Boston 2017

Our next trip was a wondrously busy trip to Boston over Memorial day weekend. We met friends of ours living in and around Boston for three days – each night in a different place! The next few weeks, I’ll talk about our crazy adventures.

We arrived late Friday night to Boston. After throwing our bags in room, we ran off with our friend to check out late night Boston. We took a stroll through the Boston Common and Public Green at 11 o’clock at night. We saw the sculpture erected for the ducks from Make Way For Ducklings. They apparently do put little hats and other apparel on them from time to time.

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He took us to Stoddard’s Fine Food & Ale. The building was built in 1868 where it has changed hands and functions over the years. It was first Chandler’s Corset Store, then Stoddard’s Fine Cutlery and Home, and now a cocktail bar. It has hints of its former lives – corsets on the walls, metal studs, and even has lamps from the Boston transit system. My “Hotel Trianon” was deceptively sweet and filled with actual fruit. I say deceptively sweet because it really masked the alcohol content!

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Afterwards, we ventured to a nearby wine bar that was closing soon. I had some sparkly (as per my custom), catching up nicely with our friend that we staying with (for the night).

The next day, we strolled around the shops of Beacon Hill, notable for their required wooden sign hanging outside. Even the Starbucks and other modern establishments needed such a sign. We found a little shop selling prints and drawings of times gone by that was like a little museum. It had maps of Boston, New England in general, and more.

Our next stop as Cambridge, MA to see a tango show with my friends from graduate school. A quick transit ride took us there and we wandered through the bustling campus (the Harvard commons) to the Harvard Art Museums. Museums because they merged several art museums into one building in the past few years. I have a huge fondness for university museums since they are often gems with unusual things. These museums had an impressive collection for a university museum – Degas, Matisse, Matisse, Franz Marc, etc. They also had a good collection of Chinese ceramics, Islamic art, and Medieval art. This calligraphy piece of Ali ibn Abi Talib signed by Ibrahim Danishpishah Zarinqalam was particularly impressive. What mastery of the craft to create a drawing of a person with words. 1000 words, eh?

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IMG_4566Next stop was the tango show with our friends. I was super excited for the show Arribal. It was a tango show about the history of the disappeared in Argentina. I am particularly fond of art and politics! Plus I had lived in Buenos Aires for a month so it felt a little like a homecoming. AT moments, it was very powerful in its depiction of political violence – people being dragged off my cops, hooded. The basic premise was that a father was disappeared by the police and his daughter later tries to find out what happened to him. This is where it got a little odd. She ends up at a tango club owned by her father’s friend because he wants to talk to her. Then there’s a random sex party in the middle of it, which seemed out of place. The writers/choreographers felt that the play also needed to be about her awakening as a woman…or something. Really random and out of tone with the rest of it. But it was still worth seeing; I did have tears in my eyes at moments. But yeah, no random sex parties.

Then it was time to drive out to Westport, MA. Yes, Westport, MA. Our friend’s family has a house there and we were going for a birthday party for a friend. We got into the car and drove the hour and a half to Westport. We passed this wonderful fork in the road. That night, we had a lovely dinner party with friends of the family.

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What an excellent first full day!

That’s all for now!

Part 3: Spring in Manhattan

The following day began at the Met, one of my favorite museums. It’s got an incredible collection but is rather overwhelming. I try to get into my head that we are only going to visit a few things because seeing the entire museum would be impossible.

Our first stop was a Seurat and circus exhibit. The exhibit featured Circus Sideshow, one of Seurat’s masterpieces, along with circus posters, other contemporary circus paintings, and sketches. It was nice to see some great circus posters from Cheret, a nice follow up to the Driehaus museum’s current exhibition. I was hoping for more of Seurat’s circus paintings since I’d had seen some really amazing works elsewhere but alas.

