Upon stepping into McCormick’s Los Angeles studio, the first thing that strikes you is its sheer scale. Designed and built by McCormick and his friends, the space functions not only as an art studio but also as a showroom for his apparel brand, One of These Days. It serves as a hub where his creative vision is fully realized. McCormick, who works across painting, drawing, sculpture, and photography, spoke with us about his artistic journey and inspirations.

―― Could you tell us about the themes and concepts behind your work?

A lot of my work deals with the American experience—not just in the obvious ways, but in how America exists as both a place and an idea. The country’s influence on global culture is massive, whether it’s music, film, or even the way people dress and think. I’m interested in how that influence spreads, shifts, and reflects back. At the same time, I have a complicated relationship with it. I love America, but I also see its flaws up close. It’s a place full of contradictions—opportunity and failure, myth and reality, beauty and destruction. My work is about sitting in that tension, not necessarily resolving it but trying to understand it.

――What made you interested in painting?

I grew up around it. Both my parents are artists, so making art was just part of life. Some of my earliest memories are of being in their studios, crawling around on paint-covered floors. It never felt like something I had to discover—it was just there. When I was a kid, I took pride in it. I was always “the art kid” in school, and that identity stuck. Even when I moved out, no matter where I lived, I always made sure I had a space to work, whether it was a whole room or just a desk with some supplies. It’s never been a hobby or something I do when I have time—it’s just the way I process things.

――When did you first start incorporating American motifs like cowboys into your work?

Early on, I was just painting things I liked—images that caught my attention—but I didn’t have a real direction. About 12 years ago, I started a series I call my “story paintings,” which are basically snapshots of my own life—places I lived, objects I owned, phrases from songs I was listening to. At some point, I included a cowboy in one of those paintings, and it connected with people in a way that made me want to explore it further. The cowboy is one of those images that carries a lot of weight—it represents something bigger than itself. Over time, I started thinking about what it really meant to me, and I realized it was more than just nostalgia. The cowboy is one of the most enduring symbols of America, right up there with a Marlboro pack, a Coca-Cola can, or a Ford truck. It’s this universal shorthand for a certain kind of independence, toughness, and myth-making that I think says a lot about how America sees itself.

One of McCormick’s favorite spaces is his book room, filled with works from artists he admires. He designed this space specifically to soften the cold, industrial feel of an art studio.

―― What materials and mediums do you typically work with?

Mostly oil painting, but I don’t limit myself. I also work with charcoal, pencil, ink, photography, video, and sculpture. It depends on the idea—some things need to be paintings, some things don’t. I also make a lot of books, which I like because they let you create a sequence. A single painting is just one moment, but a book allows you to build a whole story. The same thing happens in exhibitions—when you put a video next to a sculpture or a painting, it creates a conversation between them that wouldn’t happen otherwise. I think a lot about how different mediums interact and how they can add depth to the work.

――What is your favorite space within the studio?

The whole space is set up to support different parts of my process, but two rooms stand out—my office and the painting room. The painting room is where the real work happens, but getting into that headspace isn’t always easy. That’s why I usually paint late at night or on weekends when no one’s around. I need music playing, no distractions. Once I’m in it, I don’t really think—I just work. Before that, I spend a lot of time in my office, reading and thinking. That’s where ideas take shape. Once I step into the painting room, it’s like flipping a switch. The music I play there is usually from my childhood or high school—songs I don’t necessarily listen to outside the studio but that help me slip into a different state of mind. Painting is physical, but it’s also meditative. My body is working, but my mind is somewhere else.

―― What do you do to stay focused?

I have routines—morning hikes with my dogs, breathing exercises, therapy. Those things help clear my head before I step into the studio. When I’m there, I try to create a space that feels calm and intentional. It has to be clean, well-designed. Music is always playing, candles are lit. I need the environment to be right so I can actually get into the work. That said, I always have multiple projects happening at once, so sometimes I have to force myself to focus. But once I start, I can get lost in it for hours. The trick is just getting past that initial resistance.

――What are your impressions of G-SHOCK?

I had one when I was younger, back when I was surfing a lot. What I like about G-SHOCK is that it’s built to be used—it’s not some fragile, precious object. It’s durable, practical, and it lasts. I don’t like things I have to worry about breaking, especially when I’m working in the studio or doing something active. G-SHOCK fits into my life because it’s meant to be worn, not just looked at.

―― Do you have a favorite time of day?

Mornings and late nights. In the morning, I wake up early, handle what I need to at home, and get to the studio by 9 AM. That first hour, when the space is empty and the light is coming in, always feels good. But my favorite time creatively is late at night, when everything is quiet. That’s when ideas start forming. I take notes on my phone during those moments because that’s when my brain starts piecing things together in a way it doesn’t during the day.

――Why do you choose art as your form of expression?

It’s just always been the most natural way for me to communicate. I’ve gotten better at writing over the years, but when I was younger, it felt intimidating. Music is a huge influence on me, but the idea of writing a song seems impossible. Painting, though—making things visually—has never felt out of reach. There’s also a kind of freedom in it. You can say what you want without having to explain it, and people can connect with it in their own way. That’s what keeps me doing it. It’s not just about expression—it’s about creating something that exists beyond me, something that keeps evolving in other people’s minds even after I’m done with it

McCormick's essential painting tools and materials.

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Matt McCormick

Based in Los Angeles and New York, Matt McCormick captures the culture and landscapes of the American West through mixed media, including painting, drawing, sculpture, and photography. He also runs his apparel brand "One of These Days" and has collaborated with Woolrich and Neighborhood.

Instagram. @mattrmccormick