During my absence it appeared that some members of the Mogwash community had wholeheartedly embraced the ideas of contemporary art. For example, Mrs Fitzpatrick, who lived on the fringe of the village in the six bed-roomed neo-Georgian barn conversion known as Rose Cottage, had obviously benefited from our little chats because she had casually assembled and installed a startling piece of sculpture on her block-paved driveway. As a trained artist, with trained artist skills, I could comprehend and appreciate her efforts on a much deeper level, efforts that to the uneducated eye may have been mistaken for the unwanted contents of a dilapidated shed in a skip. With my artist’s eye I could appreciate the exquisite juxtaposition of gold lame evening gown and broken pitch fork as being a subtle metaphor for a society in crisis, emphatically highlighting the intrinsic cruelty of cultural disinclination and disintegration.
I was envious and slightly in awe of her talent, she had even gone as far as to cleverly leave her art piece unmanned so that any passing artist could redefine her vision by adding or subtracting objects, meaning that the piece was continually in a state of flux, forever evolving . . . The addition of a moldy mattress brought a whole new perspective to the project . . . it was enthralling to witness this mutating masterpiece. I contributed in a minor way by donating a bottle of air.
I had to accept that times were changing and I was no longer the only eccentric artist in the village . . .