Glittered in flirty.

Over-hearing dates. First dates. are obvious. The fidgeting. The extra diaphragm push when (s)he laughs. The extra laughs between not-so-funny things (s)he says. Because it’s cute. To laugh. You’re more attractive with sparkle. With those ruddy-blushed cheeks. bundled up to your peepers. Glittered in flirty.

Written Wednesday, December 19th, 2012 @ Smith.
Edited Saturday, January 19th & Sunday, March 24th, 2013 @ Smith.


Photo taken Sunday, September 23rd, 2012. Georgetown.

This space.

What do I do with this space?
Where there was you, I suffocate.

Written Sunday, March 17th, 2013.

Photo taken early January, 2013.

I see you, do you see me?

I see you, do you see me?
Seattle, WA
May 2010

Final Assignment: What is Art?

Artist’s Statement

This image is called ‘I see you, do you see me?’

I chose this photograph as my final assignment piece, an image that portrays what I consider to be art.  The definition of art, like beauty, is subjective, but I think the key element that a piece of art should embody is an element of intrigue.  Art makes us want to look at it longer and make sense of what we are seeing.  It should elicit a reaction, be it emotional or physiological.

I have found that shooting in and viewing black and white photos are more intriguing than color photos.  The lack of color brings forth the more fundamental aspects of a photograph, and allows the composition and subject of the photograph more room for expression, as well as gives the viewer more freedom as to how the image is received.  In this way, it simplifies the image; allowing the fundamental elements of the image to carry more weight.

At first glance, ‘I see you, do you see me?’ appears to be a complex photograph, with a lot going on in the picture, but the lack of color and compositional elements simplify the image.  In it we see patterns of circles and lines, which give the flurry of activity, present in the image, an anchor.  We see circles created by the mirrors in the forefront.  Both the glass of the mirrors, the repeated shape of the circular mirror reflected in the glass of the larger mirror, and the patterns of circles on the frames of the mirrors create this repeated circular pattern.  While these objects are static, the repeated circular pattern adds an element of movement and flow.

We can also see patterns of lines in this image.  Lines are embedded in the pattern of the large mirror frame, and we see lines created by the two thick chains that hold the large mirror suspended from the top of the festival booth.  There are also lines created by the man’s dreds on the left side of the photograph.  They look as though they are a continuation of the fingers of his left hand, which are in the process of running down his hair.  To the right of him, we see the profile of a man walking toward the mirror, with diagonal patterned lines on his hat.  Just below him, in the background we see lines created by the books stacked sideways in the merchant booth behind him, and lines created by the frames of the white merchant booths.  Additionally, the white tarps of the booths in the background provide a nice backdrop for the darker elements in the forefront, providing balance for the image.

I took this photo while at the Folklife Festival at Seattle Center.  My friend, Ivan Odin, is the man in the black hat, walking toward the center of the photograph.  We had lost track of each other, each walking through either side of the mirror booth, just missing each other.  As I walked through the booth, surrounded by mirrors on all sides, I felt as though I was walking through an optical illusion; not quite sure if what I saw in the reflection of the mirrors as I passed were reflections or a view of what lay on the other side.

I consider this piece to be a work of art because it captures that illusory feeling.  Upon looking at the large mirror, one is not certain if we are looking through the mirror, as the frames and coloring of the merchant booth that sits behind it match up with what’s reflected in the glass.  In fact, this is a reflection of what faces it.  I think this gives the image an element of intrigue.  It piques our curiosity.  It draws us in.  This is what art should do.

Process of peace.

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Process of Peace.
Peace Park*
Seattle, WA

Assignment #2: Depth of Field

Artist’s Statement

The subject of this three-photograph series is ‘the process of peace’.

All three photographs were shot from the same angle and within the same compositional frame.  However, using different depths of field to create each picture gives each image varying compositional elements, and an overall different feel.

Each picture is divided into two parts by a horizontal line which is created where the tree-line meets the sky.  The top portions of the images are filled predominantly with a vibrant white cloud and the bottom portions of the photos, where the statue of a girl stands, is textured by the branches and leaves of the tree in the background.

