Daniel Crews-Chubb： Iconography, Synchronicity, and the Edges of Chaos

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Daniel Crews-Chubb：图像学、共时性与混沌边界

Daniel Crews-Chubb: Iconography, Synchronicity, and the Edges of Chaos

Interviewer: steffi
Date: 24/11/2025

Keywords: mixed media/ human condition/ art history

Daniel Crews-Chubb,1984年出生于英国北安普顿，现居住在伦敦。Crews-Chubb 的混合媒介作品深刻探讨了人类的生存状态和自我表达的方式。他的绘画汲取了当代视觉文化的元素，也同时将经典艺术意象和古典图像交织在一起，创作出幻想化又紧贴现实的绘画。Crews-Chubb 的实验性的拼贴绘画挖掘了原生艺术、贫穷艺术和抽象表现主义的精髓，并对艺术史的原型和符号进行质疑。

Daniel Crews-Chubb 的近期个人展览包括 Out of Chaos,Timothy Taylor，美国纽约(2024),Statuesque,Roberts Projects,美国洛杉矶 (2023) ;Immortals,Timothy Taylor,The Armory Show，美国纽约 (2022) ;Flowersand Monsters, Timothy Taylor,Gallery Weekend Beijing,中国北京(2022) 。

Daniel Crews-Chubb (b. 1984, Northampton, UK; lives and works in London). Daniel Crews-Chubb’s mixed-media practice offers a profound examination of the human condition and the diverse modes of self-expression. His paintings absorb and reconfigure elements of contemporary visual culture while interlacing classical motifs and archetypal imagery, generating works that are simultaneously fantastical and grounded in reality. Through an experimental approach to collage-based painting, Crews-Chubb draws upon the legacies of Art Brut, Arte Povera, and Abstract Expressionism, while critically interrogating the prototypes and symbols embedded within the canon of art history.

Recent solo exhibitions include Out of Chaos, Timothy Taylor, New York (2024); Statuesque, Roberts Projects, Los Angeles (2023); Immortals, Timothy Taylor at The Armory Show, New York (2022); and Flowers and Monsters, Timothy Taylor, Gallery Weekend Beijing (2022).

_{“不朽“展览现场，Photo by Shaunley Courtesy Long Museum

Immortals, exhibition view. Photo by Shaunley. Courtesy of Long Museum}

A: 欢迎来到Artisle做客！你在中国的首次美术馆展览已于11月7日在上海龙美术馆开幕。回顾过去，可以简单向大家介绍一下你作为艺术家的历程吗？

A: Welcome to Artisle! Your first museum exhibition in China opened on November 7 at the Long Museum in Shanghai. Looking back, could you briefly introduce your trajectory as an artist?

D: 在2009年的时候，我进入了切尔西艺术与设计学院学习纯艺的本科学位，我想自那之后我就一直在努力发展自己的语言，创作出独特的个性。其实我在Chelsea学习时，我并不是很适应当时的课程，因为在那个时候绘画已经“死”了。没有人想要看到绘画作品，所有的导师都会说：“我喜欢你关于存在主义、生与死、人像以及神衹的想法。要是它不是一幅画，而是影像作品或者什么的就好了。”当时装置艺术也十分流行，而画家则被认为是过时的、传统的。在毕业后，我来到了Turps Banana创办的艺术学校，在那里，一切更像是实际的画家评判彼此，而我正是在那样实践的氛围下发展出自己的风格与技法的。

D: In 2009, I enrolled at Chelsea College of Arts to study for a BA in Fine Art. Since then, I have been striving to develop a language of my own and to create a distinctive voice. During my time at Chelsea, however, I found myself somewhat out of step with the prevailing atmosphere, as painting was often regarded as “dead.” No one seemed to want to look at paintings. Tutors would say things like, “I appreciate your ideas about existentialism, life and death, portraiture, and mythology—but it would be better if this were a video work, or something else, rather than a painting.” At that time, installation art was in vogue, while painting was frequently dismissed as outdated or conventional. After graduation, I joined the art school established by Turps Banana, where the environment was shaped by painters critiquing one another’s work. It was within this practice-based context that I was able to cultivate my own style and technique.

