Another Twitter thread that I wrote around this time last year:

The best living artists I know admire masterpieces that I’ve never even heard of before. We aren’t on the same page because I’ve never seen what they’ve seen, and so we don’t share the same standards because we aren’t studying the same canon at all. Their canon is far superior. So it’s a constant upgrading of what I thought I knew with superior example after superior example. It gets esoteric because maybe only a small handful of people in the world have seen those things, but to me if that’s what is required to sponsor new masterpieces, so be it!

What I’m going after are the things the artists most want to make, and it doesn’t matter if it has an audience of 1 or 5 or 25 people, getting it funded and created is the important thing, and then it can be appreciated by a wider audience, or not! To me, if it’s done honestly and at the highest possible quality, people will take notice eventually. I mean, some of my favorite artworks I didn’t see until the artists were dead for 1,000 years or 2,000 years, so it’s not necessarily a failure if no one notices while the artist is alive. But the patrons need to notice as soon as possible to maximize the time that the artists have to live and work and play.