Some architects believe that buildings should be designed to minimize the extent to which scenic views might be taken for granted: soaring vista of the Pacific on the stairway landing, not in the living room. I think this view has a lot of merit*, and I think it also applies to choosing art to hang on your wall.
I find this print, for example, tremendously both aesthetically and intellectually appealing. I love to get lost in it, and I love to think hard about it. But if it were hanging on my wall, would my pleasure in either diminish?
If I were to see it every day in the context of the room that it was in, I would almost certainly start to find it less arresting. And maybe I would stop looking at it, and instead begin to passively see it, and finally see it without seeing it and have my visual cortex process: “there’s that Ole Kortzau** print I loved*** and bought."
*It shouldn’t be applied indiscriminately, of course: ocean views, for me, are less thrilling (and thus rewarding when glimpsed) than meditative. I’m contemplative enough; I don’t need to be detained on my staircase due to prolonged gazing.
** These asterisks link to his website. More of these kinds of prints under “Serigrafi.”
***Just after I typed that “d” I reflexively deleted it, and felt disingenuous and added it back - and now it seems that this could be the crux of the matter. What’s the difference between:
“there’s that print I loved and bought.”
“there’s that print I love and bought.”
I think “loved” may be used more often to echo “bought.” The mere act of saying something increases our belief in it - is this grammar affecting our feelings? Does the fact that English doesn’t have a verb form that corresponds exactly to the imperfect tense make us, on any level, think we’re done with something we’re not?And sorry about the formatting. Word.