I finally got a trial proof of the special edition. I had to order it as a rush job, 2nd day-shipping because it normally takes a billion years to get the books. I was so excited when it arrived. The paperbacks and the case bindings are terrific. It actually didn’t occur to me that the cloth covered ones wouldn’t be great too. Well, to me, it looks like a blind raccoon put it together. There’s no way I’m going to use books like these for my limited edition. Look at this!
And that’s just the spine. The linen isn’t glued down on the front very well either. I contacted the printer, and even though they are replacing this one, I don’t trust them now. I’ve spent countless hours since, looking for a printer/binder who can help me within my budget and I won’t be able to make a decision until the morning when business hours begin again.
It’s not just the book. It’s my show.The concept I had with my box of family photographs isn’t working for me. I had this idea that all the art I produced for the show had to literally tie together with the book. And it was supposed to be in step with my inspiration too? That’s just not going to happen. I had to rethink it all, so I’m going to have to make changes. This process has to be organic. I mean, strategic, yet organic at the same time. Solo shows are not easy to plan, not a cinch to curate/not curate ahead of time. It’s just tricky.
Basically, I just want to paint whatever the hell I want to, which I will. I probably just need to bring in some paintings that I started before I went on hiatus and tie those into whatever I do. Get myself back on the path, then it will all make sense together. Sometimes, in the end, you can make it all work by titling the exhibit something that embodies the whole thing somehow. I’ll probably be able to connect the dots in the end. I should just stop worrying about it so much.
Okay, done.
Can I get a free copy ?
Hi Emma, Can you remind me which Emma you are?