Buy the Left Lane Ends screen print here.

During the last two summers of the Before Time, I made a point of getting out regularly to sketch Seattle’s Alaskan Way Viaduct before, and then during, its planned demise. This hulking hunk of concrete, built in 1950, was basically a wall of noise, darkness, and looming collapse between downtown Seattle and Puget Sound. I had a studio overlooking this monstrosity for ten years, and sometimes I’d draw it out the window. I later made one of the drawings into a series of etchings.

But more often I have experienced this thing from below. Any walk or bike ride from downtown to the water necessitated spending time underneath the viaduct. You would try to get out from under there as quickly as possible, because it was a well-known fact that it would (not “could”) fall down on your head in the event of any reasonably-sized earthquake, which not a rare occurrence in these parts.

The project of drawing it, however, did one of those things art does: it forced me to appreciate this ugly thing and to acknowledge its perverse beauty. I was surprised to discover that it actually had something that could pass for a style: the repeating buttresses, if you looked at them all lined up together, are almost Art Deco. Almost. On the other hand, I also became more aware of how oppressive it was. You don’t realize how much daylight four lanes of concrete can rob you of, until you go to draw it. Most of the interesting views were from underneath, and it was cold and dark under there on the nicest summer days. I learned to bring along a sweater.

For the second of my 2020 screenprint projects, I decided that I would try to tackle this beast. I pulled out all of the watercolor sketches I’d made and picked one to adapt to a cut-stencil DIY 4-color process.

A watercolor sketch is loose, spontaneous, and often benefits from the accretion of detail. Hand-cut stencils printed in four colors is pretty much the opposite of all those things. Translation required a daunting level of editing and simplification. I started out by tracing the watercolor into a simple line drawing, then scaling that drawing up to the size I wanted. I traced over parts of the drawing again and again, dividing them into sections by color and transferring them to pieces of tyvek. Each of these steps made me lose some extraneous flourishes and helped me get closer to the essence, the concrete hulkitude of my subject.

A technical problem I ran into was that a lot of items were free-floating and would fall away if I tried to cut them out. For instance, I couldn’t block out the yellow signs in the big grey stencil I was making for the freeway, so I had to divide it in two parts. This actually proved to be unexpectedly beneficial when I went to go about creating the layered tones for the receding arches. The farther-away buttresses were made with five successive passes of the same transparent gray; at each pass I would cover up more of the stencil, so that the closest buttress was the darkest. I went through a similar process with a darker gray for the larger parts in the foreground

Beyond the freeway itself, I also had to decide which details were essential to the impulse of the original drawing and therefore would make it into the print. Color, of course: There were those bright yellow signs, in two different shades. I also loved the pedestrian and traffic light icons, the latter echoed in the real traffic light in the shadow of the freeway. But really, my favorite detail, and the reason I chose that vantage point in the first place, was the ominous “Left Lane Ends” sign. The left lane was going to end, all right. All the lanes were going to end.

(I returned to the same spot a year after making the sketch, while the demolition was in progress. Atop a pile of rubble, the “Left Lane Ends” sign was still dangling from its pole, as if to say “I told you so!”)

So I really had no choice but to pour a cup of tea, haul out the economy pack of x-acto knife blades, get comfy and start cutting.

In case any fellow CMYK afficianandos are reading, here’s the breakdown, in order: Nine layers of K (black to civilians), in two different transparencies, for the concrete; one Y layer for the signage; a very transparent M (magenta, to those of you with a life) to warm up some of the yellows; C for the sky; a darker K for the letters and symbols; a stronger M for the red lights, and a final dot of bright C for the green light. A lot can go wrong in 15 layers, which is why this is a very limited edition of 12 prints. They are available for purchase on my shoppe page AND along with the Jello print are part of the Artist Support Pledge: Each time I reach another $1000 in sales of these works, I will buy art from another artist.

