Part II

Three questions: “Who has to see the piece for it to be art?” and the follow ups, “how long does the work have to exist?” and more commonly, “what materials are acceptable for art?” My gut and partial subconscious response to this tri-query is found in the materials that exist in my work. These materials often attach themselves to my mind during sleep or attack me in Home Depot (these two situations providing much the same experience, only the latter leaving you less $100 on any given trip while the former just leaves you rested). Media in the Diary Series include tea/tea bags, lint rolls, sandwiches, everyday clothing, and trash. It is in these materials that I ask what materials are suitable for a great piece of art. The questions of who has to see art and how long does it exist are prominent in pieces where water, steam, lint, and even trash are used. Media in the Participatory Series includes water, steam, and dirty footprints. [Now, my compatriot, do not believe me to be adverse to using traditional materials! In this garrulous essay you will surely learn to believe otherwise, else I have not truly represented myself and my work.]

Relative to pondering on the nomination of artistry lies, “Who needs to see a piece for it to be art?” I guess I address this aspect by creating work that is only partially or not documented. I do this both to address this particular question, but also to grant myself the right and joy to retain work for my Being only. But here’s the kicker: an artist cannot live off of one’s art if no one sees it (and buys it), yet does art retain all honor if it is created soley or partially for monetary purposes? This paragraph also answers the question as to why I am not a full time artist.