We then went to the rooftop garden at the Met. Every year they have an artist do some outdoor installation, which is always neat. This year’s piece was spectacular. Adrián Villar Rojas took 3D scans of pieces all over the museum, printed them, and created these sculptural collages. THey are laid out throughout the garden, some on tables, some freestanding. It’s called “The Theater of Disappearance.” I love juxtaposing things, like ancient Egyptian busts with animal parts or Ancient Greek torso. All while overlooking the beauty of Central Park and the NYC skyline. It could also be a great scavenger hunt, tracking down the pieces in the collection!

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We also visited the exhibit on ancient China featuring some incredible terracotta soldiers. Seeing them is always a treat. Someday I’ll make it to Xian to see the site! What I liked in particular about the exhibition was the sheer number of other artifacts that were included. There was a series of beautifully carved women dancing or playing instruments while another room featured animal sculptures. Wondrous!

After our brief visit to the museum, since any visit is brief at the Met, it was time to head to Broadway for a matinee of War Paint. To get there, we ended up passing by the Tax Rally (it was 4/15) and we saw some amazing puppets and signs. We had $1 pizza at a joint just off Times Square. Tasty tasty pizza.

War Paint is a musical about make up rivals, Helena Rubinstein and Elizabeth Arden, and their decades long feud. It was interesting to see corporate sabotage and competition played out in a musical. I’m not sure if I loved the message of the musical (you’ll just have to see it) but it definitely had some pretty neat scenes and dances.

After the play, we decided to head to a new place for us: the Morgan Library. I had come across it a few months prior and it seemed like our cup of team. It turned out that it was JP Morgan’s library. What an astonishing collection. The main library room is breathtaking. Rows and floors of books with two secret staircases taking you to the upper floors. Also, we found some pretty neat books that make you wonder about their contents!  There were some exhibitions as well on display including works by Emily Dickinson and Symbolist poets. But the rooms themselves were well worth it. It’s a research library and it made me appreciate how awesome Chicago’s own Newberry library is. Here, it’s free to check out books etc. Morgan Library requires a hefty entry ticket.

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Dinner turned into a bit of an adventure! We had reservations to Tao, a fashionable Asian cuisine place near the hotel. When we walked in, the loud overhead music enveloped us. It was all very hip looking and made me feel a bit out of place. When we sat down to eat, we learned that there was nothing, absolutely nothing, on the menu that my mom could eat. Apparently, they premake things like steaks. :-/

So we left. We found a tiny quiet Italian place called Montebello where we were the only people at the beginning of the evening. The food was tasty, we could talk, and the staff were extremely nice. They overheard me talking about how my glass of Prosecco was such much better at their place than the place from the night before so they comped us limoncello! And there were cookies too. So go to Montebello, skip Tao.

Then more adventure!  had tried calling the number on the black card from the night before but couldn’t get through for an hour. At 5pm (an hour after they opened and I started calling), I was informed that there were only taking walk-ins; they were catering to a larger party. Boo. I found the name of a speakeasy called Bathtub Gin in Chelsea that took reservations.  Bathhouse Gin was going to be the place.

We entered through a hole in the wall coffee place, serving as the coatroom. As soon as we stepped in, the noise rose up like a wall. Loud pounding music. But we trekked on. We had a little table and ordered from their cocktail menu, which is always a hit or miss. One thing was a sure fire hit though: s’mores. It wasn’t going to be high quality chocolate or marshmallows but we couldn’t resist. They actually brought us an open brazier with Hershey’s chocolate, graham crackers, and marshmallows. It was amazing. We even convinced the table next to us to do it too.

Plus there was a golden bathtub that you can get into. And we totally took photos lounging in the bathtub. Because golden bathtub!

That’s all for now!

You Are Beautiful

A few weeks ago, I had the pleasure of interviewing Matthew Hoffman, the creator and “custodian” of You Are Beautiful. You’ve probably seen the little silver sticker with the words “You Are Beautiful” around Chicago or seen the large signs popping up on fences with the same message.

