sixteen sixteen issue three

SIXTEEN SIXTEEN SIXTEEN SIXTEEN

ARTS & ENTERTAINMENT FROM THE 1616 BLOCK

Issue ThreeMarch 2012

Graphic Art & Photography Designs

PhotographyDavidBlueGarrison

www.mrdavidblue.com

From Forever Neverland

Food Made For Wine Made For Food

| 1431 Del Paso Boulevard @ Arden Way |916.922.6792 |

www.ENOTRIA.com

SERVING LUNCH: TUESDAY-FRIDAY | DINNER: TUESDAY-SUNDAY

Place Holder for Romeo And Juliet

Calendar 32

Obie Bowman 13

Charlie’s Blog 33

Mama Kim Eats 47

Midsummer Nightmare Recap 35

Christopher DeVore 44

Painting Brooke Painting Brooke 15

Raphael Delgado 49

Seen At 1616 55

The Lounge Lemur 61

Rebecca’s Letter 7

AND MORE!

March 2012

Front Cover: Jeffrey De Vore“Greens Hotel: y and xxx”

Editor In Chief: Rebecca GarrisonArt Design: David Blue Garrison

SIXTEEN SIXTEEN

oe’sLil

Breakfast | Lunch | Dinner

1710 Del Paso Blvd926-1416

It wasn’t the first time I’ve made a fool of myself. It was just the most recent. A few weeks ago, I made a cameo appear-ance in The Alternative Arts Collective’s “Mid Summer Nightmare 3”. TAAC founding director David Garrison, whose name crops up a lot in my SIXTEEN SIXTEEN letters, promised three things: I could read my lines, I could play the role any way I wanted, and I only had to commit to a one-night performance. to a one-night performance. Such is life at SIXTEEN SIXTEEN, where the arts flourish in all shapes and sounds and medi-ums even for innocent un-artistic, administrative-type by-standers like me. I played my small part as Sarah Palin. Not to be political, but she was honestly the first person who came to my mind when I read the script. Plus, it required no elaborate costume; just a red business suit and a rhinestone American flag.

Well, Tina Fey I am clearly not, but my inept-ness did bring a few laughs.

Sixteen Sixteen Del Paso Boulevard is inhab-ited by right-brain thinkers and me, a left-brainer. Engineers, bureaucrats, and HR professionals make up the world of my day job. In my avoca-tion of gallery owner and director of the Artists-in Residence program, I’m having to learn to adapt to my right-brain friends on The Boulevard. And, that’s why my theatre debut was impor-tant. It was the first step toward my right brain merit badge. So if you notice that this letter flows a little quirk-ier than the previous two, thank or blame David for whisking me out of my left-brain comfort zone for one nail-biting evening. This month in the Friedlander Gallery, we are featuring someone who has mastered both the left brain and the right brain – Obie Bowman. Well known in the architectural world for his work at Sea Ranch, Obie has expressed his love of nature in a series of drawings called “Biomor-phic Images.” The main gallery at The Temp will feature “Six Artists and a Model.” We are pleased to host an impressive collection of Sacramento artists who have spent the past year creating this show with their model, Brooke Walker Knoblich who is also an artist. You can view the many looks of Brooke through the eyes of Boyd Gavin, Marcy Friedman,Friedman, Pat Mahony, Meech Miyagi and Jian Wang March 8 – 25.

Letter From Rebecca Paint brushes of the wider variety are swishing outside the gallery as we apply a new look to the breezeway and get ready for the April open-ing of Mama Kim Eats. And, in the midst of all the redecorating, Big Idea Theatre opened its latest production “Moonlight and Magnolias,” which is a hilarious account of writing the screen-play for “Gone With The Wind.” Speaking of productions, the Artists-in-Resi-dence have started work on a major one for June when they will present paintings, metal works, ceramics and the international debut of Christo-pher DeVore’s latest play. And, they’ve been up to a little guerilla art on The Boulevard but don’t tell anyone – just keep your eyes open for a large fish out of water.

These are just the highlights of the current and future activity in and around SIXTEEN SIXTEEN. You’ll uncover more details on the pages to follow.

As part of my prep work for imitating Sarah Palin, I wrote down some of her more interesting quotes so I could try to interject them into the dia-logue on stage. I was able to work in a vague reference to seeing Russia from my house but most of the one-liners went un-used. A few come to mind as we get ready for an incredibly busy SpringSpring and Summer at SIXTEEN SIXTEEN … like “only dead fish go with the flow” and “buck up or stay in the truck.” But, as I finish up this letter minutes before deadline, the most appropriate quote comes from afore-mentioned Saturday Night Live star Tina Fey who frequently pretends to be Sarah Palin (kind of like me just WAY better): “The show doesn’t go on because it’s ready; it goes on because it’s 11:30.”

Ready or not, welcome to March at SIXTEEN SIXTEEN.

-Rebecca Garrison

sixteen sixteen | 7

Place Holder for Tony Sheppard

FRIED BLUETOMATOES

a project of

cOMING SOON

www.taactheatre.com

The Alternative Arts Collective

Molly’s DrinksArtist In Residence(AIR) Molly Brown visits her favorite places on the BLVD to grab a drink!

sixteen sixteen | 11

1 2 3Green Drink“I love that I can get juiced greens and raw food a block away from the Greens Hotel. Healthy and convenient! ”

“The fruit punch was light and refreshing (despite the amount of alcohol) and is perfect for the end of a long

day!”

“Enotria has a special drink on the new Spring menu and let’s just say it’s my new favorite drink on the BLVD. An amazing martini made from a blend of fresh mint and strawberries.”

e Green Boheme eThe Stoney Inn eEnotria

Hogy Fruit Punch Strawberry Fields

Spending the afternoon visiting some of the things the Boulevard has to offer makes for a great thing to do before the sun sets on a Satur-day.

Del Paso has a lot of hidden treasures and over the next few months AIR and it’s artists will pre-sent them to you.

This month is Molly’s favorite drinks! Each of these locations on the Boulevard offers a unique experience and fantastic service! Molly highly recommends you all check out these stops and enjoy the drinks.

YUM!The Green Boheme

The Art Of The ArchitectObie Bowman shows his Biomorphic images March 8-25

Obie Bowman knows his life as an architect has affect-ed the way he views the world, and the art work he re-sponds to.

