Practical notes:

• To become engaged in the project I had to, personally, move beyond the idea that the work was just about making selfishly. I struggled to work to a project with no more motive than this, and began looking at this as a piece of research towards visual experimentation. (For my own pleasure)
• To my understanding this is reminiscent of FLOW THEORY in which to become engaged in a project truly a motive must be there (a challenge)
• This begins to move a little away from the original notions that tied this project to Outsider Artists, but continues with the idea of a practice that sustains itself very much because it is private.
• There must also be an understanding, in the "selfish act" of Outsider Art that the motive is not necessarily pleasure- more a need, or a way of understanding, or something further (I,e. Finster using art as a means of preaching).
• Maybe I struggle because my NEED to be creative is already being fulfilled in other endeavours (degree, work, personal work etc) 

• I am becoming increasingly aware of the input of social media/ sharing on my practice.  I have been sharing drawn images on the net for ten years now, it is very much innate at this point.
• Had a light discussion on how as children we show our family our drawings and they say well done and put it on the fridge. INSTAGRAM IS A SELF MADE FRIDGE AND YOU NOW HAVE 3000 MOTHERS APPROVING YOUR WORK, IT IS WEIRD 
• Of course, there is nuance to this, and the different types of feedback you receive and the value you place on responses from different people will vary, but ultimately it often stems to a simple and fleeting gratification