← Statement

Recognized August 15, 2026

The Way to LA (1994) is a clean, representational instance of the fisheye/skate-video perspective logic — worked out without a camera or reference photo, purely from skate-video-trained visual memory. Unlike some other works from this period, it carries less conceptual freight; the window's warped shape itself was the driving compositional interest, with the interior and landscape built to support that shape rather than observed directly.