Weezy Collection

[Weezy]

Sven will recognize this guy.

Bumblebee, snagged just before his solo show sold out at Beyond Eden. Why I acquired it: I'm a fan, and Bumblebee's Beyond Eden show knocked it out of the (Barnsdale) park. I wanted a piece of that.

Weezy

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[highbrow]

that guy is great ( or is he a girl ) either way he or she is great

[svenman]

mine is in my daughter's collection now!

[svenman]

that evol piece rules. i must have missed that before.

[Weezy]

The Schiele, framed with same frame as Berens, but in gold. Wasn't a big fan of the frame when I picked it up, but it looks great in the room where it is. I also like it as background to the Viktor Verhovod.

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[Weezy]

Viktor Verhovod, Dancer.

Why I acquired it: I liked the carefree form and movement of this-- something accomplished in the flamenco arms and the pivot of the hips. The glaze is nice too. I don't like the bird in the hand, however.

Bought at Blue Moon Gallery in Sacramento. The gallerist's enthusiasm for art and her artists is really catching.

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[Weezy]

Idiot Love, out of its crate and up on the wall, with a prime over the mantle location. Framing is so horrible at some point I'm going to consider reframing (wish Andy @ Sherman Gallery had done the framing, but alas they did not).

I was a bit concerned putting this over the living room mantle given some of the erotic elements (a well-placed post-it will be necessary if children visit), but my cleaning lady whom I thought might be offended gushed about how wonderful it was. My contractor was also a fan and thought I'd be nuts not to put it over the mantle. Go figure.

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[Weezy]

Antony Micallef, Idiot Love, from this summer's Eurotrash show at Laz's pop-up in BH.

Why I acquired it: This was one of my favorite pieces of the show, and it's got a lot of work in it. To me it captures a visual interpretation of love that's visceral rather than intellectual with allusions to a love ending poorly-- and hence "idiotic" in a disturbing combination of images depicting a mix of feminine innocence transformed, lust, tawdriness, jealousy, a blushing, blooming freshness with the pinks and flowers, and an inflated, superficial infatuation vs true love. There are also elements of betrayal, like the way the blowup arm appears hooked through the black heart/black hole with a mangled human heart dripping into the foreground that at first looks like just another fresh rose.

The composition is great, it's brilliantly executed, and it's disturbing in a way that makes you think about what's being communicated. I'm just so impressed by this talent.

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[highbrow]

looks great weezy

[mancub]

Nov 14, 2010 1:02:20 GMT -8 Weezy said:

Idiot Love, from this summer's Eurotrash show. This was one of my favorite pieces of the show, and it's got a lot of work in it. To me it captures a visual interpretation of love that's visceral rather than intellectual with allusions to a love ending poorly-- and hence "idiotic" in a disturbing combination of images depicting a mix of feminine innocence transformed, lust, tawdriness, jealousy, a blushing, blooming freshness with the pinks and flowers, and an inflated, superficial infatuation vs true love. There are also elements of betrayal, like the way the blowup arm appears hooked through the black heart/black hole with a mangled human heart dripping into the foreground that at first looks like just another fresh rose.

The composition is great, it's brilliantly executed, and it's disturbing in a way that makes you think about what's being communicated. I'm just so impressed by this talent.

This piece reminded me of a Toronto artist, Hugo Arias. I just posted a thread on him, check it out.

artchival.proboards.com/index.cgi?board=artists&action=display&thread=4444

[svenman]

weezy, very nice.
i like how the kristen schiele piece came out. that was a great pick up.

[epicfai]

collection is looking great weezy. really nice diversity.

[gildoinc]

Congrats Weezy. It's a wonderful piece. Collection is looking great.

[Weezy]

Thanks all. I'm glad Epicfai that you're seeing diversity in my collection.

I don't have enough years under my belt to claim any confidence that I know what I'm doing as a collector, but I'm enjoying the challenge of honing my sensibilities about a particular genre of art. I still struggle to think as a collector, rather than buying up pieces just because I really love the artist's work (which seems a recipe for running through available wall space way too quickly), my goal is to have a set of work that I not only personally enjoy, but that I believe is representative of the best of what was out there during a particular period and that had something meaningful to contribute to the history of art during my collecting lifespan. That's just my goal, I don't think that's where I am with my collection yet at all.

