Good morning, good afternoon, and good evening, ‘Gasmii! It’s great to see you back, ready to catch up with what our wunderkind were up to this week on Work of Art. Did you know that this is the search for the next great artist? I bet that even when the show concludes on August 10th, we’re still searching for the next great artist. But one of these jerks will have $100,000 in their pocket and their crap hanging on the wall at the Brooklyn Museum.
Last week, we saw the downfall of Ryan, as the artists were challenged to create a piece of artwork that somehow spoke to something in childhood that led them on the path to being artists. Ryan’s was too literal, and he was sent packing. Peregrine won for her thoughtful piece depicting a My Little Pony standing amongst hard-core party trash. I read up on her piece since the show and my last recap, learning more about the nuance we missed (the height of the podium, and how the party detritus was placed to either hide or be revealed, based on the viewer’s height). It made me appreciate it more, knowing it wasn’t just an object of childhood showing up as art.
Not as bad as you may have thought.
Since we’ve become this happy little band of commentors, I think it’d be ADORABLE if we could somehow all recreate the opening credits for Work of Art. Who wants to cock their head like Miles? Who wants to draw boobs on herself like Jaclyn? (I can do it!) Who wants to ball up their work in frustration like Nao? Anyone?
SexyPanda will take the bullet!
So, this week, we’re down to six artists. Mark’s all alone in his beaverhausen apartment, having fart-bombed the rest of his opponents out. He’s sitting at the kitchen table, drawing in his scrapbook diary, missing Ryan. Jaclyn, in the girls’ apartment, congratulates Peregrine on her win. Abdi’s making his bed in the other guys’ apartment, fussing about how he hasn’t felt good about things since his own win back in week four (I think), the “Shocking!” challenge. This may come as a surprise to some of you, but….shhh, Abdi wants to win.
We head off to the studio, where Simon and China are waiting. Wassup? Well, this week, we’ll be exploring contrasting themes…and it’s a group challenge. Peregrine ain’t happy, muttering, “Holy shit.” Everyone laughs, but I think they’re all pretty torn up from the last group challenge and echo her sentiments. Guess who she probably doesn’t want to work with? Mark? Very good guess.
So, again, the stupid paint tubes of doom decide who’s paired with whom. (I’m a poet and I didn’t even know it!) Again, they have the winner of the last challenge pick first, though it’s all random anyway. For some reason, this really bothers me. It’s totally arbitrary, and I guess someone HAS to go first, but still. Ugh!
Peregrine chooses “heaven/hell.” Abdi chooses “order/chaos.” The artists all natter about how cool that theme will be. Jaclyn gets “male/female.” Oh, that’s it, we’re seeing tits tonight. (Mark makes a similar quip, ending with something like, “Eh, once you’ve seen ‘em once, big deal.”) To round out the pairings, Miles gets “male/female,” Nicole gets “order/chaos,” and … Mark gets “heaven/hell.” Peregrine’s patience implodes. Miles is bummed, too–he really wanted to be paired with Nicole.
The artists get to choose who gets what word of the pairings, and Peregrine says overly loudly, “OH, THAT IS INTERESTING.“ That’s her rage, right there. She’s playing along, but she is seething. Anyway, one team will win the challenge, but only one artist will be going home tonight.
The artists take the next 30 minutes to plan out their pieces together. Remember that their pieces need to feed off each other, complement each other. I hope that no one does anything too matchy-matchy, but I bet it happens.
Nicole and Abdi are both good eggs, and they’re both really enthusiastic people. So much so that they’re just about talking over each other with excitement about their words (order/chaos) and how similar the concepts actually are, etc. It’s cute but it’s also frenetic and makes me feel edgy inside. Nicole asks to take “order,” leaving Abdi with “chaos.” As usual, Nicole’s already got some kind of idea/concept brewing and Abdi’s got nothin’, so he’s like, “Sure, that’s fine.” Right away, Nicole’s thinking about some sort of machine that is hand-operated and moves or something. Abdi’s got no ideas yet. I think he’d have none even if he were left completely to his own devices, but he’s also got nothin’ to riff off of what Nicole wants to do. I wish they’d break off and do some more brainstorming and THEN collaborate.
