John Boylan’s Next Conversation: “Youth Culture, Youth Organizing”

Event Date: Tuesday, November 17, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, do so at

The Summary

This time we’re talking about what happening in youth culture and youth organizing. Read on for details.

The Guests (see bios below)

Lisa Chen, executive director, FEEST

Nora Germani, executive producer at Black Tie Productions, student

Timothy Lennon, executive director, the Vera Project

Christina Nguyen, poet, youth organizer, Youth Speaks

And I’m seeking a fifth from Sawhorse Revolution

The Story

When I was a kid there were not a lot of options for youth programs. There was scouting, sports, church groups, and high school clubs. But most of these were pretty much top down. How good they were often depended on how cool, imaginative, or open the adult leader was.

There were exceptions: when I was in high school, my father, an actor and a steelworker, got together with some college professor friends to stage theater readings for their kids. I can recall sitting around an 18th century brick cellar in the home of a friend, as we all read parts from “Cyrano de Bergerac” and “The Madwoman of Chaillot.” I can still recall thinking that the girl who read the part of the madwoman, a year or two older than me, was superb.

But even this was top down, and only lasted for maybe a year or less.

I started thinking about this conversation with the realization that there are increasing numbers of youth cultural programs that are run—and sometimes instituted—by youth. And even those that are firmly controlled by adults are looking for ways to empower youth, not just give them culture.

Youth Speaks, while operating under the auspices of Arts Corps, is a youth-led poetry project. And one of the coolest things about it is that each year there is new group of youth leaders who go through training in leadership, management, event production, and community organizing.

Black Tie Productions, cofounded by our guest Nora Germani, is a theater company run, and almost completely supported by, high school students. They work independently of the schools they attend, and have produced huge, full-orchestra musical productions about such topics as growing up transgendered and teenage alienation and suicide.

With Sawhorse Revolution’s Impossible City project, students work with architects and residents of a homeless camp to design and build moveable tiny houses. With FEEST, students collectively cook their own meals, all the while learning about nutrition, food justice, food politics, and youth-led food solutions.

And then there’s the venerable Vera Project, where youth engage in—and learn about—music production and performance, as well as community organizing.

There’s amazing energy out there, and so much more is happening. Come and talk about it. (And note that while Vermillion is a bar, those under 21 can still be in the space, as long as they don’t go up to the bar itself.)

News Flash: As some of you know, I’ve been working on a project called 9e2, a huge art, science, and technology event that will happen in October 2016, as well as the months leading up to that date. 9e2 is a celebration of the interplay between art, science, and technology in the 21st century. And it is also a commemoration of the half-century anniversary of a pivotal art and technology event that happened in 1966, “9 Evenings: Theatre & Engineering.”

You can read more about 9e2 and the history of 9 Evenings at the 9e2 website.

And you can support 9e2 and help us put together seed money through our Indiegogo crowd funding campaign. Become a 9e2 supporter!

The Guests in Detail

Lisa Chen is the Executive Director of FEEST, a nationally recognized model for youth engagement on issues of food access, food justice, and systems change. By way of California, Lisa has planted roots in the Pacific Northwest as a volunteer youth mentor at the Service Board and a union organizer focused on empowering working class communities of color. Her political identity stems directly from growing up as the only child of an immigrant single mother where she saw first hand how limited English workers were treated unfairly.

In her career, Lisa has led student campaigns against fee increases at the University of California, organized undocumented youth in the fight for comprehensive immigration reform, and worked alongside radical housekeepers to demand better working conditions. She has a special place in her heart for youth work, and believes deeply that transformative breakthroughs in young people will shift our communities to act from a place of love instead of anger.

Nora Germani is seventeen years old and is a senior at Ingraham High School. She is the Executive Producer and Artistic Director of Black Tie Productions, an entirely student-run theatre company. She also helped to found Black Tie and has worked with the company over the past three years, writing, directing, and designing shows. Nora has written several short plays and co-written three full-length musicals, she is currently working on a fourth to be produced by Black Tie in the spring.

A native of Providence, R.I., Tim Lennon moved to Seattle in September 2001 and has worked in arts and culture here ever since. He currently serves as executive director of the Vera Project, an organization that fuels personal and community transformation through collaborative, youth‐driven engagement in music and art. Prior to joining Vera, Tim worked at Seattle’s Office of Arts & Culture to create opportunities for musicians and artists and to connect them and their amazing work to Seattle audiences in a variety of ways. His past work includes program manager for The Next 50, a six‐month series marking the 50th anniversary of the 1962 World’s Fair, and programming coordinator for One Reel, producer of Bumbershoot, the Family 4th of July and other local festivals. Tim has also coordinated events for the Elliott Bay Book Co., the University of Washington and local non‐profits.  Tim serves on the Seattle Music Commission, is an alumnus and curriculum committee member of Leadership Tomorrow, and a member of the Civic Innovators Club and the Seattle People of Color Salon.

Christina Nguyen works with Arts Corps as an AmeriCorps Artist-in-Service member in the Teen Leadership Program and as Youth Speaks Seattle Coordinator. She is an aspiring poet and artist with passions and dreams to accomplish! Grown up and raised around fierce activists and advocates from the Seattle community since the age of fifteen, Christina is empowered to search and find her own voice with the resilient tools and new ideas she learns every day from her family in Youth Speaks Seattle. She hopes to channel her energy to others to help find and use their own power in the voices they were born with, through the magic of assisting poetry classes, carrying debatable yet enlightening conversation, and truly believing in others. She organizes with programs such as YouthCan through the Wing Luke Museum and as a mentor with Youth Speaks Seattle. On her spare time, you can usually find Christina sipping on peppermint tea whilst simultaneously sketching with a sharpie in hand.

John Boylan’s Next Conversation: “Creating Outlaw Space, Part Three”

Event Date: Tuesday, October 20, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

This time we’re looking at outlaw space: what it is, how to find it, and most important, how to make it. Read on for details.

The Guests (see bios below)

Janet Galore, designer, artist, creative director

Michelle de la Vega, multidisciplinary artist

Sam Farrazaino, sculptor, space creator

Jessa Carter, designer, artist, creative director

And I’m seeking a fifth…

The Story

There’s been a lot of anger and frustration lately about a rapidly and radically changing Seattle, captured in a common vision of brogrammers invading Capitol Hill. I’m thinking that this anger and frustration doesn’t just have to do with rising rents; it’s also very much about the death of outlaw space.

