Ballard Art Walk at Solo Ballard Lofts 8-9-2014

  Come see the exciting Ballard Lofts at Solo, and see some of the following art pieces, Saturday, August 9, 2014 from 6-9 pm at the Solo Lofts Sales Office 2041 NW 57th St., Loft 103, 98107.  See the Solo Blog entry here.


This painting called Modifiers was the inspiration for several stainless steel and wood sculptures prepared for an six month grouping at the West Seattle Gatewood B and B at the beginning of 2014.

The subjects are publicly viewed and visited large utility structures imagined to purify air. They are made like nuclear cooling towers, but have some suspended lozenge that changes the molecular structure of the atmosphere for the better.

The painting is on a custom wood panel with an acrylic gesso base.  The lines are drawn and drafted with graphite and painted over many times with acrylic paint and gesso, then finished with a variety of sheens of gels.


18" x 24" Acrylic and graphite on wood panel.


The sculptures depict industrial - public - probably rural in nature and could be anything, but all have peaceful scientific roots,  with interpretive centers and docents to take groups through the facilities to have the public know where and how their tax dollars are being spent for peaceful, scientific and community enhancement.  Any of the pieces conjure a site and specific action and/or industry and often gather energy form the sky, ground or cosmic rays and refocus or disperse the energy.


Cedar Duo

Base and runners from Douglas Fir, "machine" base and "buildings" from cedar, turned on a lathe or cleaved from thick chunks of cedar scrap then glued to base. Cone shape was top drilled to take turning stainless steel lozenge , lozenge seat and roller bearing assembly were epoxied into the hole. This lozenge actually turns 360 degrees . Most wood milling is preformed by a 12 inch stationary disk sander. 7.25 x 10.125 x 8.25h inches. One of the least controversial energy/environmental advancement projects run transparently by a consortium of scientific universities around the globe.


See the Wood page for more sculptures and comments here.

Gatewood B an B Second Thursday continues

Jon Taylor at Gatewood B and B West Seattle Second Thursday Art Walk 

May 8, and June 12, 2014



Come by this Thursday between 6 and 9pm to see Jon Taylor’s paintings, acrylic resin, welded steel and wood/stainless steel sculptures.

Sara Barton has put the extra effort into the Gatewood B and B in West Seattle to invite several artists to hang their work for sale as well as graciously opening up the second and third floors to display the artwork prominently in the sky lit upper lobby and some of the rooms.

There is always a nice spread of food and a welcoming by Sarah to show off the B and B and the art on Second Thursdays.


If you want to see the art on other days and and you want me to walk you through, please call me at 206-612-9863 to set up an appointment,  or you can call Sarah at 206-938-3482 to drop by at the  Gatewood B and B to view the the art next time you are in West Seattle.


Come see this great family run B and B and enjoy the art this Second Thursday May 8, 2014 and June 12, 2014 from 6-9pm.



The Gatewood Bed and Breakfast

7446 Gatewood Rd SW
Seattle, Washington, 98136, United States
Gatewood Art 2014

Wood and Stainless Steel Sculpture

These sculptures are a mix of the properties and aesthetics of the cedar, fir, basswood, cherry, maple or varieties of other woods and plywoods and how they are fastened and adhered together. The largest is 9x12x 7 inches high and the rest range down to a little bit less.  Five of them have truncated cones that have some kind of turned stainless steel lozenges custom milled by others.  The machine or apparatus of the stainless steel components and the turned wood structure could be used for energy or atmospheric modifications.  In some projects there are rumors of secretive or questionable practices by stealth government agencies and collaborations with large corporations or other countries.  Many years of driving around  Eastern Oregon, Washington and Idaho, the Willamette Valley in Oregon or near Yakima with vast expanses of land where every once in awhile is a dam in the hills, a ski resort, a power plant, bombing range or smudge pots and large blowers and recently large wind turbines. These real life observations coupled with an architectural background that included interpretive and learning centers for cultural, natural or scientific sites has led to some of the order and compositions of the sculpture.  Included in this post is a painting that also inspired this work.  These sculptures may be scanned someday and replicated in cast aluminum or bronze.  Certainly more wooden and /or metal sculptures will spring from these ideas.  Several finishes have been tried over the years to easily clean off the dust and grime. Hopefully this back to basics linseed oil and modified linseed oil will do the trick.  Some of these works will probably get a layer of spray paint or oil or acrylic paint applied before and sometimes after the oil finish. Several of these pieces will be displayed at the Gatewood B and B in West Seattle.


Multi lam plywood base with scrap wood runners below.  Cedar machine base, stainless steel washers and lozenge with hidden brazed rod epoxied into cedar, basswood buildings, carbon applied to notch cut into one building for beam rail path into space. Maybe for measuring the space/time continuum?  7 x 12 x 6.25h inches.