关于我的作品，我想它是一曲对其他艺术家与创造者的赞歌。从最初开始，我热爱古代工艺师们描绘不同文化体系的神祗的作品，比如我经常参考一些前哥伦布时期的阿兹特克、玛雅神像，还有希腊、罗马以及非洲和亚洲的一些神话。我总是被那些刻画非人的、超凡的雕像吸引，因此最初我的作品里的很多人像都与古代各种文化的神的图像有关联。

I like to think of my work as a kind of hymn to other artists and makers. From the very beginning, I have been fascinated by the ways in which ancient artisans depicted the deities of different cultural systems. I often draw inspiration from pre-Columbian Aztec and Mayan statuary, as well as from Greek, Roman, African, and Asian mythologies. I have always been captivated by representations of the non-human and the transcendent, and many of the figures in my early paintings were directly connected to these images of gods across diverse civilizations.

_{Out of Chaos VIII (Petrol Blue), 2024, Oil, acrylic, ink, charcoal, spray paint, sand and collaged fabrics on canvas,

249.9 x 281cmCourtesy the artist and Timothy Taylor © Daniel Crews-Chubb}

A: 你在这次龙美术馆的展览“不朽”中将会展出哪些系列作品？它们之间有着怎样的交互性？

A: In your exhibition Immortals at the Long Museum, which bodies of work are you presenting, and how do they interact with one another?

D: 这次的展览题为“不朽”，所以它都是关于我与意识之间的关系。就像当一个人制作出一个雕塑时ta使自己在雕塑中永恒，画作也是一样的，所以这是关于我创作出的将要比自己有着更长的生命的作品的故事。我认为这个概念非常的有意思，而作品有点像是弗兰肯斯坦的怪人，你创造出了某样东西然后它脱离了你的控制。

D：The exhibition is titled Immortals, and it is very much about my relationship to consciousness. Just as when one creates a sculpture, they render themselves eternal within it, so too with painting—it is a story about works that will go on to have a longer life than my own. I find this concept deeply compelling. The works are, in a sense, like Frankenstein’s monster: you bring something into being, and then it escapes your control.

我这次会展出两个系列里的作品：Out of Chaos和Immortals。前者是最新的系列，大多有着多个混在一起的人像，它们的肢干扭曲交叠然后能看到多个头部；后者则更多是单一人像的作品，聚焦于圣像与雕塑，更多地指向不同文化中的众神的形象。除此之外，我还带来了十多幅纸本作品，展现了不同媒介上有质感的表面。

For this exhibition, I will be presenting works from two series: Out of Chaos and Immortals. The former represents my most recent body of work, in which multiple figures are entangled within a single composition—their limbs twisted and interwoven, with several heads emerging simultaneously from the same surface. The latter focuses more on singular figures, foregrounding the iconographic and sculptural qualities of the image, and evoking representations of deities across diverse cultural traditions. In addition, I am also showing more than ten works on paper, which further explore the tactility and material surfaces generated through different media.

Immortal II (Turquoise), 2022 Oil, oil bar, acrylic, ink, charcoal, spray paint, sand, coarse pumice gel and collaged fabrics on canvas in oak frame, 224 x 174 cmCourtesy the artist and Timothy Taylor © Daniel Crews-Chubb

Immortal XXIV (Hot Orange and Pink), 2024, Oil, acrylic, ink, spray paint, charcoal, sand and collaged fabrics on canvas, 220 × 170 cm，Courtesy the artist and Timothy Taylor © Daniel Crews-Chubb

A: 我还记得上次你讲过你的艺术创作中很重要的一个目标是重新展现出作品的“表面”。当我观赏你的作品时，你采用的多种材料构建出一个非常丰富、动态的表面，为什么表面对你来说如此的重要？

A: I recall from our previous conversation that one of your key artistic aims is to reassert the significance of the “surface” in your work. When I encounter your paintings, the multiplicity of materials you employ produces a surface that is both rich and dynamic. Why is the surface so important to you?

D: 对我来说（区分于其他艺术家），我的创作方法是不同的，我将不同的绘画与雕塑创作中的原材料并置，在某种程度上打破并融入了所有的元素。我一直都认为“表面”应该讲述一个故事，我感觉在表面上有一种对话，它有自身的叙事性，比方说那些炭笔、泼洒的墨水、厚涂颜料之间的关系，它们有着截然不同的属性。

D: For me, unlike many other artists, my approach to making is distinct in that I juxtapose raw materials drawn from both painting and sculpture, in a way that breaks down and fuses these elements together. I have always felt that the surface should tell a story. I sense a dialogue taking place there, a narrative inherent to the surface itself—for instance, in the relationships between charcoal, splashed ink, and thickly applied paint, each with its own sharply divergent properties.