I'm not sure how to make that distinction of "I like the work AND it contributes something unique to what's out there because Y." I wonder that acquiring a Francis or a Micallef is also just me loving the artists' work and using their more established collector popularity to claim it was a "thoughtful collector" decision. I'm so much more confident in the "collector's rationale" behind the acquisition of my Vhils, whom I tracked down based on a couple of digital images that blew me away-- I saw those and knew I was looking at an extraordinary talent who would be going places. I needed to have a piece of his in my collection, and I got on the waiting list early at Vera Cortez in Lisbon to get my first choice piece. This was before the Cans Festival and he was discovered by Laz's marketing machine. I'm not saying that I need to "discover" an artist early, it's just that the decision-making is clearly yours and not someone else's. I think I'm trying to say you have to know in your heart and mind why this artist is important and why you collected him or her and not substitute pedigree or the collector herd for that "knowing."

I just hope I'm not going to regret my acquisitions over the past 18 months. I think maybe I need to get my head together. Anyone have similar thoughts/struggles? Or are you all just having a better time collecting because you're not overthinking it.

Sorry for the expansive monologue here in my own forum, but the one thing I wished to learn from others who post their collections here is some narrative about how they think about collecting generally and why specifically they bought a particular piece from a particular artist. What drew them to the piece, and why does it resonate? It doesn't seem like anyone does that here, and I wonder why. There are some amazing collections here, and I know I can learn so much from others.

Mostly people just just post a pic with the artist's name and title. I guess the assumption is you're a fan and you know or you're not and you don't. I find that regrettable because while I'm not personally a fan of quite a few pieces in others' collections, I truly enjoy the challenge of thinking about the work from the perspective of someone who really loved something about the piece enough to acquire and post it, and so I try to see it myself. Sometimes I could use the help, and I'd like nothing more than to change my mind to agree with the person who bought it.

For my collection, if you like or don't like something I'd truly like to hear your honest critique with specifics (why do you like it or not, and what's your favorite, least favorite thing), and maybe have a dialog about it. To me that's the whole point of this collectors post forum. I've got very thick skin.

Weezy

[Weekender]

Nov 14, 2010 22:04:48 GMT -8 Weezy said:

My goal is to have a set of work that I not only personally enjoy, but that I believe is representative of the best of what was out there during a particular period and that had something meaningful to contribute to the history of art during my collecting lifespan.

Weezy

Great thoughts Weezy. Eventually there will be preference towards a particular genre in ones collection, which i think is reflection of one's personal taste at that time. We collectors evolve which is a natural process so diversity in one's collection is a time stamp of our collecting career. The more we get exposed the more we widen our perspective on what is out there.

[Weezy]

Thanks for those thoughts weekender. Does evolution mean collectors' remorse?

What I've discovered as I've started to view art with more of a collector's eye (vs merely a spectator) is that I'm finding myself really liking work that I'd initially dismissed and falling out of love (albeit slowly) with work that I'm initially really enthusiastic about.

With a collector's eye, I'm also looking more critically at the entire oeuvre of an artist, and I'm contextualizing each piece. Accordingly, my feelings about a single piece from an artist are now much more shaped by what I think of all pieces by that artist. A one-off blockbuster, no matter how incredible, isn't probably something I'm going to collect. If an artist misses the mark too many times, even, I'm not sure that they're going to someone I'd collect, even if I start out wowed by their work.

I also think it's ideal to see at least one or more showings by an artist before collecting him or her, and with the passage of time between shows determine whether you're still hot on the artist and why. I haven't always done this, but a cooling off period really clears and focuses my thinking.

Anyone with similar or different thoughts out there?

Weezy

[commandax]

When I first fall for a piece by an artist, I generally look back into their archives to see where they've come from. If I see evidence of vision, passion, dedication and evolution, chances are I'll be buying something from them. If I see signs of repetition, commercialism, stagnation or the lack of a drive to create – an "inner necessity," as Kandinsky put it – I will probably lose interest in them.

[svenman]

weezy, i find it interesting that you are challenging your collecting sensibilities both personally and also publicly. i admire that.
i'm also concerned at times with the work i own, and how it fits with other pieces in my collection.
i love the genre of street art and graf, but i have very few things of that genre hanging in my house. i think it takes a partiucularly strong vision from an artist of that genre to make a piece of work strong enough to hold it's own in an indoor context rather than how you would experience their work in the intended location of outdoors.
you said be honest, and as much as i like your vhils work, i struggle to view one of his pieces comfortably in an indoor context. don't get me wrong - i like the work, and have made specific trips to london to see his work, but i don't think i'd personally be able to house one of those resin billboard pieces myself. don't take this as a critique though, just a personal observation of mine.

