“After a time, you may find that having is not so pleasing a thing after all as wanting. It is not logical, but it is often true.”
– Spock in Amok Time.
In June of 2001, I lived in a loft space in the Bushwick neighborhood of Brooklyn. Bushwick hadn’t yet become the art and fashion hub that it is today. I often saw junkies slouched inside cars as they tied up their arms for the next fix. When walking to the subway, I’d stay alert to avoid being cornered by the pack of wild dogs that roamed the neighborhood, as well as the groups of bored boys looking for an easy victim to corner. Each week a car would be abandoned on the street and set on fire, the flames just further exposing the cold, hardness of the industrial brick buildings. The bland gentrification that Mayor Giuliani force fed the city during the 1990s wouldn’t reach Bushwick for another decade.
This was an important moment, since everything I’d worked towards during the previous decade had recently aligned. I was represented by a respectable gallery in New York that had held my first solo exhibition, and it was well received and reviewed. Despite this success, I was buried in a debilitating depression unlike anything I’d experienced before. Instead of basking in my newfound freedom by enthusiastically working in my studio, I was avoiding life by sleeping as long as possible, which ideally was 2:00 in the afternoon, when a local channel showed two episodes of Star Trek: The Next Generation. I’d eat a cheap sandwich while watching the shows, staving off my loneliness with the familiar comfort of the characters standing in as a rough approximation of family and friends. For the first time in my life I had no responsibilities aside from my time in the studio, but my freedom paradoxically left me feeling more depressed and trapped than I’d ever been while growing up in Texas.