Bowman, who used his love of the natural world to in-spire some of the best architectural designs at popular North Coast development Sea Ranch, has used that same inspiration for a series of drawing called “Biomor-phic Images” which will be on display in the Friedlander Gallery of the Temporary Contemporary March 8 - 25.

Biomorphism is an art movement that began in the 20th century. It patterns artistic design elements on natu-rally occurring patterns or shapes reminiscent of nature.

“I'm sure it is no accident that my drawings strive to evoke a sense of space as well as form,” says Bowman. “Not just the positive and negative composition space on paper, but space imagined by the mind's eye as well. I've always been more interested in the unknown than that with which I am already familiar.”

Each of Bowman’s drawings begin with a thumbnail sketch which is enlarged and loosely transferred onto the final drawing surface.

“The drawing tends to evolve from there with technique playing an active roll in the process,” he says. “I want the technique to be an expressive aspect. Hopefully the finished drawing is a balance of order and chaos, a combination of the familiar and unfamiliar and, most im-portantly, a work that resonates with the beholder.”

Drawing and painting has been important to Bowman since his days at USC where the architecture and art schools were literally woven together.

“I always took whatever art classes I could and early on I became aware of Rico Lebrun and Jerald Silva, two artists I continue to hold in high esteem,” Bowman says.

Top: Biomorphic8Bottom: Cribdream

Right: Organic Image10By Obie Bowman

Bowman moved to Northern Califor-nia in 1971 and works from his studio in the Dry Creek Valley near Healds-burg.


Painting Brooke

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March ShowSix Artists One Model

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Life Drawing or drawing with a live model is an important part of the artist’s experience Most us who draw, paint or sculpt are familiar with the amazing growth that happens when we commit to this prac-tice.tice. Our commitment to a living person is both humbling and very serious. Abstract painters, landscape painters, sculptors etc. all seem to impr-ove almost overnight.

These six artists and their model have taken this practice a little bit further. They have worked together almost as a team for more than a year, meeting once a week in PatPat Mahony’s studio.. .Pat’s studio is filled with light and creative energy ….add the tremendous talent of these painters and we have this “once in a lifetime show “

ItIt has been truly an honor to curate this show and work with these outstanding artists.

- Jan Louise, Curator

Boyd Gavin

Pat Mahony

Marcy Friedman

Meech Miyagi

Jian Wang

Brooke

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B o y d Gavin

Sacramento artist Boyd Gavin says that when he paints, he tries to stay close to the essence of what he sees. “It’s not necessarily the likeness that I’m after,” he says, “but the deeper, abstract complex-

ity that lies behind appearances.”

The UC graduate who received his MA from CSU Sacramento prefers to work in a broad, painterly, almost stenographic style. As a consequence, the paintings tend to be indecipherable up close and

only readable from a distance.

“Rather“Rather than present idealized forms, I seize on the particular, often discordant effects that emerge in the process of painting,” says Gavin. “This seems to me a very organic way of fleshing out something on canvas, and paves the way for expressionexpression to develop more intrinsically within the work. My aim is to embody the spirit or ultimate

reality of my chosen subject.”

Gavin has had a number of solo exhibitions in the Sacramento area, San Francisco Bay area and in

Southern California.

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Photo Right: From “Painting Brooke”by Boyd Gavinsixteen sixteen | 17

M a rcy Friedman

Former Crocker Art Museum Board president Marcy Friedman notes that “painting Brooke” has brought her full circle to once again work with her favorite subject: the human figure.

“My“My desire is to be able to render figures that are at once bold and strongly contrasted,” she says, adding that her compositions are highly structured, centralized and minimally staged, resulting in a figure that is distilled down to an efficient image of what she sees and feels.

“I“I deliberately use clear colors and simple planes to flatten the field, isolating the figure and bringing it forward,” she says. “Close cropping of the figure leaves little space be-tween viewer and subject, adding to the con-frontational and sometimes monumental aspect

of the work.”

The well-known artist and art collector has four decades of civic involvement with primarily art-related non-profits, including serving on the Sacramento Metropolitan Arts Commission as commissioner and chair and the California Arts

Council as commissioner and chair.

“While it might have been possible to have completed this work ‘solo’ in my studio, there was an undeniable energy and excitement that came from working in the creative environment of artists making their art,” Friedman says of the experience of preparing for this show. “Sharing studio space allowed for open dia-logueslogues --contributing to a rich exchange of ideas with the other artists. For me, the year has been an exceptional incubator period, —allow-ing for experimentation and self-discovery as I

continue to develop my craft”.


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Photo Right: From “Painting Brooke”by Marcy Friedman

P a t Mahony

Throughout her career, Pat Mahony has had a par-ticular interest in color and abstraction.

“My trademark has been to layer and build a painting with flecks of pigment which help create

a three-dimensional quality,” she says.

Her expertise has previously been focused on the landscape or still life.

“My“My goal this past year was to create resolved paintings of a figure with the same attention to composition, color and clarity that I try to achieve within my own artistic vision,” notes Pat. “The op-portunity this past year to work with other such tal-ented and respected artists has been invaluable for me. Our weekly meetings have enriched my life with intellectual conversation, new ideas, and

varied critiques.”

Mahony says her work has evolved to a point where she feels more confident with the figure and how she wants to define the figure in relation to

the space.

“I have never been interested in creating a portrait but rather I am interested in giving the figure equal status with the space around the figure and the ab-straction that creates,” she says. “My hope is that I can continue to explore these possibilities and take the figure to a higher level of abstraction, yet

still retain the essence of representation.”

A native of Los Angeles, Mahony graduated with honors in Studio Art from the University of Califor-

nia, Santa Barbara.


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aPhoto Right: From “Painting Brooke”by Pat Mahony

J ia n Wang

ItIt was Jian Wang who suggested his friend Brook as the model for Six Artists and a Model.Jian got his Bachelor of Science in Engineering at the Dalian Railway Institute, where he later taught for four years. It was here that he met Marjorie Fran-cisco, a retired art teacher from Sacramento, who taught English at the Institute. Impressed by his art-work, Marjorie sponsored Jian's journey to Amer-ica so he could have the freedom to develop his

own artistic voice.

