Ms. Mulry was in my studio yesterday, ostensibly so that she could return the few remaining pieces of “junkmail” after the Studio 1680 show, but also so that she could see some of the new work.
Yes, I finally did get back into the studio to shoot. After all those months of preparing the pieces, it was time to finally unleash the camera obscura. I even printed and framed a couple, although I have to say that the paucity of camera work (esp. after all that painting) is a huge departure from the endless pictures I could generate in Colors of Transformation and virtually all my other series. The scope of this new work is still enormous – this is very fertile ground – but the time requirements are near impossible for me to comprehend as I also slog out a living and search for new forms of income. A handful of pictures? That’s all I got for Milky White? Ah, says Jack, but they’re MAGIC pictures…LOL. I truly have gone Into the Woods.
Ms. Mulry’s response was appropriately bewildered (I think) and then impressed (I hope) as she wandered around and let the work sink in. I always recall Knox Martin’s claim that people cannot see the unfamiliar, yet Ms. Mulry always does, for which I am very grateful.
She made a bold choice for the upcoming Norton Biennial Photography Auction, to which we’d again been asked to donate. The correct choice, I believe, of one of my newest pieces. It’s a large tray (it might be better called a cradle) that has only been partially polychromed and thus allows the Saturnine nature of the molded pulp to exist alongside the color work.
And so the opening up of my own package begins. In a few weeks, a room full of photography collectors will pass by this piece. A handful might stare at it and wonder, “what the heck is that?”
But will anyone actually see it?