Merry Christmas

Leonard Knight's tape player.

Merry Christmas, friends.


a priori / a posteriori

This is an old video clip of a collaborative installation I did last year with Chris Boyd. Our exhibition was called a priori / a posteriori. The aesthetic of the structures is a signature of Boyd's; the sound was my counterpart. For the three structures created for this exhibition, I made a different soundtrack to emit from each one. One of the components of each track is a sustained vocal note that combines with the others to form an underlying chord.

Merlino Gallery at CSULB. Nov. 2007, Long Beach, CA.


I 'Dined' at the Villa

A few weeks ago, I dined at the Getty Villa--in more ways than one. I not only had a divine dinner in the Villa's interior courtyard, but was doing so in celebration of the new exhibition by artist Jim Dine, called "Poet Singing (The Flowering Sheets)." A few of my CSU Long Beach colleagues and I got the opportunity to have Mr. Dine himself talk to us about his newest work before the opening soiree. The invitation was extended to us (and to a handful of students from other schools) by Villa art historian and education-liason Ann Steinsapir. She was such a great host, and went well out of her way to give us a tour of the grounds and inner-workings of the museum. We even got to see a sneak-peek of a forthcoming exhibition about the restoration and interpretation of ancient statuary, which was quite exciting.

Mr. Dine was present with his charming wife, and gave us a glimpse at both his new work and his process. Many of the interesting facts and details that were shared are available to all at the Getty website here. Our small group was treated with having Mr. Dine escort us to the selected objects of the Villa collection that served as direct references for his installation. We then went to his exhibition space, and were given the opportunity to ask questions about the show in a relaxed, informal forum. He was candid and humble, with a few flashes of cheeky wit.

I'll admit that my initial reaction to the work was one of repulsion. I was pushed away by the gigantic carving of Dine's head, filling the space with the most mass, contrast, and overall presence than the smaller, more abstract "muses." However, I began to warm up to the installation as a whole, and started feeling like it was a "Being John Malkovich" experience. The walls were covered in smeared charcoal, and over-written with transcripts o
f the artist's own poetry. The same ten (or so) poems were read by Dine and recorded, and were playing back in a loop over the air of the museum room. The work finally shifted into some kind of odd translation into the Being of an artist, and evoked a sense I was ultimately familiar with. I now think of the installation as portraying the 'buzz' between the artist's ego, mind, environment, and world at large--as though one's consciousness is constantly being tuned between radio stations, sometimes coming to rest on the static between two frequencies.

It's nice that I was able to walk the grounds after that experience, and finally stop on a terrace that had just a view of the ocean and the incoming fog.

(Photographs are from the Getty website.)


MFA Thesis Exhibition

...it has come down to this. Vote for me! Errr, I mean, I would love to see you there. There = CSULB Department of Art, Werby Gallery, Sunday, Nov 16, 5:00 PM - 7:00 PM. Carpooling is highly recommended, as parking sometimes fills up during openings. Also, bring your laundry coin purse, because once the free parking lot is filled, there are only metered spaces.

There will be 2-3 other exhibition openings happening that night as well, which look super-promising. One is of my friend Christen Sperry-Garcia's recent work on issues of Globalization and Human Trafficking, and another is a group show curated by CSULB art history/museum studies students entitled "Hysteria." You're bound to like
something. : )

Please click on the image below to see the full-size e-flyer with complete information and directions. Cheers!


a work/play weekend

Worked and worked on the upcoming thesis show...

This is a production photo of a piece
from my forthcoming work,
Homes in Novels

...and then went to a fantastic Halloween party. A better weekend than many in the recent past.

This is myself, as Andy Warhol,
and my good friend and fellow artist
Summer Merritt, as the Morton Salt Girl.


art morsel

Bernard Faucon Digital Recipe Card, 2008 (?)

Bernard Faucon is one of my favorite artists. Not only does he make magical photographs, but his website is the most fun, generous, online adventure around. Last year, he had a bazaar page tucked away on his site on which various personal effects, old show catalogs, and other bits of treasure were for sale from a range of zero to a few hundred Euros. I was able to scoop up the last free item, which was a cd-rom of the "making of" of a few bodies of his work. It was sent to me from his studio in France, compliments of Chez Faucon. It was such a treat.

