You've read How it Works for Collectors, which describes the reasons why you should purchase a Pairing or Project, but what will the experience of being a Collector be like. I want to share some snippets of what some Collectors experienced last year. 

In 2016 Jason Kappus proposed: Jason Kappus explores the serenity of people with their eyes closed, depicting liminal states of consciousness by overlaying delicate, naturalistic portraits rendered in marker and oil paint with bursts of abstract forms and lines. These mixed-media works are approximately 9 inches tall by 13 inches wide on wood panel. 

And he shared this image as an example of the work he would do: 

He provided four updates to Collectors over the 10 weeks we worked on his PDX-CSA project that included text, photos, and video.
Here's a selection from his first update where he explained the accidental inspiration for the project:

Working in Two Modes

People have been telling me for years to combine my interest in abstract and figurative art, to which I’ve always replied Bah! (or the polite, conversational equivalent). Thus it took an accident to get me to finally see the potential.

I was cleaning the piles around my desk (cleaning might be too generous a term, I was making intermingling piles into slightly tidier stacks), and I happened to place the drawing on top of an abstract sketch . . .

Next he shared how he experimented with a number of media and methods to find how to achieve the desired effect he wanted for the artwork. Here's a short selection from that update:

In retrospect much of the testing for this project feels equivalent to deciding that even though I like sugar I’m going to try to make cookies without sugar and just for good measure without baking powder as well; certainly it’s possible, but why create unnecessary limitations.

And he provided images such as these as examples of the testing:

Here's a selection from his third update, where he shared his approach to the abstract portion of the artwork:

I wanted to make certain that the basic features of the face were never overwhelmed by the abstraction and one way to do this was to ensure that on the scale of light to dark the value of the eyebrows, orbits, eye lashes, nostrils, and the commissure of the lips would be darker than the darkest value of the abstraction.

As a corollary to this, I also wanted to mostly use colors that were unrelated to or more intense than skin tones, so I set up my abstract palette around colors like Teal, Azure, Emerald, and Goldenrod.

And he shared a video showing how he painted on several sheets of wax paper and from them transferred the paint to gessoed panel:

In his final update he wrote about his process of integrating a portrait with the abstraction and shared a video that documented the entire process for one of the PDX-CSA paintings: