Unsellable art was bad art. So according to the cognoscenti, Gabriel was making bad art. And by this same perverse logic, any art that sold was automatically good art, in direct proportion to its sale price. Who were these buffoons who decided what sold and what sat out in the soggy cold of the marché aux puces [flea market]? Soulless men who, no matter how they tried, saw only Swiss francs and yuan in the brushstrokes of the masters.
Do you want to make great art? That's separate from fame and fortune, you know that. Art is a commodity. Maybe it used to be something else, but now, all it is is tradable currency that looks nice on a wall.
How far would I go to get my artwork in the public's eye? For people who don't readily recognize where my name comes from, my gender identity can remain a puzzle, which is why I've received communications with Mr. in front of my name. I've never had to, but if did, I would consider initials or a pseudonym. The annals of history demonstrate that, in general, those who belong to a society's dominant group--whether out of willfulness or ignorance--do not readily share their privileges, opportunities, rights, resources, and rewards with "others." Sometimes those "others" have to use morally complicated means to gain them. The question is where to draw the line (no pun intended).
How has "otherness" affected you as an artist? If it was a disadvantage, how have you transformed it into an advantage?
What's your intention in making art?