In 1986, Jian arrived in the States and took art courses at Sacramento City College from Fred Dalkey. At University of California, Davis he learned from such modern masters as Wayne Thiebaud, Manuel Neri, Roland Peterson and David Hallowell. Jian received his M.A.degree in 1994, at California State University, Sacramento, underunder the advisement of Oliver Jackson. Jian Wang’s buffet of visual delights emerges from the concept of method itself of the painter’s tech-

nique, of the practice of applying paint.

The process of creation is as important as the product created. Such is, at least, the essence of painting for the artist himself. No matter the sub-ject, be it landscape, still life or figural, Jian’s paintings express more than the essence of the scene, but also push against the boundaries of his

medium.

zPhoto Right: From “Painting Brooke”by Jian Wangsixteen sixteen | 23

M eech Miyagi

Meech is a Sacramento native and re-turned to school after more than 20 years of peripheral participation in art to receive his masters of fine arts from

Sacramento State University.

“An analogy can quickly convey a thought or idea,” says Meech. “I use analogy in my work to establish a basic statement of condition to further discuss processes of the human condi-tion. This mechanism allows for the precipitation of thought and dialogue whichwhich I believe is the truer substance of

art.”

Miyagi lives in Sacramento and has an artist’s retreat in Sierra foothills


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tPhoto Right: From

“Painting Brooke”by Meech Myagi

Questions For BrookeWith Brooke Walker-Knoblich, the model in “Six Artists and a Model”


Brooke Walker-Knoblich's unique painting style fuses her Renais-sance training with a contempo-rary expressionistic approach. In 2003, while pursuing a BA in Studio Art from UC San Diego, Brooke spent a year in Paris, France. She participated in the Louvre Museum's Master Copy Program to learn traditional pig-ment preparation and glazing techniquestechniques and also studied with renowned contemporary figurative painter Kathy Burke. Just recently, in 2010, Brooke furthered her classical realism training by paint-ing at the Florence Academy of Art in Italy. Since receiving her BA in 2005, Brooke has vigorously pursued her art by developing 5 large bodies of work and has received national recognition through juried exhibits and Awards of Excellence. Brooke is also an art model. Her artistic pursuits and education give her a distinctive edge when posing for visual artists throughout Sacramento. She was born in 1982 and is a fifth generation Californian, raised in the foothills ofof the Sierra Nevada Mountains. She currently lives and paints in Midtown Sacramento. SIXTEEN SIXTEEN recently talked with Brooke about her upcoming show at The Temporary Contem-porary where she plays the role of model as well as artist.

A I have been modeling for artists in Sacramento for several years, so accepting that role with this group was, at first, of no particular significance. However, after our very first session together it became apparent to me that I was workingworking with artists of the highest caliber. Honestly, the role became more of an honor than something I was nervous or hesitant about.

Q How did you prepare for your role as model. It's a rather reveal-ing role … did you diet or do any-thing special to enhance your ap-pearance or were you comfort-able presenting the "reality of Brooke."

A I personally believe the best models are the ones who are com-fortable in their own skin. From an artistic perspective, a real and nat-ural model brings a sincerity of character to a painting session that goes way beyond just the physical. So my approach to mod-eling is very candid and organic. By nature, I am very open and ex-pressive. I cherish the opportunity to just be me and to allow the mutual exchange of ideas (that flow between artists and models) to be inspired by a real, lived ex-perience.

Q Every week you posed for these artists. Did your emotions change weekly or did you strive to stay "in character" every week you walked into the studio?

QQ SIXTEEN SIXTEEN has seen a preview of the show "Painting Brooke" and it is stunning. What is it going to be like to walk into the gallery and see your face and body on every wall? We're as-suming that you've seen most of thethe finished paintings individually but not perhaps not all together as they will appear in the March show? A I have not yet seen all the works hanging as a collection in the gal-lery, just piece by piece as they were completed or brought for cri-tiques to our weekly painting ses-sion. That being said, what strikes me the most about the collection is the uniqueness of each artist's in-terpretation of the same subject.

Q Did you have hesitations about accepting the role of model in this project? What made you decide this was a sound career move?

A I have often been accused of being a chameleon as my "look" can be very different from one week to the next. My emotions play a huge role in these diverse ways in which I inhabit my body. They determine how I choose to dressdress that morning, whether I con-front the viewer with a powerful pose or turn quietly inward with averted eyes. This may, at first, create a challenge for any artist trying to study a portrait. But after working every week for over a year with the same group I think the range I express is refreshing.

Whether an artist is sensitive to these internal workings or more fo-cused on the physical form I be-lieve is a matter of personal artistic philosophy and where each artist is in their own exploration of tech-nique.

Q The artists were observing and translating you during this project. What were you observing about the artists themselves?

AA One of the most interesting things for me to observe was their physical presence through the painting process. Boyd Gavin is easily the most dynamic of the group, pacing back and forth in front of his easel, flipping the canvascanvas upside-down to get differ-ent views, driving his brush with flourishes of paint and turpentine. Jian Wang, in contrast, is com-pletely silent. Which is phenom-enal considering how much paint he uses on the canvas! Pat honey and Meech Miyagi will often drift around the room, trying to capture several different angles throughout the session. Marcy Friedman, I think, has a very con- sixteen sixteen | 30

sistent approach, always begin-ning her paintings with a drawing in bright red paint. But honestly, what intrigues me the most in the process of our sessions together is how the energy in the room pul-sates. Most groups I've modeled for are highly structured, using a timer to set the pace for the length of the pose and breaks. However, with this group I get to determine the pace. Of course I listen to my own body and move when I start to get restlessrestless or uncomfortable, but sens-ing when the artists may be ready for a break as well (do they need to put more paint on their pal-ettes?) helps me choose the right time for a creative flow.

Q What were you thinking about while you were posing … were you mentally putting together your to-do list for afternoon chores or where you contemplating some-thing more artistic? A Modeling is very meditative for me. It allows me to be present in my body in a similar way that yoga makes one conscious of every muscle, breath, and move-ment. Of course it is inevitable that my mind will wander and when it doesdoes I try to keep the inner dia-logue relevant to the present moment. So yes, I am thinking about art. Perhaps there is a book someone brought to share with the group that exposes us to new ideas. Or a painting I've got at home sitting on the easel that has problems that need to be resolved. I save the daily, list-making chatter for my drive home.

Q In ten years, when you think back about this project, what

kinds of things will you remember? Are there specific experiences that define your year's work?

