Blue Mouse Monkey Blog

I was one of the first visual artists I know to get an art portfolio website. A student at PNCA did it for me as a project back in 1998. And he did a nice job, for what was available in web technologies in 1998. Then I learned how to make websites myself, and took charge of remaking my portfolio site. The second iteration used Frames (!) and what I thought at the time was an innovative horizontal scrolling navigation. Silly me. (This was before jQuery and all that good stuff, of course.) Then I did iteration #3 in Flash. Which was nice for a few years, but I won’t waste space on why Flash is no longer a good choice for making websites. Besides, the background was black (remember when that was sorta cool on a website?) and the images were small (remember when you had to take dialup users into account?). After a while I stopped mentioning my art portfolio site because it was getting a little embarrassing.

But this winter has seen the great makeover, and now I’m proud to announce the launch of iteration #4 of my art portfolio website, built in HTML5, and all clean and nice looking.

Blue Mouse Monkey is pleased to announce the launch of the website for Portland artist Marlana Stoddard Hayes. Her interest in living communities leads her to explore the relationship among various nested systems found in the natural world, and she uses elements of nature in her painting practice, such as spore prints from fungi. The site is starting small, but with a CMS (content management system) in place, Marlana can add new portfolio pages over time. Marlana Stoddard-Hayes is represented by Butters Gallery.

After a hectic spring and summer at Blue Mouse Monkey, projects are wrapping up and my workload is decreasing. And I’m loving it. All of a sudden I have time for family and friends. I have time to just poke around the web, or stroll around outside. And time to get working on my second novel.

Okay, there I said it. Yes, I am working on a second novel. The first one, which took me 10+ years to write, is in the process of being queried to agents. Many readers tell me it’s an important story that needs to get out there, and I do hope it finds its way in the wider world. Learn more about Parts Per Million here. This second novel won’t take me 10 years. This time I’m starting with plot and moving towards crafting sentences, instead of the other way around. And its going to be more of a literary thriller. Parts Per Million has some thrillerish aspects of uncovering secrets and facing dangerous repercussions, but I wouldn’t call it a bumper-to-bumper thriller.

The new novel is going to be about a rogue biohacker. I’ve started research (which means amassing folders of related articles Thank you New Scientist) and am sketching out plot. I’m also working on making my rogue protagonist sympathetic. You’re going to be on her side, even while she wreaks havoc, because, well… I don’t want to give it all away!

And as the summer closes there’s time for pickling cucumbers and steaming home-grown edamame, and drawing on rocks with a 15 lb yellow-orange crayon. We were at Crescent Beach last weekend, and at the patch of basalt scree at the far end of the beach I discovered a rock, a piece of sandstone perhaps, that had oxidized (or something – I have no idea what I’m talking about, really) and was coated in a 1/2 inch layer of soft, crayony bright yellow…stuff.

Basalt, which Oregon is full of due to the massive basalt floods of 17–14 million years ago, is dark gray. Rather a somber stone, and not particularly inviting. But when columnar basalt breaks off it does so with smooth, slightly curved planes. Nice to draw on. I had fun brightening up the jumble of gray at the end of the beach.

And now that the anniversary of my breast cancer diagnosis has passed, I’m ready to put that difficult year behind me. When my GP broke the news to me last July, she said, “This will dominate your life for a year.” And she was right. And now I’m better, stronger, healthier, and so happy to find a soft yellow rock to draw with.

Blue Mouse Monkey is pleased to announce the launch of a new artist website.
Jacqueline Ehlis is a Portland artist who works with abstraction, light, and architectural space in a way that borders on illusion. Her website is designed to reflect the minimal yet architectural aesthetic of her work. With a custom-built content management system created especially for artists, plus a matching blog, Jacqueline can update her site without needing to know any code.

Argentinean born Monica Camin is a painter and sculptor whose work mixes European and South American influences. Cultural history, displacement, and family are recurring themes within Monica’s gestural, expressionistic works.

This website is made in Flash and includes a content management system that allows Monica to create new pages and edit existing ones.

First of all, Paul Wells is incredible. More so than that web page is letting on. He’s creative, smart, articulate, multi-talented, has a has a hybridizing mind, and is a terrific facilitator. If you ever have a chance to take a class with him or hear him speak, DO. Okay, got that over with!

The faculty at the Animation Institute are Rose Bond, Suzanne Buchan, Paul Vester, and Paul Wells. I’m in Paul Wells’ ‘stream’, but the streams come together at lunchtime and for a late afternoon session.