Miles and Boobs are chatting it out. Miles starts steering the project, which shouldn’t be a surprise. We all know that Jaclyn would resort to sex anyway. So, Miles says, “If I do something about a man losing control, will you do something about a woman gaining it?” “Sure,” Jaclyn demurs. In another example of Miles knowing he’s creating a good sound byte, he says he’s excited to work with Jaclyn because, based on her past projects, she’s like to come up with something “…saucy.”
So, Miles tells Jaclyn that he wants to build a wall–a “domestic” wall, meaning something you’d find in any ol’ house. Insulation, drywall, sheetrock, whatever. And then he wants to punch it once, as hard as he can, and leave that mark. And that’s it. Then, a beat later (or, who knows, thanks to the editors), Jaclyn says, “I want to do a painting.” Miles says, “yeah, that’ll work perfectly.” HOW?! How is that going to “work perfectly”? It’s all bullshit, see? Anyway, Jaclyn continues that she wants to be aggressive with it. Whatever THAT means.
Jaclyn also tells us that she’s happy to be paired with Miles, since he’s so good with materials (and the judges think he can do no wrong!). But she warns us that she knows that he’s manipulative, that if she’s not careful, he’ll convince her to go along with his idea. So she’s going to be careful to make sure that doesn’t happen. TOO LATE.
We head over to Mark and Peregrine. I can immediately tell from the body language that Peregrine dislikes Mark and his work, and that Mark KNOWS it. He appears to be conciliatory about everything, and Peregrine is totally closed off. Like, to the point of closing her eyes when Mark’s talking. I haven’t been a big fan of Mark so far, but this is a little heartbreaking to watch.
Mark describes what heaven and hell mean for him, and it’s pretty obvious stuff. Lightness and purity versus darkness and pain. Peregrine wants to be more subtle about it, avoid being too literal. She thinks she can elevate his crappy, literal work with her ideas of high concept.
(And here’s where I gripe about the difference between “literal” and “obvious”. It’s like that Alanis song about everything being ironic. No, it’s NOT ironic, it’s just an unhappy coincidence. This shit here isn’t literal, it’s obvious. Two different things. Thank you.)
Mark is still trying, bless him, and Peregrine is still totally closed. He asks what HER images would be for either heaven and hell, and she murmurs that she hasn’t thought about it yet. Hey, crabby, this is called “brainstorming”. Just spit something out, roll it around, and figure it out. Mark thinks Peregrine’s defensiveness is going to be a real problem for them in this challenge, and I know he’s right. Even if they win, he’s right. Anyway, he has an idea of someone nude being pulled into a bright light, and he asks Peregrine if he can shoot her nude. She is totally dragging her heels about the idea, which seems strange, since she’s all “I grew up in a sex art commune, my sex art was already shown in the Whitney, and I did a nude portrait of Nicole for the first challenge.” Ya know? Mark, bless him again, says, “You don’t have to say yes. I compromise much more than you think I do, I’m really open.” Peregrine bows her head and nods. All of a sudden, I really don’t like her.
Peregrine all of a sudden asks Mark about his scar. What scar? Oh, this gigantic torso-splitting seam down his belly, that’s all. Mark suffers from diverticulitis, a condition where pouches form in your intestines, and then those pouches get inflamed. They can get pretty bad, where your intestines pretty much explode and then you have poop running amuck inside your guttyworks. (<–that’s bad.) Apparently, Mark’s guttyworks took a direct hit when he was 18 and that’s how he got some kind of awful scar that Peregrine’s referencing. Mark’s like, “Um, this scar is, like, big whoop to me, so why should it be in my art?” Peregrine pretty much insists that he needs to make his art about that scar. Um, ew, obsessed, much? Anyway, they keep talking it out, and once it’s all settling out so Peregrine gets her way, she again talks loudly in her discomfort, “ALL RIGHT, GREAT.“ Mark’s doing heaven; she’s doing hell.
