Culture Herd We Hunt – You Gather

Welcome

This sites content production happens in random spurts When I have time and can convince other artists into talking and/or working with me. I make no apology for it's infrequency as I'm probably making other cool things happen. I'M ONLY ONE MAN... who loves artists and writes articles and interviews about their lives.

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Survivor – Roy Powell

"Survivors" is an interview series highlighting artists that maintain a "day job" to pay the bills. To shed some light on the techniques and methods of coping and succeeding as an artist. But also bring us all a bit closer by showing we all share the same struggles and challenges.

I came to know Roy through a collaborative series he built with Greg Boudreau called "Chief Seattle's All Stars" But he's no "one trick pony" (at least when it comes to art) He paints, prints and survives day to day with the duality of a super hero but without all that super power "baggage". Be sure to see all his art: www.roypowellart.com

Mayor SchellWilliam Boeing 2010 Spray paint on linenPaul Allen 2010 Spray Paint on Linen

The Questions...

1. What (other than art) do you do to pay the bills?

    I work for a copier sales company in the sales support dept.

2. What else would you do for money?

    Almost Anything...

3. What's the hardest part of having a day job while you build an art career?

    The hardest part is the time comitment. I spend a lot of time at my day job knowing that I could be painting or printmaking right now instead of reminding a customer how to replace their toner cartridge for the 3rd time in a week.

4. Have you ever gotten in trouble at your day job for promoting your art?

    Not yet. I've moved painting into my office / cube. I've handed out some flyers. Most of the time these "business types" can't be bothered with anything related to art. But if It were an invitation to a fantasy football league or the like, they would be all over it.

5. What would you say departing your day job for the last time?

    Thank you for the oppertunity to delay my goals and dreams in exchange for a steady paycheck and health benifits. That's pretty passive aggressive. I probably wouldn't say that.

6. Hours per week at your day job?

    40.

7. Hours per week making art?

    20-35 depending on the week.

8. Who are the people in your neighborhood?

    Capital Hill types.

9. What's the least amount of sleep (hours) that you need to get through a busy day?

    4, sometimes 3. 4 each night if I'm going to be not sleeping very much for multiple nights in a row.

10. Please list the following items in order of "most-neglected" to "most-attended".
(Sleep, Food, Sex, Art, Day Job, Friends, Health, Bills, Mom)

    Health, Mom, Bills, Day Job, Friends, Sleep, Sex, Art, Food.

11. How did you end up in your day job?

    I responded to a Craigslist add. I wanted to get out of my job at a paint store (not as glamourous as you'd think) so bad, that I took the first job I was offered.

12. How would you measure the amount of success needed to quit your day job?

    I would need  a lot of success. With rent and bills, I'm not quiting anytime soon.

13. If your art was an animal, what would it be?

    Slow lorris. Just kidding, my work isn't that cute, I just like saying Slow Lorris. Umm, nope, I'm going to stick with Slow Lorris.

14. Where can people find your art online?

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Simple is Better – Chris Rollins

 

 

Spring has sprung and for me now is the time when the windows in my home get opened and the oppressive winter air is purged from my house. I find myself sorting through the clutter and making all things clean. Out with the old, in with the new. So, maybe I can blame my recent need for simplicity and humor on the changing season, but right now is a time when I really enjoy the work of Chris Rollins.

His work sings with the sunlight and dances with the walls. Bright colors, thick lines and humorous characters compose his prints. What makes his work so beautiful is that it's simply made. The simplicity allows me to easily understand the context of his work. It's as if the static has been removed and I can concentrate on what he’s broadcasting. His mindful use of color and composition are not made to be easy, rather, a mature understanding of knowing when to not say too much. Furthermore, each piece holds you for just long enough to enjoy. I’m never left feeling beaten or overwhelmed, just happy.

Ultimately, I enjoy his work because it’s easy, fun and inviting.

If you would like to see some of his work he’s got an Open House going on this weekend! Hope to see you there!

Where:
Hiawatha ArtSpace
827 Hiawatha Place South
Seattle, WA 98144

When:
Saturday – March 26th (2-6pm)

For more information on Chris Rollins check out his website at www.christopherrollins.com

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Filed under: Print, Visual Arts No Comments

Drowning in a Sea of Wax

Encaustic is melting all over Seattle.  It has been forming pools in nearly every art gallery recently and spreading.  Medias like that have a way of infiltrating ever corner of this city's art scene: it seems that if one artist does it, someone else has to 'one up' them until it is in everyone's repertoire.

