24 LONDON Statement Twenty-Four in London was the third city in the series and the one where I had the least ground to stand on. San Francisco I knew from thirteen years of living there. New York I'd come to as an outsider but could figure out quickly. London was different — I had to find the locations through research and social media, asking people what mattered to them about the city. I came to it without any history there.

The format was the same as the previous two: twenty-four locations, one per hour, return at that exact hour, document everything. The Blind Beggar in Whitechapel at midnight. Planet Kebab at 2 in the morning. Bethnal Green Tube at 8 a.m. Ridley Road Market at midday. The Central Line at rush hour. West End Lane at night. I collected whatever was on the ground at each site. The paintings were made from the photographs and the accumulated material — twelve from the twenty-four hours documented.

What I wanted from London was the same thing I'd wanted from the other two cities: the fixed weight of a place at a specific time of day. London had something the others didn't. The distance between people in the same space felt almost structural — not unfriendly, just very deliberate. The paintings from this show are a record of twenty-four hours in a city moving at full speed and appearing entirely still.