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Jane Richlovsky

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Andy’s Ambition

 Posted on May 3, 2022

Andy’s Ambition, a site-specific installation at Bonfire Gallery at 603 S. Main Street in Seattle’s Japantown neighborhood, is on view now through June 30, 2022. It’s viewable from the street 24/7, and right next door to the storied Panama Tea Room. There will be a public reception on first Thursday, June 2, from 6-8 PM.

The reason I’m painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.

Andy WArhol

That quote might conjure up an image of Andy’s outwardly cold, unemotional stare as he churns out endless rows of Marilyns in his Factory.

For me, the associations are more nuanced: The line between machine and human is not so clear-cut. A human and a tool performing a task together make an intimate, intricate dance, the repetitions of their movements creating new rhythms and patterns that neither could have created on their own. Decorative pattern has its origin in one such dance: weaving, one of the earliest and most widespread of human-machine collaborations.

For this installation, I generated a pattern by rotating and repeating a single shape on a grid, in collaboration with screen, squeegee, and hand-cut Tyvek stencils. Out of our repetitive dance and its variations, additional shapes emerged. Those shapes felt both mechanical and handmade, and also somewhat creature-like. In collaboration with a saw, I brought these creatures out into three dimensions to continue the dance.

The basic shape at the root of it all is a square divided into two unequal L-shaped parts. Starting in one of its four possible positions and rotating it clockwise or anti-clockwise gives you eight possible variant rows. How you sequence those rows makes for an infinite variety of patterns, some of which form new unanticipated shapes.

Here’s a block of 4 units by 4 units, starting with the larger shape in yellow:

Magenta in the smaller shape, filling in the interstices.

And then it gets interesting…a variant pattern, generated from the same unit, printed in translucent cyan over top the first one….

And another layer of cyan, offset a bit …

The opposite colorway in the studio.

Earlier I had experimented on a smaller scale with other patterns that I generated from the same unit. I kept returning to this sequence because I really liked the vaguely anthropomorphic, robotic, space-invader-era creatures that emerged out of it, seemingly by spontaneous generation. These shapes became the key to my next adventure: bringing pattern out of the wall and into the third dimension.

An early concept model.

I cut two flat identical shapes based on the robot guys, cut a slot into each one, and rotated them 90 degrees from each other and attached them. My creatures now had a three-dimensional existence.

I cut the pieces out of plywood with the COOLEST FREAKING THING ON THE PLANET, a Cutawl K-11.

Green units drying on the table.
Mid-install.

Left Lane Ends. (They all do.)

 Posted on October 14, 2020

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.

In The Future We Will All Have Flying Cars, drypoint/aquatint 2013

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

An early proof of the grayscale.

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.

One of two. The first stencil got messed up in the proofing stages so I had to make another one.
Three of five layers of the first gray.

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.

    It’s hip to be square, part 2.

     Posted on April 19, 2017

    The fabulous, generous, and always civic-minded Juan Alonso-Rodriguez is planning a benefit for others for his own birthday. And I have a top-secret piece in it.

    He and my other pal Paul D. McKee (of Project 106 and Method Gallery) are hosting a fundraising event benefiting the ACLU, Lambda Legal, & Planned Parenthood. For a tax-deductible $100 donation to one of these three fine organizations, attendees get to pick 1 of 100 original paintings to take home.

    They have supplied 100 local artists (including yours truly) with 6” x 6” pieces of Masonite and asked us to create an original work on it. All works are signed on the back so guests are choosing the work and not the artist by name. Many of us will be purposely trying to throw people off, or simply taking the opportunity to try something different.

    They will have iPads and laptops set up at the entrances to each space, ready to accept donations to one of these three organizations online. (Checks are also accepted.) After you donate, you get a receipt which you take into Juan Alonso Studio or to Method Gallery around the corner and select an original work of art to take home.

    The reception (21 & over) will be Friday, April 28, 5-8 pm. $100 minimum donation required at the door guarantees you get to select an original artwork to take home.

    Juan Alonso Studio – 306 S Washington St, Seattle, WA 98104

    2nd Chance – all ages
    Saturday, April 29, 11 am. – 3 pm. – $5 donation requested at the door
    Donate a minimum of $100 and you get to take an original artwork home.

    On Saturday, Juan Alonso Studio will also donate 25% of sales of original works by Juan Alonso-Rodriguez to whichever one of the three organizations you choose.

    juan alonso studio, pioneer square, lamda legal, aclu, planned parenthood, seattle artists
    Cece n’est pas my piece. These are some collages I did as warm-ups. My actual piece is totally top-secret.

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    • Andy’s Ambition
    • I want to be a machine*
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