But artists, please heed my warning.

Bad encaustic is certainly the majority out in the scene.  A friend once said that he thought most encaustic was the result of an artist trying to make a piece they fucked up somewhat acceptable, it forms a mask over a pile of shit.  I would absolutely agree.  Generally it is messy, unintentional (not in a good way), and trying too hard all at the same time.  It should never be used as decoupage.  This media can be an amazing addition to many forms of visual art, but not everyone can be good at everything.

And to all you artists that think you are good at encaustic:  bad news, you very certainly aren't.

 

However,  I have two artists to commend on their work with encaustic in two very different ways.

When standing in front of the paintings of Alicia Tormey I am brought to another world.   The large scale, vibrant colors, and complete control over such a difficult media combine to make her pieces absolutely unforgettable.  She builds depth with intention.  They are just lovely.

 

The newspaper based creations of Kate Hunt are a refreshing change to what I consider to be the 'standard'  Seattle sculpture scene (I don't necessarily know what that is exactly… but it just feels different).  The quality that comes from the unevenly covered stacks is fabulous - visual and actual texture combined.

 

If you think that you are worthy to show encaustic in Seattle, go and take in these artists - you probably don't stand a chance.  Way to go ladies.  Your work makes everyone else's look like an elementary school experiment.

 
 

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February ArtWalk Favorites

 

What do a drunk nun, a broken toaster and tools with testicles have in common?

...You guessed it: Artwalk here in Seattle.


Lets start with something comfortable... Like dead puppets.

Molly Hill: String Master 2010

Acrylic on canvas / 28" x 22" / $2,800

Molly Hill was showing @ Grover Thurston And although her show seemed a bit "kitch"...  Never the less: I fell for it.

Don't get me wrong, she's an amazing painter. Inspiring even. As a matter of fact, her work looks like N. Rockwell and S. Dali were domestic-partners raising an orphan daughter who only painted at the psychiatrists office. I dig it.

What can I say? I'm a sucker for direct symbolism, obvious paradox, and cliche topics in general. Stuff like puppets with severed red strings, a chained up monkey, or fore-staged subjects... what's that? the painting to the right has ALL that? DAMN. See?

Art like this falls into the "guilty pleasure" category for me. It's comfortable. you can glance at it, understand it instantly, and move on to stuff like inspecting proportions, colors, textures, and "craftsmanship". All of which Molly has in spades.

I suggest you click on Molly's Website Link below to explore her work in full, it's got all of the above and more.

Molly Hill - Website


Kate Hunt: Dollar Pieces 2009

Kate Hunt / Dollar Pieces 2009 / 2" x 7" x 5" / $200ea

Finally! Art with indisputable value... It's made of money.

Kate Hunts fascination with paper is unhealthy. Which is most unfortunate for her because it's so amazing that I doubt anyone will ever let her stop working with it. In Feb she displayed a large "sum" of work @ Davidson Galleries Money that made flags, newspaper that made pedestals, I couldn't help but wonder if any fire marshals have given her grief or insisted on fire-proofing.

Kate's work was fun. She used steel, encaustic, bailing wire, newspaper, and cold hard cash to create burnt out, charred, pillars, bowls and panes that made me feel like I was at a fire sale for an eccentric  printer whose house burned down. What I liked most was that she's got an obvious brand. I could recognize her work now anywhere I ended up seeing it, and that's the kinda thing that makes one famous...

Check Out her website for more cool sculpture. Kate Hunt - Website

 


Now lets get to Some Penis and Testicle Art shall we? I thought you'd never ask...

Ken Edwards: Garden Tool

Ken Edwards/ Garden Tool /Mixed Media / $950

Ken Edwards filled the Gallery IMA with tools designed to be more organic but still very masculine. They basically look like the tools that the natives in Avatar might use. I loved this one, but there's lots more to view on his website (See Link below)

I know it's not a new idea to re-invent mans common tools, but for a 35 year firefighter, I'm sure tools have varied meaning and memory even in retirement.