you have some real a-grade pieces in your collection, including work from artists i'm not familiar with. i enjoy the diversity. i've had the pleasure of see your ian francis piece, and i love it. i think it's my favourite of the pieces you own.

i think a few people will resonate with your reservedness to buy an artist you have immediately discovered. understanding the work of an artist is an important part of my appreciation of their work, and there's nothing like observing the progression from show to show first hand.
still, i'm pretty passionate about what i like, and seem to be able to make reasonable judgements upon what i buy, so have learned to trust my instincts and jump in head first if something really shouts at me. i still do make impassioned decisions to buy something even if i know not much about the artist.
art is passion, after all.
i have things on my wall from 8 years ago, that i still love and enjoy as much as when i first bought them.
in my time collecting, i've only ever sold probably a handful of things, and these have been necessary to plow the money into something else, but i have come to a point where i probably do need to thin things out a little. it will be a struggle to choose what i have to let go of.

thanks for sharing your wonderful collection, and also your thoughts here - and i hope i don't offend with my comment on the vhils - just an observation on how it would, or in this case wouldn't fit into my own collecting aesthetic.

[thejoker]

Some interesting comments and emotions that i think most collectors probably go through. Weezy, for someone who has not been collecting for long, you do have an impressive collection. I am drawn to it because I guess I sway slightly to what Sven refers to as the street art/graf genre. I have sympathy for the question of whether street works in the house - I would not own a Banksy( despite believeing him to be one of the most significant artists of this generation) because his best art is 'situational'. That said I think street art has moved on and whilst I hate putting art in a box, I think Urban contemporary sums up better what many artists are about. Some artists 'in the street scene' have never been near a wall at night. I think the points in your thread that particularly resonate are all to do with patience. When I look at my collection (which includes a lot of pieces not relevant to this forum) the pieces I get the most enjoyment out of are the ones I took time over buying. As a generalisation most of the 'regret' pieces I own are from the heady days of hasty preview buying. The other problem is that as individuals we are learning of new artists all the time, and sometimes an artist comes along that blows you away, making you re examine your earlier acquisitions. As for what makes a piece great - no one knows the answer. History is littered with great artists not appreciated at the time. Undoubtedly there are others around today that few rate. I maybe misquoting here but I think it was George Bernard Shaw who said if more than 10% of people like your art, then burn it because its no good

[Weezy]

I really very much appreciate this dialogue. I'm just throwing out things I'm thinking about, and from these responses I already learn so much.

Sven and everybody-- please no reticence about saying what you think about Vhils, my Vhils or any other piece in my collection. It's eye-opening, and I thank you!

I actually agree with Sven and thejoker about street/graf artists, but I have a bit of a different take. On one hand there are artists like ROA whose show I attended last weekend in LA. I think he has talent, and I'm impressed by how prolific and iconic his work is. His show was a success because I left with a better understanding of what he's all about, but I still wouldn't call myself his biggest fan, nor would I find his work appropriate for my home. To me it doesn't translate at all well from street to gallery to home. I note that this gallery was basically a warehouse, so it worked particularly well in the space.

While I share Sven's and thejoker's sensibility to a degree, I still want to see very clear references to "the street" by street artists. When I look at my Vhils piece, I'm transported to the streets of Lisbon-- not the streets tourists see, but the streets where advertising posters are papered over and forgotten and from which Alex as a kid from those streets using God-given talent and without any formal training had the vision to gouge, tear, paint and tag into existence something that resonates, and that is itself a statement about the circumstances that generated the media from which it was created. For that vision and skill, Vhils is an unquestionable talent in my view.

Accordingly, I was so disappointed by what I saw as a soulless interpretation of that original brilliance in highly polished, glossy gallery interpretations of his street poster work for the Eurotrash show. I say this as no disrespect to Laz-- I love it that they're trying to get the high-end art buying world to discover Alex's genius even if it has to be on their terms, but in this case I don't think it served anyone's interest. I hope that he ultimately finds his "street voice" in his gallery pieces-- he's still so young, and I'm optimistic that he will.