Anyhow, since my last visit to his site, (it's been many months) he has added a new(ish?) obscure page featuring digital recipe cards headed by some of his photographs. You can download each one as a free PDF. Il est doux! (And, there is the extent of my high school French...)

Go to www.bernardfaucon.net to poke around for the goodies!


GLAMFA Catalog...

...now available as a free pdf at lulu! Check out some of the work and statements from the artists, and a few essays from the curators here. Thanks to all who came to the reception this past weekend. Cheers!


real-life stumbleupon #2: Roger Andersson

I was gift shopping at my favorite neighborhood bookstore a few weeks ago, where I stumbled upon an artist book by Roger Andersson, called Letters From Mayhem. The book features illustrated letters of the alphabet as part of a collaboration with New School writer-in-residence Albert Mobilio. The illustrations have a precious, ephemeral aesthetic and depict a miniaturized adolescence among various faunae. Here is his letter d:

D, from the book Letters From Mayhem

Cabinet Books, 2004
Roger Andersson

It felt peculiar looking through Letters, as it has the appearance of an over-sized children's storybook, with cardboard-thick pages and rounded corners. The simple form of the book had a strange, nostalgic power that kept pushing to transport me back to a child's frame of mind, yet I would be tipped right back out of it as the coming-of-age theme kept floating forward. Fumbling between the child/adolescent/adult headspace was not unlike my physical interaction with the book, which is about 10" square and 2.5 lbs. It was ever-so-slightly awkward, balancing the book while turning the big rigid pages, and having to do it slowly enough to get one page to let go of the next.

I'm really glad I found it.


Free Screenings @ Bonaventure

Hi, friends! Here's a random question--want to go watch some lo-fi/sci-fi films on the roof of the awesome Bonaventure hotel? Afterall art journal is sponsoring a series of free screenings this month, on Thursday nights, starting at dusk. Here's more info. Let me know if you want to car pool or bikeavan!


88 BoaDrum @ La Brea Tar Pits

...was great! They totally "just did it."

Photo-0324, originally uploaded by Secret Ultra M.

Also, not only was the show free, but I got free ice cream and a free commemorative poster. The Korean in me rejoices!

Losmosis: Making Art in Los Angeles

note: This is an essay I contributed to the forthcoming GLAMFA 2008 exhibition catalog. I hope you enjoy this little preview-tidbit of GLAMFA '08. If you're in the L.A. area on September 7, please join us for the artist reception!
Also, I'd like to thank thee Melissa M. Martinez for her grammarian expertise.

Losmosis: Making Art in L.A.
Some of us are native, but many of us have made the witting journey to be here. We were drawn to the fabled, golden frontier that is California. Moreover, we have settled in the glimmering metropolis of swimmin
g pools and movie stars, our beloved Los Angeles.

But it’s not just that L.A. seems to be a magical Eden formed from the dusts on the Santa Anas and the dew of the Pacific—rather, it has a substantiality made of the many disparate cultural sediments that have silted here. If you wanted to gloss it over, you could say we’re just another melting pot. But we’re a dynamic, strange, relatively young and unpredictable one. Our unlimited sunshine, space, and resources (or so the story goes) create fertile ground for creative minds. It is no coincidence that L.A. is the headquarters of the entertainment industry. The same stuff that makes gold records and silver screens can be found in the workings of L.A.-based fine artists. We’re only limited by our imaginations, and anything we can think of is fair game for subject matter and media—why “not a cornfield?” Or, a movie-screen sized aperture in your ceiling?

While the New York art scene re-institutionalizes itself every few years, the L.A. scene grows slowly and steadily, and as erratically as a Joshua tree. Every minute particle that comprises L.A.’s cultural landscape begins to do an osmotic dance with our creative practices, and a great deal of evidence of this phenomenon is on display here in the GLAMFA exhibition. There are the pieces that pictorially represent vignettes of the L.A. landscape, such as Dana Maiden’s fruit cart, Kate Wall’s depiction of downtown, and Alison Walker’s sideways pool slide. There are works that riff off of Hollywood’s industries, as in the prop and fa├žade-like sculptures of Isaac Resnikoff and Seth Pringle, and Joanna Mitchell’s documentation of women in the music recording industry. However, there are many more L.A.-tinged works in this show that don’t reveal so many stripes on the surface.

