Paddy Johnson

I mean, I honestly think if you do that, that it would pretty much take off.

And then if we can get...

Now, I don't know if you can answer this question, but when we began this interview, you said that one of the primary ways that you learned was by reflecting and looking at historical books.

And as we've talked, one of the things that has struck me is how far ahead you look in

Because I actually think that's really difficult to, especially in this environment, to think more than what's just like in front of your feet.

How did you get to that place?

Is that just part of the artist's brain that imagines how something could be different?

I mean, it's interesting because I think one of the things that pretty much every artist can agree on is that something needs to change, right?

Like in terms of the type of support that we get, how we get it, this

The way that the economy is built right now is not really designed to support us.

I think one of the surprises here is that the fix...

as you're presenting it for maybe not the entire creative economy, but something that accounts for more of the different ways that we fit into the culture, is that the fix is actually pretty simple.

That's the thing that's a surprise.

I really appreciate the metaphor of the opposites and that tension that comes out of that.

But it also reminded me of how when we bring opposites together, there is also a harmony that happens.

And you got a lot in communications.

And when I think about an artist's visual presentation and all of the things that go into how they present their work from the, like,

work, its documentation, how they write about it, how they price it.

Some of these things don't seem all aligned.

Like the brain that you use to write something about the work is like an entirely different brain than the thing that you used to make that work with your hands is an entirely different brain that you use to price it.