Rushing to the finished product? Read this… 🏃♀️
November 2025
One of my favorite artists of all time are Christo and Jeanne-Claude. They weren’t always on my radar, nor did I like them much at first. I just didn’t “get” it.
I lived in Los Angeles when their work The Umbrellas, Japan–USA, 1984-1991 was installed, and I reluctantly went to view it.
I. Was. Transformed!
The Umbrellas (Lisa wearing an umbrella as a hat.)
The Umbrellas (Lisa jumping along the California hillside, brother Karl in the background for scale.)
The incredible thing about Christo and Jeanne-Claude is that the artwork is experiential: you drive, walk, or otherwise traverse a landscape to view it.
You feel like you are in the art—you are part of the art—and you kind of are, in a way.
I was an instant fan.
Fast-forward to living in New York City and finding out about their project for Central Park involving “gates.” I attended an informational meeting led by Christo and Jeanne-Claude where they explained the project, how it was going to be funded, and what the roadblocks were.
A series of gates along different pathways in Central Park
Completely funded by the artists (they make money from selling sketches and preliminary artwork around the planning of the project)
People were upset with how it would impact the city
Those folks who were against it didn’t understand that the purpose of their artwork was to put beauty into the world. Their philosophy was that art is freedom. And they paid for everything themselves, including the workers needed to fabricate and install the artwork, to realize that goal.
From the moment I met Christo and Jeanne-Claude at the meeting that day, I promised myself that I would work The Gates…and I did!
I trained at a warehouse in Queens, got put on a team that installed gates on one of the pathways near the boat pond, and spent time handing out maps and pieces of the fabric to visitors during The Gates: Central Park, New York City—1979-2005.
The Gates (before being unfurled)
The Gates (unfurling each gate)
Side note: I got to meet Christo and Jeanne-Claude personally because when we unfurled the gates, one of the giant tubes holding the fabric hit me in the face and I got a huge shiner. I also got my vest autographed when Christo and Jeanne-Claude came to personally check in on me :-)
Ever since that time, I’ve wanted to create my version of “The Gates.” What is my “gates dance?” What is my “Christo and Jeanne-Claude?”
I have been pondering this for years!!!
And this is where the a-ha moment came up for me:
I had learned that the title of each project includes the dates from its inception to completion:
The Umbrellas, Japan–USA, 1984-1991
The Gates: Central Park, New York City—1979-2005.
So the artwork includes:
the first idea
the design and permitting stages
the installation and observation/experience
and even the speaking about it afterwards
Just me writing this down extends the life of the artwork itself!
PROCESS!!!
I’m reminded that it’s not about the product or the artwork or the dance at one moment.
It’s about putting joy, beauty, and freedom into the world, one dance at a time. It’s my Plate Lunch Dance first one-year-long project in 2016. All of it!
From concept to realization, and even in reflection afterwards.
I'm in one of the movies about The Gates!!!
So let’s hold onto that concept in our lives and artwork.
If you feel like you’re rushing to the finish line or comparing yourself to other artists who seem to have it all figured out…
Perhaps you can just hold onto the fact that the process is actually the only thing that is real, and we are always creatively sharing our ideas. Sometimes those ideas inspire others, or spread joy, or both.
♥️ 🖼️ ☂️ ⛩️ 💃
The Gates 20th anniversary exhibition at The Shed