Periodically, as pages here (and albums on FaceBook) get too long, I create new ways to organize what has turned out to be a performative, sequential art project. I didn’t foresee these elements at the outset, but they are both present, albeit in non-traditional ways.
Sequential, not only in terms of being exhibited almost daily right after they are completed, but also the way sub-series evolve while various numbers of those series have been made public. This is where having a long history (35 years) of making work public in various ways is very helpful.
Performative, in that, as a longstanding live performer, I regard my audience on FaceBook similarly. In fact, many of my FB friends have been at my live shows events over the years, so posting paintings feels connected to those events and those people. That I am here in my studio and my audience is able to comment on work I just completed is amazing!
I archive paintings in variety of ways. Archiving has become part of the project. That they are all represented on both platforms in at least two ways (Paintings and Currently Available or Paintings and SOLD), but more likely in several ways, means… that there is more than one way to enter the project. And then there are those who are only peripherally aware of any of this, who may only see random paintings as they pop into their newsfeeds. Perhaps it’s just more visual stimuli and they don’t make a distinction between my newest paintings and ones marked SOLD – or the people who I think I’m friends with who never see any of this because they blocked me or maybe they’re only on here twice a year! I don’t know! It’s all in my mind!
All paintings since the beginning of the project (January 2016) are archived. None have been removed. This runs counter to how artists are encouraged to present their work online, but this is a building project and every painting is necessary for the various calculations that take place monthly and annually. Also, it would seem disrespectful to the audience (some of whom have been involved from day one) to remove evidence based on the whimsical notion of quality increasing over time – this isn’t how the ‘new is best’ youth-oriented music industry functions, so why insist that it’s true in painting? Also, I’ve been painting portraits since 1973, so who’s to say which are the best?
Here on my artist site paintings available (by year), all paintings by month (most recent 3 months visible), and SOLD (3 chronological pages). I also make a video every month around the 15th of portraits available (with Mecca Normal songs).