On interiors, emotional landscapes, and why he doesn’t exist in usual places. With his signature blend of bold color fields, delicate florals, playful bees and serene still life, B. D. Graft has carved out a visual language that feels both deeply personal and universally resonant. His solo exhibition “I Don’t Exist in Usual Places” invites viewers into a quiet, reflective world - one where absence becomes presence, and everyday spaces are transformed into meditative environments. Ahead of the show, we spoke with Graft about his artistic process, emotional intent, and the balancing act between control and spontaneity in his work.
The title of your solo exhibition, “I Don’t Exist in Usual Places,” feels poetic in itself. What does it mean to you personally, and how does it relate to the pieces in this show?
I’ve always been a daydreamer. I project my emotions and thoughts onto the places I encounter. The works in this exhibition are like collaged impressions; they mix things I cherish, personal experiences, and pieces of memory, fantasy, and autobiography (you’ll see my dog Homer a lot). I’m drawn to the aesthetics of the mid-century and the cozy feel of domestic spaces, but none of the scenes are real, save for reference photos or AI generated spaces which I take and alter. They’re invented environments shaped by my emotional world, molded by my experiences and dreams. The title reflects that - whilst creating these artworks, I don’t really live in the usual, expected spaces. I exist in the imagined places I’ve built in my mind.
Your work shows a beautiful blend of indoor and outdoor spaces, full of plants, palm trees, playful animals, and inviting tables. What attracts you to these themes, and how do you balance planning and improvisation in your process?
These themes bring me a sense of peace. I gravitate toward beauty, comfort, and nature; spaces that feel serene yet full of life. I usually start with a few visual ideas or recurring motifs, but I never overly plan. I always leave space for surprises. Sometimes, a single unexpected detail, plant or animal, can change the entire piece in a magical way. So while I do reflect a lot before starting, my paintings tend to grow organically into something even more meaningful than I initially intended.
Color plays a key role in your work, vibrant, but never too much. How do you approach color and what feelings do you hope it stirs?
I’m very intentional about color. I have specific favorite shades like a rich yellow or a bold blue inspired by Yves Klein and I choose them purposefully. Color sets the emotional tone for each piece. A cadmium yellow might add warmth to a garden scene, while a soft blue creates calm in a beach setting. I want color to pull the viewer in, to set a mood gently and support the subject, not overpower it.
Your compositions feel meditative like visual mantras. Do you see painting as a form of mindfulness or emotional processing?
Absolutely. Painting is very therapeutic for me, it helps me feel grounded. It’s a way to escape, but also a way to reconnect. I have a very positive relationship with the act of painting, and I hope that translates into the finished work. Even though the scenes are imaginary, I want them to feel safe and recognizable like emotional sanctuaries. Ideally, viewers feel like they’re visiting a place they’ve never been, but somehow already know.
Your work balances simplicity with depth and invites contemplation. What do you hope viewers take from the exhibition?
It’s taken years to craft this visual language. At first glance, my work might seem simple or childlike, but there’s a lot of thought and layering behind each piece. Even quick-looking paintings are often the result of weeks or months of thinking. I hope people sense that there’s more beneath the surface, and that the simplicity actually creates room for emotional resonance and personal interpretation.
Your work has a quiet optimism, even when touching on themes like solitude or absence. Is that something you aim for, or does it come naturally?
It’s a bit of both. I tend to be anxious, but I’m also very hopeful. I believe in joy, in beauty, in noticing small details. Even when exploring stillness or loneliness, I want the work to hold light and offer something uplifting. That hopefulness isn’t forced; it’s just how I experience the world, and it naturally flows into my work.
You’ve worked across different mediums - canvas, wood, sculpture. How does your approach shift between them?
Each medium has its own vibe. For this exhibition, I kept a consistent visual language - bold colored backgrounds, white line work, and familiar motifs - but the materials shift the feeling. Wood and sculptural pieces add physicality that canvas alone doesn’t provide. Mixing flat and textured elements makes the exhibition more immersive and sensory.
I’ve recently started making my own ceramics, without any outside help. It’s quite different from painting, much slower and more delicate. You really have to pay attention because mistakes can ruin the whole thing. But I like that it’s a calming, hands-on practice for me.
Looking ahead, are there any new visual or thematic directions you’re curious to explore?
I’ve found a rhythm with my figurative work. It feels natural now, and I’ve grown confident in it. So now I’m challenging myself to do the same with abstract art. I want to create a style that feels emotionally resonant without relying on recognizable figures - something simple, yet distinct. I’ve been playing with abstract techniques, and while I haven’t fully found my voice yet, I hope to reach a point where I can confidently share that side of my work. Figurative pieces often grow from a need for peace and harmony, but maybe abstract work can tap into more raw, chaotic feelings - a space to express other parts of myself.
B. D. Grafts's solo exhibition "I Don't Exist in Usual Places" will be on display from May 3 - June 14, 2025 at NBB Gallery.
© Photos: B. D. Graft / NBB Gallery