Ken Edwards - Website

 

 

Ruthie V: Gender

Ruthie V / Gender / Cement on panel / with Trowel Penis

Ruthie V, Showing in Feb @ Shift in the TK building, made quite an impression on people that night. What does it all mean? I mean I get the phallic nature of tool handles, but cement? was it to tie in the trowel or are you making a comment on how attached we are to them? either way, you had me at "...is that a penis"? It's not all about sex or genitalia with Ruthie, in fact this is the only penis I could find in her collection..

She had lots of great work in the show and she even knew enough to throw in one of those blantantly obvious shock value pieces to grab the lesser versed artwalkers who might have missed the subtle hint of brilliance in her other work. good show Ruthie.

Ruthie V - Website

 



Paul Young: Toaster

but it's plugged in...?

What's left? Oh yah, broken toasters and drunk nuns!

So here's the toaster... It's a piece by Paul Young in the infamous 619 (Western) building. via Gold Shoes Studios & Gallery on the 5th floor (Edd Cox's Establishment) You can find Lots more of Pauls work here www.PaulYoungPainting.com

Anyways, i just liked it for the irony of it all. I mean it's plugged in, but has a sign telling me it still wont work... yet I have to try to push down the lever... I HAVE TO.

 

 

Nun Drinks BeerJamison Drinks BeerAnd what West Coast event is complete without running into one of the Sisters of perpetual indulgence. Aside from free condoms and lube, they also hand out sex-positive messages and try to loosen people up about sexuality in general, after all, if there's one thing I learned growing up in New England it was that we were most CERTAINLY founded by Puritans. And we've got a long ways to go before we find a comfortable "middle ground" about sex. I wish I got this sisters name, they're usually hillarious like sister buttercup panties, or bertha beads, and so on... here's our two photos, one with me drinking and the other with her drinking. (her being the one with a  beard here)

 

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Survivor: Chris Sheridan

"Survivors" is an interview series highlighting artists that maintain a "day job" to pay the bills. To shed some light on the techniques and methods of coping and succeeding as an artist. But also bring us all a bit closer by showing we all share the same struggles and challenges.

Chris is  a shining example of what you can accomplish if you harness the power of ADHD to master multitasking. He's also tireless Artwalk Presenter and Pioneer Square Patriot. In an earthquake, he'd run to try and hold the crack in the 619 building together without a thought for his own safety. Actually, he'd probably find a way to multitask while he was doing it. Maybe call and check in on Kate or hand a fleeing patron one of his flyers.

His insight below ranges in topic from VooDoo dolls to fancy fanny packs. But what you really need to know about him is that his studio is in the middle of the 619 western building and he (in my eyes) is the hub of what's great about the pioneer square artwalk.

1. What (other than art) do you do to pay the bills?

    I have voodoo dolls of all of my creditors, I give them “money” and the big guys think we’re good; wouldn’t that be rad? Gumption, it’s all about gumption. There are a ton of things you can do to pay the bills, and things you can trade to save money for bills. I build shipping crates for people, do freelance art installation, sell things I don’t really need (although I really miss my kayaks—a lot—suck it I.R.S.), and I often lend a helping hand to peeps in my studio building for a burger and a beer, thus saving greenbacks for the man. I’m also a “manny.” A “manny” you say?” Yes. The kids weren’t really feeling the Mary Poppins things when I showed up, so they call me the “manny.”

2. What else would you do for money?

    Be awesome, I don’t know, anything really; perhaps not anything, but close. Hell I’d play the double for Chuck Norris’ chin if I had too. On a serious note though, a lot of artists do graphic design, web design, T-shirt design, design-design, etc; I’ve discovered pressing and shaping long board skateboards by hand. It’s really gratifying to make tangible things, even more so when a good friend steps on something you made and bombs a hill with you. I wouldn’t mind making money doing that. Truth be told, I actually like the woodworking better than the painting, but don’t tell painting, she’s really sensitive sometimes; but that might just be because the wood lets me manipulate it, whereas the paint and I tend to manipulate each other. Guess I have control issues. So money, yes, I’ll do things for money.