Thick Douglas fir plywood with Baltic birch and scrap cherry plywood to slant bottom of administration building attached with stainless steel brads and glue. All building components are basswood. Stainless steel components are epoxied to cone and wood is glued and doweled to base.  Power transfer and flux building is book-matched and glued then shaped and sanded.  Carved entry and exit portals are marked with graphite lead. Powered beams are focused and directed to the flux building then energy is shaped and dispersed to the atmosphere.  Government officials believe the atmosphere withing 100 kilometers is much healthier and has the data to prove it.  Mysterious Russian markings indicate a cooperative venture. Some skeptics believe there is an artificial subterranean exotic mineral extraction site that diverts half of the energy.  Each country dismisses this suggestion as fantasy, but can't prove massive energy losses  before modifications to the atmosphere.



Engineered flooring sample with Douglas fir runners.  Hard rock clear maple turned, shaped and sanded then assembled with hidden glued dowels between components and base. Stainless steel lozenge with hidden brazed rod and washers epoxied to cone.  Focused beam with stainless steel accelerating rings epoxied into slots of thin support building.  Advanced assembly is powerful enough to focus energy transfer for space station and space craft fueling over long distances.  Also used for controversial military operations with ground and space controlled satellites mounted with foucussing and aiming mirror arrays.  Activist non-government approved research shows bird populations in vicinity of beam have been drastically reduced since inception of assembly.  Unexplained commercial atmospheric flight disappearances have caused concerns, local and national government agencies are quiet about this heavily guarded project.



Thick solid one piece basswood base with Baltic birch ply machine cone lower buildings and basswood cone and greenhouse buildings glued to base. Stainless steel washers and lozenge with hidden brazed rod epoxied into cone. Machine for air quality and weather modification serving more than this one greenhouse in public owned and maintained agricultural/atmospheric district.  Public accessible property with interpretive center in machine base buildings.



Base and runners from Douglas Fir, "machine" base and "buildings" from cedar., turned on a lathe or cleaved from thick chunks of cedar scrap, glued to base. Cone shape was top drilled to take turning stainless steel lozenge , lozenge seat and roller bearing assembly epoxied into hole. This lozenge actually turns 360 degrees . Most wood milling is preformed by a 12 inch stationary disk sander. 7.25 x 10.125 x 8.25h inches. One of the least controversial energy/environmental advancement projects run transparently by a consortium of scientific universities around the globe.



18" x 24" Acrylic and graphite on wood panel.



Open House for MDA donors

  Here a couple of shots from donors picking up their prints after generously donating to Muscular Dystrophy fundraising this fall.


[portfolio_slideshow pagerstyle=thumbs pagerpos=top fluid=true class=pager-right pagerwidth=420]

Linocut proofs for MDA Jailbird Fundraising 2012


I volunteered for this year's Jailbird fundraising for the Muscular Dystrophy Association.

(Go to to donate)


I think everything that could go wrong with our car and our computer happened in the last two weeks so I am a bit late getting started.  For this fundraising anyone interested can get an un-framed proof of some lino-cuts I started in Maui a couple of years ago, another plate cut earlier in the year to make a double print and a recently cut factory image made last week.  For everyone donating $30 dollars you can get a single print, anyone donating $60 dollars or more will get two prints.  There are several prints that have images from two plates that will be counted as a single while they last.  All proofs are made with extremely high quality components: inks are Charbonnel etching inks and the proofs are printed on a tabletop Takach etching press on Arches Rives BFK paper.  These will be un-framed and un-trimmed.  There will be a date on the back and a signature on the front.  In printmaking terms these pieces are all unique prints, so there will be no numbering system.  Similar prints were on sale at a recent show and sold for $100 each.


This first image is of the current plates being used for the fundraising.  The Beach 1 plate to the left was the first plate I cut in Hawaii a couple of years ago. I had another sister plate that was like fronds overlapping that I could never get to print as an underlay for the beach scene.  The second plate cut earlier this year, Beach 2,  was to be a better aligned background for the first beach scene, but although it was better, I never really liked the combination, although a couple of proofs were alright, a bit more detail will be added to this second plate and it will be used as a single.  The last plate, Factory, was a spin off of the factory theme that evolved from the PRINT PAINT FLOW show at Johnston Architects this year. This plate may have a couple of colors, but will probably have a background color that is overprinted with a darker ink.  A new plate with gliders over a valley landscape also has some recall to paintings from the PRINT PAINT FLOW show, it was cut specifically for this fundraiser.  The new Glider plate and proofs of all plates can be seen at the end of the post below.


Inks are prepared and rolled on a glass surface over a support painted white.


Here is  a proof that was just pulled off the plate after printing. There is a registration guide that is drawn on acetate with a Sharpie. This technique is important when trying to get a series of proofs to look the same on similar sized pieces of paper and when registering two or more plates on the same piece of paper.