My other "street/graf" piece is my EVOL Plattenbau in the same room. EVOL is a technical virtuoso with stencils (there's really nobody who I've seen even come close with that medium), and he's got a distinctly German POV and very sharp, acerbic wit that's also very German and close to my own heart. While I don't think my Plattenbau is anywhere as good a demonstration of EVOL's mad stenciling skills as some of his recent work on cardboard, it's absolutely iconic of EVOL's street work, and it's an actual artifact of the GDR that makes this cabinet something like my piece of the Berlin Wall. As a German-American with close ties to Germany, that resonates with me deeply, not only from a German perspective but also because it has many touchpoints to my own socio-political identity as a person who values liberty and individualism and who is keenly aware of how those values fared under East German Socialism. EVOL's incorporation of the individual expression via the tagging as a doubly illegal act in the GDR into and in juxtaposition with a trompe l' oeil miniature of the tenement housing so iconic of the suppression of individual aesthetic to the limited and functional is, in my mind, a statement of the individual's triumph over that whole soulless and pernicious regime. From an art historical perspective, I think it's important in that context, just like I think Vhils' piece makes an important statement about Portugal and the Portuguese capital in the interregnum between dictatorship and integration into the EU. Vhils' poster series "I consume therefore I am" made of discarded advertising posters portends the sovereign debt crisis in Portugal that's relevant to today. When I look at and think about my Vhils those are the thoughts that come to mind.

These pieces sing to me with a context that enhances their overall impression-- it's not just their aesthetics. So it's not hard for me to understand when people tell me the aesthetic doesn't particularly resonate with them.

I look at Micallef in the same way. I think I get "Idiot Love" at a visceral level that's rich with subtleties and that's independent from a purely aesthetic impression of the piece (see my earlier posted thoughts on that piece). Although there's an aesthetic there, and it's impressively rendered, that's not what principally excites me about the work.

My Ushiro, Schiele and Berens appeal to me most strongly on aesthetic grounds. I collected Ushiro and Berens because their amazing aesthetic is achieved through a medium that's unique to their work, which makes the pieces both beautiful to look at and thoughtful from multiple perspectives. Nobody that I've seen (of modern artists) can depict light with the full spectrum intensity that Edwin does-- it's absolutely amazing. Kristen's piece resonated with me in a way I can't seem to fully describe other than to say it's exotic and outerworldly and beautiful all at the same time even though I couldn't begin to tell you with any convincing specificity what it is that she's actually depicting in this painting. The inexplicable emotional response I get from that piece is what I love most about it. Her artistic POV also seems fresh and unique, and the work really pops.

I like the aesthetics of my Francis, but what most impresses me is what he achieves with the smart choices he makes in the work. My piece is called "A New Journalist Fails to Get to the Point in an Interview and it Ends Horribly." You have, therefore, the clear figures of interviewer and interviewee. What's brilliant is how the symbolic choices underscore the subject. That the interviewee has "checked out" is exhibited in her dissolution into pixillation, and there are under images that suggest a turning away and then a "why are you still here?" confrontational body language that's coupled with the insouciance of taking a call at the same time. The interviewer in her humiliation begins to disappear, but by being otherwise crisply rendered is still unavoidably, glaringly present. There are tiny lines, almost like marionette strings, coming from above that keep her in position, like the niggling reminders of "this is my job" and "I'm supposed to be here" rendered tenuous by the "I should go-- should I?" facial expression and positioning of her footing. Meanwhile, most apparent is the huge schism crackling with static depicted in the background that's representative of the growing gulf between them. The symbolic elements of imminent catastrophe are in the exploding cameras. Topping it off is the ground that appears to pull away with hurricane force intensity-- the ground literally being ripped out from under the interviewer, possibly driven by the gale force scorn coming from the interviewee. There's prettier and maybe even deeper (as subject matter goes) work, but like Micallef, there's a tremendous amount of intelligence on display.

The Makarovs I could talk about but you really have to see them live to appreciate the optical illusion that makes them special. I moved the Central Park piece into my den, which has low light. It picks up the available light with an incandescence that casts different subtleties in the shadows of the piece-- it's totally different from where it hung before because of the lighting.

Sven, I earlier posted in response to your collection that as diverse as it is, I definitely come away with a very strong sense of your aesthetic, which transcends all your pieces. And as such there is a very powerful sense of the "you" in it, however eclectic the individual pieces might seem. I also feel that way about Commandax's collection, although her collection is very easy for me to get because I share so much of her aesthetic sensibility. To Commandax's point about viewing an artist's oeuvre online to provide conviction in advance of a show, I do the same thing (heck I bought my Francis on that basis!) but what I've increasingly discovered is that to really appreciate some artists, you have to see their work live. Commandax noted in her year end review that Dabs Myla were among her "up and comers." I get that POV now, but I never would've appreciated the thought and skill in their work if I hadn't seen the Thinkspace show in person.

