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Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.
Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art.
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
You cannot always make such big exhibitions, because they consume too much time and energy.
Exhibitions usually are not collected; they disperse after they take place.
When I say art influences me, which it does, it's not at all in a literal form. You go and see exhibitions or collections or meet an artist. It's all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.
Everyone goes to the same exhibitions and the same parties, stays in the same handful of hotels, eats at the same no-star restaurants, and has almost the same opinions. I adore the art world, but this is copycat behavior in a sphere that prides itself on independent thinking.
Many of the museum directors who make an impact personally curate exhibitions.
