Tulsa Kinney visits the studio of painter James Hayward.
Kinney writes: "I ask [Hayward] if painting is a physical thing for him—I have this vision of him in his studio vigorously slathering globs of thick crimson onto a canvas with a paintbrush in one hand and a bottle of wine in the other. In my mind he’s wearing only his cowboy hat and cowboy boots, and a pair of red boxer shorts—the same color as the painting he’s working on—and Hank Williams is blaring in the background. He answers, 'The physicality is part of it, but the heart and soul of it is the marking. In my monochromes I try to avoid there ever being a special place. There’s no chosen place. It’s totally proletariat, the marking. I want the corners to be as important as the center and I want every mark to be equal in terms of importance. Ideally, the last marks just kind of blend into the earlier marks and disappear.'"