Most elements have a reason to be, a story, an anecdote behind them. They come from life, nostalgia or desire, frustration.
My practice has always been personal and somehow egotistical. It’s mine and it exists for me to learn about myself and understand myself. It is in its nature very serious, deep and complex, and explores very personal aspects of my persona and very private experiences of mine that more often than not I choose to not share openly. Most elements have a reason to be, a story, an anecdote behind them. They come from life, nostalgia or desire, frustration. Someone that knows me well can probably join the dots, but to the outside it might not be so easy to see past the surface. As time piles up on my shoulders and I get more comfortable and accepting of my own self, two glorious things have happened that have made me both a better person and a better artist:
1 I give less and less of a fuck every passing day
2 I take myself less seriously
So, how do you explain to people as you go about your day what it is that you do? I paint, I say. Then they ask you, What do you paint? What is your work about?
“Right now,” I answer, “Horses and Nudies”.
Working from memory, Cantor’s compositions are romantic, idealised, and often permeated with a heavy sense of nostalgia. The result is paintings that are of all things relevant to him: places, patterns, animals, people, still life, text, plants, and food, where each element works as a vessel for the artist’s thoughts, emotions, and unfolding identity.