Mario Ayala

Holding five aces

- Andrew McClintock

I always believed that Mario Ayala would be huge one day. Well, that’s not entirely true. The first few years we knew each other, he worked for me as a gallery prep and manager for SFAQ and LXAQ distribution in California, and I just wanted him to do his job. He would show up late and take too many smoke breaks. I started seeing his paintings around town, and then I started buying them, and then I started showing them at the gallery. Now, as we prepare for his second solo exhibition at Ever Gold [Projects], where almost all the work has pre-sold, we sat down to have a conversation about what a young boss he’s become. It’s funny how things work out and it’s a good reminder about how time is the hidden ingredient to success. The kid who one day is painting your walls could be the next Oscar Murillo, the next Korakrit Arunanondchai, the next Barry McGee. Be kind to those around you, as you never know when you’ll be on a waitlist for their paintings. This is also a good reminder to buy young, emerging artists’ work. Take a chance on the future ’cause, Grandpa institutions... we’re coming for ya.

Andrew McClintock: Let’s start this interview offwith some word association. Just say the first thing that comes to mind. Red and Blue?

Mario Ayala: Sunset, midnight.

Surface Tension?

Lace.

Conceptual?

Marioni.

Finish Fetish?

FJ.

Materiality?

HVLP.

Chinatown?

Alameda.

Mi Familia?

Always First.

Truck?

Peterbilt.

Newsprint?

RIP, LA Times Building.

Keys?

From Overseas.

Tenderloin?

Blast.

Donuts?

Randy’s.