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ES: How would you describe the work you do?

MH: I like to call it public installation or public art.

ES: Do you consider yourself a street artist?

MH: Definitely in the early day, all the stuff was done without permission. [I’d] call some of what we do street art  but it’s also arts in community, community art/public art, where we are getting neighborhoods chamber commerce [involved]. It’s work in the public and work in the street.

ES: You’ve mentioned how you were committed to be anonymous early on in part to keep the focus on the project rather than yourself. Was there any desire to keep anonymous due to legality of it?

MH: All the installs I was doing initially, I was doing something 100% legal, making the community a little more beautiful, definitely adding to it. Many works were large words in wood screwed into the sides of boarded up buildings or two inch tape. I did a lot of different messages, not just “You are Beautiful.”

ES: Could you talk about how you got from your initial sticker to the final design with the Helvetica font?

MH: I’m definitely someone who believes in making, doing, and refining. You can easily hide and keep it in a sketchbook forever. I take things and get them out even if they are rough. My feedback and other people’s feedback refine it from there. The initial ones were absolutely horrible. It took a bunch of trials with different ideas, with different stickers [to get to the final version]. It took somewhere from 6 months to a year.

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ES: Why stickers?

MH: Stickers? Who doesn’t love stickers? There are a lot of fun, versatile, not messy. I have done wheatpastes and not enjoyed it. Stickers stick to anything. You can have a whole pack in your pocket. In 2002, when the sticker culture really exploding, all these kids started trading stickers, mailing each other stickers. It was an interesting way to interact with people on global scale; you put theirs up, they put yours up, and then send photos. It was a cool way to collaborate with other people.

ES: Much of your work focuses on words and lettering. Why are you drawn to lettering?

MH: I studied graphic design. I learned a lot of visual language, sharing your ideas, being able to tell your story. I love typography; there’s a lot you can to do with it. Words can be very simple or appear to be simple but you can read into them. It can mean a lot of things depending on how you read it inside your head.

ES: How does it feel that it has its own life – 3 million printed as of February 2017?

MH: We’re up to 3.75 million [as of June 1st]. We are doing a big show in September so there will be another printing before that, 4 million with that order. It’s super cool how the community has really surrounded the project and the message. It’s a great feeling to know so many people think the same way you do. It’s fun making a difference in the world. That’s pretty crazy.

ES: You describe yourself as the custodian of “You Are Beautiful.” Could you elaborate?

MH: Somebody has to keep the lights on and the floor clean; There’s a lot of thankless work to get everything going. The project is taking a life of its own; there is a community that can do way more than any one person can do.

ES: Where is the best place you’ve seen a sticker?

MH: I had never been Minneapolis. We went last year for a wedding. As we were walking to the art museum, there was a four lane road with a median and a sign between where we were and the art museum. I got sticker out of my pocket to put it there but when I got there and looked up, I saw there was already one. It was really funny. It’s one of my favorite placements.

ES: Could you talk a little about your woodworking?

MH: The Cliff notes version of that was I was always a tinkerer as a little kid. I made junk creations; I never knew much about art or understood it. In middle school, I took classes in woodworking (and metal) and loved woodworking. I learned how to do all sorts of things, built furniture. In my  last year in high school, I took courses of graphic arts, photography, computer programs, [and went to] school for graphic design. I feel like all those things have come together into what I do now.

ES: For two of your projects, you took people’s input and made them into wood pieces. You mentioned in a different interview that you felt like you were “helping people tell their stories.” Could you talk a little bit about that?

MH:  That was a fun  project. It’s been on the back burner. It’s fun sort of collaborating with people. If they are already coming to you, they have an idea from past works and know what they are looking to expect. It is interesting what comes out of that.

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ES: I wanted to ask about the shows for “You Are Beautiful” at Galerie F. Could you talk about that?

MH: I absolutely love collaboration. I have to let go and things happen that are unexpected, which can surprise you, good and bad. Most of time, it is really good. We are working on another show for November.