I’m taking the term from Stewart Brand, the founder of the Whole Earth Catalog in the 1960s (which later begat Wired Magazine, among other things). For Brand, his “outlaw areas” could be hippie communes, space colonies, cyberspace, psychedelic experiences, or even just cheap, ragtag neighborhoods, as places where new ideas emerge. For me it’s any place that fosters escape from the miasma of everyday culture, straight culture, plastic culture; mainstream white culture. Or maybe better, it’s a place that fosters subversion of—or building on—those cultures, rather than just escape. It’s a place for creativity, and some degree of wildness, and maybe even just the ability to stop, to get off the treadmill, to hide out, to stop dealing with stuff. And ideally, it’s a place of support and generosity.

In the movies, outlaw space shows up everywhere, as a pirate’s lair, a remote hole in the wall, a hidden village, or a distant city of Amazons. For some of us, finding real outlaw space means going off to the woods, or hunkering down in a crowded city. It may be as simple as fighting to hang onto a block of small shops with roots going back decades.

There’s something energizing about having a blacksmith shop next to a dance studio next to a print shop next to a library next to a tavern that serves cheap drinks and features crusty old men at the bar, old men with stories, lots of stories. Things happen. Synergies arise.

As neighborhoods are leveled to produce huge soulless apartment buildings, it may seem as though outlaw space can’t exist. Or perhaps outlaw space happens at the level of what goes on in a living room or an empty lot, the little worlds we build for each other.

I go back to Brand’s sense that psychedelic experience could be an outlaw area. Not that we all should be dropping little tabs of Owsley Acid, but it may be that the only outlaw spaces that we can really depend on are in our heads. Or maybe not. Come and talk about it.

The Guests in Detail

Sam Farrazaino is a sculptor with a history of creating artist spaces around Seattle. Since 2006 he has been the founder and proprietor of Equinox Studios. Equinox houses 42 art studios and fabrication shops under the rubric “Fine & Heavy, Arts & Artisans.” The project has recently expanded into adjacent industrial buildings, which are currently under reconstruction as more studios and workspaces.

Michelle de la Vega’s work as a multidisciplinary artist includes installation, sculpture and mixed media. Her visual art practice spans 23 years and an 18-year career as a dance and performance artist.

Michelle’s interest is in creating immersive environments that connect communities, illuminate voices and explore concepts that are personally and collectively relevant to the human experience. Her process draws meaningful connections through community engagement, research, and artistic vision, weaving image, information, and story into holistic, genuine artwork.

Michelle has received international exposure through her design and build of a 250 sq. ft. mini-house and she is a passionate advocate of the small living movement.

She received her education from Otis Parsons in Los Angeles, CA, Cornish College of the Arts in Seattle, WA, and The South Seattle Community College Welding and Metal Fabrication Program.

Janet Galore was born and raised in Seattle. She is a veteran designer, artist, and creative director working in emerging technologies and applications. She enjoys pushing creative and technical boundaries, and supporting others in their creative endeavors. She’s known for her work in video games and VR, as animator and director of the surreal cult-classic series FishBar, as a curator, and as author and contributor to several books on animation and streaming media. She received a BS degree in pure mathematics from the University of Washington, and continued there with three years of graduate studies in pure and applied mathematics.

Jessa Carter’s educational and practical background is in graphics and design. She has consistently applied her skills and experience to the fashion world; working in trend forecasting for Nordstrom and as a creative director, brand strategist, photographer, and more with independent clients on the West Coast. She’s also applied her knowledge to the Seattle art and culture scene as a key member of the LoveCityLove Collective, a collaborative arts platform that focuses on public works, rebuilding community, and reviving spaces slated for development. She is currently exploring short video as a medium and a method.

John Boylan’s Next Conversation: ” Art and Design, Fabrication and Technology”

Event Date: Tuesday, September 22, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

This time we’ll look at the interplay between art and design, technologies and fabrication. In short, how we make things, and especially, how we make art. Read on for details.

The Guests (see bios below)

Aduén Darriba Frederiks, artist, researcher

Helene Steiner, designer, researcher

Dhairya Dand, researcher, engineer, and designer

The Story

We’re back. We hope you’ve had an excellent summer. Now, with coming of the dark and the beginnings of the rain, it’s time to get back into some conversation.

In this discussion we’ll be exploring the edges and the dynamics between design and art, and looking at the ways in which the processes of fabrication—and the technologies on which they depend—play with each other.

As the art we make and the culture we create become more complex and collaborative, these interfaces become more important. And it seems critical to better understand how they work. Of course, we may be going to some fairly basic questions: What is art, what is design? Where does the creativity live in a collaborative effort? And how does the act of making affect what we make?

For this conversation, we’ve assembled an international crew, people who live at the edges of art, design, and engineering. I can’t help but think that as we approach the craziness that is life in the 21st century, it’s these edges where new understandings and new innovations will appear and grow.

Come and have a conversation.

Next Up

In October (October 20) we’ll be revisiting a favorite topic of mine, with “Creating Outlaw Space, Part 3.” How do we find outlaw space, space for creativity and transformation outside the everyday, outside the mainstream culture? Whether it’s a home, a hideout, a whole neighborhood, or a state of mind, in this city on the make, how do we get there? More details to follow.


This seems to be a week for talking about design in a broader context. On Thursday, September 24, the Seattle Pecha Kucha tackles Design for Equity in its own unique way.

The Guests in Detail

Aduén Darriba Frederiks makes art that lies on the borders of machine and creature, and this translates itself into sculptures and body-worn devices. These live, behave, and act on their surroundings, in symbioses with their wearer. His research focuses on body-worn haptic interfaces, using touch-sensitive garments for social communication.

He has a background in Information Technology and holds a Master of Art degree in European Media. The combination of technology and art has been a driving force in his work since 2008, when he started to collaborate with fashion designers. At that moment he was highly influenced by robotics from his work on animations for the NAO H25. Today he is a recognized creative technologist in the field of fashion and technology.

