More Access

An unexpected pleasure in writing has been to find that I am inspired to write about stuff happening in the studio which of course doesn't really happen exclusively in the studio.
The hat hanging issue is big for me as the questioning of the phenomena of originality and its impact on aesthetics overall looms large. Without access of the known my audience, such as it is, decreases. And as much as they might be interested in and even enjoy looking at my work they will not support it.

And my support comes, and I'm hoping that doesn't fall into past tense, exclusively from private collectors. This could change and if it did that would be a wonderful thing to be sure. Problem is the grant makers and potential residency offerers have the same fearfulness. Of the original. And I'm thinking this is because they do not want to make fools of themselves. And that's ok. Very few of us are willing to have our status diminished in our peer group. I don't have any status so I don't have to worry about it. I can be as outlandish as is necessary in order to follow my foolish path right on down the road. I can scratch at as many surfaces as I wish.

Unfortunately it seems to me that it is peer pressure above all that helps people be stupid. They can do other than the most specious think but simply will not because their neighbor won't or their colleague won't or their hairdresser won't. The beat goes on. We like to think of peer pressure as something teenagers are subject to but alas alack that is just the beginning. If you wish to read the extraordinarily thoughtful essay,The Fundamental Form, Elisha Webster Emmerson wrote on just this dilemma I have it posted on my website.

The day is windfilled here on the hillside. And overcast, which I love because it softens all. Me included. As for rural derring do: a tufted titmouse has built a nest near my car and is busy every day attacking the rear view window in a steadfast defense of his territory. I'm thinking I'll tape a stripe on the mirror to dissuade him being as if this continues he will either break my mirror or his beak.

Funny....but back to my dilemma concerning access, I've often liked plexiglass and glass covered work because it allows all sorts of ambient situations to play with a piece of work.
Maybe that's part of my solution. To literally let the viewer in to a painting. Not installation or performance...donedonedone...but painting. Ah I have done this in the black on black paintings. And we know what number that audience has! Three. Well, maybe six.

Back to square one.