doran.