On a shelf in his studio sits the original inspiration for the binocular conceit, a Men At Work album. The shelf is Gruzis’s “shrine,” and it contains all kinds of inspiration objects, from a breakable sugar-glass prop bottle to the skull he uses for his still lifes to a figurine of Santa Barbara, the patron saint of engineers. The wolf painting in the background he considers a talisman of sorts. “I’m not going to sell that ever,” he notes.