I got this artwork in December 2008. Jonathan Monk said he'd done "maybe eight, or so". I traded it with Christian Pfaff who offered me a multiple by Günther Uecker in the course of the Collectors' Duel: http://blog.independent-collectors.com

1900-1920's Memory Jugs Memory vessels were made by placing small everyday objects such as keys, screws and nails, glass vials, shells, nuts, and jewelry on the surface of bottles or ceramic jugs using putty, cement, or other adhesive material. Many of these folk art pieces were coated with gold or silver paint, and thus require especially close inspection to discern details; others were left plain so that each applied object was easily recognized. Several historical explanations have been put forth to explain who made memory jars, and why. One is that they have their origins in Southern Black communities, where they were placed in cemeteries for use as grave markers. The vessels were covered with objects which had belonged to the deceased for possible use in their afterlife. Another theory is that memory jugs or jars fit well into the “scrapbook mentality” that marked the Victorian era, in which sentimentality reigned, and decoration was abundant. Saving momentos of loved ones has universal appeal...the odd button, a single earring or other bit of jewelry that reminds one of the deceased relative. Another possibility is that it was a bad weather activity to while away the time, since “idle hands were the devils’ plaything”. Each of these theories has merit. We might never know for sure what the true origin of these folk art vessels is, but they continue to fascinate as remembrances of other times and other lives.

Color Cibachrome Photo

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This piece is similar to the other one, the difference why I like it because she added little lead stamps to some of the characters.

Gift to Stedelijk Museum Schiedam.

For Javier Núñez Gasco Unconditional Audience called his mother to travel to Portugal to see his show. During the first act of the premiere of the theater play Turbo-folk, with the lights off and the audience relaxed people watching the feature, a photographer armed with tripod and camera on the scene and ready to do their job. At the moment the photographer raises hand the lights of the stalls. Javier's mother, warned of what would be the sequence of events, is located in the center floor of the theater. The photographer takes a snapshot from the stage. Action photography is reflected in the Public Unconditional. Text appearing in the picture: Turbo-Folk, Theatre Company show Prague Sao Luiz theater in Lisbon (Portugal). A photographer on the scene, put your camera on a tripod and raises his hand. The lights of stalls, my mother is standing. Purificacion García Photo Award 2011

photo of paint on glass panel, gift to Stedelijk Museum Schiedam.