He’s got a boat on wheels, a rough unpainted collaborative this-was-junk aesthetic, a genuine dependence on strangers, and a rigorous, fresh and unprepared way in which he enters into (and writes about) his work.

Turning the gallery into the studio is not a new idea, yet he enters into these collaborative essaies with a dedication that makes it work together, rather than just act as a spectacle. These things aren’t concepts, their life events.

(you see why I’m smitlike)

^{The K.I.D.S.}

^{Pulling Together}

^{The Machine}

^{These Colors Don’t Run}

^{Giant Pumpkin}

Interesting to note how his choice of placement for the “These Colors Don’t Run” flag makes such a difference. On a white wall it would be a cloying statement. On a stark building way up high it becomes disconcerting. Contrast that with the pumpkin, which loses its impact once you see that he’s at a halloween party. The context of the documentation really matters, really makes it what it is (and what it is not).

Something to keep in mind as I prepare to document and discard the big things I’ve made here in Serbia. I have one chance to capture it right. The swimming pool? A white box? Silver paint, or pink? And, most of all, can I afford to wait for the snow.