We have a billion ideas... and we're distilling them.

So, based on what we were talking about today-

* We can look at making work in (roughly) two categories- larger projects, like installations, larger drawings, etc, and smaller work that in some way is something that would be sellable at moderate prices. Saying that, there is a danger of making work that we think would be appealing and also could dumb down or simplify in a stupid way. If the whole of the studio work relates in some way, it won't feel like merchandising in a stupid way.

* An idea along these lines includes creating a series of drawings around made up insects and animals, in part based upon 19th century taxonomic drawings. The smaller and extensive series of drawings or prints would be part of a larger exhibition, using display conventions to have a play on the fiction/non-fiction thing.

* Another idea this raises is the the opportunity to change venues, or take advantage of spaces usually reserved for scientific displays. There could be some potential in spaces that are usually ignored or poorly designed.

* Of greater importance, we could think of things like science, art, the gee-whiz thing, as ways people attempt to validate their way of looking at the world. Emphasis on attempt.. and in some way, form and technique will be decided on how we choose to focus on illustrating that drive and curiousity.

So, while this doesn't give us that pat statement, maybe some good footing. Maybe a distillation of this could be "creating work involves art, science and other ways people attempt to validate their idea of the world, presented from a number of perspectives, with a variety of ways of approaching our audience." Still general, but like we said, we can appoach specificity when projects are proposed or executed.

Left overs:

Coastopia
www.xtcian.com
sealife book (still haven't found the title of this)