3. What's the hardest part of having a day job while you build an art career?

    The fact that it all takes time. Art is a full time job, marketing your art is a full time job, cataloging your art is a full time job, attending art shows (both yours and others) is a full time job, finding ways to create and sustain name recognition is a full time job…and although I only work my “day job” part time, it finds a way of creating interesting time dynamics with all my other full time jobs.

4. Have you ever gotten in trouble at your day job for promoting your art?

    Yup who hasn’t? As with most things, sometimes a conflict is going to arise and you have to make a decision and take responsibility for your actions. It can be tough being a manny. It’s not like you can call in sick and a coworker shows up and shuttles the kids to one of the many activities for the day; it’s you, or kids sans activities. At the end of the day though, the whole manny thing is what allows me to continue being an artist, not vice versa; and I’m lucky enough to have a real flexible gig on most occasions.

5. What would you say departing your day job for the last time?

    Ah yah, so do you think I could get a ride home?

6. Hours per week at your day job?

    Roughly 20 give or take.

7. Hours per week making art?

    It depends. From the end of July to December I was averaging 70 – 80, but I’ve only been in there a few days since the first week of December. After the new year begins, I have a lot of shows lined up including a big solo show in D.C. in June, so the studio and I will be as one. We’re going to have to come up with some Mr. Miyagi wax-on-wax off juju to keep us both sane.

8. Who are the people in your neighborhood?

    Well I live in Alki, so there are all sorts of people. Some of the stand outs: 1. Opalescent green, ridiculously large tires, white rag top, hydraulics, 68 Impala, gang banger guy. 2. Crazy over-excited, up with people, gum smacking, talks so loud on the celly one thinks perhaps she had a bull horn implanted in her throat, P.D.A. (get a room level) with costumed pug lady. 3. By far my fave from the other day, bundled up like an arctic explorer on top yet short wearing, three pairs of multicolored wool socks, bright yellow crocs with a single yaktrax installed on one foot (for those not privy, yaktrax are like snow chains for your feet), old yellow lab walker lady. 4. Almost forgot really expensive running shoes, really expensive running shirt, really expensive running glasses, fancy fanny pack water bottle holder with really expensive running aide drink mix stuff, dolphin shorts, free ballin’, sweating profusely, big gut, out of shape, boardwalk runner guy.

9. What's the least amount of sleep (hours) that you need to get through a busy day?

    I’m getting old, so I need more and more all the time. But if the deadline calls for it, a couple.

10. Please list the following items in order of "most-neglected" to "most-attended".
Sleep, Food, Sex, Art, Day Job, Friends, Health, Bills, Mom

    Today it looks like this: Health, food, art, friends, sex, mom, day job, bills.
    Last Monday it was: Bills, sex, sleep, friends, health, food, day job, art.
    At the beginning of Sept it was: Art and that’s about it.

11. How did you end up in your day job?

    I spent a lot of years trying to work jobs that I thought would allow me to come home and paint: art stores, ice cream shops, art handling, galleries, even art chop shops; and when I got home, the last thing in the world I wanted to or had time to do was paint. At the time, I was working at a really high end gallery on the Upper East Side in NY. It was the type of job where I’d show up and a Dürer would be on my desk waiting for me to re-frame it, where one day I found a Picasso test print on onion skin paper that the Met never knew existed (and quickly bought), where I wasn’t allowed to hire anyone to help me move 700lbs of Frankenthaler madness from Connecticut to NYC, to Connecticut, and to NYC again. Thought for sure all the inspiration around me would create an abundance of art, but between the hours I worked and the damn commuter train from Brooklyn to the city, it didn’t happen. One day I was on the commuter train—you have to keep in mind these trains were so full it was possible to travel 5 or 6 stops with out your feet actually touching the ground—and I got off at the Lex and 53rd stop and started the rush up the escalators. Now being commuter train savvy, you know there are unspoken rules: where to stand in the train, where to walk, where to run, where not to stop and talk on the phone, which end of the platform to stand at to guarantee the fastest route to the stairs, and especially which side of the escalator to stand on and which side you run. I had become such a drone that the day a lady was standing on the wrong side of the escalator with a suitcase (you see, regular folk stand on the right, the “important” people know enough that the only way to make the connecting 6 train is to run up the left side) I proceeded to scream in her face about how much of an idiot she was. That was it. I enjoyed NY, but it had turned my soul black, I was angry, I was unrecognizable to my old friends, and I had no art to show for it. It was time to leave. I quit a month later and headed to Seattle ‘cause I had never been there before, and Kate had a sister there; she offered me the manny gig so I could get back into making art. And I did.