He is currently an artist in residence at Microsoft Research in Redmond.

Helene Steiner is a London-based designer and researcher with a focus on new interactions in and with our (natural) environment. Her research follows a biological approach and looks at opportunities to not only bridge the physical and digital world but also the natural and artificial.

Her background is in Product Design with an MDes from the Bauhaus University in Weimar, where she started researching human behavior and the interventions of objects in different everyday life situations. During her time in Vienna she studied under FROG founder Prof. Hartmut Esslinger to explore the opportunities of extending our bodies with technology and prosthetics. That lead to her MA and MSc in Innovation Design Engineering at the Royal College of Art and Imperial College in London, to focus on how technologies can be better embedded in our environment to create interactions with our environment. The goal is delivery of contextualized information and a better understanding of our surroundings. She is collaborating with the Tangible Media Group at the MIT Media Lab on new dynamic biological interfaces on a cellular level.

Currently she is an artist in residence at Microsoft Research in Redmond and works on plant/computer interfaces and natural communication systems.

Dhairya Dand is an award winning researcher, engineer and designer based in Seattle. He currently runs oDD – a futurist factory X lab.

His work investigates the human body as a medium for computation, new materials as a tool to embody interactions, and design as a vehicle for mindfulness.

Had recent exhibitions at the V&A, Tokyo Design Week, and the MIT Museum; was part of the Forbes 30 under 30 list, has been a WIRED Innovation Fellow and an INK Fellow. Previously a researcher at the MIT Media Lab, amateur geologist in Saudi Arabia, toy designer in Singapore, sensory researcher in Tokyo, artist in residence at EYEBEAM in New York and political activist in Bombay.

Likes to travel, likes to meet new animals.

Some of his useless/useful inventions live here –

John Boylan’s Next Conversation: “Circus! Part Four”

Event Date: Tuesday, May 5, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: 12th Avenue Arts, 1620 12th Ave

To link to this announcement, do so at

The scheduling for this conversation is a little unusual. We’re not having a conversation in April. There will be one in May, however, earlier in the month than usual (Tuesday May 5), and it’s at 12th Avenue Arts, not Vermillion. Read on for details.

The Guests

Terry Crane, co-founding director, The Acrobatic Conundrum

Elizabeth Klob, UMO Ensemble

Ty Vennewitz, clown with the Acrobatic Conundrum

Leah Jones, straps aerialist and hip hop dancer

David Crellin, circus emcee and cabaret singer, co-founder of the legendary Circus Contraption, and recently, director of IMPulse Circus Collective.

The Story

Longtime watchers of this series know that I have a passion for circus and vaudeville. We did our first of three conversations about circus ten years ago, and the latest was in 2011. I’ve done a wee bit of circus (as a complete amateur), watched a lot of both circus and vaudeville, and talked to enough artists in both areas to have a fascination with how it works, where it has been, and where it is going.

So I was pleased to find out that Terry Crane was interested in doing another circus conversation. He and his troupe, the Acrobatic Conundrum, are putting on THREE HIGH, a circus festival at 12 Avenue Arts and co-sponsored by the Seattle branch of Circus Now. Running from April 28-May 10, the festival features three shows, including the Cirque en Déroute’s “The Really Weird Cabaret!” and Acrobatic Conundrum’s “The Language of Chance.”

To me, circus has long been about bringing wonder and magic into the everyday. For centuries, circus troupes and later, variety shows, were often the one of few sources of source of everyday magic. Nowadays, in a time when wonder might seem so common as to be cheap, magic is everywhere, from the tiny supercomputer you’re holding in your hand to the huge and spectacular fantasies of the silver screen.

So circus and its companion, variety, have found a new niche, of bringing us an immediate and human-scale delight, with talented people doing strange and amazing things to their bodies very much in front of us, delighting us, surprising us, and sometimes fooling us in ways that that the glowing screens can never imagine. But as contemporary circus explodes, is that niche big enough to welcome what’s coming?

In recent years, some circus performers have worked to stretch the model of what circus is. They’ve worked on bringing the power of theater and contemporary dance into what they do. A performance becomes a work, something more than a routine. Performers who’ve spent years perfecting the skills of aerial flight, say, now are working to master the discipline of the actor or the physical comedian. The superhuman becomes human, or even something less.

As with most things, sometimes the attempt at transformation and expansion works, and sometimes it doesn’t. But no matter what, the passion and the discipline remain and so does the wonder.

Come and talk about circus. And expect a few demonstrations of what we’ll be talking about.


Here are a few things happening you may find interesting:

  • Cafe Nordo, after long anticipation, has opened its new Culinarium in Pioneer Square with the show, Don Nordo del Midwest. Do check it out. Here’s some good press.
  • Third Place Technologies is organizing Electric Sky Art Camp, sort of a maker fair/summer camp for adults (children are welcome as well) on the Skykomish River in Skykomish. The goals are to camp, make stuff, and build community.

John Boylan’s Conversation: “Taking Stock, Part III…”

Event Date: Tuesday, March 17, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, do so at

The Summary

Here’s an opportunity to take stock of our lives, our city, our culture, our world.

Read on for the details.

The Guests

You’re the guests on this one.

The Story

Every so often this series likes to slow down and take stock of where we stand, where we’ve been, and where we’re going. There are no guests, except of course for you. These are often smaller, more intimate conversations.

We are living in fascinating, difficult, yet rewarding times. A deep sense of possibility is everywhere, so thick and heavy that we can almost feel it, yet so elusive as to suggest that maybe that sense of possibility is a mirage, a mischievous illusion.

We live in a contradiction: we’re a city of immense talent and energy that at the same time is surrounded by cultural forces that at best may be moribund, at worst in a death spiral.

Seattle is at the beginning of a potential revolution in the way we do politics, with the move to district elections. A number of fascinating people are running, many of whom might have hesitated to get into a city-wide election. And whoever is elected, the city’s power dynamics are bound to change. What will that bring us? Will it allow us to grow in that role that we’ve long envisioned for ourselves but never quite attained, as a center for experiment with solutions that can be reproduced elsewhere?

We have a huge number of people doing really cool things in this town. On any given night, I am amazed at the amount and quality of the performances happening, from big, high-energy extravaganzas to some of the best musicians I’ve ever heard performing at cafes and hotel lobbies. It’s way more than one’s calendar or wallet can permit. Is this the pinnacle for a regional capital, or just a beginning?