AA The collaboration, for me, has been the most defining experience of the past year. As an emerging artist, it has been rather difficult to find a tribe of local artists who's work I truly admire and I can learn from. This group has had a phe-nomenalnomenal impact on my paintings. Also, just being in Pat Mahoney's beautiful home, with original paint-ings and sculptures throughout, her two little dogs gleefully greeting us at the door, a delicious spread of tea, fresh fruit, and cheeses for our mid-session break, and honest cri-tiques of our work, is simply one of the greatest pleasures I could imagine.

Q You are an artist yourself. How did this experience affect your artistic endeavors?

A It's hard to wrap my head around the profound influence these artists have had on my own art. The exposure to contemporary and historical works alone is com-pelling. Something that really reso-nates with me is witnessing how these artists deal with failure. While it can be excruciating to watch a piece with so much po-tential get wiped out or painted over or torn to shreds after several laborious hours of painting, the ac-quiescence to defeat somehow frees the creative process. Previ-ously, I always had this idea that once an artist has professionally "arrived" that everything they create is worth hanging on a wall. This group of artists has shown me that the

that the creative process never really changes as you advance in technique. Sometimes every stroke is inspired, is pure gold... other times nothing seems to work no matter how much you fuss with it. Because each artist has honed theirtheir own unique approach to the live figure, I was also pushed to tune my own unique artistic voice.

For me, it is easy to succumb to a realistic interpretation and pol-ished application of paint, surely ingrained from my classical train-ing. However, the work that de-lights me the most--and that I col-lect from other artist-- is much looser: the process of the painting is visibly recorded in the brush-work. This is the direction I want to move and I've been thrilled to see a push in my work from realism to a more expressionistic, painterly approach over the past year.

Q You will be showing your own work in the gallery along side of the main show "Painting Brooke: Five Artists and a Model." Tell us about the work you will be show-ing and what inspired it. A I will be exhibiting 12 ink draw-ings and an oil painting. The ink sketches are very whimsical and spontaneous. Many of them were drawn "blindly" meaning I didn't look at the paper to correct the drawing but rather followed the movementmovement of the contours to catch the glimpse of a fleeting emotion. All of them are self portraits, done from life while I looked in a mirror. The oil painting is an exploration on how far I could push my under-standing of color and form, without being derivative or tight, and still capture a likeness.

This is the first self portrait I've cre-ated over the course of several painting sessions, instead of just one sitting. What made this piece particularly intriguing, albeit ex-tremely difficult, was this chame-leon nature of mine that I discussed previously. Not only did I bring a new emotional response to the piece every time I ap-proached my easel, but through-out the process of painting, my mirrored response to the ACT of painting shifted the emotion. Ultimately I was faced with trying faced with trying to express a situation that was the culmination of a year's work: a balancing act of being simultaneously both artist and model.and model.

Q Have you "painted Brooke." Is there a self portrait in your own collection. Why or why not?

A Over the years I have painted and drawn many self portraits. At first it was merely an exer-cise to keep my hand and cise to keep my hand and eyes trained in the absence of anotheranother model. Eventually it became much more of a spiritual practice. I paint self portraits when I'm working through some difficult episode in my life. It is a way for me to visually communicate a pro-cess of delving.

The ink sketches are very

whimsical and spontaneous.


2 Friday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre3 Saturday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre4 Sunday, 2:30 p.m. Moonlight and Magnolias, Big Idea Theatre8 Thursday, 6 p.m. Opening Reception, Temporary Contemporary Thursday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre9 Friday, noon – 5 p.m. Gallery Hours, Temporary Contemporary Friday, 8 p.m., Moonlight and Magnolias, Big Idea Theatre10 Saturday, noon – 5 p.m. Gallery Hours, Temporary Contemporary Saturday, 6 p.m. Second Saturday Opening, Temporary Contemporary Saturday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre11 Sunday, 2:30 p.m. Moonlight and Magnolias, Big Idea Theatre15 Thursday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Thursday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre1616 Friday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Friday, 8 p.m., Moonlight and Magnolias, Big Idea Theatre17 Saturday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Saturday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre22 Thursday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Thursday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre23 Friday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Friday, 8 p.m. Moonlight and Magnolias, Big Idea Theatre24 Saturday, noon – 8 p.m. Gallery Hours, Temporary Contemporary Saturday 8 p.m. Moonlight and Magnolias, Big Idea Theatre25 Sunday, 3 – 6 p.m.. Closing Party, Temporary Contemporary

Collage Sessions at The Temp


To schedule a collage workshop, contact Ray at 916-921-1224 or visit the gallery website:

www.stcgallery.webs.com

The Sacramento Temporary Contemporary is offering after-noon Collage Workshops taught by Robert Ray in the Art Store of the gallery.Collage Workshops can be scheduled for any Sunday after-noon, noon – 4 p.m. The fee is $75 per person and includes all materials and refreshments. Workshops can be scheduled for individuals or groups. The workshop will take participants on a journey through the history, materials and process of collage, and provide a series of inspirational hands-on projects. Ray, one of Sacramento’s most prolific artists, has been fea-tured in galleries throughout the United States. He has con-tributed illustrations to numerous publications, collaborated with numerous artists, writers and performers, and organized exhibitions for various art galleries and public institutions.

1616 Calendar Of Events

The Painters-Ms.-Ms. Mahony, in whose studio the group meets. She has work in the Crocker and talks of the changes the group experience made in her work, forcing her to focus on color and skin. An accom-plished landscape painter, she had to learn to see the figure as landscape.-Boyd Gavin, who was hailed as a child prodigy when he hit the Sacramento art scene at 15 and hasn’t stopped painting since.Meech Miyagi, who did drawings at the group sessions and then turned them into sculptures using organic materials from his spectacular place in the foot hills.-Marcy-Marcy Friedman, away from painting for awhile, who seems to have received a jump-start from the group dynamic and the “rich exchange of ideas.” She has been a major figure in the local and state arts scene for many years.-China-born-China-born Jian Wang was brought to the US by the late Marge Francisco, a long-time figure in the Sacramento art scene. He studied with Dalkey and other regional masters and has become an ex-tremely prolific painter and sculptor. He has broken away from the Socialist Realism of his youth and now works in an exuberantly expres-sionist, brushy and rich style.-Walker-Knoblich says that as an artist herself, she has tried to pose in ways that she sensed would translate into creative work. Gavin says Walker-Knoblich, being an artist herself, seemed to make the situation more real than academic. She isn’t seen as “just a hood-ornament, like most professional models.” Her personality “perco-lates” into the paintings.lates” into the paintings. The painters talked, discussed, critiqued and were inspired by the ambiance. There seems to have been a sense of performing for a knowing and responsive audience. All these artists have solid professional records, but the experience of working together with other professionals seems to have encouraged break-throughs, experiments and unabashed freedom.


