Entropy, 2012

Some images taken in 2012 in the Georgetown area of Seattle. Years ago I was shooting in a few neighborhoods or sections of Seattle that seemed to be gentrifying faster than I could cover: Georgetown, First Hill and SODO. At the time of shooting these images, this wall ( if you zoom in a little), you can see the large, metal support poles holding this free standing brick wall. Developers, with the permission or encouragement of the City, rarely side with the notion of preservation. Eventually, this policy, destroys any hope for a sense of history to survive. If you control the perception of the past, by elimination, you lose the sense of connection to the history of our past.

{Quick health update: my last scan showed that the areas of concern are ‘stable’, which is good news. I’m still doing immunotherapy ( Durvalumab) every 28 days, which will continue ‘indefinitely ‘. Being a cancer patient for 18 or so months has been weird, but so far I think I’m one of the lucky ones.}

Kitsch

I drive by this house from time to time to see the latest additions, It’s interesting that, as much stuff that is displayed, I’ve never seen any evidence of tampering or vandalism.

Along the Tracks (Con’t.)

One of the questions that comes to mind, when viewing and shooting street art is: what does this say about our society/culture? Some people view it as vandalism while others view it as a form of contemporary art. Because the palette is in or near a public space does that change the dynamics? Or. like the images I have been presenting, are mostly out of the view of the public, but on a BNSF railway right of way does that change things? To get this space both the artist and I have to trespass across those railroad tracks. The palette in these works is just a retaining wall, so maybe the work enhances the large, drab concrete space?

I guess it begs the age old question: What is art? 

We all have to answer that for ourselves, I guess.