PENN: How many nudes of yourself do you have on your laptop? GLYNN: Thousands. Hundreds of thousands.
It’s like opening the floodgates. There’s too much to say. The diaryPrada, and when Sarah got it for me, she asked if I would actually use it. Then she said, “No, of course not, your camera roll is your diary.”PENN: When I look at a photo I took, I always remember what was outside the frame.
PENN: Cool. It was the first time I did prints on that scale. I usually show my photos online, so it was nice to see them in the flesh. It feels like the only reason I’m able to make a compelling image is because of the connection I have in real life between me and the person I am photographing. I loved finding all the negatives and rescanning them and making something people can see in physical space rather than having the final product be on the internet.
SERPAS: You know the flowers in Los Angeles that bloom in July, the purple ones that look like women in dresses—jacaranda? I used to make them play the victims in these horror-movie simulations I would do, torturing them and killing them withSERPAS: The stem inside of them would be the soul. The jacaranda, they’re very soft, they feel like flesh.SERPAS: Mine were princesses too, but they were always fighting.
GLYNN: It’s about control. This came up when we were hanging the show, when a minute before the opening Sam switched out one of the photos because of how a subject in a different photo felt about how her image was being, I guess, contextualized. Sam turned to me and said, “Now I understand why you only paint yourself.”GLYNN: Freedom is important, but it has a price.
SERPAS: I look at nasty images all day. Botched plastic surgery jobs, gross nudes from randos online, stuff that’s maybe too shocking to talk about. Then I process the image and I paint it and by the time it’s on the wall it looks nice. I’m not trying to make it nice, I just don’t have the hand yet to make it look as fucked up and crazy as it is. Everything comes out smoothed and kind of sensual. There’s very few painters who could make something look actually grotesque.
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