CALVIN MARCUS

THE BEACH BOYS RADIOHEAD KRAFTWERK

The words “surreal” and “absurd” are thrown around when Calvin Marcus’s name comes up. But the San Francisco–born, Los Angeles–based artist tends more towards the deadpan and discomforting. His deceptively nonchalant paintings, forays into sculpture, and screen-printed works dilate the longer you observe them. This summer, a work of Marcus’s will be included in Clearing’s first Art Basel booth, and the artist will continue to develop his Tuscan TOMATO Residency with the gallery’s Brussels director, Lodovico Corsini. In the midst of these varied projects and practices lies a deep connection to music, which offers the artist both a contemporary catalyst and a time-travel machine.

WHAT’S YOUR FAVORITE WAY TO LISTEN TO MUSIC? My studio has wooden floors and a large wooden ceiling, so the acoustics are really nice; it’s the best place to listen to music. It sounds so good and big to be in there with my favorite music of the moment.

WHAT SOUNDS DO YOU ASSOCIATE WITH LA? Cars accelerating. There are also a lot of birds in my neighborhood. Every time I’m on the phone with someone walking my dog around, the person on the line always comments on how loud the birds are.

FIRST SONIC MEMORY? My uncle swimming across a lake on a family camping trip we went on as kids. I still hear his voice and the sound of the water around him.

FAVORITE SOUND? The sound of a skateboard passing by gives me great nostalgia. I’ve been skateboarding since I was 12—less now, but I still love the sound of the hard wheels and loud bearings. It sounds like a snake striking perpetually.