CURATING

I'm a curator of a sort but I'm not the usual kind because I didn't do this to make comparisons. It's my life process.

Yeah.

And I've done spontaneous curations before--even my book is a curation.

Instead of documenting the original with a camera she documented it through Rosie Feist .

Oh, Yeah

And so an exact copy is a little more like documentation but when you take it in the context of the other five then it becomes an interesting exhibit.

Uh, huh.

Because we'll have different values represented. Then there's the whole value system of wishing to preserve family history. Saving something that meant a lot to you. So you get past, present and future values here that will be implied. Perhaps those who see this show will be thinking back to their lives. So it grows and grows like rootlets. They may not agree with the idea of copying or preserving memories. If they disagree it means only a different kind of comment.

So we don't mind what they say. Positive or negative. It's all good.

Uhm hm.

So you do what you want?

Who did this one?

Rosie Feist?

Feist. From Edmonton.

Oh.

Where is yours?

I didn't make one. I'm the discoverer of the sequence.

Oh.

[Laughter]

So I'm a finder. This group of paintings will make a "found" show. I'll putting them together and I'll make a proposal.

Oh, yeah.

They'll make an interesting show with the history and all the comments that went with them.

Did you notice that in the context of the other five how each of them took on a new look when it was with....

They all look completely different. If you look at them together.

So this is what interests me. To recontextualize work. I will apply for a space to show these in. I'm organizing the show so that visitors will have input.

DURATION

She remembers being there when David put the ball through this one. I'd like to hear his version of that.

It sure changed from picture to picture.

The lighting changed except in this one. It's nearest to the original lighting. The other artists put their own sense of lighting in their landscapes.

Well, they say mountains wear over time or change over time so......

Yeah, that's interesting.

I think it would be really nice to use the mylar and not have it protected.

Uhm hm.

So maybe you'd have to spray it with UV spray.

Maybe. But that wouldn't be a problem I don't think.

But would it be a problem for you to put something out that does disintegrate?

Well, I thought of it lasting one month. After that I don't care if it disintegrates.

That would be a really nice reference back to the original.

Isn't that an idea.

And let it fade because it makes the digital as vulnerable as the hand done. It disintegrates. It ages.

You remember that theme they had at Banff, "The Transient Image"?

Uhm hm.

It fits with that. Fleeting, elusive.

I thought about duration and time passing and the deterioration of the colour of the paper in the window as compared with the duration of the deterioration of this painting and also there will be the deterioration of the chalk landscape that's going to be on the sidewalk there.

I suppose every work of art ultimately deteriorates to nothingness. Elegant marble someday will deteriorate to dust.

Right

See this nearly got thrown out because of its deterioration.

Yeah

And I've recuscetated it or something. Ha, ha.

Yeah.

It's gonna breathe again.

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