
Waiting for Hockney
Dear Mr. Hockney,
It is a great honor for me to have
the opportunity to write to you.
In the purest sense, I think
that you are world class.
Like yourself, I believe that a new
way of seeing is a new way of feeling,
and that the greatest art
reaches beyond the initiated.
The vehicle for the spirit of urgency and
intensity which occupies my being is drawing.
I worked standing up, using sharp instruments
while under twenty power magnification.
My portrait is of a human figure.
This portrait took eight years and five
months of full-time work to complete.
I finished at 4:
30 PM, January 2, 2003.And Dr. Gary Vikan, Brother Rene Sterner
and I would love to show it to you.
Respectfully yours,
Billy Pappas
Today is the sixth of
October, it's Wednesday...
and, I'm on my way up to New
York to see Lawrence Weschler.
He is a former twenty-year
veteran of The New Yorker.
He is also the director of the
Department of Humanities at NYU.
What's so good for me is that he is a close
friend, champion and collaborator with David Hockney.
He's my one and only goal
to get me to the next level.
I've got Marilyn in the trunk and...
...I'm on my way up
there to show it to him.
It all came about the time right
as I graduated from art school.
I was in my mid-twenties...
there were some ideas
I had about life...
and...
I was a waiter at a restaurant.
I had always been in
the restaurant business.
Busboy.
Bartender.
People who've gone to art school,
what are they doing now?
I didn't want to wake up one day
and be well into middle age and say,
"I wonder what would have happened if
I had done what I thought I could do?"
I knew that I had to change from what I
was doing, but I wasn't sure exactly how.
I'm Dr. Lifestyle, Larry Link.
Actually, Lawrence J. Link, please.
I'm an architect, I think.
Actually, advisor to people.
I deal in fantasy.
I feel like I come kind of obliquely from
another place, not really the art world.
I know more about nature,
I know more about music,
than I do about perhaps
the history of what I do.
I needed someone to kind of cross my path,
and just take their finger and just give me
a good hard poke right below my throat.
Accident? Fate? Karma? Kismet?
Grand intent design, everything was
pre-planned, it was ordained by the stars!
This man, I thought, was clearly insane.
Sorry about that.
But, I liked where we were going.
I mean, he's my guy.
OK, fast rewind. Balaloop.
He was a waiter in a restaurant, and
he asked me what I wanted for dinner.
I found out he was an artist, a fine artist, which
is the way I was trained, as a fine architect.
I was like, "Hi, you do
things with pencil. Wonderful."
So we started a dialogue, we started to talk,
we started to say, "Let's have lunch." No.
OK. Take two. Click.
We would have these coffee sessions
and we would be scheming,
What's the state of the
art? Well, photography?
Digital photography?
Sometimes his ideas were bigger than
mine. I thought, "Oh, that's cool."
I didn't think of that.
Wouldn't you want to just make
something that couldn't be reproduced?
He would dare me, he would one-up me.
Why don't we make reality
better than reality?
I thought, OK, I always was
really good at getting likenesses.
I mean, that's something that not
everyone can do well. I can do it well.
Billy, you're going to do a portrait.
It's going to set the
art world on its ear.
I need a mission, and
I had one, with this.
We're doing the next major
art movement in America.
When Pete Townsend was
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"Waiting for Hockney" Scripts.com. STANDS4 LLC, 2021. Web. 28 Feb. 2021. <https://www.scripts.com/script/waiting_for_hockney_22985>.