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And Ray, before he got into the restaurant business, told me he tried selling leather work at the street fairs. Said you had to make what was in the stores. People didn't buy anything original.
My paintings would be concepts as timeless. A museum was more conducive
to timeless concepts preserved, like time capsules, the greatest of which may
be the Egyptian Pyramids. The context of time as timelessness is any-time and anybody. The symbols should be timeless and represent underlying unconscious universals. They are concepts for mediation. I don't think anyone understood them. Not sure I understood them, but I must have or why all the work and expense. It was gracious of all my friends to accommodate me, even though they may not have had a clue as to what I was doing, and I thank them.
The other problem was authority. If my meditation pieces were something more
than puns, and carried weight, they would need authority. They were un-understandable. Authority was necessary to cause people to ponder them. In the ponderment they might discover something about the human condition, which was hopefully eternal, although I don't think I quite had the concept down at the time. A larger scale would have more authority.
I was caught in caged commitment. I suppose I had to reckon my circumstances. I had to have a relationship with Sonoma and my son. We split everything fifty-fifty. We were friends. I can't remember having a single other affair. Well there was the woman who sat on a high stool above the little chair she gave me. But that was a three day puppy love, of which I was criticized for being so sappy. There were opportunities.
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