In the first photograph (left to right) the fore ground is in focus.  This leads the viewers’ eye to focus on the statue of the girl holding an origami crane.  The chain of origami cranes, which lies on the statue’s left upper arm, creates an s-curved vertical line that moves upward to the statue’s right shoulder, and continues along her right arm which extends toward the sky.  This continuous line creates an upward movement within the image and focuses the eye toward the paper bird, which looks as though it is about to take flight.  The vertical line created by the budded flower in the bottom-right corner of the paragraph further creates this visual quality of movement.

The middle photograph shows the same scene but with the background in focus.  The statue is blurred and we can no longer see the detail of the statue’s hair, the paper crane necklace, nor the budded flower in the bottom-right corner.  The vertical s-curved line we see in the first image is no longer a predominant feature of this photograph.  With the background in focus, the viewer’s eye is drawn to the detail of the tree and the clouds.  This gives the image a feeling of expansiveness.  We can see more clearly what lies ahead.

In the third photograph, the background and foreground are in focus.  We are able to see the detail of the statue as well as the detail of the tree and clouds in the background.  All elements of the image are sharpened using this extended depth of field.  The viewer is able to focus on the statue in the forefront.  The vertical s-curve, as can be seen in the first photograph is present here as well; giving movement to the photograph.  The crane being held in the statue’s right hand looks as though it is about to take flight and fly toward the tree and cloud we see clearly in the distance.

In these images I wanted to convey a sense of hope, as is experienced during the process of peace – advocating for, building and maintaining peace.


*Peace Park was the dream of Dr. Floyd Schmoe, who after winning the Hiroshima Peace Prize in 1998 used the $5,000 prize money to clear a small lot near the University of Washington.  From a pile of wrecked cars, garbage, and brush, he worked with community volunteers to build the beautiful Peace Park.

Peace Park is the current home of the Sadako and the Thousand Cranes sculpture, created in 1990 by artist Daryl Smith. The statue is a life-size bronze of Sadako Sasaki, the young Japanese girl who survived the Hiroshima bombing only to die of radiation sickness at age 12.

The park was dedicated on August 6, 1990, the 45th anniversary of the bombing of Hiroshima.

(Taken from City of Seattle web site.)

OK, sunshine.

OK, sunshine – here I come*.
Walking to 15th to get coffee with Jake.
E John
Seattle, WA


“OK, sunshine*

…here I come*!”

Featured music :::

*sunshine – Life in the Rain ::: Quantic (The 5th Exotic)
*come – The Crow ::: DJ Food (Kaleidoscope)

Soon, we will meet.

Soon, we will meet.
520 Bridge, West
Seattle, WA


we will meet, soon.

our eyes will catch a shared gaze —

the words will fall and stop, as they will;
and the world will feel the same.

the bliss of blissful moments will surf on fluffy and lemony-chiffon waves,

there will be days                 that end                                                                                                                                                                                                                                                  and begin with haunting exhaustion;

alone smiles will feel the same – warm and wide and certain.

our eyes will meet
and meet,
and meet, and meet.

Seattle, kiss kiss.

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Seattle, kiss kiss.
Collection: Boat Street.
Seattle, WA

As whispers do.

They’ve become water-colored,
my memories of you.
They hide in the wind as whispers do.

Moments brush-stroked in to the scene —
silent, maddening moments.

As whispers do.
Parking lot wall off Roosevelt Way.
Seattle, WA

When we listen.

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When we listen. ::: Gallery.
Collection: Behind the Wheel.
Seattle, WA
April, 2010

Snap in the lens, and take a peek.
Do you see what I see?

The paint has been peeling;
where once was gold
is kitschy opportunity.

But listen,
if rock bands are willing to reunite,
we have a chance.

If we provide kids the room to think, to speak,                                                                                                                                              to dance, to disagree,
our universal depth of vision,
is deeper than we think.

Tending to the tweaks.

Tending to the tweaks.
Sound engineer during the YPPAH set @ The Showbox.
(Full set: Surrealized, Anomie Belle, YPPAH & Bonobo.)
Seattle, WA

In what little light you have to see:
the nobs and dials,
buttons, blinky
lights, and things –

Keep the movement moving.
Keep the flowing flow
with subtle moves.

The obvious extrinsic,
the outlines,
ingredients and recipes,
the scripts and survey boxes,
cruise ship package deals,
crimescene chalk,
and poker chips…

are subterfuge,
red herrings;
are sparkly, glittery, shiny things –

are distractions from subtle truths
that can only be detected,
met and modified
when you’re tending to the tweaks.