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They Help Make the Hamptons the Hamptons, and Now They’re Living in Fear

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They Help Make the Hamptons the Hamptons, and Now They’re Living in Fear

The party dresses must be double-pressed, the hedges shaved into sharp rectangles. The hand soap and lotion dispensers must be formed into neat lines along bathroom sinks. Caterers need to slip out of view as soon as the oysters and cocktails are served.

Wealthy residents of the Hamptons demand perfection. Now, many of the people who make it so — Latino immigrants, some of them undocumented — are panicking about President Trump’s deportation orders.

The fear is on display outside a convenience store where day laborers sprint into a nearby field when a stranger approaches. It is present in the nervous apologizing of a longtime housekeeper when she interacts with the police after a minor automobile scrape. And it courses through a small encampment in the woods where a landscaper is awaiting warmer weather so he can start cutting grass again to send money home to his family in Mexico.

“Everybody is living in fear,” said Sandra Melendez, a trustee for the village of East Hampton and an immigration lawyer. “They think Immigration is coming out to get them.”

In recent weeks, President Trump has begun carrying out his plan for mass deportations across the nation, with Immigration and Customs Enforcement agents forcing undocumented immigrants back to their countries of origin.

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Kristi Noem, the Homeland Security secretary, and federal officers arrived in New York City last month in a show of force that resulted in more than three dozen arrests. While it is unclear whether arrests are being executed in New York en masse, the actions have terrified people who work in factories, farms and schools.

In the Hamptons, with miles of privet hedges and luxury homes, Latino immigrants make up the bulk of the work force, logging 12-hour days flipping mattresses, scrubbing toilets and hanging drywall, and in the summer tending vineyards and assembling patio furniture under the hot sun.

Some of the workers arrived illegally, crossing the U.S. border after grueling desert or jungle treks. Some have legal working papers but are worried they could be swept up in raids or that their undocumented family members and friends could. Some believe President Trump is only going after criminals; others aren’t sure that’s true.

Latinos also are an established part of the Hamptons community. In the town of East Hampton, which encompasses many of the villages at the east end of Long Island, Latinos make up more than a quarter of the population, according to U.S. census figures. The student population in several local schools is more than half Latino.

But to most of the world, the Hamptons are best known for celebrity-studded parties and mega-mansions that dot the seashore, such as one house in Sagaponack that has been valued at $425 million and has 29 bedrooms and 39 bathrooms. It’s a community where diner patrons wear Balenciaga booties and Aston Martin sports cars cruise past strip malls. On sale at one popular grocery store: an 18-ounce tin of caviar for $1,300.

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The disappearance of some of the Hamptons’ most vulnerable residents would have an immediate effect on some of the nation’s wealthiest.

“The community on the East End of Long Island — it’s an understatement to say it’s way dependent on the Latino population,” said Lee Skolnick, a celebrated architect who lives in Sag Harbor. “They’re part of the community. They have as much of a role in our beneficial existence as anyone else.”

Last fall, billionaire hedge fund managers, financiers and various glitterati hosted fund-raisers there for both the Republican and Democratic presidential candidates, though voters across much of the Hamptons favored Kamala Harris in November. If some residents support President Trump’s broad crackdown on illegal immigrants, most couch it in terms of deporting violent criminals.

Local officials have tried to calm the worries of the people who make the Hamptons the Hamptons, both undocumented workers and wealthy residents. At public meetings they have explained that the local police don’t have the authority to deport anyone, urging anyone who needs police or medical help to feel safe seeking it out.

But officials are carefully choosing their words to indicate that they won’t stand in the way should ICE agents arrive.

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“I don’t think there’s anybody who wants criminals living in our community,” said Jerry Larsen, mayor of East Hampton village. “Everybody is on the same page for that. But the misinformation is driving the fear, and that’s what we’re aiming to clear up.”

Residents who had been working to find more affordable housing for local workers are shifting their efforts to finding legal help for immigrants who are afraid.

Some, like Prudence Carabine, believe the local government should provide that assistance. At a public meeting of East Hampton town officials earlier this month, she laid out her case.

“I think of my friends and people who have been in this town for 30, 40, 50 years who are now huddling in their houses, sometimes keeping their children out of school, afraid to shop,” said Ms. Carabine, whose family arrived in the Hamptons from Europe in the 1600s. “And I think: What a terrible place we have come to.”

The special symbiosis of the Hamptons is on display every morning and evening, when long lines of pickup trucks clog Montauk Highway, shuttling Latino workers between job sites and homes in less expensive areas. Some residents call it “the trade parade,” a phrase that some workers consider derisive.

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But Latinos in the Hamptons are more than a commuter population. They own popular businesses such as John Papas Cafe, a Greek diner offering a $21.50 Parthenon omelet. The owner, from Ecuador, started as a kitchen worker, employees said, and worked his way up.

Leo Cruz arrived in the United States from Costa Rica in 2007 on a tourist visa and has since become a U.S. citizen. He and his siblings own Cruz Brothers Construction, an East Hampton firm that works on high-end projects. Mr. Cruz opposes open borders but thinks there should be an easier pathway to citizenship for immigrants who can contribute to American society.