ES: There are other campaigns that have gone on like “Anything is Possible,” “Love,” etc. Could you talk about them? Do you have a favorite?

MH: I really like “Go for It.” It’s one of my favorite, how it looks, how it came together. It was a lot of fun. I’d never made anything like that. There was a lot of feeling of community while working on it. It made me feel really good [that] it was only supposed to be up for a couple months but it’s been a couple of years. People enjoyed it so much that it keeps on living.

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ES: Could you talk about your show in the fall?

MH: There will be a show in mid-September. We are working hard on it, figuring out what it is. It’s a process. We’ll be completely taking over a space, basically to play around… at a warehouse in conjunction with ART EXPO.

Thanks to Matthew Hoffman and everyone who makes “You are Beautiful” possible. Check out their website https://you-are-beautiful.com/ for more details about the upcoming shows in mid-September and November.

 

 

 

 

 

 

Part 2: Spring in Manhattan

The second half of our day took us to the southern part of Manhattan. My mom had wanted to check out the Oculus, the new transport station that was part of the World Trade Center network. The building is out of science fiction – weirdly shaped and white. Inside, there are several floors with high end shops and as far as we could tell, one restaurant/cafe. Very odd. It was a dramatic place architecturally but I’m still confused how you can have a massive transportation depot without food.

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After our tour of the space, we headed to Trinity Church nearby. Inside we found beautiful wooden carved chapel and windows. Outside, we discovered that this was where Alexander and Eliza Hamilton were buried. However, it took some time finding their grave. We learned that there are burial grounds on both sides of church. When we paid our respects to his grave, the lady next to us starting singing the section about Eliza from “Who Lives, Who Dies, Who Tells Your Story.” Her grave had pennies all over it as well. Nice touch.

We passed by the Bull of Wall Street and the Little Girl standing him down. There was a line of mostly women waiting to get their photo taken with the Little Girl. I declined getting my photo taken since it was a long line of chaos.

We then went to the National Museum of the American Indian next to Bowling Green Park. The museum is housed in the Alexander Hamilton U.S. Custom House, which is a pretty astonishing building. Big rotunda with murals. We learned from the guard that Bowling Green Park’s fence went back to colonial times; on the fence, there used to be symbols of the crown that revolutionaries had sawed off! Plus there was an amazing plaque talking about how the rental of the park was only a peppercorn. Back in the day, peppercorn was a big deal.

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I had read about the museum and its current exhibition “Native Fashion Now” in the New York Times a few weeks earlier so I was keen to check it out. They had gone to Native American designers to showcase their work in the show. It was spectacular. For instance, there were these high heeled boots covered in beadwork with hummingbird motif by Jamie Okuma. Another was a kimono that depicted ledger art by Toni Williams. Astonishing. They also had a quiver made in the famous Louis Vuitton fabric. Or a pair of moccasins made from electrical parts. Innovative and astonishing.

The permanent collection had some pretty spectacular objects from a diverse number of groups. There were drums from Mapuche in Chile all the way up to various groups in the Pacific Northwest. They even had a room set aside for Native American Contemporary art where there was a paper jingle dress.

Another special exhibition included pottery from Central America, which was a treat. As I have gotten older, I have grown to love pottery, especially from Latin America. I love all the pots of local animals!

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We then walked from the museum to the Strand, not a small walk. It was delightful wandering around the city. I enjoyed all the street art, as per usual. The Strand was great as always. We met up with a good friend and my parents at a Spanish restaurant in Greenwich Village.

Afterwards, we wandered with our friend to find a speakeasy. There is a trend in bars in NY (and elsewhere) of speakeasies that are accessed in unusual places. The first place we tried involved going through a toy store. Sadly, it was merely a shelf of toys and the bar was extremely crowded and loud.