And I need to take a moment to get over my anxiety at watching them interact. Holy shit.
“So happy together….! I can’t see me lovin’ nobody but you, for all my life!” (Remember that 80s movie about the twins, and this was the main song? Anyone?)
The artists go shopping. Mark once again questions why his intestines need to be the landmark for heaven and hell. Abdi buys up all kinds of shit, not knowing what his project is going to be. Why am I so stressed out?! Miles convinces Jaclyn, rather easily, to do whatever she’s doing as a nude. He tells her he wants to focus on the outward, and then she can focus on the inward. He tells US this was all a part of his master plan, to get her to go nude. Nice guy. I know, I know, it wouldn’t take much of a nudge, if any, for her to get nekkid, but the fact that he’s knowingly manipulating her and then bragging about it is pretty crappy.
Is Peregrine being equally manipulative? Or is she just controlling and crabby? When the artists get back with all their junk, she tells Mark that he should do a photograph of his scar and she will reference that photo when she does a drawing for her own piece. In other words, get movin’, Mark. He heads up to the roof, gripes (rightfully) about having to take a topless photo of himself, and gets it done. And I won’t make fun of the bitch-tits and big ol’ lumpy belly. He’s a big guy, so what?
Hey, wouldn’t this recap be better with some shots of what happened in the first 50 minutes of the show? Well, thank Bravo for being so slow with putting their full episodes online. Hulu has some selected clips, but it’s not awesome. Sorry. Really.
Nicole’s bringing out her inner Miles (and I ain’t talking baby goo! Don’t squirm, who knows what they’re up to in the Beaverhausen!), cuttin’ wood and building this little machine that somehow represents social order, and the pre-determined rules we live by. I’ll admit it, I don’t get it. Yet. Also, Nicole must be worried about something, cuz she’s all blotchy in her confessional. I think it’s kinda cool that she can work with wood and tools like that (heyooooo!), but I still don’t get it.
Abdi’s stressing out nearby. He still has no idea what he wants to do with his piece, which should signify chaos. He’s hanging his head, grimacing at the fact that he just can’t come up with an idea. I feel for the guy. He’s really got artistic talent, but he doesn’t seem to know where to go with it. I don’t know if it’s the constraints of the challenges that keep boggling him or if he’s just too young to have a lot to reference, but it’s maddening to watch. For now, he’s molding Play-Doh into blobby stalagmites and hoping an idea comes to him. See, to me, this IS chaos. No, not the stalagmites necessarily, but the “who knows?” element of his piece. I think he should jam out on that a bit, but…well, this finished filming at least six months ago and it’s a little late to be advising him of that now.
Back to Miles, coercing Jaclyn even further. So, he’s already gotten her to agree to go nude (such an arm-twisting!), but now he’s gotten her to think that a depiction of herself masturbating is a good idea. I wonder if Jaclyn thinks Miles is flirting with her somehow, because her body language starts to turn flirtatious. She’s massaging her own neck, she’s looking up at him with her doe bug eyes, and so on. Miles tells her he’s excited to see her piece…well, not “excited”. Har har. Mark’s looking on with a judgmental face.
He’s even more judgmental when Jaclyn starts taping up a gauzy sheet around her workstation. See, she’s a private person. And while she’s working on this gigantic photograph of herself masturbating, she needs privacy.
(I actually get it, but it does seem pretty fucking ridiculous.)