_{Daniel Crews-Chubb在工作室，Photo by Tim Craig

Studio view of Daniel Crews-Chubb. Photo by Tim Craig}

A: 看到你正在进行中的作品，我能感受到平面的画作上打破媒介界限的雕塑感，你是如何在扁平的表面上反映出立体感的？

A: Looking at your works in progress, I can sense a sculptural quality emerging from the ostensibly flat surface of painting. How do you generate this sense of three-dimensionality on a two-dimensional plane?

D: 有些时候，我觉得自己是一个雕塑家，被困缚在一个画家的身体里。我其实不使用笔刷，从不。我会用到所有的东西，比方说我的手，你可以看到这幅画上我的掌印。我带上手套然后我就直接把在我手上的颜料印在画布上，然后有些线条是用炭笔划出来的，你可以看到炭笔断裂的印迹，它就这么留在了画布上。然后一些颜料是直接泼洒上去的，有些时候我直接把画布横置在地面上然后还会直接踩上去，导致你甚至可以看到我的鞋底。

D: At times, I feel as though I am a sculptor trapped within the body of a painter. I never use brushes—ever. Instead, I employ anything else at hand: for instance, my own hands. You can see my palm prints embedded in this canvas. I put on gloves and press the paint directly from my hands onto the surface. Some of the lines are drawn in charcoal, with the traces of broken sticks visibly inscribed into the work. Paint is often splashed across the canvas, and at times I lay the canvas flat on the floor and step onto it, leaving behind the imprint of my shoes.

_{Daniel Crews-Chubb在工作室，Photo by Tim Craig
Studio view of Daniel Crews-Chubb. Photo by Tim Craig}

A: 你的印迹创作是非常活泼而杂乱的，就如你刚刚所说运用了许多不同的材料、颜色与技巧，你如何在这种纷杂中保持画布上的平衡？

A: Your process of imprinting is dynamic and seemingly chaotic, involving a wide range of materials, colors, and techniques. How do you maintain a sense of balance on the canvas amid such profusion?

D: 对我来讲，拼贴元素是非常重要的，因为它是一个很好的即时编辑的方法。我有成堆的布料都是从我自己的材料中收集来的，然后我会把它们剪成小块，如果我喜欢它们的样子，我会把它们留下了之后用在拼贴上。如果作品上有一块地方变得太“忙”了，我有时候就拼贴一些布料上去然后整个构图瞬间就不一样了——画面的平衡会很轻易得被更改。这有点像让画作有了新鲜的空气。因此，我认为我作品里的拼接元素就和别的材料一样重要。

D: For me, collage is absolutely crucial because it functions as an immediate form of editing. I keep piles of fabrics that I have collected over time, cutting them into small pieces. If I find a form that appeals to me, I save it and later integrate it into the collage. When a part of the composition becomes too “busy,” I sometimes add a piece of fabric, and the entire balance of the painting shifts instantly—it is as though the work is given a breath of fresh air. In this sense, collage is as essential to me as any other material I use.

不过我还是很喜欢积累起来的画面的，那些厚涂的颜料会看起来真的很厚重，然后我就必须得在地面上创作了，我会用泼洒的颜料与墨水留下很多的印迹在最上面，甚至是污迹——比如茶包留下的渍痕。我觉得这样创作很好因为之后你可以就把画重新再挂到墙上，然后可以看到新的东西开始显现。

At the same time, I remain fascinated by the accumulation of surfaces. The heavy impasto can become so dense that I am forced to work with the canvas laid flat on the ground, pouring paint and ink across it and leaving behind marks—even stains, such as those from used teabags. I find this process productive, because when the canvas is re-hung on the wall, new forms and elements begin to emerge.

