On the wall // In the magazine

When I first worked with Monica Canilao back in 2007 at my old spot Paper Boat I knew I needed to keep something from the show. Unlike a lot of work I've come in contact with, Monica's work seemed necessary to have, it almost wasn't an option to not keep a piece of her work after the show came down.


Monica Canilao & Mike Brodie (aka the Polaroid Kidd)
Paper Boat Gallery installation, 2007

The need to "have" was partially due to the illusion of her pieces being temporary. A balance between the installation itself, her process and choice of materials. It seemed as if anything could change or be worked into something else if not scooped up at that particular moment time. I had become so attached to seeing the work every day and needed a souvenir of that time period. For me that is often what buying art is- remembering working with someone, installing, the opening, the connection with the artist. Now that I am writing about it, I can hardly believe that show was 5 years ago.

In October 2008 I caught wind that Monica was featured in Juxtapoz. I picked up the magazine as I try to do when friends and artists I have worked with are featured. It's happened more than once that pieces of artwork I have accumulated and collected have made it into print, which is purely satisfying from a cataloging/archiving perspective.



The piece from 2007 I ended up getting sat in my flat files tucked safely away for almost 5 years. It wasn't until this past Fall I set aside the money to get it framed properly. Today when I was uploading the images available for sale from Monica's installation at Sky High, I pulled out the Juxtapoz magazine article which I haven't looked at in years. I though having it on hand for visitors at the exhibit would be informative, it's a great interview and gives in-site to Monica's process. It was the first time I had the magazine out next to the framed piece I had bought hanging on my wall.

This post is just a look back for me personally at the string of events that have laced together a relationship based on appreciation, admiration and mutual love for beauty found in obsolete places and things. As a collector, I believe it's important to keep documentation of where things come from. The story. The source. If I own your work I most likely have a file folder with your name on it with clipping and cards. When I die hopefully this will help piece together the history of makers I believe in just as Monica's work piece together made up stories of past lives.



When I go visit Monica in Detroit next week to check out their art house I'm going to ask her if she remembers where she gathered the elements to this piece- maybe there is a full back story to some small element of the work that I should know about.I will of course let you know if that's the case.