Welcome to the 288th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists find solace in morning rituals and relish both connection and solitude in their studios.
Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio.
Jun Yang, San Francisco, California
How long have you been working in this space?
Three years.
Describe an average day in your studio.
My day starts slowly. As soon as I wake up, I expose my eyes to sunlight, meditate, work out, and stop by a café to write or read. I usually arrive at the studio around noon. I begin with small sketches, paintings, or cutting fabrics, often developing these into larger pieces over time. My process is fluid and intuitive. I avoid creating to-do lists — I find it feels stressful — but I try to paint every day. Because I work mostly on unstretched canvases or papers, I create directly on the floor or walls, often using acrylic, oil, airbrush, oil pastels, or soft pastels. This space is a creative mess, and I like it that way. It feels alive. I typically work on multiple pieces at once, which allows me to return to each with fresh eyes.
How does the space affect your work?
My studio is messy, with canvases stacked and materials scattered everywhere, but it feels vibrant and full of life. Large unstretched canvases, brushes, and fabric fill the space. I often hang pieces or paint directly on the walls, and the floor becomes my easel. There’s a large window that looks out onto a Japanese maple tree in the garden, and watching it change colors with the seasons is really grounding and meditative. On late afternoons, natural light pours in through a skylight, sometimes creating soft rainbows across the studio. It lifts my mood and gives the space a more queer and joyful atmosphere. Having a private studio is essential for me. It allows me the focus, comfort, and freedom to fully engage with my work.
How do you interact with the environment outside your studio?
I’m near Mission and Potrero Hill, a quiet residential area with longtime San Francisco Hispanic communities in this area. In the early mornings, I sometimes go for a walk and run. I pass so many blooming trees, bright flowers, and historic homes. It always puts a smile on my face. Outside the studio building, there’s a bamboo walkway near the gate. Birds often greet me as I walk through, and it feels like a daily welcome. There are also many well-known cafés, Mexican restaurants, and bakeries nearby. I love taking coffee breaks there, either on my own or with studio visitors. It’s a peaceful, inspiring neighborhood, and I feel grateful to be part of it.
What do you love about your studio?
It feels like a quiet world of its own. I feel safe and at peace there. Even though it can be chaotic and stressful at times, it’s still where I feel most like myself. The building houses 14 artists, but it’s rarely noisy. Many are educators or have other jobs, so the space often stays quiet, giving me room to think, feel, and create. We share a clean communal kitchen and a peaceful patio, which is lovely to work or sit in when the weather’s nice, and to me, San Francisco always has the best weather. I also love the common area, where we occasionally host gatherings or community events. It’s a nurturing environment, one that holds both solitude and shared connection.
What do you wish were different?
Definitely the storage and insulation. I use every corner of my studio, and it still feels like not enough. I often wish I had more space to move, build, and store materials. The walls are concrete, so it’s difficult to hang or install larger pieces. Summers get too hot, and winters too cold. It’s an old building with all its quirks. Still, I make it work. It’s part of the creative negotiation.
What is your favorite local museum?
I love both the Asian Art Museum and SFMOMA for how they support local artists while also presenting iconic global figures. But the de Young Museum holds a special place in my heart. The programming is incredible, and the architecture is stunning, but what draws me in most is its setting. Located in Golden Gate Park, it’s surrounded by wild greenery and just close enough to the ocean. I bike there almost every Sunday. It’s healing, spacious, and far enough from the city buzz to feel like a quiet escape.
What is your favorite art material to work with?
Acrylic paint. It gives me the flexibility to layer, build texture, and work intuitively without waiting too long for drying. In my practice, I often combine acrylic with mixed media like pastels, oil pastels, and airbrush techniques to explore emotional depth. But acrylic remains the anchor; it’s the material I trust the most to translate urgency and transformation in my visual language.
How long have you been working in this space?
Four years.
Describe an average day in your studio.
An average day in my studio begins around 10am and can stretch well into the evening, usually until about 10pm, though I take plenty of breaks throughout the day to maintain a sense of ease and presence. My practice is slow and intentional, and I prioritize being fully immersed in each stage of the process. I typically focus on one painting at a time, which allows me to give my full attention to the emotional and material nuances of the piece.
Each day begins with a small ritual to center myself: I light an incense stick to clear the space and set the tone, then hand-grind my coffee beans to a coarse texture for a French press. This quiet preparation helps me shift into a more mindful state. Once I begin working, I usually have a curated studio playlist on in the background — mostly instrumental Western music and a blend of Wes Anderson-inspired tracks that create a cinematic, nostalgic atmosphere. The soundtrack becomes a kind of ambient companion, supporting the rhythm of my brushwork and the mood of the studio.
How does the space affect your work?
I think the space itself carries a joyful energy and has great feng shui, which helps me stay creative and focused, despite being right next to a lively wine bar.
How do you interact with the environment outside your studio?
My studio doubles as an art gallery, which makes it a truly unique and dynamic space for me. It’s more than just a place to create. It’s a hub where different energies, artists, and ideas are constantly flowing through. I host events, exhibitions, and intimate gatherings that allow the neighborhood and local artists to connect within these walls. In doing so, the studio becomes more than just a workspace — it transforms into a shared, evolving community.
What do you love about your studio?
The skylight!
What do you wish were different?
Having a studio that doubles as an art gallery means I always have to tidy up and cannot leave any of my workspace (artist mess) around — not sure if that’s a good or bad thing!
What is your favorite local museum?
The Hammer Museum.
What is your favorite art material to work with?
Solar dye and homemade natural pigment oil paint.