_{Daniel Crews-Chubb在工作室，Photo by Tim Craig
Studio view of Daniel Crews-Chubb. Photo by Tim Craig}

A: 在你的许多作品中，尤其是Immortal X还有Flowers (black, yellow, orange and blue)中，亮粉和亮橙这样的张扬、突兀的颜色非常吸引我，尤其是在更加暗淡、大地色调的背景下。你能跟我们讲一讲你的色彩选择和这些颜色在你的艺术表达中的意义吗？

A: In many of your works—particularly Immortal X and Flowers (black, yellow, orange and blue)—I am struck by the use of bold, almost jarring colors such as bright pink and fluorescent orange, especially when set against more muted, earth-toned backgrounds. Could you speak about your approach to color and the significance of these hues in your artistic expression?

D: 亮粉色一直是我的代表颜色，我喜欢用非常人工的颜色来对应更加有机、自然的色调。许多德国的艺术家带给了我很多启发，比如Kippenberger、Polke、Richter，他们将一些很奇怪的颜色混在一起，看起来这些颜色本来很不搭，但所有存在于世界上的颜色都可以搭在一起。所以，我觉得色彩总会互相产生反应。

D: Bright pink has always been something of a signature color for me. I am drawn to using intensely artificial tones in dialogue with more organic, natural palettes. I have been greatly inspired by many German artists—Kippenberger, Polke, Richter—who combined strange, even discordant, colors in ways that initially appear incongruous, but ultimately demonstrate that all colors in the world can coexist on the same surface. For me, color is always reactive, always generating a dynamic interplay.

我认为把我使用的那些非常人工的颜色和有机的混合是个很不错的做法因为画布本身是一个质感浑厚坚实且感觉很古老的表面。我会用比如茶包和别的颜料去弄脏画面来表现出更有机的背景，然后我感觉那些很亮的颜色，比如粉色、橙色、紫色就是一个很好的平衡组，它们给了有机的画布一些对抗的力量。

I find it compelling to juxtapose highly artificial colors with more organic elements, precisely because the canvas itself is a textured, weighty surface that feels almost archaic. I often stain the ground with teabags and other pigments to evoke a more organic backdrop. Against this setting, vivid hues—pink, orange, purple—become a kind of counterbalance. They inject a force of resistance into the canvas, challenging and energizing the organic surface.

而且我觉得（使用这些颜色）是一种很好的让我的作品保持“当下”的方法，让它们表现出自身的时代性。在100年前，或者50年前，我们并没有这些颜色，它们是现代才创造出来的人工颜色，我想这些色彩也许是我的作品里唯一一个把它们定位在当下的元素。

I also see the use of these colors as a way of keeping my work anchored in the present, allowing it to register its own contemporaneity. A hundred years ago—or even fifty—such hues simply did not exist; they are synthetic inventions of the modern era. In that sense, these colors may be the only elements in my paintings that explicitly situate them within the present moment.

_{Immortal X, 2022, Oil, oil bar, acrylic, ink, charcoal, spray paint, sand, coarse pumice gel, and collaged fabrics on canvas in oak frame, 224 x 174 cm，Courtesy the artist and Timothy Taylor © Daniel Crews-Chubb}

_{Flowers (black, yellow, orange and blue), 2022, Oil, oil bar, acrylic, ink, charcoal, spray paint, pastel, sand, coarse pumice gel, and collaged fabrics on canvas, 210 x 150 cm，Courtesy the artist and Timothy Taylor © Daniel Crews-Chubb}

A: 你的作品过去有着更为直接的对某一文化里的神的形象的引用，但随着你的作品的发展，你的作品从具体的人像演变为了更为抽象的表达。你的艺术语言是如何进化的？

A: 你的作品过去有着更为直接的对某一文化里的神的形象的引用，但随着你的作品的发展，你的作品从具体的人像演变为了更为抽象的表达。你的艺术语言是如何进化的？

D: 在最早的时候，也就是10多年前我参考了很多东西，我和我的妻子很喜欢旅行，因此我们参观了很多的古代寺庙、金字塔和博物馆。我感觉我当时是在视觉上收集所有的东西，而现在我不用再看那么多了，我现在是在把所有吸收的东西释放出来。就像一块海绵，我把所有的视觉意象都消化了然后表达出来。现在我的作品其实是互相照应的，我通常会在一个主题下重复很多不同的作品。

D: In the beginning—over a decade ago—I was drawing from a wide array of sources. My wife and I travelled extensively, visiting ancient temples, pyramids, and museums. At that stage, I felt as though I was visually collecting everything I encountered. Now, I no longer need to look outward so voraciously; instead, I am releasing what has already been absorbed. Like a sponge, I have taken in countless visual impressions, digested them, and now they emerge in the work. My practice today is recursive: the works echo one another, often multiplying within a single thematic constellation.

