Addison is an outsider artist. Entirely self-trained, she found her subject by surviving a disaster, not through teachers, theories, or predecessors. Indeed, her kind of art has no school to learn from, because the Spill Zone is its own world—and its own harsh teacher as well.
There’s something romantic about artists producing outside the influences of theories and fashions. A sense that somehow their art is purer, more original, less tainted by the world of commerce. More innocent.
But there’s one big downside to innocence: you’re more likely to be exploited. Addison realizes this in Tan’ea Vandersloot’s fancy limo, drinking champagne, on her way to New York City—the world capital of art. Her dealer has been ripping her off, giving her a third of what he owes her. On top of which, Marty has failed at his one real job: keeping her safe from the rest of the world.
Innocence never lasts.