Miles gets to work on his own piece, now that he’s thoroughly steered Jaclyn into the wilds. He frames out a wall and then practices punching it. I hate to admit it, but that really is a simple and effective way to show the idea of man losing control. I know SO many guys who’ve punched holes in walls, it’s not even funny. One even punched his car door (on the inside) so hard it shattered the plastic housing all the mechanics inside. Miles then tells us how he used to punch himself as a kid, sometimes in the back of the neck and sometimes in the hip. Ah, that explains a lot about Miles all of a sudden. He’s just a tortured 10th grader in a 20-something’s body.
Peregrine’s hunkered down over a gigantic printout of Mark’s naked belly and moobs. She tells us she doesn’t have enough time to draw something that reacts to the photograph, so she’ll just need to react to the photograph directly. Oh, are we going to get LITERAL? Seriously, though, all of her drawings we’ve seen so far have been relatively simple. Like, line drawings that give nuance of shape and mood, but aren’t terribly specific or fancy. So, why not just keep rolling on that?
Mark stops by to see what she’s up to, and she’s very tight with him. Turns out, she cut her thumb while working with his photograph–and that’s why she’s being terse with him. Ehn, no. You’re terse about working with Mark, period, and hurting yourself on a stupid picture of stupid Mark just added insult to injury. Mark’s just like, “Oh no! Okay, well, whatever! Sorry?” She’s putting all these grommets into holes in the photo, around his stomach. I don’t get it. Mark’s uncomfortable with seeing his naked self. I’m laughing to myself because I think MY version of hell would be a shot of Mark standing in a Jaclyn-esque masturbatory pose, hand over moobs and other hand buried in his crotch.
Nicole sees Abdi struggling with his concept and tries to help. She starts rambling like a total nutter, about supernovas and things from outside the order breathing new life INTO the order, etc. What? Then she sums it up by saying it’s like the Allegory of the Cave. Okay, now she’s lost it. I mean, she seems to kinda know what the Allegory of the Cave is (and I used to know, but had to look it up), which is fine, I guess. But Abdi takes it literally, I guess? Like, we’re talking about an actual cave? And supernovas and order versus chaos? I know, I know. I’m not smoking anything either, so I just can’t follow. Abdi feels like he’s got it now, and he heads over to start on a painting of something from a cave. Aye yaye yaye.
Simon arrives to see how the artists are making it work. He starts with Miles and Jaclyn. He nods after Miles explains the drywall punching. Then he asks Jaclyn what she’s doing in her painting. “It’s a private sexual act,” she tells him. He pauses just a moment too long, then says, “Okay!” He calls it “striking in every way” and tells them to carry on. I don’t get how her masturbating in a corner near a mirror has anything to do with Miles punching walls, and I’m too distracted with other things in life right now to think very hard about it. Who’s gonna explain it to me?
Nicole and Abdi are next on Simon’s (shit) list. Nicole explains her social order wooden game, and Simon’s like, “So people can touch it?” Yep. Then Abdi takes his turn to explain his. Simon looks…terse. Nicole looks down in obvious discomfort as Abdi totally butchers his regurgitation of Nicole’s ideas about this social order and the cave and whatnot. He doesn’t get it, and his work won’t go anywhere because he isn’t using his own idea AND he isn’t getting Nicole’s idea right at all. It’s just awful to watch!
Over to Mark and Peregrine. Simon’s checking out these photos, this juxtaposition of Heavenly Ham and Wallace and Gromit. Peregrine’s next sentence, about Mark and his scar, makes me laugh because of its awkward construction. I know, this nerd crap again, sorry. She says, “Mark told me a story about being sick when we first met, and…” I think she means, “When we first met, Mark told me a story about being sick.” The way she phrased it, though, it sounds like Mark just now told her a story about being sick when he first met her. “Nice to meet you, BLECHHHHH…” Ah, language. Oh, and she laughs when she tells Simon of Mark’s stomach exploding, which almost seems inappropriate. Simon ends his advice session by telling Mark and Peregrine that they’re being too literal right now.
I’m getting pretty tired of this pissy face.