我比较新的一些作品，尤其是那些多人像的，关注的是一种不同身体间能量的转化。我们的身体只是一个暂时的容器，它会消亡但是能量不会，它会得到转化。所以我创作的两个或者三个形象的作品希望表现这些能量的融合。这是我现在的创作目的，我也希望它能传达给所有的观众。就像你说的，我的作品不再是具象的，它们启始于很具体的地方，比如维纳斯、宙斯等希腊神祗，也有些北欧、非洲还有东方的神话意象，比如哈努曼，还有库巴文化里的创世神M’Bombo。这些不同文化里的神话往往有着联系，它们相互参照。但如今我觉得我处于一个几乎是作品自己不断发展的阶段，我只是帮了它们一点小忙。也许这听起来有些太“低概念”，但我真的很想把一样东西用蓝色，或者白色再画一遍，这可以是个非常单纯、临时的决定。我觉得我现在在这些作品上有很多的能量，于是它们就这样有机地产生了。

In more recent paintings, particularly those involving multiple figures, I have become increasingly interested in the transference of energy between bodies. The body itself is only a temporary vessel—mortal, finite—but energy persists, transforming and recombining. By staging two or three figures together, I aim to give form to this fusion of energies. This is what now drives my work, and I hope it communicates itself to viewers. As you noted, the paintings are no longer overtly figurative. They may have originated in specific iconographies—Venus or Zeus, Hanuman or the Dogon’s Nommo, even the Kuba creation deity M’Bombo—but the further I pursue them, the less they remain tethered to those sources. Mythologies across cultures often reflect one another, and I was initially drawn to those correspondences. Today, however, I feel the works evolve almost of their own accord, with me only nudging them along. Perhaps this sounds “low-concept,” but I am increasingly content with decisions that are immediate, even provisional: to remake an image in blue, or in white, simply because the impulse arises. The process feels charged, organic, and alive—an energy that insists on manifesting itself through the work.

_{Immortals (Ultramarine Blue), 2023, Oil, oil bar, acrylic, ink, charcoal, spray paint, sand, coarse pumice gel, and collaged fabrics on canvas in oak frame,

224x288cmCourtesy the artist and Timothy Taylor © Daniel Crews-Chubb}

_{Out of Chaos III, 2024, Oil, pigment stick, acrylic, ink, charcoal, spray paint, sand and collaged fabrics on canvas,

270.5x300.5cmCourtesy the artist and Timothy Taylor © Daniel Crews-Chubb}

A: 你这次在上海展出的一部分作品灵感来自世界各地的神话和神像，而随着你从具象走向抽象，那些特定的文化元素也变得普世。中国有着很长远的雕塑艺术史，也有很多古代帝王和宗教相关的青铜像等雕塑，你觉得在中国展出你的Immortals系列会和当地的文化背景有怎样的共鸣？

A: Part of the work you are exhibiting in Shanghai draws inspiration from mythologies and deities across different cultures. As your practice has moved from figuration toward abstraction, those culturally specific references seem to take on a more universal dimension. Given China’s long sculptural tradition—from imperial monuments to religious bronzes—how do you see your Immortals series resonating with this cultural context?

D: 中国对我来说一直是很棒的经历，这里有着很棒的艺术市场并且我感觉中国的观众对我的作品有着很好的反馈，并且也能在作品中感到联系。我觉得是因为我作品中的能力，色彩，也许像你说的还有这种不特定的文化背景。我不觉得我的作品是西方或者东方的，我不认为自己是一个英国画家。在艺术史中，英国画家通常用的色彩和我完全不同，他们会用更多大地色调。我觉得我是世界的孩子，不被自己的护照定义。在过去，很多古代文化之间有着很多的联系，这样的文化交流很吸引我，因此我时常从过去中汲取灵感。

D: My experiences in China have always been rewarding. The art market here is dynamic, but more importantly, I sense a strong, intuitive response from audiences—an immediate recognition or connection with the work. Perhaps this comes from the energy it holds, the chromatic intensity, or, as you suggest, the presence of a cultural vocabulary that is not tied to any single tradition. I do not think of my work as Western or Eastern, nor do I regard myself as a “British painter.” Historically, British painting has leaned toward muted earth tones, a palette very different from my own. I feel instead like a child of the world, untethered by the confines of a passport. Ancient cultures were deeply interconnected, and the circulation of myths, symbols, and materials across geographies is something I find endlessly compelling. My work often draws its vitality from those histories of exchange.