12. How would you measure the amount of success needed to quit your day job?

    By having enough success to not have to have my day job.

13. If your art was an animal, what would it be?

    A human child: it makes leaps and bounds in its abilities, has a knack for figuring out things, even a strong personality, gumption, and desire, but it has a long road of learning ahead of it.

14. Where can people find your art online?

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why I like installation art…

I'm an artist.

"So what kind of artist are you?"

Oh, I do installation.

"…uhhhuumm"

Actual definition:

A genre of art which incorporates any media, including the physical features of the site, to create a conceptual experience in a particular environment.

Really broad for something that can leave such an impression.

I like to define it as:

Anything(s) made out of any material(s) that is arranged for any reason(s) in a particular space(s) to communicate an idea(s). But, the most important thing about installation art is… it's temporary.  And it should be.  That's what creates the conceptual experience.

A few months ago at Artwalk I was enjoying the Toshiro-Kaplan building when I came across an installation of these bowls made out of salt crystals balanced delicately on lumber cut at different levels.  Unfortunately I do not remember the name of the artist or the piece but the picture of it in my mind is so clear and I will will certainly recognize when I see their work again.  There was such a feeling when I walked into the room.  It was not the only piece there, although you wouldn't know it.  Effective installation can't really ever be accurately transcribed because of the overwhelming change in perception, it should grab you and bring you to some other place entirely.  You should get lost in it.  And i was floating on those bowls - flying and bouncing across them - and yet I felt as if there was something that was supposed to be there but intentionally missing.  It was uplifting and eerie at the same time.

But who really wants to buy this stuff?  I don't.  Just like I love Damien Hirst's satirical pharmacy - yeah, its fucking fabulous but am i really going to hang 4 shelves of prescription boxes on my wall?  And where would i put those 126 salt bowls?  I am constantly trying to wrap my mind around how these artists are making a living, and at the same time I feel impassioned to follow this path.

I can't speak for anyone else, but I like installation art because I want to force you into my eyes, because of the challenge of it, because of the people who get it, because of the ability to change someones mind if for only a second.  When art surrounds you, you have no choice but to submit yourself to it.

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Survivor: Eric Nelson

"Survivors" is an interview series highlighting artists that maintain a "day job" to pay the bills. To shed some light on the techniques and methods of coping and succeeding as an artist. But also bring us all a bit closer by showing we all share the same struggles and challenges.

Eric likes to have fun. His work in graphic design shows it, but he's still very practical. One of those right/left brain savants that's somehow normal enough to get by without anyone realizing he's a genius. For instance he likes professional sports AND the arts: who does that? Many friends of mine are graphic designers or developers (ok me too) and it's always interesting to see how creative professionals find the inspiration to be creative for themselves too.

1. What (other than art) do you do to pay the bills?

  • Nothing anymore (Graphic Designer/Developer)

2. What else would you do for money?

  • I used to coach volleyball. Now I'm 100% design and develop

3. What's the hardest part of having a day job while you build an art career?

  • All of the time that I lose during the day

4. Have you ever gotten in trouble at your day job for promoting your art?

  • Nope: They're very supportive

5. What would you say departing your day job for the last time?

  • Thanks for everything. I'll try to remember you when I'm famous

6. Hours per week at your day job?

  • 40

7. Hours per week making art?

  • Currently I have no room for art because I am starting a company outside of my day job

8. Who are the people in your neighborhood?

  • Younger people my age: 25-35

9. What's the least amount of sleep (hours) that you need to get through a busy day?

  • 6 hrs

10. Please list the following items in order of "most-neglected" to "most-attended".
Sleep, Food, Sex, Art, Day Job, Friends, Health, Bills, Mom

  • Sex, Art, Mom, Friends, Food, Health, Sleep, Day Job, Bills

11. How did you end up in your day job?

  • Coworker at an old job introduced me to the company

12. How would you measure the amount of success needed to quit your day job?

  • 100% financial. Once I can pay all my bills and have a reasonable lifestyle, I am out

13. If your art was an animal, what would it be?

  • Right now it would be roadkill because I have not painted in over a year. In its prime, it was a chameleon ink blot test. It turned into whatever it wanted to be and the viewer saw whatever they wanted to see in it.

