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Lunch at the Oasis with Marvin

Marvin and I met through a highly improbable connection. He was writing a speech for some company big shot and needed basic information on technology that I happened to have. He had waded through several layers of company bafflegab to find somebody who would talk to him

and wound up in my office. After 10 minutes we were old friends -- him "the least linear person I've ever known" according to a mutual friend and me the linear thinking engineer.

We both retired at the same time and, until the pandemic intervened, had lunch every couple of months to wave our arms and talk art. These, and 30-odd more, were taken at the Bagel Oasis in Seattle. The light was streaming in the window -- I had a camera...

These 4 are part of my 7x14 project -- I have eight candidates for it and 10 pieces of 7x14 acrylic so I've almost got it to a stopping place.


"Bumbershoot" -- Seattle's Labor Day festival -- was held this year after a 3-year hiatus for the pandemic and because the festival had fallen upon hard times for the few years before that. It had morphed into a high-priced high-pressure music festival with national headliners and little else. The then-organizers threw in the towel and two local groups took on the challenge of reinventing it.

This was the 50th anniversary of Bumbershoot so Photographic Center NW co-sponsored a show of 90 (or so) prints from past years at the festival. I had five prints in the show that was in the A/NT gallery on the Seattle Center grounds but only for the weekend. An abbreviated version will be in the much smaller PCNW gallery in November.

I was a big fan of Bumbershoot for a very long time but not so much (for sure) in its more recent incarnation as a big music festival. I was looking forward to the new version this year (especially since I scored a free ticket by having photographs in the show.)

My very opinionated review of it is on my blog.

Short version: "needs work"


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