In Conversation with Dustin Emory

For the Urban Dwellers exhibition curated by LVH Art, we interviewed Dustin Emory about his exploration of isolation as a central theme, his decision to work exclusively in black and white, and the work he made for this show.

Dustin Emory (b. 1999) is a self-taught American painter based in Atlanta, whose work explores isolation by rendering familiar everyday moments strangely unfamiliar and subtly absurd. His paintings often feature solitary figures sharply lit within interior settings, intensifying feelings of introspection and quiet tension. These seemingly ordinary scenes carry a charged atmosphere, as if something troubling has just occurred or is about to unfold. Emory amplifies this unease through distorted perspectives and unexpected viewpoints. Using oil, acrylic, gouache, and pumice stone on canvas, he builds rich, monochromatic surfaces that draw viewers deep into these intense moments. His muted palette and textured layers invite a visceral connection with the psychological spaces his figures occupy, capturing the complexities of solitude in modern urban life. Through his distinctive treatment of light, colour and perspective, Emory challenges viewers to reconsider the hidden emotions embedded within everyday experiences.

LVH Art: Can you walk us through your creative process? Do you usually begin with a plan or sketch, or does each painting develop more intuitively?

Dustin Emory: My process begins with a very quick sketch, usually in my notes app as it allows me to jot it down quickly as the idea forms in my head. I then take the sketch into 3d modeling software and build out the scene. A lot of times this will be the longest part of the process as most of the decision making happens here. I’ll often make animations of the scene that I can then pull from to create a more natural feel. Once the composition is decided, I shift my focus to layering, creating textures and surfaces on the canvas.

LVH Art: Are the figures in your work based on real-life references, drawn from people you know or pictures found online, or are they entirely imagined scenes and people?

Dustin Emory: The figure in the paintings started out as a reference to my father. I think now the figure has become a stand-in that allows me to explore all angles of isolation and constraint. 

LVH Art: Your artworks frequently feature solitary figures set against interior backdrops, evoking a sense of isolation and resilience. What attracts you to this theme, and what aspects of the human condition does it allow you to explore?

Dustin Emory: I’ve been interested in isolation and, more specifically, confinement ever since I was a kid. It started when my father first became incarcerated. That became a jumping off point for me to dive headfirst into the subject, and I’ve explored it almost exclusively since. I’ve found that invention usually happens once I’ve given myself strict constraints to work under. I want my process to be influenced by the narrative and vice versa. 

LVH Art: Your palette is entirely monochromatic. When did you choose to make this shift away from colour, and why?

Dustin Emory: I’ve been working with a monochromatic palette for around 4 years now. Early on I was much more drawn to compositions and textures rather than color. Giving myself this parameter has made me question the negative connotation “limitation” generally receives. Creation hasn’t ever been invigorating to me if I have every tool at my disposal. 

LVH Art: Are there any artists, writers, or other creatives who have inspired or influenced your practice? If so, what about their practice or ideas resonates with you?

Dustin Emory: I’ve recently been reading about and looking at Robert Therrien a lot and have been quite enamored with his ability to make inanimate objects feel like they’ve had a past life. 

LVH Art: Could you share more about your painting which will be part of the Urban Dwellers exhibition? We would love to hear about the inspiration or some of the references that you looked at for this work.

Dustin Emory: The figure in my work exists in an introspective world, with the walls of his environment appearing to be the extent of his life. Our current reality can be so individualistic that even moments surrounded by others can feel increasingly isolating.