My first food paintings were of eggs. Lots of eggs. Eggs distributed one to a plate, eggs enshrined in stainless steel bowls. I was working out, among other things, my angst-ridden resistance to the cult of motherhood and its reproductive mandate. I had just begun to pilfer 195o’s magazines for imagery, and at the time I was particularly struck by how busy all the ladies pictured in their pages were with countless projects —shining floors, whipping up cakes, contemplating their kitchen cupboards—but really, it all seemed to me to be just a sublimation of the main message: Their true and only purpose in life was to make more tiny Americans. It didn’t seem to me, in the 1990’s, that the message had altered much. It still doesn’t.

 

 

 

 

 

 

 

 

 

On a visit home to Cleveland around this time, I asked Mary Beth, my very brilliant but troubled oldest sister, whether she would be attending the following day’s family Christmas gathering. She replied cryptically, “Of course I’m coming: I’m making . . .deviled eggs.” She slowly drew out the name of the favorite midwestern delicacy, lingering on the “devil”, imbuing it with a  significance I could only guess at. My cousin, an academic who is never at a loss for meaning, pointed out that perhaps here lay, in the humble deviled egg, my next subject matter. Take the egg—embodiment and symbol of the female’s power to create life—remove its core, fluff it up with mayonnaise and reassemble it into a decorative appetizer, a mere warmup to the main event of manly meatitude. The project of the patriarchy in a nutshell. Or eggshell.

I’m Making Deviled Eggs (1999) was something of a break-out painting. It won first prize in a juried show in 2000, which led to my first commercial gallery representation. It was the first time, after working in near-isolation for ten years, that I felt that my art was of interest to a wider world, the first hint that I could have a professional career at it, and maybe even one day make art full time. I had named the painting in an ironic nod to my sister’s cryptic quote. Mary Beth died in 2010 under rather unhappy circumstances. In retrospect, given what a pivotal moment this piece represents, artistically and professionally, I’m happy I did. It feels less ironic and more like an homage to a very smart woman born at the wrong time, whose potential, like that of the deviled eggs, was never fully realized.

I’ve since expanded the menu considerably, but I’m still drawn to those highly decorative concoctions that seem to be channeling an enormous amount of female creativity into bizarre and ephemeral projects. The theme of gutting something, mixing the innards with other ingredients, primarily mayonnaise, and stuffing them back into their original container to create a similacrum of the original—it recurs again and again. (Twice-baked potato, anyone?) It is, come to think of it, also an apt description of what I myself do with the ephemera of the American Dream.

Last month I had a nice chat with Jeffrey D. Shulman, a professor at the Foster School of Business at the University of Washington, on his Seattle Growth Podcast. In Season 6, he’s focusing on how people find and build community in a changing city. We mostly talked about ’57 Biscayne in 2011 and the Good Arts Building, and how those interlocking communities were formed and what I learned along the way. Of course, he also asks the inevitable “how has Seattle changed?” I’ve been here almost thirty years, but since I am rather ornery, I talked instead about what’s managed to stay the same. There are two interviews in the episode; the first one is interesting, but if you want to skip to mine, it starts at 33:44.

I also was a guest on the show a few years ago, along with my Good Arts partners Ali Ghambari and Greg Smith. We described how we came together from very different perspectives to create the wonder that is the Good Arts Building. Jeff had interviewed us separately and used the interview with Greg in one episode. He was about to scrap the rest, when the 2016 election happened. He felt like he really, really needed a heart-warming story of people setting aside their differences to work together to do good in the world—that’s us!—so he produced a Very Special Episode out of the outtakes.

Saturday, April 27 is Independent Bookstore Day, a day set aside to celebrate all those havens of civilization and culture where you can browse in the old sense, touch and leaf through physical books, and talk to real people who read a lot.

In Seattle, the celebration includes the Passport Challenge, in which one tries to visit all 25 participating bookstores in one day. Arundel Books of Pioneer Square is one of them. Their house imprint, Chatwin Books, who published my Fabric of the American Dream in 2015, will be presenting a series of readings by Chatwin authors at the store that day.

As one of their art book “authors,” rather than reading from my book I will be talking about the paintings that are in it; about my subsequent work; and then about two artists of my choosing, Edouard Manet (of course) and Norman Rockwell (about whom I wrote a piece for ArtDish a few years back).

My talk starts at 3:30 PM PDT. The event will be live-streamed on Facebook, but to reward actually showing up in person, which is kind of the point, champagne will be served at the bookstore.

