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Clayton describes the series as rooted in a search for these overlooked narratives. “It started with Baldwin and John Coltrane… and then it blossomed to the people of the times, the stories that get overlooked.” His subjects are people he knows or meets through everyday encounters. “It’s the models, it’s their lives. It’s us collaborating, as opposed to me putting a costume on someone,” he said.
Born in Houston, raised in Toronto and now based in Brooklyn, Clayton brings a cross-cultural sensibility to classical realism. His figures frequently appear in clothing inspired by mid-20th-century style, echoing the visual language of the 1930s through ’50s. But rather than nostalgia, he’s after something more layered, a kind of collapsing of timelines. “I’m documenting this moment,” he explains, “but I’m also challenging myths and creating new ones.”
The use of fabric is a striking element in Clayton’s work, operating on both aesthetic and symbolic levels. “I’m playing on ideas like ‘being cut from the cloth,’ ‘the thread’ of an idea,” he explained. The act of painting on cotton alone carries layered historical meaning, but he deliberately reframes it as a site of empowerment. For him, cloth/cotton signals ceremony, resilience and transformation.
‘Sunkiss’ by Taha Clayton.Natalia Zukerman
Clayton has an evolving and deepening relationship with this area. As an artist-in-residence at the Wassaic Project in Amenia, he said, “We were the first residency out of the pandemic, and I brought my wife and daughters. It was a two-week residency that ended up being the whole summer. It just kind of evolved and that’s how my relationship upstate has been.” His series “The Cloth” was presented at Troutbeck in Amenia in 2022 and he has returned as a featured speaker and educator for the Troutbeck Symposium, the multi-day gathering at Troutbeck where middle and high-school students present year-long research projects on under-told local and national histories. “It’s been four years I’ve been with them, so I’m like artist/mentor now,” said Clayton.
Clayton will be in residence again at Hotchkiss for the week leading up to the opening, offering students multiple ways to engage with the artist and providing a rich, hands-on experience of his practice as well as his guidance. “Taha is a remarkable artist to work with because he meets students where they are,” said Tremaine Gallery director, Terri Moore. “He listens deeply, treats their ideas with real respect and shows them that their own stories are worthy subjects. That combination of humility, rigor and generosity is rare — and it’s why students respond to him so strongly.”
‘Crown Maker’ by Taha Clayton.Provided
Clayton’s career has garnered international — even interstellar — recognition, including exhibitions in cities from New York to Barcelona. One of his works was selected for the Lunar Codex’s “Nova Collection” in 2024, part of an ambitious global archive designed to preserve creative works on the Moon as a time capsule of human culture. Clayton recalled the moment the capsule landed with characteristic understatement: “I’m just on the computer watching with a beer thinking, ‘Ok, this is cool.’ But, like the next day, I still had to get up and take the kids to school.”
Interspersed throughout the gallery are ceramic shields that add to the warrior-like quality of some of the subjects. The repetition of a water fountain is particularly evocative, another reclamation that amplifies history without obscuring the truth that shaped it.
Clayton describes his practice as a form of meditation, saying he feels time dissolve while working. “It’s like past and future is all happening,” he said. That sense of temporal layering resonates with the exhibition’s central idea that personal memory and collective history are inseparable. Clayton’s portraits are about recognizing and celebrating the magnitude and multitudes contained in ordinary lives, the reclamation and attention to historical detail and the carrying of history forward with incredible beauty and unwavering dignity.
“Historic Presence” will be on view Feb. 14-April 5 at the Tremaine Gallery at Hotchkiss, 11 Interlaken Road, Lakeville. An artists’ talk is scheduled Thursday, Feb. 19, at 7 p.m., followed by an opening reception Saturday, Feb. 21, from 4 to 6 p.m.
Jennifer Almquist sat down with the couple for a conversation about design, storytelling and building a life — and business — together.
Jennifer Almquist: When did this dream begin?
Bobby Graham: This truly is a dream come true. I wanted to open this shop for more than 30 years, to create something containing all the things I’ve loved that have inspired me.
Matthew Marden: Dugazon has exceeded our expectations. Having our own business, no longer part of a large corporate structure, allows us to tell our stories and work together.
JA: What is your earliest memory that set you on your journey?
BG: My earliest memories include going to flea markets and antique shops with my mom. I still have my vast collection of wooden animals that my mom started when I was a little boy.
JA: What are your earliest memories that drew you to beauty, design and fashion?
MM: I’ve always been a visual person. I was fascinated with The Muppet Show and Sesame Street. I loved their imaginative worlds. It was the late ’70s, and I remember being oddly interested in pop culture, loving the colors and textures of the different puppets, their crazy hair or colorful fur.
JA: What were your favorite stories growing up?
MM: I grew up in Hopkinton, a small town in New Hampshire. I loved “Goodnight Moon.” I remember C.S. Lewis’ Narnia books and their combination of fantasy and reality. I was a voracious reader, drawn to the more macabre world of Stephen King. My dad read me “Watership Down.” I remember the “Madeline” books. I was terrified by the nuns.
BG: I loved books that were visual, especially a pop-up book called “The Great Menagerie,” published by the Metropolitan Museum in the ’70s. I loved “Danny the Dinosaur” and “Cloudy With a Chance of Meatballs.”
JA: What roles do family and tradition play in your lives?
BG: My mom was a homemaker in Sioux Falls, South Dakota, where I grew up, but she was from Baton Rouge. I spent three weeks every summer with my grandparents in New Orleans. It was all about food and family. In our home, Matt and I keep those traditions alive.
MM: We have been married almost two years, but we’ve been together 20 years. When we first started dating, we discovered that despite being from different parts of the country, we had much in common. Family is important to us both.
JA: Are your families supportive of your new venture?
BG: They’re so proud of us. My dad calls every day.
Matt and Bobby with customers at Dugazon.Jennifer Almquist
JA: Matt, what drew you to fashion as a career?
MM: I studied art history in college. For five years, I worked at a New York fashion photography gallery, Staley-Wise. I worked at Town & Country, was a fashion director at Interview, then fashion director at Details magazine, where I stayed most of my career. I became style director at Esquire.
JA: Bobby, what was your experience in advertising and publishing?
BG: I worked in banking for a couple of years using my business degree, but it just wasn’t right. I went to work at Condé Nast as a sales executive for Vogue, GQ, Vanity Fair, AD and The New Yorker.
JA: How did you meet? When did you marry?
MM: It was my first morning at Details. I noticed Bobby in the elevator. We were married in August 2024.
JA: What is your business philosophy?
BG: My business philosophy is that you work hard, you have integrity, you have fun and the money will come. There are no shortcuts in life.
MM: At Dugazon, we sell what we love.
JA: What is your most beautiful, most favorite item in Dugazon?
MM: A photograph by our friend Matt Albiani called “Lost,” shot under a pier in the summer. We had a copy in our house on Fire Island for years.
BG: My favorite item is our candle wall. I just love the way it presents visually. I love the colors.
Dugazon is located at 19 West Main Street, Sharon. For more information and shop hours, visit: dugazonshop.com.
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