I was about to do a magnificent piece. One that would sum my long time involvement with the white monochrome; it would be a conclusion of this intimate research, featuring the white pieces that are my personal favourites, amongst which there would be a monochrome from 19th century even. I would be remaking, copying, faking some iconic works that have touched upon the theme of this final anaemic cul de sac of modernism or a carte blanche for a new thought, and at the same time I would be questioning the issues of original versus copy. I was of the opinion that the world would benefit of general relaxation when it comes to the question of The Original - since to show an original requires a lot of money, word and time exchange (with gallerists, rights’ holders, insurance companies …), many of the exciting art achievements miss out on being shown and seen in certain places, so to show replicas instead should be just as well (if that did not cost also, that is). I was also of the opinion that it is often in the late 20th and 21st century art, the thought or concept that makes the piece, rather than the aura of the original. And finally, I was of the opinion that to see the brilliant thought through a copy is much better than not seeing it at all. And showing it, for that matter.
I was proud of my concept. The exhibition would be called WHITE: Personal Favorites. With Alphonse Allais, Conny Blom, Tony Conrad, Spencer Finch, Lucio Fontana, Tom Friedman, Cyprien Gaillard, IRWIN, Clay Ketter, OHO, Robert Ryman, and Wolfgang Tillmans. Yes, some have not yet made the white pieces, but I was certain I could make these for them. And yes, I included myself, but who could resist the temptation of the possibility to be mistakenly taken for showing in such elite company. So, I would paint the replicas (and pre-replicas) and show them with descriptions, I would curate this amazing show (and paint it). The pieces would be called for ex. “Cyprien Gaillard Nouveau pittoresque” and would not differ from the originals unless one studied them very carefully. I started with the just mentioned piece, and was happy with the result, as I only brought from storage one of my old paintings which resembles the before mentioned work of Cyprien Gaillard and the first piece was made! I was feeling bold, I would not ask for permissions. It would be fantastic.

I thought.

Then I started trying to paint one of Ryman’s Untitled 65. In acryl even, oh, the silliness of youth.
After the fifth attempt I was rather certain further fiddling with the matter would mean a further waste of time and I started painting some sorts bonsai trees and dogs with feet in mouths, mice at breakfast tables, bloody fences, and similar.