Sleek shiny cars, gleaming ribbons of freeway, convenient modern handheld devices like TV remotes and light meters—we’re all nostalgic for the future that never happened.

My show of recent paintings on vintage fabrics, remixing images of mid-century car ads and real estate porn into dissections of the American unconscious, is up through this Friday, April 26 at Atelier Drome Architecture + Design, 112 Prefontaine Ave. S in Pioneer Square. Hours are 8AM- 5PM Monday through Friday.

Recommended by The Stranger as one of the top shows to see this spring.

When I was a model for painting classes, I often heard one professor tell his students a story about a Chinese artist who received a commission for a painting of a fish. Some months had passed when the patron inquired as to the status of his fish painting. The artist replied he was still working on it. More months passed, the patron inquired again. Still working on it, the artist replied again. A year goes by, the patron asks after his fish yet again, and the artist once again tells him he’s still working on it. Another year later, the patron finally just goes over to the artist’s studio and says, please, I really want my fish, I’ve been waiting for two years now, can I get my fish painting? The artist pulls out a brush, ink, and a piece of paper, then deftly paints a fish on it and hands it to the guy. “Wait, why did it take so long if you could just make one in five seconds like that?” the patron wants to know. The artist walks over to a closet, opens the door, and out fly hundreds of pieces of paper with fish painted on them.

I’m not sure if I have all the details right from the professor’s version, let alone whether it’s really an old Chinese fable—the professor himself might have just made it up, for all I know. It really doesn’t matter where it comes from, because the story as I have come to understand it (and retell repeatedly to my own classes) is wise and useful regardless of its fuzzy provenance. The point is that you have to make a whole lot of bad or mediocre art in order to get even close to making good art. You have to fill rooms and rooms with bad, or just not-quite-it, fish paintings. And you have to keep doing it. I’ve been painting and showing and selling paintings for over twenty years, yet I am still filling up the fish closet with crap. I’ve learned to embrace it.

When I made the series Floor Plan for the American Dream (AKA the Manet covers), I started one piece that never, ever worked out. The working drawing, pictured above, gives you an idea of how I tried to squish way too many people into an overly complicated composition. Yet I persisted in squishing and started the painting itself on two panels, one of them truly weirdly shaped. It only got worse from there.

You can tell by the wildly fluctuating color changes that I was grasping at straws. Eventually I figured that out myself and stopped painting, separated the panels, and whited out everything except the curtain and two ladies.

I put those panels away until I’d finished the rest of the show. I occasionally pull them out and do stuff to them. They might make their way out of the fish closet and be reborn as completely different works, but it’s OK if they don’t.

The last four years have been boom times for the fish closet. The slight distraction of buying a building happened to coincide with the distinct feeling that one period of my work was ending and it was time to find the next evolution. That particular alignment of stars meant that the experimentation, focus, and long, seemingly unproductive hours of making work destined for the fish closet was further complicated by a lot of unrelated interruptions. I messed around with a lot of processes and ideas that would probably never make it into finished form but had to happen anyway.

Experiments included ink sketches of patterns set in the traditional prototypes I found in a 1948 book for textile designers; tiny square magazine collages; paintings of patterns based on carbon atoms and organic molecules; and attempts to wed the painted patterns to existing fabric ones.

Meanwhile, I was also trying to learn to compose in a circle. I had kept my first tondo paintings simple—single objects centered on a patterned-fabric ground—but I always intended to get back to narratives and architectural space.

Let me tell you, it’s not easy to squish the entirety of the American Dream and its discontents into a circle. I had managed to get people to behave themselves a little bit, by keeping to an intimate scale and leaving out the complicated architecture. These paintings felt like they had the right amount going on in them for their fourteen-inch diameter.

 

 

 

But I craved big ideas, big spaces, big hunks of steel. I confidently and foolishly built two 42-inch panels then spent two years figuring out what to put in them. I had been wanting to explore the cult of the automobile, its shiny finned candy-colored midcentury rockets luring us to planetary demise. For a setting, Albert Frey’s gorgeous Aerial Tramway gas station of Palm Springs beckoned.

