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Landslide in reverse

"Hillside Sketchbook" installation by Chandler O'Leary

"Hillside Sketchbook" installation by Chandler O'Leary

In case you haven’t seen it yet, my Hillside Sketchbook installation is coming along nicely! The scene will keep growing and shifting all this month, before the exhibit ends on June 30. Swing by the Woolworth Windows at 11th and Broadway in Tacoma, and catch it while you can. (Hint: it’s especially fun during the Farmers Market on Thursdays!)

"Hillside Sketchbook" installation by Chandler O'Leary

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Picture pages

"Hillside Sketchbook" installation by Chandler O'Leary

In between a whole host of deadlines I’m juggling at the moment, I’m exhibiting in the Woolworth Windows again, thanks to Spaceworks Tacoma.

Hillside Sketchbook
Artist book installation by Chandler O’Leary
On view through June 30
Woolworth Windows at 11th and Broadway
Downtown Tacoma, WA

Like last time, I’m creating an installation that comes together in real time. This time, though, I’m not painting in a glass box—I’m doing one huge drawing of a Tacoma hillside that’s made up of many dozens of tiny watercolor sketches. The sketches are done on different days, in all weather conditions and through changing seasons, and are tacked up in the window as they’re finished. The scene grows and takes shape like a puzzle being put together piece-by-piece. So go take a look—and come back often. Tacomans: can you figure out which viewpoint I’m drawing from?

I’ll be posting more photos here as the installation comes together. In the meantime, check out the post about the project on the Spaceworks blog.

"Hillside Sketchbook" installation by Chandler O'Leary

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Public nudity

"In Her Element" public art installation by Chandler O'Leary

Oh, I’m probably asking for it with this post title. (To anyone who might have found this post by Googling naughty things, I’m afraid you’re about to be disappointed.)

The window displays in the old Woolworth’s store downtown have been converted into a twenty-four-hour gallery, with artist exhibitions and installations rotating quarterly. Shortly after I moved to Tacoma, I found out that they were accepting applications for the 2009 gallery slots. I thought it might be a good opportunity to try out a crazy idea I’d been playing around with, so I decided to give it a go.

Sketchbook drawing by Chandler O'Leary

For many years I’ve carried a sketchbook everywhere I go, but for the last couple I’ve been experimenting with something a little different. One day I was in a hurry, and knew I wouldn’t have time to fill an entire spread with the watercolor sketch I wanted to make. So I chose a page that already had some figure drawings on it, and just painted within the negative space around the figures.

Sketchbook drawing by Chandler O'Leary

And from then on I couldn’t stop. Once the number of watercolor paintings began to catch up with my stock of line drawings, I started attending model sessions again. This time, though, I used the figure drawings to compose the page, with the expectation that eventually I’d go back in with another sketch later.

Several people told me they’d like to see these drawings on canvas or framed on a wall—and more than one suggested a wall mural version. Besides, the conceptual link between nude figure drawings and mannequins in a store windows was too tempting to resist. So I applied for a Woolworth Windows show, but I guess I never expected that my proposal would be accepted. I was talking about gigantic nudes on a busy street, after all. When the notification date came and went without a word, I assumed the project had been rejected and moved on. And then, three months later, I received an email that said, “Congratulations! By the way, your show begins next weekend.”

Process photo of "In Her Element" public art installation by Chandler O'Leary

Now, I’m not normally an installation artist, but I do have six years of technical theatre and several large-scale murals under my belt. Still, there was something rather daunting about being thrown in the deep end of a double installation project, which involved attempting to paint proportionally accurate, ten-foot-tall nudes inside a narrow, very public glass box. A very monkey-cage-at-the-zoo glass box. To be fair, every mural I’ve ever painted has begun with a ripple of fear, and thoughts ranging from “Oh, right, I forgot how big walls are,” to “For the love of Pete, how did I ever convince these people that I was capable of painting something that actual humans would be able to see?” Depending on the scale of the project, of course—hey, if blank pages can be intimidating, blank walls (and tall ladders) are pretty terrifying. So this time, what with the many passers-by glancing in at me, I needed a few extra deep breaths. It’s funny that I still get that little moment of panic—because once I finally start in with either pencil or brush, I feel right at home, and even the ladder becomes an old friend. There’s just something so satisfying about slathering paint on a wall.

Scale rendering of "In Her Element" public art installation by Chandler O'Leary

One of the challenges of the Woolworth Windows was getting my design up on the wall, at the correct size, without distorting anything. If I were painting a scenic flat for the theatre, I’d just photocopy my design onto a transparency, hook up a projector, and blow up the drawing to whatever size I needed. In a window display, however, there simply isn’t room to put a projecter far enough away from the wall. So I did it the old fashioned way: made my rendering to scale, laid a grid over it, and drew the same grid at the larger size on the wall.

Process photo of "In Her Element" public art installation by Chandler O'LearyProcess photo of "In Her Element" public art installation by Chandler O'Leary

You can see a little of the pencil grid in the top photo; in the left-hand window the pattern repeats did most of the work for me.

Process photo of "In Her Element" public art installation by Chandler O'Leary

Like the drawings in my sketchbook, the inspiration came from a variety of sources. This pattern was an original design, but I was heavily influenced by the patterned brocades I saw at Versailles (see below).

Sketchbook drawing by Chandler O'Leary

Another element from this sketchbook page found their way into the design—my drawings of the inlaid floor of Saint Chapelle in Paris became the basis for the floor of the right-hand window.

Process photo of "In Her Element" public art installation by Chandler O'Leary"In Her Element" public art installation by Chandler O'LearyProcess photo of "In Her Element" public art installation by Chandler O'Leary

The windows also contain elements found closer to home: bits of historic Tacoma signage,

Sketchbook drawing by Chandler O'Leary

and a stained-glass window in the home of my friend Christina, who lives in a former church.

Process photo of "In Her Element" public art installation by Chandler O'Leary

Since I had a lot of equipment to stash in such a small space, I had to paint in a piecemeal fashion,

Process photo of "In Her Element" public art installation by Chandler O'LearyProcess photo of "In Her Element" public art installation by Chandler O'Leary

moving my supplies closer to the door as I painted myself into a corner.

"In Her Element" public art installation by Chandler O'Leary"In Her Element" public art installation by Chandler O'Leary

Despite the challenges of the installation, this has been one of the most interesting and fun mural projects I’ve ever done. For one thing, I fulfilled a secret childhood wish to be “one of those people” who designed and created window displays (I was a big fan of Mannequin). For another, the best part about painting in public is that you get to meet all kinds of wonderful people. Everyone I’ve seen has been incredibly supportive, curious, and thoughtful. Mothers wheeled their strollers right up to the window so their toddlers could press up against the glass and watch. School kids on a field trip gathered around my rendering and recognized the Harmon sign immediately. Street-smart teenagers stopped to ask insightful and challenging questions about gender roles in art. Friends brought me coffee on a chilly day, or kept me company when I started to get tired. Business people flashed me a thumbs-up on their way to work, and neighborhood regulars shouted their encouragement through the glass. I guess I didn’t have to worry about the public reaction to a bunch of naked ladies after all.

"In Her Element" public art installation by Chandler O'Leary

There’s a catch to all of this, however: the installation is temporary. The last day of my show is June 13, and then I have to paint everything white once more. So stop by while you can—you’ll find these ladies on Broadway, close to the corner of South Eleventh Street (on the same block as the Thursday farmer’s market).

"In Her Element" public art installation by Chandler O'Leary

I guess that’s another thing all those years of theatre taught me: how to practice a little detachment when you have to dismantle what you built.

Even if it were only up for a day, though, it would have been worth it.