We then began our trek to find an available place. There was another one that involved going into a phone booth in a hole-in-the-wall hot dog stand. When we got there, there was a line, so it wasn’t truly hidden. When it was our time to get to the front of the line, a man pulled back a wall of the phone booth and I could peer inside. It was a quiet bar with a taxidermied pheasant on the wall. We were informed it was a three hour wait, which wasn’t happening. He ended up handing my friend and I a black business card with a number and the name of the address. Someday we’ll go.

Ultimately we ended up a regular bar, notably only for the strange channel it showed of people embarrassing themselves by doing stupid things. It wasn’t “Funniest Home Videos” but it was an actual channel that bars can request. Strange.

That’s all for now!

The Amazing Geoffroy Mottart

I had the pleasure of speaking with Belgium artist, Geoffroy Mottart about his floral works. He places beards and wigs made of vibrant colors on public statues. With the generous French translation help of Carmen Kingsley, here is our interview.

ES: How would you describe your work?

GM: I style statues with floral compositions, because I feel like I am building a border between this long lasting art, anchored in time and ephemeral, but equally magnificent flowers.

I have been working with flowers for more than 20 years, I’m fond of the artistic creations created with them, however I love just as much the timelessness of the “Sculpture” that exists since the man discovered art .

This “border” between the ephemeral floral art and the lasting art of sculpture affects me a lot.

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Jean Delville – Photo from Geoffroy Mottart

ES: What made you decide to create these flower pieces on public sculptures?

GM: A book called International Floral Art (http://fleurbookshop.com/international-floral-art-16-17.html) spotted me during my participation in florist competitions and asked me to send pictures of my artwork and that’s where things started to fall into place.

ES: You talk about the choice of statue for your work. You mention finding the right kind of statue for your work. Could you expand on that?

GM: It is not so much that I look for a very specific statue, instead I look for statues that could become nearly human when I style them. I appreciate statues that have subtle traits, that have depth to them.

ES: How do you choose the flowers for your pieces? Color, shape, meaning?

GM: I choose flowers based on several criteria:

– The character and delicacy of the statue’s features

– The statue´s color and material.

– The place where it is located.

– The season.

ES: How long does it take to create a piece? How long does it take to install a piece on a statue?

GM: I estimate that for the entire creation of a piece of art; it takes me about ten hours, the installation generally doesn’t take so much time, I work a lot in my workshop.

ES: I read that you take the pieces down after a few days because the flowers will fade and die. You said that keeping them up would give a different meaning to the piece. Could you explain a little more?

GM: My goal is to highlight the statues, and to leave the dead flowers on them would make the passerby much less interested in appreciating them. I am someone who loves beautiful things, color, life; and so it would be senseless to let the flowers rot.

ES: How do you want people to react to your work?

GM: I am not interested in a particular reaction, just the fact that people notice my work is an end in itself, since my goal is to make them rediscover what surrounds them.

ES: Would you call yourself a street artist?

GM: Yes, I define myself as an artist working in public space.

Thanks to Geoffroy Mottart for the interview and thanks to Carmen Kingsley for her amazing French translating work.

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Photo by Geoffroy Mottart

Part 1: Spring in Manhattan

I’m going to return for the next few weeks ago to my travel adventures. Stay tuned for more interviews with street artists!

Now I’ll talk about our amazing trip to NY, NY over Easter weekend. It was full of speakeasys, friends and family, and art. What else can one ask for!

The trip began with a hopeful quest to the Guggenheim on Friday morning. A few weeks prior, I had learned about Doug Wheeler’s PSAD Synthetic Desert at the Guggenheim where he built a room designed to minimize noise. You can enter the room for 10 or 20 minutes and relish in the silence and incredibly bizarre landscape. (Article from NYT: https://www.nytimes.com/2017/04/07/arts/design/guggenheim-museum-doug-wheeler-synthetic-desert.html)  It is included with admission but you need a timed ticket since only 5 people can go at a time. Advance tickets were gone for the month of April but they had some walk-ins available. So I got to the Guggenheim before it opened in the hopes of securing such a ticket. THere were already lines there when I arrived but a separate line for the Doug Wheeler exhibit. While waiting I met this lovely lady from Oxford and her son who had spent 6 days in NYC and enjoyed the city. They had even more of an adventure getting to the Guggenheim, which involved checking out early from their hotel, getting on the wrong train and ending up in Harlem.

