I could, in fact, imagine my similar summer-themed collection on display, although not in such a formal gallery. At least, not yet. It was a few levels of quality below what I understood would be curated as an exhibit. Although the maneuver itself, the concept, was perhaps correct — so I should just keep iterating, stealing, borrowing, re-mixing, posting, pushing, publishing. As much as it had been my art (oh good lord, I’ve called it the three letter word), the posters illustrated what a series of constraints allowed for, if you kept at it. That it was even something I strive for at all is such a confusing, embarrassing, and easily misunderstood inclination.
However, though, let’s play at the pretentiousness for a moment.
Valkyries, 2009
Stallion, 2012
Longboards, 2013
Nautilus, 2014
Deloreon, 2015
Shadow, 2016
City, 2017
Fossil, 2018
What I could also, in fact, imagine I’d suggest being printed on the wall — adjacent or perhaps below — is how the ultimate constraint, of having canceled the party in 2008, was what planted a small seed that began the whole project.
Not that another break would lead to something newer or better. But I keep wondering if I could stick with this type of limit, hold fast to it creatively in an entirely other medium and situation.