A series of proofs with different inkings and plates, since these are all experiments in inking and number of plates, they are treated as unique prints.


Here is a variety of proofs

[portfolio_slideshow pagerstyle=thumbs pagerpos=top fluid=true pagerwidth=525]
























Double Exposure Project




What do you do when a friend gives you a container of 50 or so frozen, but past expiration date 4x5 inch Polaroid color film packs?


You give some away, you experiment with some longer exposures, you have some fun because it is free compared to the Fuji version at $30 bucks a 10 pack.


Here are some crude examples and experiments with a 90 mm wide angle and a 210 mm standard/portrait lens using an older Polaroid film pack holder set in a Horseman 4x5 view camera on our "ever so slowly being  built over the decades and constantly redesigned" stairway in Seattle.

In the future Harmon reversal black and white paper that can be used in 4x5 film holders and some black and white film will be used to be developed and contact printed or enlarged.  There will be a Mamiya RZ67 with some instant backs and film and a digital SLR and simple lighting for additional images during the shoots.


Why do double exposure on instant film when you could do it digitally? Because it is captured right on the photo paper with only manipulating a mask close to the film plane and, yes, it is cool.  In addition, it will be fun collaborating with the subject and there will be other film and digital camera data to manipulate and print in the future.


For the process,  the mask will split the image in half in landscape or vertical formats. Since the prototype masks are pretty close to the center of the image on the film or paper the two images of one person that has shifted from one side of the scene to the other between mask changes will appear as if taken once and have no "ghosting" associated with double exposing a full un-masked piece of film.

In the future dark slides will be cut for double film or paper carriers and there will be some dark slides made into masks for the instant film pack holder.




Horseman 4x5 view camera showing back with pack film holder inserted (right side of image).
Styrene cut to shape for vertical mask taped into Graflock back with painting tape. If you could be in the bellows with the lens to your back, this is what you would see, the gray plastic blocks the light.
Shooting process is to take the first shot, reinsert dark slide, take off camera back, remove - flip and retape the mask - reinsert back, change subject position, remove darkslide, take second image.  Simple, huh?


Will this be the final setup? Maybe a scrim over the window, probably some photo lights will be added. Hopefully some more finished construction.



Want to be part of the Taylor Art House Double Exposure Project?


If you are interest in modeling for this project and taking home some images of yourself double-exposed, send an e-mail to, in the subject line put, "Taylor Art House - Double Exposure Project".  Shooting times will be strung together when possible, probably on morning weekend days. Individual sessions will take about 30-60 minutes depending on your patience level.  The setup will be in Wallingford, other locations may be considered.  Photos will be used only with permission.


The intent of this project is to have a digital web-based show, possibly have a gallery show and/or publish a small edition book.  If it gets enough interest there may be sub themes - not sure what yet - it is just starting.


More later.

Panel Making for PRINT PAINT FLOW show

For the Print Paint Flow show there was just a bit less than a month to put together artwork that had been recently made or needed several hours to complete. In addition there were a number of new painting s that were to be produced which included reworking on one and painting new on four 20 x 30" birch panels;  making four 24 x 36 inch panels for stapling on archival sleeves to hold 20 x 30 works on paper and making four 36 x 60 inch panels for new paintings. On top of that there was so much sculpture and three-dinetional work that we decided to make three new platforms for this show and space. This post  focuses on how and why panels were made from hollow core doors.  Hollow core doors are relatively cheap if you can buy them at ReStore or Second Use or other recycled building material centers for about 10-20 bucks each. New blank flush doors with primed Masonite skins can be purchased at Frank Door or Dunn Lumber for about 30 bucks - these are cheaper in time because you don't have to fill hinge slots or door handle holes and they already have one coating of primer.  After the doors are cut to length, filled with new edges, glued, clamped, sanded and gesso is applied they are ready to paint.  Near the show and before transport the eye hooks are installed and they are ready to hang.

Panels are relatively cheap and much cheaper in the larger sizes than canvas or frming of canvas or works on papaer.   Panels are very stable and flat.  Panels from doors can be hung from the top with eyehooks.  The largest panels were less than twenty pounds, easily held by most hanging systems.


Process used to prepare panels:


Step 1: Cut doors to length (and width if needed).

Step 2: Make correct thicknesses for cut end fill pieces and glue and clamp. Fill any holes or mortises with wood and filler.

Step 3: Afer glue and filler is set, sand and/or plane for flushness. Fill as required.

Step 4: Sand, then gesso at least 3 layers on painted surface and 2 coats on sides and back.  These panels were painted with Daniel Smith World's Best White Gesso.

Step 5: Paint and draw.


[portfolio_slideshow pagerstyle=thumbs pagerpos=top fluid=true pagerwidth=530]