More footage of everyone working. Miles gives Abdi props for his colors and advises him to keep going. Jaclyn thinks Abdi’s work is stuck between “figuration and abstraction” and that hers is a lot more beautiful (because she’s in it, natch!). (Did I just say “natch”? EW.) Peregrine put grommets where Mark’s eyes were, which is creepy and cool. Mark admits he’s being pretty passive with Peregrine, but he also thinks his piece is the more focused of the two.
Miles changes his mind about the mirror in their piece, deciding instead to use some leftover tar that Ryan left behind. (Why was Ryan buying tar??! For what challenge? The sculpture one?) Miles admits to tricking Ryan into not using much of the tar, telling him it was really hard to work with. So, again, bragging about manipulating people. This niggling feeling of unrest about Miles is becoming more and more obvious. Let’s just say that a lot of us trusted our guts on this one and are slowly being proven right.
Heading back home to the Beaverhausen, Miles carries Abdi across the threshold like a bride. HA! Then he deposits Abdi on the floor. Hey, that’s not nice! Mark’s moving in tonight, since he’s alone in his pad and the Miles/Abdi crib has room for more. Miles isn’t thrilled to have Mark show up, but Abdi does his best to make Mark feel at home. He sees that Mark is marginalized sometimes and wants Mark to feel comfortable. What a sweetie. He still sucks with coming up with ideas for his pieces, but he’s got a heart of gold. (Was that Miles hanging back in the living room while Abdi showed Mark to his room, saying, “Welcome to Hell”??)
In the morning, Peregrine calls her husband to bitch about Mark. Well, not really, but that’s the undertone. She really doesn’t want to go home tonight based on this piece. (I also think she only left a voicemail, didn’t actually get to speak to her man, unless she always talks over him and never gives him a chance to say “love you too” and “bye”.) Mark’s hanging out in the kitchen, at least until Miles shows up. Mark’s pretty self-aware, I have to say. He notes that Miles is always distant and moody towards Mark, and that it brings out the same qualities in him towards Miles. Abdi, though, is the high-fivin’ keystone between the two.
Jaclyn’s complaining because the tar wall does nothing to put her piece and Miles’ piece together. Miles compliments her painting, which is pretty awesome, skills-wise. Abdi’s is a huge mess, and I mean that in all ways. It’s just a huge blobby painting. Peregrine is hot-gluing crap to her Hell-Mark photo, and it’s a mess. I mean, really, there’s kinda no concept here. Literal, obvious, or not. She collects cigarette butts off the street to plug into the grommets, throws glitter at the photo, and cups circles of paint around the grommets. Again, a total mess. Mark probably feels a little offended right about now!
Miles builds a frame for Jaclyns mastur-painting so it looks like it belongs with his punched wall and tar wall. Nicole’s struggling to finish her wood crap in time, and Abdi’s stressing about doing something so different from his norm for the second to the last challenge. Basically, all of these pieces kinda suck. I hate to say it, but Jaclyn’s is probably the best, even though it’s the same shit she’s been doing all along.
In the “We’re back! No, we’re not!” segment this week, we see the talking heads of all the artists, feeding us the bullshit that probably got them here in the first place. Big words, random concepts, and the like, spliced together in one random sentence of art bullshit. It’s pretty funny. (My favorite word from the cut is “Panopticon.”)
Okay, time for the gallery show! Our usual suspects, Salty Jerry and Hairy Billy are on hand for judging. Puppet Jeanne is still curating a Europe-wide show and won’t be with us. Our guest judge this week is Ryan McGinness. From afar, he’s got a James Franco thing going. Miles steps up with an eager ass-kissing comment for Ryan, telling him he “adores” his black-light installations. Ryan mocks writing in his notebook, “Duly noted…that Miles is a total kiss-ass douche.” I can hear the pool cue sound as Miles’ nose brushes up into Ryan’s hinder. The other artists laugh, and Jerry looks away. Uncomfortably?
