Thursday, March 31, 2011


Several people have asked me about a post on Liz Taylor. I think one of the reasons I held back is because I didn't feel done with her, even though there’s already six Targets of her. I was surprised she left this soon. And perhaps the best of the stash I’ve yet to cut. I mooned over the images and didn’t feel like risking them, yet.

Good art in general takes risk. Collage is right up there. Eunice Parsons said in an interview: You have to be brave. Faint heart never won a beautiful collage. She also mentioned that the risk was easier – or maybe just more urgent – with age: Occasionally I look at a piece and think this is too gorgeous, I can’t do it. But I’m going to be gone soon and someone will just throw it away, so I cut.

Lately though I’ve rediscovered how much fun low risk can be. The stash piles up and I feel like doing something, but my nerves that day are shot. So I cut what may promise nothing. She’s not that important to me. She’s nobody. And she’s tarnished, laden with patina, of an imperfect paper, imperfect times, an imperfect ad campaign. I have my doubts and that takes the pressure off. It’s another day of working and we’re not looking for lightning to strike the act of genius. The reward is not just the act of making or even what you end up with. The reward is the readjustment in how you view everything. There's a liberating shift.

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