Also in response to Sven's ability to be decisive about talent and take action, I hear you. I think that's even true for me, too. I think I'm becoming more reticent because the price points of my recent acquisitions are enough to have me doing some deep soul searching about whether I'm making the right decisions. On one hand I want to recognize the reality that you can spend the same to acquire 10 pieces that you really like as 1 piece that just changes everything about how you think about your entire collection and the space you live in. When you have limited wall space, and while it requires a great degree of discipline that can be painful at times, to me the latter is the smarter path as a collector, particularly taking the view that I've got half a lifetime of collecting in front of me, there's no rush and patience may mean the difference between a collection that's a mile wide and an inch deep and one where every piece is is spectacular. But I also recognize that such a mentality can also become a trap, and may not in the end lead to a "better" collection, particularly as I referenced earlier if you substitute the collector herd for your own "heart and soul" assessment. I hope I avoid that kind of decision-making my actively checking that potential impulse.

Weezy

Thank you for posting!

[Jesús]

Weezy, as stated by sven, I admire what you are doing, more so, since you are doing it publicly; analyzing your purchases/artists you collect.

I just started purchasing originals this year as well (long time print/poster collector); the more I get into it, the more I discover the endless possibilities in styles/themes/artists around... it makes you wonder if your past purchases were the right ones, and/or if your taste in the present will endure the pass of time.

To me, it is a matter of going with what resonates with you. It seems to me that the pieces you have acquired speak to you on a very personal level... the stories/connections you tell about your Vhils and EVOL make it clear that your collection is not just something that looks pretty or is in style, but it actually touches you on a very deep level. So, don't question yourself too much, in the end you don't have to explain the reasons behind your purchases (don't get me wrong, they are very touching/seem heartfelt and I actually enjoy hearing these stories more than anything else, seriously).

I think we all go through collecting w/some caution since (at least in my case), funds/space are limited. In the end, it makes purchasing a new piece much more enjoyable. And yes, from time to time, we all question our past purchases. I am at that stage that you are now; being more cautious and less impetuous on the pieces I decide to house. I also share and admire your aesthetic; you collect a bit from everything (style)/everyone, but your pieces are tied through the stories you have gathered in life. From Vhils, Micallef, and EVOL (I would put Francis here as well)... to Berens and those beautiful sculptures... to Ushiro.... great pieces, great artists, awesome collection.

On a side note; I love street/graff art as well. I agree that some pieces are meant to stay on the streets, but to me art is art... it could be plastic, paper, cardboard, ink, charcoal, metal, canvas, wood, toilet paper, you name it... you can make it work depending on where you place it at home/its surroundings.

Funny... I tend to buy pieces and then immediately think what would look nice next to it. I have an anxiety/desperation hallway... a 'you can make it through the day' wall (positive meanings)... a forget the past-live the present wall... a 'world is a crappy place' wall, and yes, a street art wall (although my street art pieces are solely prints-not originals unfortunately).

End note: (you prob. know this stuff, but it doesn't hurt to be reminded)
Look at artists' craftsmanship, look at their style and what makes them unique, take a look at their portfolio, if possible chat w/them (email/person), but in the end, what is most important buy art that is part of your story, is significant to you.

Thanks for sharing your thoughts, gives me a reason for introspection...

[Weezy]

Churdiales: Dude, post your collection and talk about it. I'm really intrigued by what sounds like groupings based on an emotional reaction to the work-- anxiety/desperation, make it through the day, forget the past, world is a crappy place, etc. I'm curious as to whether the pieces resonate with the same emotions for me-- or how I might think differently about them from you.

I also agree that there's something really intriguing about "out of place for a home" media of street and other work (e.g., your toilet paper as medium reference). I would think differently about a literal pile of ossified crap in a room from the pages of Architectural Digest vs. on the floor of a camp porta-potty. Not that I don't identify it as the same piece of ossified crap, but I'm at least interested in and more likely to contemplate the "why" of it in the context of where it shouldn't be. The same principle sometimes applies to street or vanguard art. It's not that it's objectively better in one context vs. the other, it just may generate more thinking about it where the context is non sequitur-- i.e., a medium or reference that doesn't square with the environment in which it's displayed.

How are you selecting your styles/themes/artists to pursue? I've kind of glommed on to a certain genre of I guess it would be New Contemporary/Outsider/Street but I'm not entirely sure how to branch out from there and feel as comfortable. I'm just not as comfortable that I have as many reference points to know what's there and adequately assess the landscape. As a rookie, there's confidence in focusing on and knowing a niche.

