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ABOUT THE WORK DONE IN THIS STUDIO
The move to Newport was an adventurous disaster waiting to happen, as it, of course, eventually did. It began well with good, but delusional intentions and goals; friends helped load one truck, which, was driven to Newport by Christina and me with the help of a friend, John Green. I hired a commercial mover to move the work, which at that point filled some 225 large boxes. It took a couple of weeks to set up the studio: painting, putting up wood slats on the concrete walls to hang the canvases, setting up the work area, and setting up Christina's studio which was in the loge space above the main floor at the north end of the building; it had been the former Newport YMCA.   The space, 5,500 sq. Ft., had offices, two bathrooms plus a large open space that had been the basketball court, that became my work space with the east, south, and, west walls used for hanging the canvases, The project at that point was entirely in its mural form.  In March of 2001, Christina was in a car accident, which marked a change in her and in our relationship. By June of that year I had moved out of her house and into the studio. This project, which essentially had become my life, had led me to a somewhat desolate place and worse state of mind.

Long work hours and a general feeling of total dislocation and never ending-floating anxiety marked my time in Newport. Despite all the personal static, the work progressed more or less as it had for all the years I had been working on it. I can say that some of the most successful segments of the "Mural Section" were done in that studio. I think it needs to be said for the sake of clarity and accuracy that much of what I experienced during that period in Newport had to do with my experiencing the end of the work with a combination on the one hand of utter sadness, even despondency and relief on the other.       

In June of 2001, Etienne de Lauriers and Manya Tan came to do initial interviews for a film they wanted to do on the making of "DIE PLAGE" and me. They returned over Thanksgiving weekend of 2001 with a small crew and did the filming.  Because my life by that time had become quite nightmarish, the idea them filming my work and me at that point seemed both absurd and damaging to me.  Whatever they might have been imagining their film to be, it was, from my point of view, the documentation an ongoing process of a slow motion suicide. I had to stop my work and reorganize the studio for their filming; that fact alone only put me further over the edge. The destruction of some of the canvasses—soon after they left, within hours, actually — was not quite as dramatic as Christina has retold the story in their final film footage of her a year later, nor was the cutting out of the collaged canvases from their frames —about 1,200 of them— as dramatic as it was tiresome. There were simply too many canvases, too many boxes, and I needed to reduce the physical volume of the project so that it seemed more manageable to me.  I know that most of what I went through was entirely of a personal nature; still, the events of 9/11 added yet another disturbing layer to my own ongoing experience there. My being in Newport somehow amplified the 9/11 events; perhaps because of the local, overly enraged, confused pro-American response to the event.  

The year limped on and came to a crashing end for me. Christina was planning to go to Mexico and I saw myself trapped and alone in Newport by circumstances mostly of my own making. Before she left, we had a final "Mural Section," photo session to complete the process begun at the Amphlett Studio. David Franke, an exchange student from Berlin and Viki Grayland, a photographer then living in Portland, assisted us in that final shoot. As I remember, Christina left for Mexico in January. I put the project and my belongings in storage there, and left Newport in February of 2002 and returned to the bay area. 

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