Charlie’s Art Blog Sacramentans have been painting and drawing from models at least since white-gowned Victorian ladies took drawing classes at the Crocker in the 19th Century. They drew from marble sculptures rather than fleshly fe-males or muscley males. The drawing masters sometimes draped the statues before exposing them to the young women.And of course art students at our universities have been working with models as long as there were funding and parental acquies-cence. After art students graduate, they sometimes go on to organize drawing groups, pooling money to pay the models. It’s a continuation of the academic setting, an attempt to maintain skills picked up at school. It becomes a life-long practice by some accomplished artists.And beyond the honing and re-honing of skills, drawing groups provide the interaction and support any creative person needs at times. The participants in STC’s “Six Artists and a Model,” opening March 8, are mature, ac-complished, serious artists, and that includes Brooke Walker-Knoblich, the model. The show could have been called “Seven Artists, One of Whom is a Model for the Others,” but it’s hard to fit that on a postcard. So accomplished in their work are these seven that it would take more words than readers could abide to give a full accounting of their careers and approaches.What unites them is that for the past year they What unites them is that for the past year they have met for weekly four-hour sessions to paint Walker-Knoblich, nude and clothed, with and without props, unaccompanied or with her dog, Lola.. The goal has been to pro-duce finished works, shooting for 40 paintings in 40 weeks. Of course, as Pat Mahony says, somesome of the 40 failed, but the successes will fill the gallery. When the artists approached STC curator Jan Louise for a show that would culminate the year's efforts, she enthusiastically embraced the idea.

On Painting Brooke

vPhotography by Terri Brindisi

While the Alternative Arts Collective anxiously awaited the completion of their new facility in Sacramento, The Sacramento Temporary Contemporary Gallery loaned their space to TAAC’s production of A Midsummer Night-mare 3. The final installment of the Midsummer series.

Can’t imagine the gallery being a functioning theatre? That’s okay, you don’t have to.

We have photos.

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Place Holder for Mag-nolia

His World Without FireBy David Blue Garrison

He chose the path of no lighthe knows we mean a physical light

the path could have been littered with flamebut he was always constant in the dark

he built great citiesthe towers, they pierced the skyhis words broken mending heartshis words broken mending heartshis love touching but never taken

why do you live without the orange glow?we asked him as he built a world with his handswhy do you not take the comfort of the red? because, he said, the Burn consumes my heart

he worked and slavedthey needed a bridge, THEY needed an aqueductthey needed a bridge, THEY needed an aqueducthis hands made rough, bloody and blisteredhis back twisted and his eyes were foggy

days and towns later he knelt upon a destroyed city

a ‘him’ city if there ever was onehe sobbed, he wailed, he beat at his tattered chestbut why? we asked, look at what you’ve done! but why? we asked, look at what you’ve done!

these bricks, he said, this plaster is nothing without the Burn.

Place Holder For Tony Sheppard

Another Portrait Of The ArtistBy Christopher DeVore

This story was, perhaps, written in response to Charlie Johnson’s rumi-nations on content versus form in the last issue of 1616 Magazine …


There once was a writer, a devotee of James Joyce, who had written what he con-sidered to be his master opus; and indeed he felt so sure that his book was not only a masterful evocation of his own true, poetic voice in full, but, what was more, that it was the ingenious product of a scribe at the very heightheight of his powers. But even still, beyond even this, he felt a haunting certainty that his book was the embodiment of the towering and ranging spirit of the ‘August James’ himself, as he called the Master, and that their two spirits were inextricably linked to-gether in it, fused into a work of supreme art. The book was duly published, and in due time it was discovered that it was unani-mous: the critics and the reading public did not in any way concur with the writer’s, per-haps, inflated estimations as to its worth; the circulation was devilishly low, and the writer, to say the least, quite demoralized by this, crept back into his rooms to lick upon his wounds. But he did write on, though no one really cared, and certainly no one was fool enough to publish him.

After a number of years, the writer was contacted quite out of the blue, and in a highly strange and mysterious manner, and almost before he knew it he was conveyed to the private upper room of a highly exclusive, though very homely restaurant in the dark and leafy heart of Old London Town. There hehe was ushered into the presence of a modest, yet ample gathering of men and women, all dressed quite formally, who all rose as he entered as if he were not just a guest, which, of course, he supposed he was, but more as if he were some august personage of exalted rank; almost -- he thought this-- almost as if he were divine.thought this-- almost as if he were divine.

Presently a small, distinguished-looking mole of a man spoke, saying that he was a certain E____, and did that name, perhaps, to the writer, ring a little bell? The writer replied that there was, to his mind, only one E____ of any consequence, and that that E____ was the revered and be-loved biographer of the ‘August James’: ‘said E____’, therefore, being synonymous with Joyce himself. The ‘mole’ grinned, and then looked as if like to faint, but he bore himself up and pro-ceeded to ask the writer why he supposed he had been invited there. The writer replied, for by now he had no-ticed that in every slightly trembling hand in the room was a well-thumbed, first-edition hardback of his master opus, “I suppose…it is to discuss…my book?” Here the room erupted in warm and highly appreciative laughter (a few of the women even ‘Ahh’ed, as if touched by his almost childlike modesty), and he was gently urged into their midst, where they sat him rever-ently down, providing him with choice viands and plentiful libation, and proceeded toto launch into a lively discussion of (or maybe it was more a ‘paean to’?), his book. The focus of their talk was almost exclu-sively upon the power of the writer’s poetical prose, the perfect balance, so said the ‘mole’, between a form of style so rich and melodic, and a narrative so mercurial, yet so wonderfully workman-like and methodical, that it almost defied belief how resonant, andand yet how facile, the whole blessed enter-prise was.

