I’m sure you know the work of Roman Opałka: he has been painting the same continuous picture since 1965, consisting only of numbers, from 1 to infinity. The work has had some changes over the years, among them, in 1968, the introduction of self-portraits.
At the very enriching exhibition of a part of the permanent collection of theCenter for Contemporary Arts in Warsaw, there is a room with some six of his portraits, from various periods of his life.
Today I discovered a curious detail: in this particular collection of photos, the early ones are slightly out of focus. Or rather, the focus is on the hair in the back of the head. The later we get, the better the focus. The last two pictures, of Opałka past 70, have his eyes perfectly in focus. As if the disappearing of the numbers was accompanied by the appearing of the person. As if he was more himself.
I’m sure this is a coincidence. But why should I care? What’s wrong with a little hermeneutics? Can’t we accept conceptual art to have a life of its own, one that eludes its original readings? Isn’t the fact that Duchamp’s Fountainhas long disappeared, and was recreated by the artist many decades later (in several copies) because of interest in the work, isn’t this a wonderful enrichment of the original work?
It might be considered a useless stretch of the pure concept. Like overdoing something that was meant to be simple. Possibly. I’ll have it my way.

And at the bottom, in the water, remains all this, all that stuff that somehow never unbecame me. And lingers on as if too hazy to be rejected, too ridiculously gone. So if it’s gone, what is it, I ask.The first three paintings are by Andrew Hollis, and the last two – by Gemma Gallagher.

I was fortunate to meet the wonderful, lovely and talented Ms.Julia Pott while she was living/working in New York City this past spring. Julia is such an inspirational artist and person, I’m so lucky to have spent time with her while she was here. She’s constantly busy with new drawings, new branding ideas, and new animation projects, I sometimes wonder when she sleeps! She is truly focused on her craft and her career is taking off quickly because of her extreme passion. Just when I think this little cupcake couldn’t get any sweeter she is now working with theKyrie Foundation donating artwork to pediatric brain cancer research. They are having an auction in November in Kansas City to raise money towards their $50,000 research grant. Any and all artists are invited to donate their artwork, seems like such a small token for such an amazing cause don’t you think?

Here’s some of Julia’s Work for your viewing enjoyment! It’s so adorable and amazing!
Julia’s Etsy Shop
Julia’s Website
and her amazing boyfriend Robin Bushell also a great animator!

Photo by Grzegorz Klatka, found here.

That’s it. You’re moving you’re making you’re growing. You’re growing on this other you that is not you, and which surprizingly serves you as a filter to bring about the rest. See?
And though you know there is no other self, by now the distance is your best ally, you use it like a magnifying glass, the distance is what you learn to know best, you play with it, you give it true depth, you make it resound, this distant you, like a tolling bell, and then you pretend there is nothing, you get on with your work and all the rest, until, one day, it comes back, the echo, simple and potent and clear.

Andrea Schumacher, Poodle; Belle of the Ball; and Transposed Gesture (the latter, original, gesso and gouache painting is available at the Pierogi Gallery for under $400)