Invision

Then there was the space, the geometry, also very interesting in the different directions, hill and space. I loved the smells of the pottery shop. I liked the muck and the sensuality. For my pot-sculptures to have maximum worth, they had to be maximum-in-definitive and original. There it was for real, a form, now do some writing on it as design code. So the stuff had to have value, it was worthless clay and dumb form, but I put hocus-pocus on it, which added another dimension. What did it mean? That was the other side of the wall. You couldn't be sure if it really meant something or not. What it might mean could be the Holy Grail.

It was the stage that made it more believable. When on stage, most people might over assess, where the stage alone would give art some degree of credibility. At my place my audience was on stage consciously or unconsciously, where the view of the city might enhance the feeling.

If my sculpture could, by the posited Picasso proposition, be anything he said it was, then like Picasso my art was worth what I said it was. But I never got into the proof. No one would ever say it, but everybody thinks it. What is it worth? To prove it I would have to sell it. That would mean somebody paid money as agreement, that it was worth something. I actually started down that road years later, when I had done everything else except prove it, and where I knew it could not be proven anyway, because it was worthless, and could only be sold by con artists.

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