collage

Farewell to 2020, a year like no other

How does one summarize a year like this? Words like “unprecedented” seem trite, and we learned from our experience with 2016 that even a difficult year has its beautiful moments. 2020 started out normal enough, with our annual pilgrimage to NAMM but quickly veered into surreal territory, and that was before the first COVID-19 lockdown was announced…on my birthday. Everything that has happened since has happened in the shadow of the pandemic. Perhaps the lowest moment was losing our dear friend Serena Toxicat. But the year has also brought unique experiences and opportunities, such as making music with musicians I admire together on opposite sides of the country. Indeed, as I was grieving the sudden loss of Serena, I received a call from my then-new collaborator G Calvin Weston offering comfort and support, and we have developed a closer friendship along with our musical collaboration. That moment perhaps summarizes the complexity of 2020 as much as any.

It has also been a banner year for CatSynth TV with rapid growth in viewership and subscriptions, but also the craft of making the videos in a variety of structures: synth reviews, interviews, documentaries, and art pieces. Of course, a few things remain active on the blog, our cat-and-music pics, Wordless Wednesday, and the occasional article. But for the most part, the transition from blog to video is complete.

The year ends on a note of optimism for 2021. The vaccines are arriving (we just need to make sure people take them); things are a bit more hopeful politically in the country, and we can start to repair the damage of the past five years. The album I have been working on – a musical statement – is coming together and will be released in the first part of the new year. Our little household at CatSynth HQ is safe and healthy and closer than ever – even Sam Sam and Big Merp seem to be getting along better now. And of course, we’re going to continue to share more videos, images, and ideas.

2020 has reminded us that we cannot know what is in store, and that improbable things can have a tremendous impact on our lives. We will face what comes as best we can, and focus on what is most important. And thank you for continuing to be a part of this journey with us.

Art on Father’s Day

For Father’s Day, we have some “patrilineal” art to share. This assemblage was created by my dad, combining a painting of his with a handkerchief that belonged to my grandfather. The material of the handkerchief is decades old and decaying, and the tears and texture make for a very interesting blend with the colors and shapes of the painting below.

We at CatSynth wish a happy Father’s Day to all the human and feline dads out there.

Art of Illusion, Driftwood Salon

On April 1, I attended the opening for the Art of Illusion exhibition at Driftwood Salon. The exhibition took it’s title from the date of the opening and its reference to illusion and trickery. “As artists, we strive to create aesthetically pleasing works of art, but sometimes we like to use that ability to trick the mind, and play with shapes, images and dept of field by pushing boundaries and defying gravity.”

Beyond that initial statement, the works in this show were quite diverse in terms of style and subject matter.

Along the wall, second from the left, is a piece by Rebecca Kerlin. I have seen (and reviewed) Rebecca Kerlin’s work before at Open Studios. Her work often involves highways, a frequent subject here at CatSynth, as well as other elements of the urban landscape and infrastructure. She takes familiar scenes, such as the freeway overpass near 4th Street and Bryant Street in San Francisco, and distorts the image through collage.

[Rebecca Kerlin, Underpass Under Construction In Blue #1.
Image courtesy of the artist.  Click to enlarge.]

One on hand, we see the whole image of the overpass and intersection, but at the same it is a series of separate images that are adjacent, overlapping or slightly out of alignment. Similar processes can be seen at work in Blossom Hill Road, San Jose, CA #2. It took me a moment to recognize the highway 85 freeway entrance sign.

Closeup of Untitled by Evan Nesbit. Image courtesy of Driftwood Salon. Click to enlarge.

While Kerlin’s pieces begin with familiar elements such as highways, Evan Nesbit’s contributions seemed based on pure abstract geometry, and primarily on straight lines and angles. In his large piece “the god effect”, lines are arranged in crossing diagonal patterns that lead to the illusion of curvature. This was an effect I learned myself as a young adult and repeated many times in images. In “Untitled”, the crisscrossing lines are used to mark out areas of solid color, which in turn form geometric shapes such as the central hexagon of the piece. However, these geometric elements can be seen to represent a door leading inside from a patio or walkway, an illusion heightened by the grass in the lower corner. Without the grass, one might not see the other shapes as a house at all.

Among the other work that caught my attention was Jose Daniel Rojales’ Ulua.

[Jose Daniel Rojales, Ulua.  Click to enlarge.]

It is on one level a representation in metal of an ulua, a popular Hawai’ian game fish. But the metal rectangles and geometric elements are quite distinct, particularly around the head, and in some ways stand out by themselves.

You can see more images from the show at the gallery website. The show will remain on display until May 2.