在2022年我曾在北京的画廊周有过个人展，这次在龙美术馆是我在中国的第一次美术馆展览。我认为龙美术馆是最适合展出我的作品的地方，我带来了17幅大幅作品，所以展览里会有很多东西，而且龙美术馆的宽阔空间和建筑设计非常契合我的作品，因为整个空间有着工业感而我很喜欢这样的风格。有时候我的作品会在像曼哈顿的别墅或者伦敦的古老宅邸里展出，但这些空间与我的作品无法很好地连结起来。我认为我的作品需要钢筋水泥，更加赤裸、老旧和工业化的背景。

In 2022 I presented a solo exhibition during Gallery Weekend Beijing, but this show at the Long Museum marks my first museum exhibition in China. I consider it the most fitting context for my work. I am showing seventeen large-scale canvases, and the museum’s expansive, industrially inflected architecture resonates profoundly with their scale and sensibility. My paintings thrive in such raw, concrete environments. When exhibited in a Manhattan townhouse or a Georgian residence in London, the works can feel estranged from their surroundings. What they require, I believe, is the presence of steel and concrete—an architecture that is unembellished, weathered, and industrial.

_{“不朽“展览现场，Photo by Shaunley Courtesy Long Museum

Immortals, exhibition view. Photo by Shaunley. Courtesy of Long Museum}

A: 参观了你的工作室，我看到一些很令人激动的作品正在成型。你有什么未来的计划可以分享给大家吗？

A: Visiting your studio, I encountered a number of works in formation that felt genuinely compelling. Could you share any forthcoming plans with us?

D: 我有些明年的计划可是我还想保密一阵子。不过我正在意大利建一间新的工作室！我们在Puglia买了房子并打算造一个和我在伦敦的这个工作室一样大的空间。Puglia总是很热，所以我会建一个庭院，这样我在室内室外都可以工作。我想要尝试做出一些物件，一些雕塑。此外，我还想开始一个以白色为主题的非常低调的新系列，然后也许用有机且抽象形态的白色雕塑来配合画作。

D: I do have projects scheduled for the coming year, though I prefer to keep some of them under wraps for now. What I can reveal is that I am in the process of establishing a new studio in Italy. We have recently acquired a house in Puglia, where I intend to construct a working space equal in scale to my current one in London. Given the region’s unrelenting heat, the new studio will be designed around a courtyard, enabling me to work seamlessly between interior and exterior environments. My immediate focus is on producing objects and sculptures, alongside the development of a new series that will revolve almost entirely around white. The ambition is to strip things back—to perform a kind of subtraction—reducing the work to a state of near-purity. Within this field of white, perhaps only one or two hues will surface, introduced with deliberate restraint. The chromatic choices, therefore, will carry significant weight.

我想要做减法将一切还原到纯白，在完全的白色里也许有一到两抹色彩，但那就是全部了，所以那会是一个非常慎重的色彩选择。我想我还会用类似的构图，让它变成一个自然的过度，尽管看起来会很不一样，因为我这些年一直都创作了很多颜色亮丽的作品，我也很喜欢这些明亮的颜色，我喜欢它们的吸引力和能量。这个新系列也许会有些困难，我还会累积起作品的表面，但我将不得不基本只用白色来覆盖。不过我觉得白色是一个非常飘逸的颜色，它很轻。而我的作品，尽管它们也是关于颜色的，但本质上，它们是关于形态的。

Although the compositional strategies may echo my previous work, the shift will be striking: for years my practice has been characterised by saturated and luminous tones, colours that I value for their vibrancy and visceral charge. This new series will be far more challenging, requiring me to build up surface and density while resisting the seduction of colour, relying instead almost exclusively on white. Yet white, to me, is not neutral. It is an ethereal colour, light and fugitive, and it allows form to come to the fore. My work, even when it appears to be about colour, has always been, at its core, about form.

_{Daniel Crews-Chubb在工作室，Photo by Tim Craig
Studio view of Daniel Crews-Chubb. Photo by Tim Craig}