BTW-- thanks everyone for the kind words as well. I'll appreciate the validation as well as the critique.

Weezy

[jake]

May 22, 2010 22:18:02 GMT -8 Weezy said:

Recent add, Edwin Ushiro. It's like framed sunshine, giving an impression both that it radiates light and that the vibrant, beautiful colors have started to burn out by the constant suffusion. You can almost feel warmed by it.

I'm slowly making my way round the forum and checking out people's collections - it's great to come somewhere new and see more work of artists who i've never really looked in to before.

This piece looks stunning - as you say you can almosy feel the warmth. Looking into more of Edwin's work I am amazed by what he does with colours - there is something very special about the effects he gets. It reminds me of the colours you get from light leaks with old cameras - the ends of film that aren't supposed to be developed and yet it is always something that i look forward to when i get rolls of film back. There's a warmth in his work that reminds me of film photography. I'll definitely check out more of his work.

Thanks

[jake]

Nov 25, 2010 1:48:00 GMT -8 Weezy said:

How are you selecting your styles/themes/artists to pursue? I've kind of glommed on to a certain genre of I guess it would be New Contemporary/Outsider/Street but I'm not entirely sure how to branch out from there and feel as comfortable. I'm just not as comfortable that I have as many reference points to know what's there and adequately assess the landscape. As a rookie, there's confidence in focusing on and knowing a niche.

I find it really interesting that you say about your "niche" - i feel that i've got a collection based around similar themes albeit not as impressive as your collection.

I started collecting a few Banksy prints while at university and the other artists in collection of spiralled from that singal reference point. I've bought work by other artists from that Bristol scene (Will Barras, Sickboy, Cyclops) and more recently other graffiti/street artists (Word To Mother, Case, Herakut) but still feel like my collection is a little niche and at risk of seeming very dated. I love the pieces on my walls and get pleasure from them everyday but i do worry that one morning i'll just look at them in a different way - growing out of them in the way i grew out of bands as a teenager.

I feel being aware of these feelings helps make me be a little wiser in my choices, as does a limited budget - after a few big purchases I am now seriously thinking about everything I buy and analysing my decisions a little more. I also feel lucky that I was out growing prints just as that market got stupid (crazy prices, crazy hype and, now, generally worthless both artistically and monetarily).

[Weezy]

Bumblebee, "Don't Move" (2011). From his recent sold out show at LeBasse.

Why I acquired it: Bumblebee might have a different interpretation of this piece, but it resonated with me on various levels that makes it, despite an initial impression of simplicity, a thoughtful piece on multiple levels with some smart choices on execution.

By repurposing the plastic door of an abandoned newspaper kiosk, the piece references its own origins to make a statement about how things once ubiquitous in an urban setting can become obsolete and abandoned. Keeping the "Property of the LA Times" sticker is a nice touch, as well as the use of discarded newspaper kiosk, to allude to the decline of old, non-digital media like the LAT and the rise of new media. This concept is consonant with Bumblebee's theme-- referenced in the bumblebees dimensionalized on different sides of the plexiglass panels-- to the mystery of how and why things such as bumblebees or newspapers and their kisoks, once ubiquitous, and seemingly so necessary for the pollenization of flowers or ideas, disappear.

The boy, which Bumblebee told me is a reference to his own childhood, conveys his nostalgia of playing with yo-yos at school (like many playground trends, this one came and went-- again the abandonment allusion). As such it could be deemed to reference how ubiquitous things can become obsolete even over so short a time as the span of one's childhood to today, and that there's a sense of nostalgia about those things as a reference point in one's life. Alternatively, the child could represent something young and growing-- the future rather than the past-- like the rise of new media or graff art.

As a piece of graff art, I think this work references the rise of graff art as a manifestation of creativity in an environment of abandonment, obsolescence and blight, which is introduced by the incorporation of existing tagging.

Finally, I like some of the technical choices. Bumblebee told me he won't show a work if the eyes of his figures don't stare through to your soul, and he accomplishes that in this piece as well. Working on plexi gives the piece interesting dimension on the bumblebees. I also think once I hang it up on a non-white wall, it will look like the wall was tagged because you'll see the wall behind it-- a great nod to the graff origins of the artist.

I've wanted a Bumblebee for a while, but needed to have the right representative piece, and I was really happy to get this one and do business with LeBasse.

I'm very glad Bumblebee's work is getting attention. Congratulations to Beau for included his work in the show currently at LeBasse and the upcoming Portsmouth Museum Show.

Weezy

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