Even though Agnes moved out six weeks ago, so many people still ask me about the project as if she were still living with me. It’s interesting how each person involved with it, or who knew anything about it, has a different perception of what was going on and what it was about.  For example, a couple days ago, someone pointed me to this tbd.com article (I hadn’t seen it until now) that mentions the project in the context of a recent play produced by Factory 449 that had an eerily prescient subject matter. According to the article: The artist struggled with Hughes’ lack of ownership over the experiment. “[It’s as if] we’ve broken into her house … she’s choosing to pretend it’s an embarrassment,” Bolt told me. In relational aesthetics, the medium with which Bolt says she has a complicated relationship, interactions and relationships make the art, so Hughes, and anyone else who interacted with Bolt became a part of her artistic process. Yep, I’d say I had a very much different interpretation of the project. In a way, I ruined it for Agnes. She had a clear idea of what should happen and I derailed everything. The project became something much different from the original rules she laid out and the expectations she set for us. Would the project have been “better” if I’d followed the rules? I don’t think so but I suspect Agnes would disagree. In any case, I found the project to be extraordinarily meaningful. *Photo credit: Arden, Lizzie and the young man in Magnificent Waste. (Photo: Photo by Stan Barouh)

Even though Agnes moved out six weeks ago, so many people still ask me about the project as if she were still living with me. It’s interesting how each person involved with it, or who knew anything about it, has a different perception of what was going on and what it was about.  For example, a couple days ago, someone pointed me to this tbd.com article (I hadn’t seen it until now) that mentions the project in the context of a recent play produced by Factory 449 that had an eerily prescient subject matter.

According to the article:

The artist struggled with Hughes’ lack of ownership over the experiment. “[It’s as if] we’ve broken into her house … she’s choosing to pretend it’s an embarrassment,” Bolt told me. In relational aesthetics, the medium with which Bolt says she has a complicated relationship, interactions and relationships make the art, so Hughes, and anyone else who interacted with Bolt became a part of her artistic process.

Yep, I’d say I had a very much different interpretation of the project. In a way, I ruined it for Agnes. She had a clear idea of what should happen and I derailed everything. The project became something much different from the original rules she laid out and the expectations she set for us. Would the project have been “better” if I’d followed the rules? I don’t think so but I suspect Agnes would disagree. In any case, I found the project to be extraordinarily meaningful.

*Photo credit: Arden, Lizzie and the young man in Magnificent Waste. (Photo: Photo by Stan Barouh)