In one of GLAMFA’s most ephemeral pieces, I’m With Stupid, Jared Nielsen performs as a sign twirler. Instead of the usual “2 Pizzas for $8.99!” or “LOFTS NOW AVAILABLE,” the text on Nielsen’s arrow-shaped sign doesn’t promote any wares. Nielsen does, however, give us his guided glimpse at this relatively new advertising tactic that tries to penetrate the windshield of L.A.’s car culture. As we all know, a significant part of L.A. culture is the re
verence and, arguably, the necessity of the personal vehicle. For years, advertisers have been trying to leak into these spaces via billboards and radio spots, but sign-twirling is perhaps the most unexpected tactic. In my own passing of these sign twirlers, I most often find myself thinking more about the twirler than the twirled. The experience is not unlike the uncomfortable encounters with the city’s record-number of homeless, often posting themselves at busy intersections and at the end of freeway off-ramps. These occurrences reveal that what we think of as our own mobile, private spaces neither screen us from the outside, nor lend us a neutral, secure environment within. This shift in perspective is propagated by Nielsen’s verbal and literal shifting of “Stupid.”

At the perimeter of the car-culture spectrum, Deanna Erdmann’s 24-minute video, Blow Sand, is an e
ntrancing, abstracted look at the SoCal pastime of riding motor bikes, quads, and buggies over the heights and stretches of our surrounding desert dunes. Trying to find pleasurable ways to kill time is almost a pastime in itself, and in this instance, the peculiarity of circling over empty swatches of land on a mechanical steed is filtered from its hormone-thick atmosphere for a closer inspection. By the simple swapping out of sunlight for headlights, Erdmann creates an almost meditative image in which you find yourself presented with a microcosm of time and space—simultaneously reflecting all responsibilities, decisions, and consequences of having such resources.

Many other GLAMFA artists have tapped into the topic of resource, which is a subject inseparable from the greater L.A. region. In studies of a more contemporary raw material, Tim Schwartz and Gideon Barnett both used the Internet to create their exhibited works. The World Wide Web, greatly shored by the corporations of our Northern California neighbors in Silicon Valley, is clearly one of the new media frontiers in the story of art. In The Origin of the World, Barnett takes the results of a Google keyword image search, an apparent fad-diet in the realm of conceptual fodder, and re-archives the findings in the form of a three-volume, hard-bound reference book collection. As an undercurrent, however, Origin also peeks into the world of L.A.’s Silicone Valley, the American home of the pornography industry. Returning contemporary photographic parodies of Gustave Corbet’s erotic L’origine du Monde, Barnett’s image search reflects t
he porn industry’s capitalization of all things kitsch, and of the Internet itself. Citing an only slightly less tawdry field, Tim Schwartz’s sculpture outlines the news radar of Hollywood in his piece, Paris. Using an Ethernet feed, a needle-meter pulses between net-wide mentions of both Paris, France, and Paris Hilton. Where the small-town six o’clock news may use the occasional human interest story to fill air-time, L.A.’s news stations use celebrity gossip stories almost daily in their broadcasts. Schwartz’s meter cleverly points out the way Hollywood gauges and reports the health of its image—both the glamorous and the pitiful being of equal import.

Image is another ubiquitous L.A. theme. Everyone who has transplanted themselves to Los Angeles has an accompanying story revealing the hopes and expectations of what the Golden State would hold for them, as seen in Cathy De La Cruz’s narrative video, My First Time in California, playing in the GLAMFA screening room. Typical stereotypes of L.A. include ideal landscape, weather, open space, and, overwhelmingly, lifestyle. Even the images representing L.A.’s population are treated and modified by the prevailing attitudes toward abundance and perfection. Such attitudes are illuminated in William Fen’s photographic depiction of a Hollywood Hills-esque cocktail party, and in Leigh Cole’s Boys Boys Boys marquee. In a pointedly strange mish-mash of image and culture, the video installation Buoyant, by Akosua Adoma Owusu, features a sculptural stacking of life preservers, which are also featured in the accompanying video work. The circular floats, completely wrapped in alternating blocks of blonde and brunette hair extensions, give a surreal, tactile body to the installation. Even though the total work isn’t about poolside bottled blondes, these echoes of Californian stereotypes lend an eerie counterbalance to Owusu’s central themes.