 

 

 

 

 

 

 

 

 

 

Doesn’t that yummy car just want to drive up to that yummy gas station? Not so fast, buster. What do you think this is, a RECTANGLE?

It didn’t work but, determined to marry the car theme to the architecture, I pressed on. I stumbled upon a picture of this lovely car dealership in Las Vegas.

Don’t even think about putting this in a circle. Not gonna happen. Additionally, in both scenarios I couldn’t figure out where the people would go. The buildings steal the entire show.

Then I found this stunning interior. Finally, something that looks like a car dealership but there’s a place to put the people! And it’s even in one-point perspective, which is something that works just fine in a circular composition.

I tried adding the car, but it was still weird.

I have a wall in my studio that is its own fish closet, just for humans. Lots of them are drawings of people I ended up using somewhere, but in a different size, so these wrong-sized versions accumulated on this wall. I’ve had it in the back of my mind to put them all in a painting together some day. This seemed like the moment to try it, as nothing else was working.

And neither was this. (Although it was fun to try.)

Oh, and I also had this guy. I loved that he was shining his car until he could see himself, looking like an overenthusiastic housewife with her Lemon Pledge. I gave him a car upgrade, but I had trouble deciding where to place him along the hood, and then he wouldn’t fit into any of the other spatial settings I’d drawn, let alone into a circle. He’s still on the wall and may be destined for the fish closet, despite the fact I still have a little crush on him.

Sometime in 2017, in the midst of these forays into the abyss, I did stumble upon one image that worked in a large circle. This fancy lady in her automobile is straightforward, focused, in one-point perspective, with a clear center, and she knows what she wants. The circle demands simplicity, which is nearly impossible to get right, but sometimes you stumble upon it.

However, doing something once is easy compared to following it up. I spent another year and a half struggling to come up with a second composition. In a book about Los Angeles architecture, I found some black and white photos of their famous freeways; one under construction, and another of an interchange known as “the stack.” Rather than try to squeeze one or the other of them into my mold (like tuna into a ring of lime jello), I made a new image out of parts of both, and then I found the perfect family to drive on them, in an ad for the wonders of asphalt.

Clearly, after all that endless, angst-filled, fish-painting, the only solution was to break every known rule. Put a big gray concrete post dead center. Crop people across their faces. Make the perspective ask more questions than it answers. I painted it relatively quickly (if not as fast as that Chinese artist with the patron breathing down his neck). Quickly, that is, if you don’t count the four years of filling the up closet with all those fish.

A re-issue. Originally posted on Making Your Own Work, my previous blog, on March 8, 2016.
Horse by the author, circa 1971; crayon on found office paper.

I grew up with five older siblings. We had around the house lots of books and toys from eras past, representing the accumulated passing interests of a slew of children. I never knew where most of the stuff came from or to whom it originally belonged. It was just there. Of these random vintage possessions, the most influential on my development were two books by Walter T. Foster (1891-1981), “How to Draw” and “How to Draw Horses”.  My cousin and I spent hours on end with the horse book, first copying the drawings, and then using his method of constructing the animal out of ovals, boxes, and lines (which also happened to be WTF’s method for drawing grapes, humans, landscapes, and most of the visible world).

These kinds of how-to books are a remnant of a time in America when leisure time was newly accessible to a wider demographic (thanks, labor movement) and their proliferation testament to the new consumer hobby market publishers sought to tap. Most of the authors were successful commercial illustrators and admen pitching their foolproof, easy methods to a public with time on their hands and an admirable wish to better themselves, for fun or profit or both. Unlike similar ventures into this market, for instance, paint-by-number, these books actually taught you a skill, and could be a starting point for a budding serious artist who found them lying around the house. They vary widely in their usefulness, production values, and applicability to fine art, but they all share an insistence that ANYONE CAN LEARN TO DRAW!

These are a few from my present-day collection.

