where my works will go

learning the hard way
one learns always the hardway but at some points, as someone who determined not to sell works, or to be a commercial artist etc. though is a choice, yet somehow such decision did lead to one difficult to manage situation:
that I have accumulated far too many works and almost not knowing where to store them
But that does not mean I intend to sell them or to make a material interest on them
This constant factor was the only Spirit meaningful behind such works, not implying others who do not do the same are not spiritual
So at one point, I had to make a decision : how to distribute my works

How to distribute my works

based on the idea of thankfulness, I am considering eventually the works could be distributed according to categories:
for figurative works
1. subject matter
in case of portraitures ( except for the models ), the works could go well to those who are being made the portraits
in case of other works, such as landscapes , the works could go to the places of inspiration ( such as Guilin could be part of the owners )
though, due to the numerous quantity of the same subject matter, such works could well be divided in three categories
1. the place that helped accomodating the making of such works ( such as where I painted the works )
2. the people who I agreed and still agree of their keeping the works ( especially when they were already shipped to a different country )
3. those who are interested in keeping the works because they could safely protect them
for other works, such as abstract works,
1. could be distributed according to the source of inspiration: many works were accompanied by poems and therefore, those who wrote the poems could be the owners of the works ( in case of old poems, it would be the association which promotes the poet ), or the country where the poems belong to ( if the country is interested in them)
But most works could be divided between
1. those who have accomodated my making of the work ( such as the Institutions, my previous Universities or Colleges )
2. those who have been safeguarding my work with my consent , such as the insitute that shows my permanent collection
3. those institutions that are in posession of my works under mutual agreement ( donated works )
4. Institutions that support the development of abstract works that would safeguard them
For all other works, especially works inspired by family events, such as portraits of family members would belong to the family
All other works that have been taken away from me without my knowledge and constant renewal should go back to my collection, and be fairly distributed to those who are interested in their safe custody

wrong location , a life time turmoil

as wrong decision in life is something that is difficult to resolve, especially the wrong choice of a living environment
In my case, the choice of living in Rome, Italy has been one of those wrong decisions
Like I explained before, the meaning I gave to my living experience as an artist is related to how I could also contribute my cultural value from my own cultural roots, once that is no longer possible or seen as a factor less productive for the other culture, I, therefore, do not see that anymore a place where I should continue make my dewelling
Even though I try, admist sufferings and all sorts of inner struggles, I do not see this period of living in the outskirt of Rome as being meaningful though the installations I happened to create were some what satisfying spiritual wise, as they were natural consequences of inner sufferings, of an undesired but somehow obligated seclusion.
First time in my life as someone who has embraced Italy with full heart and mind do I found myself totally alienated, misunderstood, etc.
In this case, it is not so much the problem of personal survival, it is, perhaps, a question of self respect
Thus when the location is a non location for self respect, life is still fair, other locations are still possible
Therefore, the motivation of the distribution of my works are based on my personal experience- whatever has happened in a dramatic way, such as the taking of my works without consent, or trying to make it look like I had agreed in their taking away of my works permanently, I, therefore, announce to all with this website, that I have learned the hardway, and that I finally state clearly to whom I would like to dedicate my works, and naturally if , those who I feel suitable to keep my works are also interested in keeping them

mutual aggreement

mutual aggreement seems to be the fairest means
I guess, after such a long period of time as someone who produced but decided not to sell works (except in the beginning period and in the case of prints- since the idea of print is to distribute ), it is inevitable that sooner or later one has to find out a better way of treating the works, lest they are in the hands of people who are not apt to keep them ( such as those who are still in posession of my works without my constant renewal of consent)
I have the feelings quite a lot of practicing artists face similar problems, perhaps it is time to see and find a new way of distributing one's works, without having to do with commercial concepts, but more so, to use them as means to continue a second life for the works, such as by allowing them to be in the hands of real lovers of the works themselves

exceptions

like in all circumstances, exceptions as a factor of making a different decision, is important
all the above suggestions are my basic departure points for distributing my works, though there could be factors I overlook, or that I have not been informed, cases such as those who are supportive of seeing the works live a different quality life, could contribute ideas of how they could be protected