Installation view of "Muggsy"
Basketball courts can be found in every corner of the globe, appearing in the most unexpected places. Their unifying power has long made them integral to communities, connecting individuals across language, background, and age.
In Giles Pates’s latest exhibition “Muggsy”, the artist documents basketball hoops set up in unusual locations around the world through his paintings. These hoops serve not only as childhood memories but also as a narrative reflecting Pates’s own experiences and perceptions. The inspiration for this series arose from a conversation with his family, particularly his brother-in-law, who recently immigrated from Pakistan and discovered a sense of belonging in the vibrant basketball scene of New York City. Through these works, Giles seeks to evoke nostalgia for a time when communal spaces held profound significance, reminding us of the unity and connection experienced as children in the parks of our hometowns.
Installation view of "Muggsy"
What initially inspired you to create art, and how has that motivation evolved over time?
Art initially captivated me because of its deep, meditative engagement—it allowed me to connect with the world without always having to participate in it. As a child, I was intensely creative, often immersing myself in large-scale projects to the point of becoming almost unhealthily introverted. I loved committing to a mode of communication that unfolded over days, weeks, or even months.
Yet, these projects were never just about self-expression—they were also about connection. I often finished a painting and gifted it to someone I wanted to befriend. Art became my way of communicating my perception of the world without needing to put it into words. This dynamic set off an interesting cycle: the more deeply I thought about the world, the more deeply I connected with others.
Now, as I’ve grown, that relationship has reversed. Because of the skills I developed through painting, I’ve become more engaged with my community, and my inspiration has evolved accordingly. I now paint communal spaces to highlight their significance in our lives. At its core, my lifelong pursuit is an exploration of human connection.
Installation view of "Muggsy"
In what ways do you believe your cultural background influences your artistic expression, and how do you see it reflected in this exhibition?
My cultural background is fundamental to both my art and my broader worldview. I grew up as the child of immigrants in New York City, and those two aspects of my identity—being an immigrant’s son and being a New Yorker—have profoundly shaped my perspective. Since my parents weren’t from the U.S., I naturally gravitated toward other immigrants and people from vastly different backgrounds. This experience gave me a broad understanding of humanity, community, and culture, which ultimately sparked my obsession with these themes.
New York City, in particular, is the top layer of my creative perspective. The city is an endless collage—every street corner opens onto a new door leading to a space that looks nothing like the last. That variety, that ever-changing architectural landscape, plays directly into my work. Beneath that, however, is the foundation of my upbringing: growing up in multicultural spaces made me acutely aware of both our differences and our fundamental sameness.
This is especially evident throughout the Muggsy series. You see variations in architecture, foliage, socioeconomic conditions, and the general upkeep of environments. Yet, at its core, the experience of a local park is universal. It’s rare to find someone who hasn’t had some formative moment on a concrete square, with a pole, a backboard, and a hoop.
Installation view of "Muggsy"
Your brushstrokes vary in texture. Could you tell us more about that?
This is a very intentional technique on my part. I’ve found that the most time-consuming and frustrating path often yields the best results. When I first started painting, I used simpler techniques that prioritized efficiency and accuracy, but I quickly realized they lacked soul. Now, I reapply strokes over and over, layering textures to create a depth that gives the subjects a more tangible presence. That repetition, that insistence on texture, makes the work feel alive.
Installation view of "Muggsy"
Do you have a favorite painting in this series? If so, what makes it special to you?
Denmark is my favorite. On a surface level, it was simply one of the hardest pieces to create. The detail work was painstaking, and I love that from a distance, it seems simple—but when you look closely, every inch is covered in intricate wood grain patterns.
On a more personal level, it’s just a very soothing piece. I mixed the colors to be cool and muted, creating a palette that feels harmonious. The way the colors complement each other and blend together brings me a deep sense of peace.
Installation view of "Muggsy
Do you have any plans for a new series in the future? If so, can you share any details about it?
I’ve already begun working on a new series that carries a similar thematic thread. This time, I’m painting kitchens from around the world, creating layered narratives based on what remains when the people have left behind. The kitchen is a deeply meaningful space—it holds memory, love, and the rhythms of daily life. At its core, it’s a universal space that serves the same function everywhere, yet its nuances vary wildly from place to place. By capturing these differences, I hope to highlight the shared humanity within them.