And we all got tickets! My ticket was for 12pm so I had 2 hours to kill. Fortunately, I was in a museum. The Guggenheim had a retrospective of the original art that Solomon Guggenheim had collected with the significant help of Hilda von Rebay, his curator. Much of the art he collected was during my favorite time in art: early 20th century. The first side room that I saw was filled with magnificent compositions by Kandinsky, one of my favorites. I was struck dumb by the beauty of his abstract colors and shapes. Clearly, I had made the right choice.

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I wandered my way up to the top of the museum where the Doug Wheeler room was. There was even a few works from his niece Peggy Guggenheim’s museum in Venice; her collection is a must see any time we are in Venice. It was like meeting old friends that I hadn’t seen in years. They had her magnificent Calder mobile that slowly shifted with people’s movements.

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I really enjoyed my experience in PSAD Synthetic Desert. The 5 of us and the museum staff person were brought into the room through at least 2 doors (requiring a key card). The room was out of Sci-Fi. These white foam pyramids lay in rows before me and on the wall. There was a platform you could stand on and survey the rows of pyramids. All was suffused with a light purple glow. We were encouraged to sit to  minimize movement. Early on you understood why.

The room was so quiet that turning your head seemed magnified. Even the shuffling of feet was audible. It wasn’t so quiet that you could hear your heartbeat but it definitely wasn’t just a silent room. I had expected to get very bored very quickly but I was surprised when our ten minutes was up.

I wandered down the Guggenheim, nodding my head at my old friends and new favorites (Those Kandinsky’s) and made my way to 5th avenue. It was a glorious day in Manhattan. I walked up 5th, next to Central Park, and met my husband in the middle. He had just arrived from Chicago that morning. We both walked back to our hotel, enjoying the fresh temperate air.

Next time, I’ll talk about our adventures at the Oculus, Trinity Church, National Museum of American Indian, and our adventures finding a speakeasy.

 

That’s all for now!

Conversation with Jim Bachor

A few weeks ago, I had the pleasure of speaking to Jim Bachor, a mosaic artist via phone. His work includes setting mosaics into potholes around Chicago and the rest of the world.

ES: How would you describe the work you do?

JB: I’m really thinking about how to leave your mark. It’s almost impossible. You might with kids or the pyramids. [When I] discovered mosaics on a trip in the 1990s in Europe, I was blown away. This is an artform that lasts so long. What a fascinating concept. You could lock concepts and thoughts all your own in this medium and it will look the same and exist 2000 years later. The durability is big. The pieces are heavy too, not [something] that could be thrown around or thrown in the trash. There is literally a weight to them. Big hunk of durability.  I noticed that art form tends to repeat itself; to me a lot of it looks the same. What I bring to the party is taking the ancient art form and doing contemporary subject matter.

ES: Do you consider yourself a street artist?

JB: I guess I am. Partly, not completely. A portion of what I do is street art but not all. It’s one of my hats. I consider myself an artist. [When you emailed me,] I thought that I’m not hip or young. I smiled to be considered a street artist.

ES: In terms of your subject matter, you juxtapose the timelessness of the mosaics with ephemera like snack bags. How did you decide on that theme?

JB: They are snapshots of today. Still lifes. Like fresh packaged meats. The meat is not going to look the same in a few days. It’s capturing a moment in time in this wrapped meat from the grocery store.  In addition, in 100 years, it’ll show folks how we used to package meat in this way.

ES: Could you talk about your series“Fanciest Pothole” and one of its pieces, “Burberry”?

