Spill Zone has lots of horror, adventure, and chase scenes, but it’s also about being an artist.
Addison is a photographer, and she supports herself and her little sister with pictures taken in the Zone. Given that her art is illegal to make, she’s the ultimate outlaw artist.
Even outlaw artists, of course, have collectors, and they matter. The history of art is full of patrons who changed the arcs of individual careers, of artistic movements, even of art history itself. So this story wouldn’t be complete without getting to know Addison’s best customer, Tan’ea Vandersloot. It was great for me to see Alex draw a giant room full of Addison’s work, a gallery more carefully framed, mounted, and curated than Addie probably would manage herself.
To go a little further into Tan’ea’s head, we even made a website for Vandersloot Gallery. It’s kind of fanciful, given the Tan’ea couldn’t really put Addison’s work online. But check it out. It shows how even something as mysterious and sublime as the Spill Zone can be coopted and commercialized by the language of art criticism.
Of course, the more important work of this scene is to introduce a new collector, a man clearly wants more than just photographs of the Zone. But that’s a mystery for later in the story.