I READ THAT CONTRADICTION AND MENTAL DISSONANCE are the price of our ridiculous modern lives. It’s undeniable in my case. The son of an artist and an engineer, I’m liberal but obedient, cheerfully fatalistic, a staunch anti-consumer who makes his living on corporate largesse. There’s not much I do without some psychic friction. I know I’m not alone.
So I cherish the unconflicted moments. I found my respite long ago in the instinctual act of drawing—blindly, with no grand ambition or promise of reward. When I draw, counter-arguments grow silent. For a few minutes or hours, I know I’m doing the right thing.
That’s what drives the MakeSh!t experiment, now in its third year: low-stakes longing for uncontrolled creativity. We finally found a way to bottle it for mass consumption. To my astonishment, people showed up.
Public Acts of Drawing, first projected on a dark mill ruin in the summer of 2012, made its primetime debut this month on TPT’s TV Takeover, and again during a terrifying July storm. Hundreds of intrepid revelers (The Mayor, piano prodigies, drunks, tykes up way past their bedtime) huddled under our Fleet Farm party tarp, braving lightning and sheets of rain to scribble with us for hours. At 3:30am when the power went out, they were still washing up.
The project is also a thicket of contradictions: Solitary yet social, free-wheeling yet constrained (by media and elbow room), ugly until it’s beautiful. One component of the event—broadcasting on a skyscraper in real time with a Hollywood-grade projector—was shut down on account of weather. With 10 inches of visibility, no love was lost.
The best measure of the project isn’t the final artwork, which I love, but Aaron’s time-lapse vids. Watch us fill in everything, almost without thinking. Hard to say why exactly. Maybe because we have hands.
Another utterly pointless job well done. Thanks, fellas.