JB: I spent 25 years in advertising as a designer. From that, [there’s a lot of] the branding experience. I like to juxtapose things: everyone hates potholes, so I had the ice cream series and a flowers series. In a similar vein, potholes are nasty, low class. I juxtaposed it with high end brands with identifiable patterns like Gucci, Burberry, Louis Vuitton. It’s the last place you expect overpriced brands to appear. [It’s] a window to my dry wit.

ES: Could you talk about your pothole series that contain words or numbers?

JB: The campaign started off with a branded identity. A classic Chicago Pothole was featured. [The word] “Pothole” in black and white with the Chicago flag graphic. It was proud Chicago in your face. The next series was Serial numbers because the city catalogues the potholes in the city; each pothole has its own serial number. Another series had the phone numbers of nearby car repair shops near the pothole.

“This is Not a Pothole” was a one off. It was an idea I had; it was funny. The location was choice [downtown right off Michigan avenue]. It’s one of the most popular installations by far.

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Photo: Elisa Shoenberger

ES: I noticed humor as a part of your work. Why?

JB: Every so often, I do try to impart a humorous view on what is going on. But I try to make it not beat you upside the head, something more subtle and unexpected. For the cereal box series, I did research on ridiculous brands that existed and incorporated them into ancient still lifes, food stuffs rendered into background of frescoes. It’s a little bit of my humor and fascination with ancient history. It’s capturing a little bit of my personality in mortar that might impart to someone down the road when you are gone. After the people who knew you die off, your legacy is pretty negligible. [These potholes are] a way of instilling a few more clues of what made me.

ES: Has the process changed since you started in 2013?

JB: It’s more efficient, but there is only so much you can speed it up. [You are at the] mercy of weather and concrete. I learned a lot early on: if it is colder out, it takes longer for the concrete to set. There’s a higher chance that a car will roll over it. Safety has gotten better; I have traffic cones and a vest.

The art shouldn’t fail. If it does, it’s because the asphalt around the art starts to break. If the asphalt is stable, it will last indefinitely.

The biggest hassle is finding the correct potholes. Ideal road potholes are those on a stable street, not in the center of traffic, places where people can see them. I try to expand the area that has pieces of artwork but it takes longer if it is further away from where I am. It takes more time to get there, look around [for an ideal spot]. I”m a one man show —time is always an issue.

ES: Could you talk about your commision “thrive” at the Thorndale Red Line station?

JB: It’s a balance between doing something consistent with what I do and giving the client, the CTA, something they be proud of. I gathered a lot of information about the area; the CTA gave me notes from community meetings about what people wanted to see in the art work. I did a little bit of research; that area used to be covered in swales of sand and wild rice used to grow in it. I used that impetus for these plant like veins growing from blue bands that represent Lake Michigan. Those vines grow into “iconic fruit” that represent what is going on in the neighborhood like restaurants, music, schools, pink hotels, architecture, etc.  You see something different each time when you look at it. You notice the little baseballs that are hidden like berries. There is stuff to be discovered.

ES: What do you want people to get from your potholes?

JB: An unexpected grin. [I want to] impart some of my personality. A little PR. I want them to track down and find out who is doing it. You see there are pieces all over the places.  If you like the potholes, you’ll like my other work.

ES: Is there anything you want to talk about that we didn’t talk about above?

JB:  I love doing potholes, it’s simple and goes quickly. It used to be a small percentage of what I do. The rest was fine art. Now it is swapped – 90% of my time.  The potholes are nice; it gets attention drawn to my fine art. I just don’t have a lot to sell right now. I haven’t had the time to do new stuff. To do more commissioned stuff, it takes time. I’m a stay at home day with two ten year old boys. I have a short work day – 6 hours to get what I need to get done before I need to worry about dinner.

He explained that there are some exciting prospects in the rest of 2017. So stay tuned!

creamsicle fine art

Photo: Jim Bachor