I’m taking this class to open up possibilities for different types of work to come together. I’ve been a visual artist since forever. Well, officially since 1986 when I graduated from art school and started showing. Then I got into the digital realm in about 1999, starting very slowly, and gradually building skills to the point where I now run my own web design company. Then a few years ago I suddenly and unexpectedly started writing fiction. (Yeah those are adverbs. Whatcha gonna do about it?) A novel sort of fell out of me and I’ve been cleaning it up ever since. I hope to have it presentable enough by the end of this year that I can start exploring ways to send it out into the world.

Event Horizon, Julia Stoops, 2007

But these things I do: 1. visual art (mostly painting), 2. website design (with a little bit of client-commissioned animation) and 3. fiction writing (mostly a novel) have not come together. They have informed each other, definitely. Each discipline enriches the others. But I still pursue the disciplines separately. The formal and technical concerns of each discipline  are demanding enough that once I’m engaged in one, it’s all I think about. Shifting gears into another discipline is hard, and is a cause for anxiety. My ‘painting brain’ does not want to think about usability and information architecture. My ‘website brain’ isn’t clued in to character development. My ‘writing brain’ never considers revealing mysterious shapes within layers of translucent color.

And why not? As soon as I wrote this, I thought, wow, that’s interesting. But when I’m in the middle of the making, the medium-specific questions I ask are already so requiring, that others get crowded out.

Why? Several reasons. Firstly because the digital and fiction writing practices are relatively new to me. I’m still looking for a level of facility that lets me step back from worrying about ‘getting it right’, into a place where I can truly play. Craft is still an issue with fiction writing and digital work, in a way that it’s not with painting. Not that I’m the world’s most facile painter, but compared with the other two disciplines, I started younger and I’ve been doing it longer. There’s a level of comfort and familiarity in painting that isn’t there yet in the other disciplines. Not to imply all my paintings come easily: they don’t. But when they don’t it’s okay. Painting does not generate the kind of anxieties I experience with fiction and digital.

Secondly, for the last few years I have also been preoccupied with a fourth thing: running a business. With no background in business, and no role models among family or friends, learning how to create and manage a business is a steep learning curve. One that’s charged with the excitement of charting ones own course, (Yeah, a cliche. Whatcha gonna do about it?) but is also labor intensive.

And my ‘business brain’ claims to be far too busy dealing with demanding practicalities to spend quality time playing with color, character, and other things that it says will have to wait. The books have to be balanced. The seminars have to be listened to. The client follow-up is intense. The options have to be weighed. The business plan must be reviewed. The router needs rebooting. The subcontractors must receive explicit instructions. And so on.

So it’s in this context, during this week-long space that I was able to carve out of my daily web design studio routine, that I am exceedingly grateful to be taking ‘Devising Narrative Structures: Script and Storyboard’ with Paul Wells, during Boundary Crossings: An Institute in Animated Arts at PNCA.

Michele Feder-Nadoff’s practice of installations and collaborative performances span Chicago and Santa Clara del Cobre, a traditional copper-smithing community in Michoacán, Mexico. Michele’s work encompasses embroidery, lost wax casting, sculpture, drawing, and painting. We built this site for Michele in Flash, with a custom content management system for her to add project pages, news items, videos, links, and biographical information.

Blue Mouse Monkey is happy to announce the launch of a new website for Seattle artist Roger Shurtleff. Working primarily as a painter, Roger takes on abstraction and the figure with a bold and gestural vocabulary.

Leaving the 4D Brane, 2007; 12” x 36”; ink, acrylic, paintpen, inkjet collage on paper, mounted on wood

Three of my paintings are in the current group show at Mark Woolley gallery called Small Wonders.  Preview last night, public opening tonight.  The show is up through November 29th.

Microsoft is buying one of my paintings.  They apparently went into the Mark Woolley gallery and picked it out.  My first reaction was…hmmm. I really don’t like what they’re doing to One Laptop per Child.  And they deliberately build their browsers non standards compliant, making them a bane of every web developer’s existence.  And everyone hates Vista.   PLUS the way the sales contract is worded, they not only get the artwork, they get ownership of the copyright, too, which is pretty unusual in the world of fine art.  

Then I thought, wait, I’m not so pure: I own a copy of Office.  (For the Mac, sure, but who the heck wants to grapple with exchanging text documents in other formats?)

And I thought, well, better chosen and loved than left to mildew in my basement, which is the unfortunate destination for pieces that don’t sell.

And I thought, it is called Providence, after all. So, don’t look a gift horse in the mouth.

So I said yes.

Providence, 2007; 4 x 4; Ink, acrylic, digital prints on panel