Walter T. Foster was possibly the most prolific of the bunch, and he was more geared toward realism than those who were riding the comic book wave of the 1940’s and 50’s. He began his own publishing company, Walter T. Foster Publishing, which produced other artists’ how-to books as well as his own. Possibly one reason he could be so prolific can be found in the off-the-cuff, sketchbook quality of his books. They are full of bits of advice, hand-written in pencil, that usually, but not always, correspond to the illustrations, as if he just remembered something important and had to write it in the interstices of the drawings before it slipped his mind. Sometimes the drawings run right off the page. Possibly they are just his sketchbooks, barely edited and annotated.

He’s full of advice and encouragement. In the example above he is mighty specific about the exact size of drawing board you should use, as well as where you should lean it. Elsewhere, after laying out the 1/3 rule of composition, he exhorts:

Don’t hold to any cut-and-dried rules. Think for yourself and apply what you learn from all sources.

On drawing a vase of flowers:

Fine, go ahead, but if you have trouble just know it isn’t an easy thing to do.

Many of his snippets of wisdom are indeed signed “W.T.F.”

Here’s a helpful, if confusing, hint on the pitfalls in composition, which also looks like a recipe for a successful cubist painting:

The irrepressible Andrew Loomis, author of “Fun With A Pencil”, mixes instructions for drawing cartoon caricatures right in more with realistic figures and perspective theory. His formulas are rather more formulaic, but he also proves a pleasant companion for your drawing journey. “Never mind if they are a little off” is timeless advice for learning any new skill, and people particularly need to hear it when they’re drawing, since the disastrous results of early attempts are always staring you in the face.

This chart of standard facial measurements is from 1939, so we’ll cut him some slack on his ethnocentricity, of which, trust me, this is a more mild example:

The ideal American is not only white, chiseled, and afflicted with lines all over their face, but is also possibly transgender. Note the identical features transposed from Mr. Ideal American to Ms. Ideal American.

Actually, I do hand out a version of that formula to beginning students tackling portraits for the first time. I find it helps them to see what’s in front of them, and usually if not always keeps them from putting the eyes at the very top of the head.  I do add the warning, “actual results may vary,” which one should keep in mind regardless of the subject’s ethnicity.

I’m not entirely sure what this diagram is supposed to represent. It doesn’t even really make sense internally: why is the brow line perpendicular to the ear line? And, besides, one should NEVER use a real knife to draw another human. While we’re at it, let me also state that real children should never be allowed to play unsupervised with perspective.

Next to the Ideal American, the most important formula for the budding commercial illustrator to have in their back pocket was the Pretty Girl, the pleasingness of which, according to Loomis, is “99% in how well you draw it”. Incidentally, this validates Jessica Rabbit’s oft-quoted observation that she wasn’t bad, just drawn that way.

Even into the late 1960’s, it was still important to keep those gender roles straight when learning to draw.

George Carlson, author of “I CAN DRAW!”, from which those were taken, was no Walter T. Foster, but WTF is a valid response to these unhelpful diagrams. This book was aimed at children, but evinces little respect for their ability to distinguish drawing from tracing dotted lines. What is “The head is drawn this way” supposed to mean? Those are two identical pictures, except one is red and one is black with an arrow pointing toward it, but no further instructions.

W.T.F. himself wasn’t immune from the illustrative conventions of his time, either. In his books, men’s hands are to be drawn realistically, while ladies’ hands tend to taper unnaturally.

In my experience, drawing a “leaf shape” first has never, ever been helpful in drawing a hand. It is only helpful in drawing a leaf. You can’t argue with this, though:

Hands are not easy to draw and you should devote much time to them.

Unlike the learn-to-draw-in-five-days-and-get-rich school of art instruction, Foster doesn’t sugarcoat the sheer hours and sweat it takes to learn to draw. You can tell he really loved his vocation and wanted to make it accessible to anyone with the inclination. As a child I had the inclination but I didn’t know any artists (or horses for that matter). Doing the exercises in his books gave my initial inclination some focus and direction. Breaking horses down into their component ovals, however formulaic, demystified drawing for me. I started with his horses and grapes, but I kept on drawing while Foster assured me that, although it was bound to be difficult, I could get it with practice. “Do not let it scare you. Just take your time.”

I will give Mr. Foster the last word:

Draw everything you see, it will come in handy when you start making a living at it. Sure you can. Try.

W.T.F.!