Sent: Monday, July 05, 2004 10:50 PM
Subject: Re: July newsletter

Pygoya,
What happened--did people not come to see your art? Or if they did, maybe they didn't understand the concept of webism? When I went online, I visited your Hawaii Destinations section and liked it a lot, thought it was interesting and it reminded me of "fractal magic" that I had way back when I had my first computer. But I thought that your art would be more satisfying to see on print, hanging on a wall, than in a virtual museum.
 
Anyway, I paint conventional/representational art--landscapes--banal, by many people's standards. I don't know how to talk about abstract art, much less within the context of the webism movement. But I'm still visiting your website--maybe I'll learn something.
Priscilla      
 
 

 

Good Morn Priscilla,

 
The opening was a disappointment. Brochures, with the work of drafts with a 2nd party and the bill, the mailing list of several hundred, and the mailing/postage, but yet just a handful came by. You know the feeling, sparse crowd, big expectation, a deck of leis by the loyal relatives that show no matter what.  Yes possibly the traditionalist would prefer my work as prints on the wall and they do "shine" at Che Pasta.  Actually I reject fractals as a way to express my digital work and in fact there is the opposing camp of Fractalists.  I like to blame the sloppy or intentional work of media in the resultant absence of any blurb in the papers and this has happened during recent shows (Sam Choy's, Lauper Cafe).  Press release were sent on time, then repeatedly due to past experience. Yet, the same no result. I think I'm a marked man.  But there are enough paranoid artists in artistically crowded paradise.  The lack of interest even among my mailing list (and my agent's) is a small enough sampling to demonstrate the level of interest here for digital art.  The most DISAPPOINTING for me is that right now, there in Che Pasta, hangs probably after my passing, what should eventually be publicly acclaimed major museum coveted works. Their canvases, 6x4', that hail from the 80's when the personal computer first entered society, and became the art tool of choice for a few like me.  It's the rare glimpse of the history of where today's sophisticated everything digital origins came from. Only 16 color oil painting, today 16 million mixed colors at one's finger tip, or should I say mouse.  I truly hope they don't sell for a couple thousands, after che pasta and the agent I get what, $700?  These should remain in the family estate, but my art agent wanted so bad to share/sell these works with the people of Hawaii. There is, according to her, great reaction to my work by the local dining patrons, so that's a nice feeling. But the general population will never ever know this show ever existed and that is a media responsibility and crime.  Oh I am aware of how many other fledging artists are weekly disappointed by opening the Sunday paper and nothing on their shows, it's a numbers game.  Probably also a political and unfair system too.  I love traditional work and media so don't get me wrong.  I look for inspiration from all the movements in art, especially Western painting.  I always strive to include suggestions of lineage of my digital work with the history from which it is derived, even as I try to extend the edge of new image exploration that is possible through the power of my medium.  I have to keep up with my world colleagues' work or I'm history so to speak.  This is one nice benefit of being in the international Webists group, it's a survey of global efforts by among the best in the medium, insuring my work doesn't get dated and passed over as the speed of technology that I use rapidly changes.  So my work and that of other digitals cannot help but record the passage of cultural time in the accelerated pace of the Information
Age.  There is hope for my work, there always is, for the artist that doesn't quit.  Sure I am a bit depressed at the moment, but my lifeline is always intact through commaderie and insured empathy of fellow digitals around the globe and the alternative show space and cultural community of the Internet.  I assure you the world watches the result of this Che Pasta Webism show and sadly, they can see through the veil of my show prep enthusiasm for the potential of Hawaii in digital art (because I founded Webism and am an active leader) through the absence of press (European Webist shows have add major press coverage and interest and always state Hawaii and Pygoya as the startup of the movement) here and the sparse gathering photos which I am obligated to display online for the group and as Webist historic documentation. The local show will come and go, even shorter than life, but the published documentation online will be a perpetual scar for our world movement.  Shucks, where's the aloha?
 
Right here,
ALOHA,
Pygoya