Cynthia Rowley and Samantha Mathis are some of the gallery guests tonight. (Cynthia, my tank-top with Carrie Bradshaw flower embellishment of yours that I got at TJ Maxx is a little too long–can you please make it better?) Nicole’s smitten with an artist who comes to the gallery, Terrence Koh. He’s a favorite of hers. Kyra Sedgwick is happy to finally be able to touch some art (that’s what he said), as she fingers Nicole’s wood. (Whoa.)
“Yeah, yeah. Get a bra, Mark.”
Michael Jackson lives!
The judges seem to like Miles and Jaclyn’s, and they don’t seem to hate Abdi and Nicole’s. I actually like Abdi’s a lot more now, in the context of the show and in contrast to Nicole’s woodworking. China tries to move the “norms” through the social order and slams the piece around. Oops!
(Well, we know SOMEONE shaves things bald.)
“Gentlemen, you’ll need to hide your erections behind your notebooks, please. Thank you.”
“See, Simon, she puts her hands on her clit and then she rubs. And that is how she is a woman who’s taking control, of her own orgasm. See? Want her to show you in person? I bet I can talk her into it.”
Order? Social order? Huh?
Peregrine and Mark’s is strange, but I kinda like it. It IS rather obvious, but it’s interesting. Mark did something with the material his banner was printed on, so that his scar was open to the light behind the piece and light beamed through the scar area. Meanwhile, cigarettes were put out on Mark’s cartoony body in the hell piece. Eh, I guess that works! Except that Bill refers to a Bedazzler when he sees it. Uh oh!
Time for the crit. Mark and Peregrine are first. Peregrine explains how scared she was when she first saw Mark’s scar, and Mark explains that he’s at peace with it despite its ugliness. Ryan McGinness asks to see the scar, and Mark happily obliges. Miles hides his eyes and cringes. Mark doesn’t miss it, and he points out how people cringe when they see it (MILES) but he’s cool with it. The judges think it’s too literal, and that with such a HUGE topic as heaven/hell, they could have done a lot more. Mark admits he gave himself over to Peregrine’s vision (slam!). China asks Peregrine why she looks so uncomfortable, and Peregrine responds that Mark didn’t give her anything to work with. Slam!! Damn!
China asks the other artists if they have anything to add to the crit. Miles has been fidgeting the whole time, and when given the opportunity, he immediately chimes in to say, “Yeah, I DO have something to say. My problem with your work is that you play it safe. Peregrine took materials and came to your side, and you just…” and stands there like a lump, imitating Mark. Mark just blinks and takes it. None of the other artists speak up.
Miles and Jaclyn are next. Yadda yadda, male/female, control issues, yadda yadda. The judges are very interested in what Jaclyn’s piece is saying. What is it? What does it mean? Bill calls Jaclyn out for maybe having some “issues” that she’s sorting through. Jaclyn laughs. But overall, Bill likes the piece. It’s not too literal for him! Miles explains a little further what his piece is and means. I think I start to get a better idea of it when he explains it AND they show a close-up of the walls. See, we’re looking at the back of one wall and its framing, with a punch from the backside coming towards us, and then we’re looking at a black, angry wall with a punch in a place that corresponds to the other punch, going forward towards the back. So, we’re seeing both sides of the wall and the punch. But, I ask, what does Jaclyn jerkin’ have to do with that??
Ryan McGinness sounds like he’s trying to provide a thoughtful crit of the piece by pointing out its honesty. He asks Miles if he punches walls. Yes, Miles punches walls. He asks Jaclyn if she masturbates standing up. Long pause….and yes, she has done so before. Ah, Ryan, you just wanted to know how Jackie played with the little man in the boat! Next he says, “Because they’re so big and because there are two of them,” and I get caught off guard, thinking he’s talking about Jaclyn’s breasts. No no, Panda, he’s talking about the walls. HA! Ryan wins me over a little bit, though, when he says that the connection between the two pieces is a superficial use of similar materials, and that the piece otherwise doesn’t seem to collaborate well at all.