But I think there’s a sense that culturally we’re stuck in old models, with institutions, old festivals, parades, and public events that long since began to show their age, and maybe their irrelevance to Seattle now. How do they change and grow, and what can be made new that is exciting, that is alive?

There’s a growing realization that for the world’s biosphere to survive in any way that makes sense for a huge number of species, including humans, we will need to change the way we structure and build our lived experiences. Not to mention what we do about structural inequality and the heavy concentrations of political and economic power that we’re facing now. What is Seattle’s—and specifically our—role in all of that?

A lot of questions. Where do we stand? And where are we going? Come and have a conversation.

Boylan Update Many of you know that I’ve been doing contract work since I left Microsoft last year. Currently, I’m about to embark on some work around art and technology for Microsoft Research. I’m available for other work, involving writing, project management, organizational planning, meeting facilitation, and content management. Contact me at this email address, or 206-601-9848.

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John Boylan’s Next Conversation: “Art and Technology”

Event Date: Tuesday, February 17, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, do so at

The Summary

This time we’re revisiting the worlds of art and technology. Read on for details.

The Guests (see bios below)

Jason Salavon, artist and educator

Genevieve Tremblay, artist, designer, educator, scholar, and cultural entrepreneur

Michael Cohen, researcher, Microsoft Corporation

Robin Oppenheimer, media arts historian, curator, and scholar

Thomas Deuel, neuroscientist, sound artist, and neurologist

The Story

I’ve been thinking about technology a lot lately, especially the creative use of new technologies. We’ve been going through huge shifts in how new computer technologies drive our lives. From the diagnostic tools that a doctor—or a mechanic—uses to the super brains that we carry around in our pockets, our everyday lives are filled with what would have seemed to be magic just a few decades ago. And the “we” in these sentences is no longer quite the elite that it once was. Cheap smart phones are at the least making inroads into the digital divide across the world.

For years, in the world of art high tech has been something of a poor sister. With major exceptions, of course, too much tech-based art has been overwhelmed by how cool a specific technology is, or underwhelmed by how inadequate a specific technology is for, say, presenting a subtle, complex, and powerful image.

That’s changing, I think, especially as we are seeing huge advances in what new technologies can do, and seeing artists who can get beyond a specific technology’s “wow” factor. And given the extent to which technology is integrating into our lives, we need to see more and better examinations of those integrations.

That’s happening. The ongoing marriage of art and technology is in the air. As I write this, the Seattle branch of Pecha Kucha just staged a set of presentations entitled Technology + Art: Bridges and Throughways. I was one of the guests; it was a rousing set of presentations by an assortment of artists, teachers, and thinkers. Meanwhile, in December the Stranger ran a piece by Jen Graves, What Only Artists Can Teach Us About Technology, Data, and Surveillance. It’s a long, detailed look at the work happening at the University of Washington’s emerging-technology department, DXArts, and the visiting artist program at Microsoft Research.

Ultimately, art is technology. Attempting to master art is attempting to master a technology, whether it’s painting with oils, bronze casting, or photography. But it’s also stretching that technology, learning to make it do strange and unimaginable things. Where do the new technologies, driven by the semiconductor and the integrated circuit, fit into that continuum? Do they represent a break from cutting stone or casting bronze, or are they just a new stage in a continuum? And are there differences between “art and technology” and “art and science?”

Looking back, technology is often a topic in this series, but we have not specifically addressed the pairing of art and tech since 2006. It’s about time for a revisit. The guests then were Kate Seekings, Trimpin, and Jack Dollhausen. Seekings was at Microsoft at the time; Trimpin and Dollhausen are both well-respected figures in the world of art and technology in the Pacific Northwest; both have traditionally worked primarily with electronics and older analog technologies. In their work, any digital elements happen at the fundamental levels of machine code.

This time, our guests work more at the intersections of art and the newest technologies. Several trained as both artists and scientists/technologists and combine traditional technologies with the leading edges of new technologies. This is a brilliant group of people.

Come and talk with them.

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The Guests in Detail

Michael F. Cohen is a Principal Researcher at Microsoft Research. He joined Microsoft in 1994 from Princeton University, where he served on the faculty of Computer Science. Michael received The 1998 SIGGRAPH Computer Graphics Achievement Award for his contributions to the Radiosity method for image synthesis. Dr. Cohen also served as paper’s chair for SIGGRAPH ’98.

Michael received his Ph.D. in 1992 from the University of Utah. He also holds undergraduate degrees in Art and Civil Engineering from Beloit College and Rutgers University respectively, and an M.S. in Computer Graphics from Cornell. Dr. Cohen also served on the Architecture faculty at Cornell University, and is currently an Affiliate Professor at the University of Washington.

His early work at Cornell and Princeton on the radiosity method for realistic image synthesis is discussed in his book “Radiosity and Image Synthesis” (co-authored by John R. Wallace). His work at the University of Utah focused on spacetime control for linked figure animation.

At Microsoft, Dr. Cohen has worked on a number of projects ranging from image based rendering, to animation, to camera control, to more artistic non-photorealistic rendering. One project focuses capturing the complete flow of light from an object for later rendering from arbitrary vantage points. This work, dubbed The Lumigraph, is analogous to creating a digital hologram. Michael also has continued his work on linked figure animation, focusing on means to allow simulated creatures to portray their emotional state. Recent work has focused on computational photography applications. These have ranged from creating new methods for low bandwidth teleconferencing, segmentation and matting of images and video, technologies for combining a set of “image stacks” as a Photomontage , to the creation of very high resolution panoramas, such as the GigapixelArtZoom.

Robin Oppenheimer is an internationally recognized media arts historian, curator and scholar who has worked in the field since 1980. She was Executive Director of two media arts centers in Atlanta and Seattle and is currently a Lecturer at the University of Washington Bothell and adjunct faculty at Cornish College, with a PhD in Interactive Arts and Technology. Her areas of research include media arts histories, participatory media, and media activism.

Jason Salavon ( is currently a visiting artist at Microsoft Research.

