Stepping into Floyd Tunson’s work-live loft, the magnitude is overwhelming. Thirteen-foot ceilings cap long walls filled with Floyd’s art. Light washes in from large windows. Dried paint speckles the wood floor. It’s fantastic. It’s tongue-tying.
While I try to center my focus for the conversation at hand, I notice the smooth and sultry sounds of Miles Davis’ jazz trumpet. They carry from somewhere near the middle of the room, until Floyd walks to it and says, “OK, Google. Stop the music.”
It’s well documented that Floyd likes to work, at times, to the rhythms and flows of Miles Davis. But on this day, it’s only by chance that’s who I’m hearing.
“It’s not like that’s the only person I ever play,” Floyd says. “That’s just one of my favorites. I’ve got lots of favorites.”
Floyd, 70, sat down with Humanitou between projects. There are no works in progress readily visible, just evidence of transition. “I’m about to start painting again,” he says.
We talk about a range of topics, including creative growth, the rise of societal turmoil once thought buried, staying true to one’s line, and how Floyd views legacy.
Floyd’s JANUS show that recently inaugurated the Marie Sharpe Gallery at the new Ent Center for the Arts in Colorado Springs was about to close.
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