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Rejections define chronology and body of artistic movement. They might lead to experimentation, rebellion or compliance, to revolutions. They might cause death. They might give a new life. To think about their contribution to art that was allowed or not to appear in society, or to poet’s pen itself, is a gigantic undertaking.
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I like pretty rejections.
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I like rejections of my uncertainties.
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I even like rejections of my eleven moons.
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They have all made a collage, if not a timeline, of my artistic evolution. The pieces are floating in their own environment and sub-consciously driving my one ‘collective’ work that will appear someday visible or not.
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