Using software processes of his own design, he generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements arranged in diverse visual populations. This often unearths unexpected patterns as the relationship between the part and the whole, the individual and the group, is explored. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. The final compositions are exhibited as art objects, such as photographic prints and video installations, while others exist in a real-time software context.

Born in Indiana (1970), raised in Texas, and based in Chicago, Salavon earned his MFA at The School of the Art Institute of Chicago and his BA from The University of Texas at Austin. His work has been shown in museums and galleries around the world. Reviews of his exhibitions have been included in such publications as Artforum, Art in America, The New York Times, and WIRED. Examples of his artwork are included in prominent public and private collections including the Metropolitan Museum of Art, the Whitney Museum of Art, and the Art Institute of Chicago among many others.

Previously, he taught at The School of the Art Institute of Chicago and was employed for numerous years as an artist and programmer in the video game industry. He is currently associate professor in the Department of Visual Arts and the Computation Institute at the University of Chicago.

Genevieve Tremblay is an artist, designer, educator, public scholar, and cultural entrepreneur. She conceptualizes and facilitates pioneering initiatives at the convergence of arts & culture, science, education and technology. Since 2000, she has created collaborations with innovators across disciplines that ignite new thinking and apply emerging technologies to civic and community challenges. Building bridges between interdisciplinary realms is her specialty.

Her professional work includes award-winning design and art direction, as well as her generative work as artist and independent curator. She teaches in the Art, Design, Film and Media Department at Cornish College of the Arts. Genevieve has received more than thirty local and national grants for school-based programs integrating art and technology in the Seattle and Bellevue School Districts. Her research, curatorial and public scholarship initiatives have been funded by 4Culture, Bellevue Schools Foundation, SAPPI Ideas that Matter: Design for the Public Good, AIGA, The National Endowment for the Arts and the Rockefeller, Benton and Ford Foundations. Genevieve received her MFA from Massachusetts College of Art and her BFA from Carnegie Mellon University.

Thomas Deuel is a neuroscientist, sound artist, and neurologist. He is currently a neurologist at the Swedish Neuroscience Institute and an Affiliate Professor at Digital and Experimental Arts (DXArts), University of Washington.

His Deueling Thumbs StudioLab is a hybrid between scientific laboratory and art studio dedicated to audio and music-based art and neuroscience research. It is a workspace for combining Neuroscience, Sound Art, Neurophysiology, and Music Composition to create original works of audio installation art and interactive new media music and sound.

John Boylan’s Next Conversation: “Pop Surrealism and Lowbrow Art”

Event Date: Tuesday, January 20, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, do so at

The Summary

This time we’re tackling two highly energetic and powerful worlds of art: pop surrealism and lowbrow art. And as guests we have two legendary players on the Seattle scene. Read on for details.

The Guests (see bios below.)

Kirsten Anderson, owner and founder, Roq la Rue Gallery

Larry Reid, curator and events coordinator, Fantagraphics Bookstore & Gallery

The Story

We’re looking at two art movements that have long been intertwined: pop surrealism and lowbrow art. Both share a deep humor and irreverence, along with a passion for stretching the limits of illustration—and representation in general—to places where the conventions of such drawing and painting don’t generally go. But if both share a sensibility, they also diverge deeply.

I won’t recount the history of lowbrow, as in the early days of Robert Williams, the horizon-bending work of underground comix, and the hot rod art of Ed “Big Daddy” Roth. Wikipedia provides a basic intro. Suffice it to say that lowbrow begins as an amalgam of comics, album covers, tattoos, California car and surf cultures, and film noir. But it has always stretched these modes, reinventing them, taking them new places. One good way to get a sense of vividness of lowbrow is to look at the work of Robert Williams.

One of the fascinating things about lowbrow is its deep relationship with many other trends in the past fifty years, including punk rock, Chicano art, street art, graffiti. And the attendant cultures are cultures of immersion, for both artists and the audiences: tattooing, cars, comics.

Pop surrealism shares a lot with lowbrow, but has its own vocabulary, its own style. As the name suggests, it builds on the mystery and strange juxtapositions of surrealism, filtered through modes of pop culture, especially commercial illustration. Pop surrealism is about fantasy, but not the fantasy of sword and sorcery and dragons. Rather, here is the fantasy of the irrational, of dreams, of playful weirdness, carefully and often darkly rendered.

Maybe the best way to get a sense of pop surrealism is to take a look at, say, the work Femke Hiemstra or Peter Ferguson or Mark Ryden. The differences from Robert Williams are evident, but there are odd commonalities as well.

We have only two guests this time, and that’s intentional. Between them, Larry Reid and Kirsten Anderson have both played impressive roles in the culture of Seattle. Reid has long been a curator, writer, advocate, and instigator in Seattle, goes back to co-founding the famous Rosco Louis Gallery in the 1970s and the wild days of CoCA in the 1980s. Anderson founded Roq la Rue 16 years ago, focusing on pop surrealism and later broadening to cover a range of contemporary art. In those years, she has been a prominent writer, publisher, and curator in the field.

Come and join the conversation. This should be most excellent.

My Links

Essays and Comment


JBoylan Projects

The Guests in Detail

Kirsten Anderson opened Roq la Rue Gallery in 1998 after curating several highly successful group art shows in various locations in Seattle. In addition to curating and running the gallery, she edited and co-published the landmark book Pop Surrealism: The Rise of Underground Art, which was the first survey of the art movement, in 2004.

She served as the “Editor At Large” at Hi Fructose Art magazine for seven years (until stepping down to focus on other projects in 2014), where she wrote about art and artists integral to the Pop Surrealism/New Contemporary scene as well as major players in the international contemporary art world. She occasionally writes for other publications about art and lectures about the history and current state of Pop Surrealism/New Contemporary and the artists affiliated with the genre. She is regarded as an authority on the main tenets and history of the genre, as well as having a discerning eye for discovering new talent.

Larry Reid has been an advocate for challenging visual and performing arts in the Pacific Northwest and beyond since co-founding Rosco Louie gallery in Seattle’s Pioneer Square in 1978. He has since served as director of Graven Image gallery and the Center on Contemporary Art (CoCA), and as curator for Experience Music Project (EMP) and Fantagraphics Books.