“Even as you skirt the edges of incomprehension…at times,” said the ‘mole’, “it’s clear you do this for the de-mands of Mystery, and Mystery, of course, is indispensible. Or maybe Ambiguity is the word I’m searching for? Delightful! …Even so, you are always easing effortlessly back toto match the reader’s stride, challenging, but always urging us cheerfully onward, gently unfolding the heart of the matter in a lively, even impudent, manner, but never unkindly, or odd for odd’s sake; never leaving us in the dust.” Here the ‘mole’ looked to the assemblage and they nodded him on almost in complete unison. “It is my feeling,” he continued, “that our friend Joyce felt at times that perhaps he had been… ‘imperfectly successful’ in achieving a Golden Mean that reconciled his sublime, weightless style, and his, for lack of better words, weighty content; his sense. Well, sir, let’s face it, the Master’s sense could get ratherrather senseless, especially in ‘The Wake’, which seems not so much a book as it is a song, and a Siren’s song to boot; an utter-ance mysterious, and as such, beyond anyone’s ultimate understanding…except for the wily old Siren, himself. ‘Ulysses’, of course, is, in every way, much more a book compared to ‘The Wake’, yet it’s still quite dense and impenetrable a fair bit of the time; but, there’s a yard-stick for all of that…now. ..volumes of them, in fact. “But that’s just my point!” the ‘mole’ grew even more earnest. “I feel, and I do believe that Joyce himself felt that he might have left it all just a little too high -- poetically, that is-- for far too many readers to ever grasp with-out a study. Indeed, and a library to study in! And I further believe, as do all the mem-bers of our humble circle…” Here he lifted a tiny, pink hand to the ring of nodding, calmly smiling, steadily gazing faces… “…that had our friend Joyce lived beyond ‘The Wake’, he would have embarked upon a more finely calibrated trajectory of poetic narrative, a better blending of the ever-demanding contrast and interdependency between the ‘Melody’ and the ‘Word’; and that he would let neither achieve the ascendancy over the other, but like twin oxen they would be made to pull in stride, measured the one to the other, as if there were no place where the one left off and the other began; one sporting wings that bravely sixteen sixteen | 45

endeavor to thrust them ever-upward into the ethers; the other, wingless, straining ever-earthward, grounding, grounding, always grounding them. In short, perfect Rhyme, perfect Reason, lashed together …like Ulysses on the mast! Reasonable Rhyme, yes! and rhyme-able Reason! “ Here he expelled a barely restrained breath of excitement, and smiled again: “Something, dear sir, very like what I hold here in my hand…” He lifted up before him his first-edition of the writer’s book, as if it was a standard, a brave and shining chevron, and in the face of this the writer could only blush.“These,” he thought, “…these are my people!” “You are too kind, I’m sure,” he eventually ventured, for though this was very like far too many rather fond and self-aggrandizing fantasies of his, yet, now that he was con-fronted with one in actuality, he was more than a little at a loss as to how to play the scene properly. But, he managed to con-tinue: “I can only assure you that so much of what you’ve said tonight is conversant with my own thoughts on the matter, which, it occurs, may seem more than a little vain of me, since so much of it has been most kind praise (he was good at these modest little speeches, for, as has been said, he had fan-tasizedtasized them many times). Let us say then that what you have said tonight is conver-sant with my hopes and aspirations. For I did try to achieve that very Golden Mean that you mentioned, my dear E___, and I must confess that at times I do believe that I achieved it. But, honestly, my good people, do you really think I could dare to hope that this poor book of mine could ever stand as a testament to my success where the Master had failed?! Certainly it could never have existed at all without his to come before it; and if even the slightest adjustment, or rec-alibration, on my part, resulted in that blessed balance, how could I have ever made it without his constant and unreachable exam-ple before me? …No, it is too much to hope for, to equal the ‘August James’, but… is it possible that I did not shame myself in this? Granting that I could never equal Joyce, is it at all conceivable that, just maybe, I came …close?”

The ‘mole’ made a rather wondrous sound of delighted disbelief, and he stood up, his eyes suddenly sharp and seeing. He stepped almost shyly forward, gazing down at the writer, saying in a whisper: “Close to Joyce?! Dear man…you are Joyce!”

At this, the others expressed their hushed and smiling assent, their eyes glistening with that famous, fine, Irish madness.


Mama Kim Is Home

Mama Kim Scott has always ap-proached food as an art form. After 12 years in the catering business, her art is about to open its own show … on the dining tables at 1616 Del Paso Boulevard. Kim, with a Bachelor of Fine Art degree, is excited to be opening Mama Kim Eats in a collective of businesses that represent the arts. She is busy putting together menus that compliment the needs of thea-tre-goers and gallery visitors, as well as guests at the adjoining Greens Hotel. And,And, they won’t be limiting their artistic contributions to the edible kind. “We will feature area musicians and art-ists, allowing them to showcase their craft for a community where the arts are an in-tegral part of the landscape,” says Kim. The restaurant will initially be open Thursday through Sunday for small plates, dinner and libations, with brunch service on Sunday.


Mama Kim Eats to debut April 5th

“Our chefs will create a menu of Califor-nia Creole influenced flavors that utilize the abundance of seasonal ingredients,” says Kim, adding that they are currently creating specials for pre and post theatre-goers and other events at 1616. Plans also include guest chefs occasion-ally taking over the kitchen at Mama Kim Eats. Catering will remain a major part of the Mama Kim brand with their production kitchen and corporate offices located just a few blocks from 1616 on Del Paso Boulevard. Opening date for the restaurant is set for mid April but you can get a taste of Mama Kim’s cooking on April 5 at the debut of Corporate Style, an exhibit sponsored in part by Comstock Magazine and the Tem-porary Contemporary.

PARAMETERTHEATRE

a project of

a THEATRE EXPERIMENT THAT CHALLENGES THE WRITERS, ACTORS AND DIRECTORS OF EVERY PERFORMANCE.

auditions soon

www.taactheatre.com



RaphaelDelgado

Artist In Residence

A.I.R.

Raphael Delgado, painter, graphic artist, sculptorWhat is your medium of art? I pri-marily use arcylic and oils on canvas. I also make relief prints watercolors and scultures.How does AIR help you as a pro-fessional artist? Since I have been an AIRtist, I have been able to work and live in very close prox-imity and fully emerse myself in my work. Since I have been here I have created over 20 works on canvas, 30 drawings on paper , and acquired the largest art deal of my career thus far.What is a typical day that The Greens like? I have already had several ups and downs since I have been here, but a normal day is usually in the middle of the night. Walking (pacing) back and forth from Room G to Room P,P, I have been working comfort-ably here in an awesome studio space provided for me. I have been nocturnal recently working on commissions and gallery show-ings.