Finally, onto Nicole and Abdi. This is going to hurt. We’ve all heard the explanations a thousand times before, and nothing new surfaces during the crit. Ryan McG starts off by saying the order piece, Nicole’s, kinda makes sense but comes across as rinky-dink. (It does.) Ryan also thinks that Abdi’s painting looks ordered more than chaotic. (Then speak up, Abdi, and explain how you and Nicole discussed how much alike order and chaos are!) China doesn’t see how the two pieces go together. And hey, Jerry hates Abdi’s piece! Wait, what?! I know, it’s shocking. He tells Abdi that he’s starting to distrust his vision entirely. Abdi, sweet little guy, asks the judges what it is they’d like to be seeing in the work. Ryan saves Jerry the trouble of having to scream about it. “The fact that you’re even asking that is the wrong approach. You need to ask yourself.” Abdi, Abdi…come here, you need a hug. Or maybe I do.
The judges get together to gang up on the artists, and it’s all the same stuff you’ve already heard or expect to hear. Abdi’s was ordered instead of chaotic, Nicole’s was like a crappy kid’s toy, Mark’s was too literal and Peregrine’s was too Bedazzled. The judges seem to like Miles and Jaclyn’s well enough, though they offer some crit about it, too. Blah blah blah. Jerry gives us a fun sound byte at the end, though. “I’ve got three people in my mind who are in trouble. <dun dun dunh> DEEP trouble.” China nods.
Bring ‘em back in. Who wins? Jaclyn and Miles!
Will ya look at that body language, huh?
Who’s going home? Well, let’s listen to this stupid scripted one-liner parade, shall we? (Why can’t these art experts just speak extemporaneously about the works? Tom C. does it every week on Top Chef (or he’s just a better actor, delivering his lines). Tom C. tells the chefs exactly where they failed in no uncertain terms, and he doesn’t need gimmicks to get his crit across. Yes, food and art are different, but I feel like my intelligence is insulted with the formal scripting of the Work of Art “go home” lines.)
Jerry gets to bash Abdi (or “Obdi”, to hear Jerry say it) and Nicole for their piece not being cohesive, and he lays the blame on Abdi for his crappy ordered cave bullshit. Bill delivers the smackdown to Mark and Peregrine. Peregrine is looking at her feet and is about to cry. In fact, after Bill declares that the fault lies with Mark, Peregrine’s face crumples. Cut to China, who looks away sadly. Is SHE trying not to cry? Really? She gets her shit together enough to tearily tell Mark and Abdi that one of them is going home. And it is Mark. China IS outright crying now. (Did she love Mark or something, or is she just totally cueing off of Peregrine? Are they cycling together?)
Mark’s just like, “Yep, okay, got it, thanks.” He thanks them for the opportunity and is glad to have met them. He heads back to Miles and Jaclyn and says his goodbyes. He admits that the judges kept telling him the same thing over and over again, and he didn’t listen. So, really, he sounds like he’s at peace with going home. (For what it’s worth, I saw a photo elsewhere of what his original “heaven” idea was, and it was beautiful. Peregrine fucked him.)
It’s still too literal and obvious, but it’s a helluva lot better than the stomach scar angle!
Do you agree with who went home this week? Did you like any of the art? What’d ya think, huh? Tell me!!!
Oh, and next week is the last challenge before the finale. The artists head out of town (my guess it that it’s to Falling Water in PA—just a guess!). Five of them leave on the trip, and three will go to the finale. I’m bad at math, but I think that means a double elimination next week. Miles wants to play with dangerous chemicals (mustard gas), Peregrine asks for a condom, Jaclyn’s acting petulant when Simon’s checking in with her, and Abdi’s having trouble finishing a piece on time. Nothing new, but come back anyway, won’t you?