Over the course of his career he has presented the work of countless regional, national and international artists including Lynda Barry, Robert Mapplethorpe, Andy Warhol, Nirvana, William S. Burroughs, Robert Crumb, Lydia Lunch, Ann Magnuson, Chuck Close, Keith Haring, Sonic Youth, Mike Kelley, Karen Finley, Eric Bogosian, Charles Peterson, Einsturzende Neubauten, Von Dutch, Henry Rollins, Daniel Clowes, Gary Panter, Mudhoney, and many more. He has served as a peer panelist for various private foundations and public agencies including the National Endowment for the Arts (1990). He has contributed to several books including Pop Surrealism: The Rise of Underground Art, Edward Colver: Blight at the End of the Funnel, Tiki Art Now!, Jini Dellaccio: Rock & Roll, and Sub Pop USA: 1980 – 1987.

Reid currently works as curator and events coordinator at Fantagraphics Bookstore & Gallery in Seattle’s historic Georgetown arts community, where he also serves as president of the Georgetown Merchants Association (GMA) and co-chairs the Greater Duwamish District Council (GDDC).

John Boylan’s Next Conversation: “Startup Culture”

Event Date: Tuesday, December 16, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, you can do so at

Important Announcement: In the past, those sitting at the edges of the room at Vermillion may have had trouble hearing because of a big, noisy, walk-in cooler that would go into grinding mode every now and again. That cooler is dead and gone, replaced by a very quiet refrigerator. Vermillion is a lot quieter.

Note on the Film! conversation: A good number of movies were referenced during last month’s conversation. I’ve listed some of them at the end of this message.

The Summary

This month we’re talking startups and the whirl of ideas, dreams, discoveries, and even art that surrounds them. Read on for details.

The Guests (see bios below.)

Susie Lee, artist, entrepreneur, CEO of Siren

Brett Greene, marketer, blogger, and co-founder of New Tech Seattle

Red Russak, startup enthusiast and co-founder of New Tech Seattle

Rebecca Lovell, startup advocate, mentor

The Story

For most of us, the world of startups hovers just outside of view, something that happens in the background, especially if we’re not intrepid entrepreneurs and venture capitalists.

For me, after 15 years of web publishing at Microsoft, I left the company a few months ago. Since then, I’ve been doing some freelance work and figuring out what comes next.

So recently I went to New Tech Seattle, a monthly tech startup meetup organized by two of our guests, Red Russak and Brett Greene. Each event has two parts, a social hour and a presentation. In the presentation section, very smart people do quick talks about their startup. The social hour is a high-energy gathering filled with some people looking for work or startup funding, others looking to hire expertise and talent, still others trying to break in with what they hope is a killer idea, and a surprising number of saintly folks who are just there to help, to mentor.

It’s a little like a singles bar, but rather than looking for that perfect someone, people here are looking for a future. I’ve heard the question as to why the art world doesn’t have something similar, but I think it may, at art openings or before the doors open at On the Boards performances: “Hey, I want you to meet someone….” What I find fascinating is the huge amount of imagination and creativity that go into the startup business plans and marketing efforts. You can see some of the top startups at the Geekwire 200.

Writing in his blog in September, MIT Media Lab director Joi Ito described the “Blade Runner meets Wild West” hardware startup culture in Shenzen, China. It’s a wild, crowded, dynamic scene of DIY innovation. Something like that would never happen in Seattle. Or would it? And would we want it?

I’ve spoken to a number of people involved with startups. Some are amazingly brilliant and dynamic and are quite adept at finding—or creating—a niche to fill. Others remind me of the hapless proprietor of the Scotch Boutique, an old and classic Saturday Night Life sketch about a mall store that sells only Scotch tape. (I tried to find the clip, but could only find the script for the sequence. It is painfully funny.)

That sense of “are you sure this is a good idea?” isn’t limited to the tiny, just-out-of-the-gate companies. The political site Talking Points Memo recently featured this in-depth analysis of the economics of Uber. It is long, but definitely worth a read. The writer looks at niche markets, economics of scale, and the deep differences between Uber and, say, Amazon and Ebay, and makes a case for the idea that Uber may only be able to grow as long as the public and its competitors are convinced of its invincibility. Without that…?

We’ve put together a great group: Greene and Russak, along with the City of Seattle’s startup advocate Rebecca Lovell, and artist Susie Lee, who among many other things has done a lot to create a discussion of startups with her women-centric dating app, Siren.

We have lot to talk about. Do come.

My Links

Essays and Comment


JBoylan Projects

The Guests in Detail

Susie Lee is a visual artist and CEO of Siren. Her work explores intimacy and connection through technology, fluidly embedding new media across many platforms. Recognized as Emerging Artist of the Year for the “intelligence, emotion and sensuality” of her work, Lee was also named “Artist to Watch” by ARTnews. Her work has been exhibited and commissioned in the US and abroad, in such venues as the Mitchell Center for the Arts, Denver Art Museum, Frye Art Museum, Blanton Museum, and Crystal Bridges Museum of Art and is included in notable public collections. A graduate of Yale, Columbia and UW with degrees in molecular biophysics and biochemistry, science education, and fine arts, Lee launched Siren in Seattle recently to connect people creatively and safely. Siren has gained significant momentum in the public imagination and press, with over 100 media links, including the front page of the Seattle Times, CNN, Cosmopolitan, King5, KOMO, Geekwire, The Stranger, Engadget, The Washington Post, and ThinkProgress. Siren will be launched nationally soon.

Rebecca Lovell is the City of Seattle’s Startup Advocate, working to connect startups to resources, expand opportunities in entrepreneurship , and measure and promote our success. She also serves as a mentor for Techstars, 9 Mile Labs, and Founder Institute, and is an instructor on venture capital investing in the UW Foster MBA Program. She is on the advisory board of Reveal as well as the UW Foster Employer Advisory board, and has coached, screened and mentored hundreds of startups in Seattle. Prior roles include Program Director, Alliance of Angels, Executive Director, Northwest Entrepreneur Network, Chief Business Officer, GeekWire and interim CEO for Vittana. She brings 20 years of operating and management experience to her leadership roles in both for-profit and non-profit sectors. Recognized as of the top 100 women in Tech from the Puget Sound Business Journal, and Tech Flash’s “Do Gooder of the Year,” she is endlessly devoted to entrepreneurship and karaoke.