As an artist myself, I’ve recently been feeling the gravity of the realm of Greater Los Angeles on my work, and even my everyday life. It’s been exciting to be on the curatorial team of this year’s GLAMFA, and also to notice the permeating effects of L.A. in the work of these remarkable artists, whom I am thrilled to call my peers. It’s not quite glamorous, and we’re certainly overshadowed by many things here, but being an artist in Los Angeles is invigorating. The spirit our work imbibes from this place gives it a substance you may not be able to put your finger on, but one you’ll definitely notice.

Thanks to all who have supported GLAMFA, both this year and in the past—I hope you enjoy the show.

image information: Left - The Wilderness 3 (Cactus), by Isaac Resnikoff. Right - detail from Paris, by Tim Schwartz.


art morsel

Another, literal art morsel this time. This is a tasty little image from Rebecca Sittler-Schrock's Donuts of Long Beach work.

from Donuts of Long Beach
5" x 7" 2007
Rebecca Sittler-Schrock

This is one of 60 documents of individual donuts from 60 different donut shops in Long Beach, CA. The print of this image was originally hung as part of a large grid, along with the other donuts from the project. You probably haven't thought of a donut as an object to be gazed upon, but the images from this work have such lovely detail that they must be beheld. The shiny, iced and glazed surfaces of RSS's selections are quite alluring. You can see more of the donuts here at her projects-in-process site, and her official website (with more food imagery) here.


Dali's distant, quiet cousin?

Michael Borremans
Trickland, 2002
oil on canvas 38 x 55 cm

Back in June, I was on the jury of a criminal trial in downtown Los Angeles. We were given generous breaks, including a 1.5 hour lunch every day. We had been told, at orientation, that we could visit both MOCA locations for free by showing our juror badge. So, I took my lunch there one day and saw the Marlene Dumas show, as well as the "Stuff from our Collection" (1980-2005) show. Both were decent, but I am particularly glad I saw the Collection show, because I was introduced to a brilliant painter whom I'd never heard of before. It was Michael Borremans, whom I later researched to live and work in Belgium. The piece I saw at MOCA was lovely--something I learned that he painted in numerous variations--a young girl in a pleated skirt, bisected through the legs by a mirrored surface. It was a quiet piece, despite the obvious surrealist content. I found more of Borremans' work on the Zeno X Gallery website, and found the same resonance in his pieces there. His impeccable composition and sedulous use of color contribute to the quiet, lucious tension set up by the subjects. All else I can say is that they are extremely lovely.

Thunder, 2006
oil on canvas 36 x 34.5 cm

The Table, 2001
oil on canvas 50 x 65 cm

Various ways of avoiding visual contact with the outside world using yellow isolating tape, 1998
pencil and watercolor on cardboard 29.5 x 21 cm


show time!

It's about that time again... that is, time for another fun-filled group show!! I'll be showing a new piece from a new, in-progress series. The flyer, with info, is below. Cheers!


Simon Roberts' Russia

EASTERN SIBERIA: Former Sanitorium, Sludyanka
2004 - 2005
Simon Roberts

Photographer Simon Roberts spent about a year, between 2004-5, taking photographs in Russia. (His map is to the left.) All around, I'd say the images are documentary, although there are many subsets of image types. From landscapes, to portraits, to "moments," Mr. Roberts captures a breathtaking and rather eerie Russia.
I purchased the book form of this collection at my favorite book store earlier in the summer, while visiting my sister in Austin, TX. I've always had a curiosity about Russia, (Trans-Siberian rail, here I come!) and really adore this work. It definitely quenches my curiosities, yet it allows the place to remain mysterious. Motherland has become one of my favorite books. The best part of it is, it's super hearty. If you ever come across it, give yourself plenty of time! You'll not only get to look at tons of beautiful photography, but learn a bit about the country that you never knew before, and get glimpses of the tiniest towns.... here are some screen shots of the book images that I found on SR's website... (...my favs were not in the selection on the site, but these are lovely as well...)

NORTHWESTERN REGION: Apartment Blocks, Murmansk

FAR EAST: Entrance to the Food Market, Khabarovsk

NORTHERN CAUCASUS: Meat Market, Pyatigorsk

FAR EAST: Sasha and Galina Namakonova, Alexandrovosk-Sakhalinsky, Sakhalin Island


i like sharks/street art using storefronts

In the last post, you can see my little shark handkerchief. The choice in subject there was not casual--I really like sharks! (Once upon a time when I was a kid, I could identify about any species by its look.) Anyhow, I've been seeing the Shark Toof paste-ups around LA--ALL around LA, East-to-West sides. Here are a few pics of 'Toof I've taken with my charming little phone-camera----> At first I would just see the shark head itself, and now it's paired with cigarette imagery. Interesting. Let's keep a lookout and see what comes next!