His firm can’t find enough workers at the moment, he said.

The area is quiet now, with snow blanketing vineyards and beaches. Lobster shacks and ice cream shops are shuttered. Rows of small trees and bushes are wrapped snugly in covers to protect them from the elements.

In Latino neighborhoods, fewer people are shopping at the Mexican, Ecuadorean and Dominican markets and eating in the diners thumping with cumbia music tucked out of sight from the luxury stores and fine dining establishments.

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Some of the wealthy are quietly beginning to make calculations about what it would mean if their undocumented workers were deported. Who would mow the lawn?

“Everyone relies on housekeepers and carpenters and tree cutters and grass cutters,” said Marit Molin, founder and executive director of Hamptons Community Outreach. “People come to the Hamptons to enjoy their houses, and who is going to take care of their houses?”

Local institutions have made efforts to connect with the Latino community. The Parrish Art Museum in Water Mill offers Latino-themed exhibitions and student programs that include Latino children. A prominent cultural organization called The Church in Sag Harbor has made efforts to reach Latinos through community events.

But many Latino residents here are largely segregated from their wealthy, mostly white neighbors. Some live on the fringes, sharing tiny rooms or riding bikes to day laborer pickup sites an hour away.

On a recent afternoon, Ms. Molin visited a small group of undocumented immigrants who had been living under a tarp in the woods behind an ice cream shop until a manager there threatened to call the police. The group moved into the trees elsewhere, nearly in the back yard of an upscale restaurant.

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One of the men living in the woods is a landscaper waiting for summer jobs; another lost his job at a deli after he took time off to treat an injury; another suffers stomach pain and cannot work. They spend their days wandering through stores, warming up and charging their phones. Ms. Molin handed them gift cards for food and offered to pay cellphone bills and even purchase plane tickets to their home countries if they wanted to go. None did.

Some Hamptons workers who are in the country legally have spent tens of thousands of dollars to file immigration paperwork but are afraid that they might be harassed or detained regardless of their status.

One woman, a housekeeper, said that while she could support her family in Ecuador, she did not have the money for a lawyer to help expedite her political asylum case. She also worries that if she shows up to court, she might be deported. She said she was so exhausted by anxiety that she felt ready to leave the country if she was ordered to do so.

Another cleaner said that she did not believe she would be deported because her boyfriend is an American citizen and her four children were born in the United States. Besides, she said, she believes Mr. Trump is detaining only criminals.

Both women asked not to be identified because of the stigma of deportation threats.

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Susan Meisel, an art collector who owns a Bridgehampton restaurant, said she too believed that federal officers would be able to weed out criminals and deport them.

“Most of the people in the Hamptons are very hardworking, kind, honest people,” she said, speaking of Latino immigrants. “They are good people. There is a difference between them and who they say they are going to deport.”

Federal officials have said they intend to prioritize undocumented immigrants who have committed crimes. But Mr. Trump has also said that he would deport millions of people who are living in the country illegally — a characterization that is complicated because many immigrants have temporary permissions that will expire during Mr. Trump’s term.

Some of the Hamptons’ wealthier residents have begun raising money for lawyers to help immigrants avoid an ICE dragnet.

“I’ve been trying to encourage people to give a little more money, even if you’re a little more stretched,” said April Gornik, a well-known landscape painter who lives in Sag Harbor with her husband, the artist Eric Fischl.

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Minerva Perez, the executive director of Organización Latino-Americana of Eastern Long Island, an advocacy group, said school districts and police departments should distribute clearer policies in both English and Spanish about how they plan to respond to federal immigration orders so that residents feel informed.

“There’s sometimes a good degree of empathy,” she said, adding, “In this moment, empathy is not enough.”

Luis Ferré-Sadurní contributed reporting.

New York

How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn

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How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn

Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.

“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”

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Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”

He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.

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How a Museum Security Guard and Artist Lives on $51,000 in Parkchester

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How a Museum Security Guard and Artist Lives on ,000 in Parkchester

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.

Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.

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“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”

Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.

“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.

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A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.

Love at First Sight (With New York)

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As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.

A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.

“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”

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The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.

“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”

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A Slower Pace

Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.

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The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.

The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.

He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.

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The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.

Splurging on Plants and Experimental Harsh Noise Records

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Mr. Compton may not have any children, but he is a proud “plant dad.”

His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.

When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.

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A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.

On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.

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When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.

His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.

“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.

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Looking Ahead

Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.

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Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.

Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.

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“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”

We are talking to New Yorkers about how they spend, splurge and save.

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10-Minute Challenge: The Ceiling at Grand Central

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10-Minute Challenge: The Ceiling at Grand Central

You made it time. If you want to look a little longer, just scroll back up and press “Continue.”

Look up.

Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.

Look up to see the stars.

One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:

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The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.

Who says there isn’t magic in Midtown?

The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:


But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:


Here’s Taurus, the bull:

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A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).


Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.

Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”


Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”

How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.

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Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.

“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”

The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.

Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.

But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.

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“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.

For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”

Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.

“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”


The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.

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Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.

Take what you want. Take what you need.

***

By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:


The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.

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See you there.


How we took the photograph

To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.


This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.

Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.

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