What is your favorite memory of The Greens (So Far) ? We played a cool botche ball/ field bowling game organized by Jeffery and Christopher on the hotel parking lot. Using drainage lines, car-roms, and long drives it was truely anan nail-biter. Although I had a hole in one on a par 3 , Jeffery played well and earned the vic-tory.How do you balance being a professional artist and being inv-loved in a residency? Well I think it is a great time in my life to be in-volved in something like this, be-cause well..I don't have kids , I am not married , I have a flexible schedule. I jumped on the oppur-tunity and have been extremely motivated , encouraged and ac-comadated above and beyond what was offerred. I mean , how many people do you know that have landlords who are really supportive , art and business savvy , and want you to be really amazing at what you do? What are you looking forward to at AIR? I am looking forward to next meal made by Jeffery. I am really excited to unviel a brand new series of exciting work to be displayed in the gallery in June.

Mother Earth ~ Ceramic 14inches x 7 inches

Calico ~Oil on canvas 60x54 Available

Escape~ Oil on canvas 36x48 Available

Downpour Oil on canvas 30x40 Available

SEENAT1616!

Get Spotted At 1616Theatre, Restaraunts, Art Gallery, Hotel

Artist Kim Scott and parents at the STC Gallery for the February opening.

Erin Wapple, Jan Louise and Molly Brown at the STC Gallery for the February opening.

Delores White and husband purchas-ing an art piece at the STC Gallery.

Robert Ray, Cassie Guthrie and Molly Knor at the STC Gallery for the February opening.

Katrina Wolinski, Jouni Kirjola and Laura Kaya at BIT for opening weekend of Moonlight & Magnolia.


There’s Always SomethingOn The Block!

A Great Way to Spend The Weekend!

3 Artists and a writer and a curator. Meech Miyagi, Charlie Johnson, Pat Mohony, Boyd Gavin, Jan Louise

Craig McClain and his puppy at the STC Gallery for the February opening.

Sandy Phillips, Cassie Guthrie, Ciara McClary and Hazel Stream at the STC Gallery for the February Opening

Winnie Comstock, Comstock Magazine

Lisa Deniz, Reverse 2

Thomas & PleckerSacramento’s Top Crooner Band

Undercut Entertainment

PHOTOGRAPHY BYDavidBlueGarrison

The Lounge LemurBy The Lemur


Oof! Inaugural dispatches from the field are always the most difficult…Establishing credentials , grab-bing the reader, keeping the faith. How do I convince a ragtag group of art drunks that my word is my bond? That no matter how large the quantity of alcohol I should consume,consume, my reasoning and common sense are still functioning?

These are difficult stages in any relation-ship, so I’ll get right to it…North Sacra-mento could use a few more good bars.

How do I know this? Well, when I find myself sidling up to a cold beer at Little Joe’s, then I know my choices are limited. Now please do not get me wrong here. I love Little Joe’s and everyone there! But they should not be responsible for my alco-holism any more than McDonald’s should be responsible for my dietary roughage. be responsible for my dietary roughage.

When I lived in midtown I could count on a bar or a restaurant with a bar within any 3 block radius I should find myself on look-ing for a bar. Here, it gets a little trouble-some, especially considering that I do all my drinking within walking distance of my home or along the light-rail route. I often dream of the Nite Hawk reopening, and I’ve heard a rumor or two fly that it would, but so far it hasn’t. Still, hope springs eter-nal! There are other rumblings along the Boulevard that give rise to stifled enthusi-asms, to the raising of still-doubtful glasses over unconvinced smiles. Why just last night I was reminded by a Woodlake émigré now shacked up with Portland, Maine that he had the same Del Paso Boulevard dreams smashed just a short decade ago…

Pshaw and Harumph! If you want to start the gentrification of any community down on its dime, look to the artists! And if its artists you desire, you must furnish them with the fuel for their creative discourse! Bars! I guarantee the fine citizens of North Sacramento that a few new bars would go a long way to encouraging would go a long way to encouraging more creative migration from the now ter-ribly passé midtown scene. Okay, maybe I’m being a bit naïve, but a man cannot survive on the Stoney Inn alone! God bless you boys for holding down your end of the bargain! Of course it was only this afternoon that I found myself in there ordering a Blue Moon because their taps were all out. Every last one! Now, I know that this is not a regular occasion at the Stoney Inn, but it still hurt!

Aside from the fact that it stings when we don’t get what we want, we forgive the Stoney because they take care of busi-ness and keep a whole lot of functioning North Sacramento lushes like myself in our blessed cups! OK so I wouldn’t ordi-narily order a Blue Moon, but I have to say it was quite refreshing and delicious! I suppose I should list all the drink spe-cials and whatevers, but the truth is that the Stoney is just a really great bar.(and you can go to their website at www.stoneyinn.com and get all the poop on their deck) Their music scene is vibrant whether you like Country OR Western, and they can pack a floor with line danc-ers with the best of them, and god forbid I discourage you from experiencing this place on a headliner night, rafter to door-mat with beautiful women and tight-jeaned hopefuls vying for their attentions!

The Stoney is a show unto itself, and a carload of fun to get loaded in. Their back-bar is a pretty standard Southern Wine & Spirits/Young’s Market lineup of ho-hummery but really who gives a shit in a place like this? I don’t expect to get A.H. Hirsch here, but a man can dream! I cannot say enough about these guys though and what theythey bring to the neighborhood. And they mix it up as well. They have an incredibly well repre-sented open mic night, DJ dance parties as well as the world class musical acts. You can get your football fix, enjoy snacks and hassle the bartender for a “French Squirt”. And if they say they don’t know what a “French Squirt” is, give them grief because the drink was christened within those very hallowed walls! For today I limit myself to a Blue Mountain or two, A couple of French Squirts and an extremely short walk to B&W liquors for a six-pack of Stella and a fifth of Sailor Jerry. After all, WE MUST SPREAD OUR DOLLARS AROUND.