14. Where can people find your art online?

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Survivor: Kristi Tamcsin

"Survivors" is an interview series highlighting artists that maintain a "day job" to pay the bills. To shed some light on the techniques and methods of coping and succeeding as an artist. But also bring us all a bit closer by showing we all share the same struggles and challenges.

Kristi (or Cookie as her friends know her) and her husband Geoffrey are one of those artist couples that seem to balance each other in every part of their lives. Geoffrey Purchased Plasteel Frames (a shop he worked in  for years) right around the same time they got some "big news". Now with their new son Hudson, they've had to switch gear and re-tool their lifestyles. She is most definitely a survivor.  Here's her answers: Listen Up Kids.

1. What (other than art) do you do to pay the bills?

  • Teach Yoga & Nanny kids

2. What else would you do for money?

  • Teach art

3. What's the hardest part of having a day job while you build an art career?

  • Having the energy after work to make art and dinner

4. Have you ever gotten in trouble at your day job for promoting your art?

  • Nope

5. What would you say departing your day job for the last time?

  • Chow Suckers! No, just to the kids... Just kidding ;)

6. Hours per week at your day job?

  • Before I had a baby which is (now) 24/7, I worked 30(ish) hours

7. Hours per week making art?

  • Anywhere from 0 - 12

8. Who are the people in your neighborhood?

  • Business folk, shoppers, store owners and bums

9. What's the least amount of sleep (hours) that you need to get through a busy day?

  • Before my baby I'd say 8, now I say 6

10. Please list the following items in order of "most-neglected" to "most-attended".
---> Sleep, Food, Sex, Art, Day Job, Friends, Health, Bills, Mom

  • Food, Friends, Mom, Health, Sex, Sleep, Bills, Art & Day Job: Baby

11. How did you end up in your day job?

  • Not having enough money to make a working portfolio and pay the bills

12. How would you measure the amount of success needed to quit your day job?

  • Enough money to pay the rent and bills and have extra to live on

13. If your art was an animal, what would it be?

  • An owl.

14. Where can people find your art online?

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Jan 1st Thursday Favorites

I took my daughter on her second artwalk. She's still officially the youngest person @ artwalk (3 months) and I'm not gonn lie, she's a critic already. For work that she doens't like she whines and kicks, work she's just "ok with" will turn her head away but glance back occasionally, and work that she actually likes makes her mouth drop open (usually dropping the pacifier) here's our combined favorites for this blustery Mid-winter evening downtown.

Harold Hoy
Via: Gallery IMA
Erector Set Panda
Galvanized Steel and Rubber
16 x 31 x 8 inches

At first you think, cool animals made our of home depot parts... But Your Wrong.

He uses galvanized steel and pipe hanger material (based partly on the erector set) to work around larger issues of man's predilection for claiming ownership of the natural world and our desire to manipulate and re-form it

LINKS:

Artist Bio

More Of Harolds Work

A Piece that's not an animal


Olena Conover
Via: Pacini Lubel
Autumn Birches
Acrylic on Canvas
38½" x 38½"

Pacini Lubel found a gem once again.This is a shitty photo but it's all I could find online of her new stuff. She laces the whole scene with lines that tease your eyes away from the lush colors and draw instead to the framework of branches and limbs that turn a set of trees into a living breathing canopy. Again there are stronger pieces and I'm kicking myself for not getting photos.

LINKS:
Only one I could find: ArtLena.com


W-Scott-Trimble
Via: Soil
Concept Car #1, 2010
Wood, masonite, plaster, chalkboard paint, chalk
114 x 48 x 48 inches
note: I think the one Exhibited was larger

Soil posted an Exhibit Called "Transvalue" that was supposed to explore the transference of information and knowledge, based on how we learn from our elders, our institutions, and our environment...

But All I could do was wonder why the hell they built a huge Slate-board Hummer. Later I found out that I was too early and they hadn't put out the chalk for everyone to write with yet: shitty. I love this kinda shit. Makes people love art more because they get to be a part of it. hmmm....

LINKS:
W Scott Trimbles Website

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