Brett Greene believes in connecting people, companies and communities to drive innovation and opportunity for others. What matters most is knowing what you want to do, who you want to do it with, and making great things happen daily. Brett believes in surrounding yourself with people who inspire you, helping those who are hungry for inspiration, and taking care of people and the planet while being successful, making profits, and giving back every day.

Brett has been engaged in community building, marketing strategy and execution, brand development, lead generation, mentoring, and digital communication services for 20+ years. He helps companies define their passions, purpose, and goals to genuinely move their needles.

Brett has created premium consumer experiences to build the digital presence of brands ranging from startups and the City of Los Angeles to Fortune 500 companies. His marketing strategies have achieved business objectives in industries including technology, ecommerce, mobile & cloud-based applications, food & beverage, events, entertainment & government.

He has worked with the investors & founders of Docstoc, Klout & hundreds of startups and mentored Techstars, Founder Institute, Startup Weekend NEXT, and LOHAS companies. He is also Co-Founder of New Tech Seattle and New Tech Eastside where 10 early to late stage companies present to 700+ attendees monthly.

Brett has appeared on NBC Television as a social media expert and blogs at Huffington Post, Social Media Today, All Things WOMM (WOMMA), and Blind Influence. He has spoken nationally for organizations including Blog World, Puget Sound Business Journal, PodCamp, LOHAS Forum, Davinci Institute, Colorado University, & Denver University’s MBA Program.

Red Russak is a startup enthusiast and accomplished sales professional focused on B2B mobile SaaS offerings for global SMBs, Enterprises and F500. One writer described him this way:

“Red Russak is the Sultan of Startups. In the Seattle startup scene, Red Russak is a force to be reckoned with. By day, he heads up business development for Seattle startup Apptentive, but in the evenings he’s a champion for the hundreds of other startups residing within the city limits. […] Through several years of hard work, Red has built a solid community of folks who respect and support each other, even when their ideas and concepts may compete.”

From the Film! Conversation (a partial list)

Surviving Cliffside (US, 2014)

Fandry (India, 2013)

Enough Said (US, 2013)

Cane Toads: An Unnatural History (Australia, 1988)

Stations of the Elevated (US, 1981)

To Sleep with Anger (US, 1990)

Killer of Sheep (US, 1977)

John Boylan’s Next Conversation: “Film!”

Event Date: Tuesday, November 18, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, you can do so at

Very Important Announcement: In the past, those sitting at the edges of the room at Vermillion may have had trouble hearing because of a big, noisy, walk-in cooler that would go into grinding mode every now and again. News flash: that cooler is dead and gone, replaced by a very quiet refrigerator. Vermillion is a lot quieter.

The Summary

This month we’re talking about film, about movies, as art, entertainment, business, passion. Read on for details.

The Guests (See bios below.)

Daniel Thornton, filmmaker, educator

Courtney Sheehan, program director, Northwest Film Forum

Charles Mudede, writer, filmmaker

Warren Etheridge, interviewer, educator, writer, and producer.

The Story

Longtime followers of this series know that on occasion we do a conversation about a genre. Dance, sculpture, painting, theater, performance, and public art have all been topics. This month we’re looking at film. We’re making the topic intentionally broad; as much as we want deep conversation, we’re also hoping for something that is wide ranging.

I’m expecting that the discussion may range through film as art, as something beautiful or intentionally ugly. Or film as business, as a huge collaborative venture to make a lot of money, or none at all. There’s the deep history of writing and talking about film. And the politics of film, both in the making and ramifications of the content; the pleasures of both creating and viewing film; the history and future of film; and more. Through all of it runs a passion that pervades the whole endeavor: an extra may feel as proud of being in a film as a starring actor.

I also know that the term “film” is a little dated; for every foot of legacy celluloid is 10,000 feet of videotape or billions of bits of MPEG files. But it does capture and cover what we’re talking about, and that’s another great topic for conversation. If the medium is the message, what’s the medium?

Film can suck us in, like the opening shot of Play It Again, Sam, with the camera panning around to show Woody Allen completely, overwhelmingly transfixed by the final scene of Casablanca. Or it can keep us at an uneasy distance, like a documentary about impossible violence.

There will be lots to talk about. Do come.

My Links

Note: I’ve been publishing a series of essays. The latest is Unschooling, Big History, and Adventure in an American Classroom. Check it out and let me know what you think.

The Guests in Detail

Daniel Thornton is an Emmy-nominated filmmaker and educator based in Seattle. Community focused, Dan’s work highlights the stories that enlighten, educate, and bind people together. He is currently working on a series of short documentaries in partnership with a state-wide public interest law firm and a broadcast documentary about visually impaired landscape painter Keith Salmon in Scotland.

Dan is particular proud of his association with community based arts organizations like the Northwest Film Forum.

Courtney Sheehan is program director for Northwest Film Forum. She has curated film programs and produced events for film festivals, media centers and theaters on three continents. As a journalist, she has covered film events ranging from the world’s largest documentary festival to South America’s largest animation festival, and her publications include Senses of Cinema, The Independent, Bitch Magazine, and NECSUS: European Journal of Media Studies.

Charles Tonderai Mudede—who writes about film, books, music, Marxist urbanism, and his life in Rhodesia, Zimbabwe, the USA, and the UK for The Stranger—was born near a steel plant in Qwe Qwe, Rhodesia (now Kwe Kwe, Zimbabwe). He has no memory of this birth, but he does remember noticing himself in the mirror for this first time—it happened on May 3, 1972. Mudede is also a filmmaker: Two of his films, Police Beat and Zoo, premiered at Sundance, and Zoo was screened at Cannes. Mudede has written for the New York Times, Cinema Scope, Ars Electronica, C Theory, and academic journals. He also wrote the liner notes for Best of Del Tha Funkee Homosapien: Elektra Years. Mudede has lived in Seattle since 1989.

Warren Etheredge didn’t speak until he was 6 years old; he’s been going strong ever since, making a lively livelihood and the most out of every conversation, elevating small talk to high art, discourse to an ideal. He talks. He teaches. He finds stories.