Anyhow, after seeing 'Toof all over the place, I poked around on the internets for more information. I stumbled upon a myspace page where I found some more "gallery friendly" work. Also, he or she is selling t-shirts with the Shark Toof cig pack design on them. One if them is sooo up my alley (A black shirt with gold foil printing! If you know I like sharks, you probably also know I loooove gold.). Okay, so selling things via pal-pal on your myspace page isn't exactly using a storefront. I just wanted to point it out so I could say I appreciate the the more hybrid approach to 'Toof's street art. Why not try and get a little money from fans and supporters to keep on buying paste-up supplies and paint? I think it's rather foolish to try and completely evade the marketplace, in this our capitalist economy. (I know there are lots of differing opinions on street art and graf, though, don't get me wrong.) Maybe I'll stay on my ramen and PBJ diet for another week so I can show some love with a gold Shark Toof shirt...

I would like one of these...

...from a multi-panel piece spelling "SMOKE."


trying new things...

I've been wanting to try hand-embroidery for a little while now. So, last week I bought some hoops and floss and it kinda sat in the bag for a few days. That is, until last night! ---->

With a few tutorials from needlenthread.com under my proverbial belt, I went for it. I like to think the "happy shark" design makes up for the beginner-level craftsmanship. Anyhow, it was fun, and I'll probably be at it again in the future...


Cuddle Party!

Yours truly is in the newest Funny or Die video by Matt Wilson. It stars Nathan Barnatt and Doug Jones of Upright Citizens Brigade. I play the nerdy girl. (What a stretch!) Thanks for the fun times, Matt!

See more funny videos at Funny or Die

real-life stumbleupon: Brian Finke

Yesterday, my friend and I were walking down Beverly Boulevard with the intentions of going to Milk for a delicious baked morsel. On our way, however, I spied this photo-morsel through the window of Stephen Cohen gallery, and pulled my friend in with me.

Sara, Icelandair
40" x 40" 2006

The image I saw turns out to be from a solo exhibition by artist Brian Finke. While the photograph Sara, Icelandair receives front-and-center treatment because it is the biggest and most beautiful piece (of course), there are some other beauts in the show. I found the more contemporary depictions of flight attendants less interesting than those that reflected the days of the "air hostess." The images of the more carefully groomed and uniformed women flight attendants made me think about that very strange intersection of time and circumstance in the story of feminism. Being an air hostess offered women a career and a life of traveling and independence--while on the other side of the coin they were expected to conform to the modelesque image of the ideal modern Woman. I even remember once reading in an in-flight magazine (of all places!) that air hostess positions were framed by airlines themselves as giving women the best opportunity to meet [rich] businessmen--i.e. potential husbands...


art morsel

This is a piece by Brooks Salzwedel, currently on view at the Black Maria gallery in Atwater Village. The show features many of these layered resin works that have a gorgeous, atmospheric quality that must be seen in person...
Peppets Tin
graphite, transparency & resin
3 1/2" x 3" - 2008


art morsel

This is the first installment of art morsel! And, literally, it is a morsel. A photograph by Lynelle Miliate, of a meal she ate in Vietnam...

Vietnam: Dinner, originally uploaded by bnelle.


fun with taxidermy!

Submerged Art
Submerged Art,
originally uploaded by JulianBleecker.
A friend of mine took me to an art opening last Friday in Venice at Flux. It was an artist reception for Kyle Ng, celebrating his recent works related to bee-keeping, taxidermy, and [I would argue] Western child-rearing. I most liked the two taxidermic dioramas installed indoors (another was outside on the roof); one featuring a furry, tangled, blob of small mammals being suspended by helium balloons, the other a NHM-inspired, porcupine-inhabited snowscape featuring a faux human arm protruding from the ground, wearing a two-fingered bar ring. The first installation lacked the finesse and gleam of the latter... although, overall, I tend to favor the photographs made from each of the installations. (The photos being pieces in their own right.)