Signing out, albeit far too soberly,

The Lounge Lemur

The Lounge lemur


A Project of the Greens hotel and The Temporary Contemporary

Artist In Residence

Six ArtistsOne Hotel

A.I.R.

www.thegreen-experiment.com

The Cat’s Meow

HelloYouYou may call me Boq, since, as I have related many times before now, that is my ‘David-given’ name. And yet, be-neath my luxuriously spotted hide, I am far more than anyone can name, and in a far different guise (it may surprise you to know), I move as do whispers across aa lawn at twilight…for unbeknownst to almost all…I am the ever-ready one that they call…’The Ocelot’! True, the unwitting ones who surround my naps do not grasp the subtlety of the ‘seeming, dreaming one’ at their very feet, and thus I am privy to many aston-ishing things that shall have to pass for secrets; and there you see the method in my ‘nap-ness’, the shrewd beauty of the felinefeline mind that toys, toys, ever toys with the ‘mousies’ he fancies, no matter the size. For ‘The Ocelot’ creeps as he sleeps, he creeps as he sleeps. What if they put a leash on me ( which they do, for I’m too clever by half to be left loose to my own devices)? ; am I ever really in need of much more space than my garden beneath the glass globes that my close personal friend, Molly, made to sparkle in the leaves of my olive-trees? I think not…I think not…But when the moment arrives when blind messages entrusted to deaf and dumb messengers tip-toe through the back-alley-ways , mindful, always mindful, of their stealthy, near-silent tread (and I say ‘near-silent’, for no tread is silent…except for…’The Ocelot’s’!), there is one, or rather two, mindful ears --yea, and whiskers like radar, too! -- that will always manage to ferret them out (though I dislike ferrets, and hesitate to compare myself to them…they’re just too squirrelly!).

Just consider this ‘intelligence’, which ‘The Ocelot’, in his ingenious industry, has gleaned within a mere weeks’ time, with liberal swathes of napping thrown in:MyMy David finally presented his ‘theatri-cal’ and people actually came! I never mix in crowds like this, but from where I was napping it sounded as if someone was in the cat-nip. There were numerous guffaws, a consistent barrage of gig-gles, and an assorted array of titters (not to be confused with ‘twitters’, which, spying being hungry work, I am always on the look-out for).The word of mouth here is that David (writer, director, actor) performed one of those annoying little ‘hat tricks’, which someone assured me did not include rabbits, so I am all right,right, philosophically, with that. Rabbits give me the willies; I think it’s those empty, pink eyes. ’The Ocelot’ would probably just give them a swat and be done with it, but he tames his inclina-tions for David’s sake.Molly, my personal friend and Honorary Feline, has come up with a number of small, mysterious clay figures that bend their pendulous, sorrowful heads in something like defeat…or prayer. “These are the homeless ones, the for-gotten ones, the lonely,” she breathed to thethe air one night as she worked these figures into life within her magnificently cat-like hands; and she thought it was just to the air she said it, though one dark, low, lurking, spotted one heard her…’The Ocelot’!


, hail and mee-ow,

A Short Message Out of the A.I.R., from The Forgotten City…

He, and only he, can understand the dark ache that gives rise to these clay totems that she fires in newsprint to give their brittle pink a somber, yet durable, gray. They speak to me, agreeing with Molly: “We are the forgotten ones, lan-guishing beside a river in a forgotten city.”city.” ‘The Forgotten City’… That’s a fair as-sessment of the northern ruins of what I like to call ’Sac-Town and Ashes’: they’re the Town and we’re the ‘ashes’, get it? You may laugh…or cry. Molly has done both, and rolled it all up into something haunting, connected and real.real. Some mysterious person has erected a fish, which always gets my attention, made of wire and glass, and it adorns a fence on Del Paso Blvd. just a stone’s throw from The Stoney Inn, ha! It makes the mouth of ‘The Ocelot’ water, and it seems to crave even more delicious com-panions,panions, say, a whole koi-pond popula-tion made up of wire and glass to turn an ordinary, ho-hum fence into a thing both beautiful and hunger-inducing. And since this piece of guerilla art was ensconced under cover of darkness (around ten- thirty on a Tuesday morn-ing), the perpetrator was never seen, and for this he, or she, has the bound-less admiration of… ‘The Ocelot’! Imag-ine if everyone started doing this? Our cities might actually look like actual people lived in them! It might seem, beyond that precious human lip-service, that someone actually cared! The Gato has been painting the picture of a car, and it looks, if you can believe it, like a car. He slaved and worried over it for many nights, because someone, an enlightened being no doubt, commis-sioned him to paint it, and The Gato knew that they both wanted it done right.right. He worked at it, never stinting, let-ting the midnight oil burn, the oil-paint flowing, alone as one of Molly’s figures. But…was he? Alone, that is?!


Or was someone slinking just round the corner? And was that someone…’The Ocelot’?! As for Rebecca, who possesses a grace beyond cats, where was she sojourning in this close, secretive, labyrinthian world? … I can’t really say. Some things even ‘The Ocelot’ will never ever know. But, I do know this: whatever it is she’s doing, she works us to a ‘Good’. Though sheshe and Sarah Palin have never been seen together in the same room, so… As for now, ‘The Ocelot’ sleeps (and occasionally swats), resting himself up toward that day, or night, when his ex-ceptional expertise is needed; his awe-inspiring abilities required; his cat-box in need of cleaning. Till then, he moni-tors, from his secret nerve-center in the midst of ‘The Forgotten City’, the cease-less hieroglyphs of humanity that parade unwittingly beneath his ever-seeing eye. And he, be he ever praised, stroked and fed, shall always work us to a ‘Good’. But, as for now, because he expects no thanks, this cat is out of here.

Felix Noblis Oblique, Prestidigious Nostrum, I am Boq Pentameter. (more or less)

Sunday Overflow

Sunday overflow, cascades down the hotel wall!

Oh, the humanity!


By Jeffrey DeVore

GRIMM’SGRIMM’Sa project of

fROM THE TEAM THAT BROUGHT YOU fOREVER nEVERLAND

a TWISTED PHOTO SHOOT RE-TELLING THE CLASSIC FAIRY TALES

www.taactheatre.com


sixteen sixteen issue three

Documents

right brain obie bowman

left brain

rightbrain friends

paso boulevard

brain thinkers

right brain merit badge

looks of brooke

gallery owner