Warren is one of the founding faculty of TheFilmSchool, helping filmmakers translate their stories for screens big and small, and The Red Badge Project, helping combat veterans work through PTSD and other issues by teaching them the art of storytelling.  He has conducted over 3,000 interviews; on the page, on stage, and on screen. He hosts The High Bar, his Emmy-nominated television series devoted to “raising the bar” through light-hearted conversation with people who care about culture that matters. He also hosts Reel NW, a showcase for the finest features, shorts and documentaries generated in the Pacific Northwest.

He is the founder of The Warren Report and the Editor-at-Large for Media Inc. (  As a producer, his credits include FUREVER (d. Amy Finkel); HUMOR ME (d. Chris Towey), EVERY BEAUTIFUL THING (d. Sonya Lea), THE LOST MARINER (d. Tess Martin) and WAYSIDE JUNCTION (d. April Larson).

Warren is the former Curator for the 1 Reel Film Festival (at Bumbershoot) and a programmer for The Seattle International Film Festival. He is a published author, an Off-Broadway produced playwright, an acclaimed documentarian, a regular contributor to public radio and a much sought-after public speaker on myriad topics.  Born and raised in Manhattan, Warren makes his home in Seattle along with his partner, Nancy, their three children, an adoring pit bull, and an irascible bunny rabbit.

Next Up

On December 16, we’ll be discussing Startup Culture. Guests will be artist and Siren creator Susie Lee; Brett Greene and Red Russak, who as organizers of New Tech Seattle (among many other things) are at the core of Seattle’s startup scene; and Rebecca Lovell, Startup Advocate for the City of Seattle’s Office of Economic Development.

More details to follow.

John Boylan’s Next Conversation: Beauty

Event Date: Tuesday, October 14, from 7:00 to 9:00 pm

Admission is free. Tell your friends.

This roundtable conversation series happens at Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle ( For more information on the series, call John Boylan at 206-601-9848. If you want to link to this announcement, you can do so at

A history of the conversations is available at

The Summary

This time we’re looking at beauty, how it is constructed, and how redefinitions of that construction can be liberating and empowering.

Read on for the details.

The Guests (see bios below)

Kirin Bhatti

Meng Yu

Another visual artist, in the works

An aesthetician or a critic, in the works

The Story

We live in a culture where the pressure toward a narrow standard of beauty is nearly overwhelming. That conservative, conventional, constraining sense of what is beautiful is everywhere, in mass media, in our often unspoken sense of landscape and architecture, in the conventions of fashion, in the simple aesthetics that drive our everyday assumptions.

Body shapes are constrained within a norm, especially for women, while symmetry and confident grace in movement are basic metrics for success. In the popular images, even supposed ugliness is depicted as conventionally pretty, especially in content for children. One of countless examples is Beauty and the Beast. The whole point of the original story is that Beast is hideous, an outcast in love with Belle, the Beauty. But the Disney Beast is drawn as a handsome, if hairy, avuncular figure. Even in the classic 1980s television version, one of George R. R. Martin’s early projects, the Beast is a young Ron Perlman in gorgeous lion makeup. Do we have the capacity to see a conventionally hideous figure as sympathetic, beautiful, and even romantic?

Certainly, some sense of normative beauty is physiological: sounds that are more harmonious than others, colors and shapes that are naturally more pleasing. But most of what we encounter is more complex than that, and much of what we take from that complexity is constructed as part of the culture that surrounds us.

This month’s topic comes in part out of conversations with two of the guests, Kirin Bhatti and Meng Yu. Both combine a passion for social justice with a love of style, and both are moving forward on the idea that individual style can be a tool for individual empowerment. At the root of that movement is the idea that we as a society can redefine conventional, mainstream ideas of what is beautiful, even while the immersive miasma of mass media drives us to not do so.

Art does a lot toward stretching and twisting a sense of what is beautiful, and has been doing so at least since the birth of modernism, and in some cases long before that, as in Brueghel’s Triumph of Death and Goya’s Caprichos and Disasters of War. And the story of the outcast who is deemed as less than beautiful has long been a fundamental narrative; Edmond Rostand’s Cyrano de Bergerac comes to mind. Art can hew to convention as much as mass media, but it can also strive to force us to engage in something that is conventionally unattractive, to the point where we end up wanting to make an engagement. But can art have a mass effect in a broad-based reconsideration of beauty?

Come and have a conversation about beauty and about the potential of that engagement. I’ve been away, and I’m a little behind the curve in getting the guests together. I’m hoping to add a visual artist and an expert on aesthetics, or possibly a critic. Stay tuned.

The Guests in Detail

MissTANGQ (Meng Yu) is a multi-media synesthetic artist and first-generation mystic-nerd. She is deeply inspired by the hyphenated experience and explores this through visual art, installation, fashion and DJing to create cross-sensory and multi-disciplinary work. She is a traveler in the margins and crossroads of both identity and the terrestrial and astral experience. She believes in the fertile power of these places to remix our perceptions of and connection to the world. As a facilitator and educator she spent the last 5 years working as the Director of Youth Engagement of an arts-based food justice youth organization. She now continues to do empowerment work as a image consultant through her styling company QYRON. She loves to sing on her bike and plot what she’s going to eat next. Dancing is one of her favorite forms of space travel.

Kirin Bhatti writes: I like to have fun while doing good and looking good at the same time. Growing up in a big Punjabi family I had to be loud, experimental, and creative to get anything done—or maybe that’s just me? Whether it’s nature or nurture that made me who I am, I am addicted to making the impossible possible, all while having a great time—especially for the underdog. I spent seven years in education with the task of creating innovative programs that raise children into whole beings. I also learned how to farm for a whole year. Growing a one-pound heirloom tomato from a near weightless seed teaches you a lot about how to make things happen. My mission now is to use my business QYRON styling to help people feel really awesome about themselves inside and out. I have a blast with my other company Purna Playground helping socially conscious ideas stand out through creative marketing and strategy. All this action is made possible by ample time hanging out alone in my studio daydreaming, being lazy, and having epic hangouts with my dear friends and family. Whatever I’m doing it’s all the same to me, different iterations of myself serving the same goal—to be of service making the impossible possible.

Coming Up

Tuesday, November 18: Film

Tuesday, December 16: Startup Culture