I found a snapshot of another of Ng's taxi-sculptures, which is this mouse I've posted. I wish that little guy was there! I have a feeling I would have liked him most of all. ... I am fascinated by taxidermy, and of course, love its presence in contemporary art. It will be interesting to keep a eye on Ng and see if and how he continues with the form.


GLAMFA 2008 is in the works!

Earlier this week, I went to Christina's house to shoot images for the promotional cards and posters for this year's GLAMFA (Greater Los Angeles MFA). GLAMFA is an annual art exhibition, produced and juried by art graduate students of the Fine Art Roundtable at California State University, Long Beach. The show features and represents students currently in MFA programs throughout SoCal (CSULB excluded--but an open studios event is held in conjunction with the show). We all work hard on the show, and fortunately it proves to pay off, as GLAMFA has become a notable event in LA's art sphere. (Propers go out to McLean, who has been working extra hard answering questions, and compiling & readying submissions for jurying day.) So, pencil us in for Sunday, September 7th, 2008 at the Cal State Long Beach gallery complex! You can also keep your eyes open for updates and previews here on zee blog, and at www.artgrads.com.

Until then, here are some little morsels of GLAMFA goodness--thanks to Ms. C. Shurts for her food stylings, and to thee one Mr. Shurts for his amazing fly-wrangling abilities.

GLAMFA of the Olde English variety. This version will likely not get used, but we loved the Mexicano nod.

mmmm... flan....

...and here is another "typeface", with a detail contributed by little Grace Shurts.


making the zine...

Last weekend, three of my friends and I took a little road trip out into the desert. (If you Los Angelenos think it's been hot, you ain't felt nothin'! Try 115!) We saw the giant dinosaurs from Pee Wee's Big Adventure, had date milkshakes, trekked through Joshua Tree National Park, played mini golf, and got bit up by horse flies at the Salton Sea . However, the peak of the trip (and verily the reason for it) was going to Salvation Mountain. Salvation Mountain is a diamond in the rough (the rough=Mojave desert). It is a huge artwork made of bales of hay, adobe, paint, dead pieces of tree, and found refuse (car doors, tires, baby food jars...). It was built by the one Leonard Knight--one of the sweetest, most love-filled human beings I've had the pleasure to meet. If you ever have an opportunity to go, take it! . . . So, Erik "Cinnamon" Buckham, Will "Strawberry" Wadsworth, Kristin "Peachface Killa" Peach, and myself are attempting to funnel the love that Leonard sprinkled on us into a little zine inspired by our journey. (Stay tuned for the zine!) We got together at my place last night to start in on production, and also to watch one of the most ridiculous movies ever, Double Down. (Some would say it is ridiculously AWESOME.) Anyhow, here are a few images we've compiled thus far;

Will's "Maracasnake." Inspired by a little friend we met on a Joshua Tree trail.

"Leonard, I Love It!" by myself.

Erik's desert ninja. We saw him on a billboard...

Kristin's contributions are with her in her notebook... she needed to take it with her on yet another trip she is taking this weekend. Be assured, it is good stuff. I do have this affect she left at my house...^ some peach sparkling wine she brought to share for the session. It was girly-delicious! Yes... soo... do stay tuned for the forthcoming mojave odyssey zine. : )


takin' it back...

I just poured some resin for the new work I mentioned in the last post--waiting, waiting. I scanned a bunch of older work to (sort-of) continue from the way back post...

perspectives of the kitchen.

This pair of drawings isn't anything spectacular, but it definitely informs some of my recent photographic work of emptyish domestic spaces (see the Interiors slide show in the side-bar). I did these in a beginning drawing course, 2002.

Halloween with Holga, 2003

I came across these negatives that I never printed from... I never really liked the particular quirk of my glass-lens Holga (actually a Woca)--how it doesn't expose a largeish corner of the frame--but coming back to these now, I appreciate it.

Diptych with Roommates, 2004

I shot these with my good ol' plastic-lens Holga. The roommate on the left is still my roommate! The roommate on the right is no longer a roomie, but he is an awesome artist.

TV star, 2004

This was an old, broken tube TV I was playing around with one day...

television, 2004

...I ended up pulling it all apart and photographing the different components. Here's a solarized print of the shell, which is now a hanging plant-basket in my dining room. The rest, below, are a few other blasts from the past.

Ana, 2001

Jonsi of Sigur Ros, 2003

white on white, 2004

And, lastly, here is a shot of me, finishing off a 2003 roll.