"You don't need a uniform color: We used a mixture of brick red, browns and grays, and then threw in seashells, branches and various types of rock, so our walls ended up looking like cave paintings!"
About this Quote
Bachman’s line has the offhand swagger of a musician remembering a build the way you remember a great jam: not meticulously planned, but alive because it refused to stay inside one key. The “you don’t need a uniform color” opener reads like a rebuke to showroom taste and middle-class sameness. It’s not just about paint; it’s a small manifesto against the idea that a home (or a life) should look “finished” in the way catalogs demand.
The charm is in the collage logic. Brick red, browns, grays: earth tones that deny the sleek, aspirational sheen of modern interiors. Then he spikes the mix with literal artifacts - seashells, branches, rock - turning the wall into a found-object montage. That gesture pulls from the same cultural impulse as rock’s best moments: scavenging, repurposing, making texture out of what’s nearby. The materials are humble, almost stubbornly local, and the result is proudly irregular.
Calling it “cave paintings” is the kicker. It’s playful, but it also smuggles in something serious: the desire to make a space feel primal, pre-consumer, closer to ritual than decor. Cave paintings aren’t “designed” so much as insisted into existence. Bachman frames the house as a kind of studio - a place where experimentation leaves visible marks - and he’s clearly pleased that the end product looks less like a renovation and more like evidence that people actually lived there.
The charm is in the collage logic. Brick red, browns, grays: earth tones that deny the sleek, aspirational sheen of modern interiors. Then he spikes the mix with literal artifacts - seashells, branches, rock - turning the wall into a found-object montage. That gesture pulls from the same cultural impulse as rock’s best moments: scavenging, repurposing, making texture out of what’s nearby. The materials are humble, almost stubbornly local, and the result is proudly irregular.
Calling it “cave paintings” is the kicker. It’s playful, but it also smuggles in something serious: the desire to make a space feel primal, pre-consumer, closer to ritual than decor. Cave paintings aren’t “designed” so much as insisted into existence. Bachman frames the house as a kind of studio - a place where experimentation leaves visible marks - and he’s clearly pleased that the end product looks less like a renovation and more like evidence that people actually lived there.
Quote Details
| Topic | Art |
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