Alrighty, then.

SOSSOL, 2008
30" x 24"
mixed media on canvas

Life is very funny. I wrote the following post late last night after angsting over whether the above painting was too rough around the edges to be a catalog image for an upcoming exhibit. I will tell you the punch line after the post.

An assistant would be nice. Today, for instance, I could have wasted even more time making Brushes sketches. Instead, I slogged through real work. I had to pick an image for a catalog for an upcoming exhibition and was procrastinating. I really like the image I selected, but it's not very pretty in the traditional sense and it falls under the category of, Odd Paintings I Make. It's not exactly a one-off, it's more like a deviation. At the last minute though, I chose to add an additional image, a prettier one. Choices are so hard.

Speed Trap, 2008
mixed media on linen
14" x 16"

I was playing favorites with SOSSOL. Why? Because I was feeling super contrary and SOSSOL appealed to my super-contrarian outlook yesterday. Trying to be objective, aka second-guessing myself, I began rationalizing that SOSSOL might not appeal to as many people as Speed Trap and if there's a chance to sell some art, as opposed to pretending I live on air and am satisfied with merely exhibiting my work for the greater humanitarian good, maybe I should promote peaches, not potatoes. I included the bottom image, Speed Trap, as a back-up in case I had lost my senses. I have no idea which image they picked, but that's another story.

Okay. Now for the punch line- Today I received a call from an art consultant* I recently began working with and she wanted to send out an email blast with- you guessed it, SOSSOL. (She picked a few other images, but I was terribly excited that she picked that one and another one from that body of work.)

Today, I feel very brilliant. For some reason, I love it when people like my schizoid paintings. (Mwahahahaahhaha)

* I was trying to play this down, but since it's L.A., what the hey. I thought having my foot in the door with a consultant that rents to film production companies might be an interesting way to spice things up. I once rented a couple of paintings to a set designer for the production of Blink when it was filming in Chicago. It's a little weird to think about art contextualized this way, but probably no more so than any other contextualization.

I shall talk about practicalities versus ideals another time.