Ayin Es

Joshua Tree, CA

“I make art because I have to.”

Ayin Es (they/them) is a Los Angeles born, self taught artist now based in Joshua Tree, California. Their work is driven by instinct, persistence, and a deep internal need to create. “That might not sound like a full answer, but it is.” For Ayin, making art is not optional, it’s a constant, and is closely tied to both survival and self understanding.

“Art has saved me from all the bad outcomes you can imagine,” they explain. That sense of urgency runs through both their practice and their life. Over time, they have learned to rely on themselves, to ask for help when needed, and to stay grounded in a set of personal values that include kindness, courage, and discretion. These principles shape not only how they work, but how they move through the world.

Their connection to art began early. As a child, they recall being drawn to posters in the waiting room of their mother’s psychiatrist’s office. “I knew then, around five years old, that I wanted to make art and paint.” Later, once they were able to drive, they began visiting museums on their own. It was during those visits that the decision became clear. “I knew I was going to be an artist from that day forward.” They found a particular connection to abstraction, seeing it not just as a style but as a language.

Even with a daily studio practice, the drive to create doesn’t quiet down. They describe themselves as a workaholic, acknowledging that this tendency can be both productive and harmful. “I think I got into this habit as a way to distract myself from pain.” At the same time, the process brings a sense of structure and accomplishment, offering moments of balance.

Ayin Es considers voice and style to be separate. “Style can be abstract, figurative, landscapes. Voice is how it’s executed.” They believe their voice emerged early, after an initial period of intense production. Over the years, others have described Ayin’s work as having a naive or childlike quality, a characterization they accept with some hesitation. Their approach continues to evolve, shaped in part by materials. Watercolor tends to lead them toward more illustrative work, while oil and collage move into abstraction. With oil painting alone, they describe the process as open ended. “Anything goes.”

Their working method often begins privately. “I start with a sketch no one else can see,” they explain, using it as a way to think through ideas and develop them into something more concrete. These ideas do not always result in a single painting. They may expand into a larger body of work, an exhibition, or a concept for a book.

Alongside their studio practice, Ayin works independently and occasionally builds websites for other artists. They are also committed to advocacy, supporting trans youth and their families, queer rights, women’s rights, Black lives, and justice for victims of violence.

“At the end of the day, I want to feel some peace in the work,” they say. Looking ahead, they hope to place more work in museums and institutions, particularly in spaces like hospitals, where art can meet people in moments when it is needed most.