September 20, 2007
One of the handful of must-dos on our move list was that I’d get to pick a Carol Watson picture to buy to decorate my home office. I’ve known Carol for, gosh, seven or eight years, and I’ve been hooked on her photography pretty much from the first picture I saw. She had a showing at a gallery in Dripping Springs a few months before we moved, and it was at dinner after going to that showing that Julie and I agreed that we’d buy one of the pictures for my home office.
As it happened, Julie wound up getting me some really great pictures of the kids, which hung in my office in Austin briefly…but then made the move to Ohio. I’ve also got a picture that the Business Intelligence team at National Instruments made for me — a picture of the whole team, and then a large matte area where they all signed. While I was in Austin last week, Julie hung those for me, so the office is making steady progress towards being truly finished.
But, as of yet, I don’t have one of Carol’s pictures. For my birthday, Julie gave me a card with a “pick one of Carol’s pictures” message in it.
And now I’m torn.
Carol’s a transplanted Canuck, but she’s been in Texas for a while, and she’s done some really great pictures of Texas flora, fauna, and rural structures. I kind of feel like I should start my collection with something that is unequivocably Texas, so that has me leaning towards Great Texas Staredown or maybe Bulls-eye 2. But, I’ve also always been drawn to what I think was one of her first major award winners, Crystal Ball at Benini Ranch. But, then again, her various rural building works are kinda jaw-dropping, too, like Prairie Solitude #6, Cable Mill 01, and Swayback Barn.
AARGH! I’m not even an art-oriented person! I’ve finished maybe three art, architecture, dance, or theater articles in The New Yorker in the 15 years that I’ve been a subscriber and diligent reader!
Comments on this entry (read: input/suggestions) would be much appreciated.