an excerpt by Bill Crossman
posted 18 January 2018
This is an excerpt from an upcoming book. The essay collection, by local author Bill Crossman, will share stories about life on Francis Avenue, in Fremont.
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It’s one of those things learned, I guess, by being part of a community. This community located at the foot, or big toe, to get more specific, of Francis Avenue, in Fremont.
On the east facing wall of Nectar Lounge, formerly home of the Baby Diaper Service laundry, was a perfectly vital but theme-unclear mural. That’s why it surprised me when a tall, intense man with aqua blue hair approached me while I was watering the petunias out in front of the funky 4-plex.
Right hand extended, friendly smile, he says, “I thought I’d introduce myself as you’re going to get tired of looking at me staring back at you from across the street.” His name is ‘Jacobson,’ he says, “that’s with an ‘o.’”
‘Huh?’ I say.
Jacobson tells me that he’s rented the equipment. His visiting friends were to be co-creators of a mural, but he’s now the solo artist and he’s doing a self-portrait. He’s creating a new mural to cover the older one.
From The Post-Internet
“I’m about showing post-internet hyper realism,” he says, “by ‘post-internet’ I mean there was the invention of the internet and everything after is post-internet.”
“Yes,” I concur, “It opens the flood gates as we embrace technology without fully thinking through its effect on society.” I post a burning question. “Do we really think technology is making our lives easier?” I ask, “It’s a catch-up game that is causing the merry go round to go around at a faster clip.”
We must decide how much is too much technology and do we lead, follow or get out of the way with each innovation. I’m choosing to be a late bloomer, dragging my feet, to focus on function over form. Of course, the genie is out of the bottle, so the point is moot.
We’re entering a time where there are dimensions of time, quid quo pro, at quantum lengths. And widths are our tools. It’s bigger than the invention of the printing press, this internet. We’re standing each day at the threshold that can reform or destroy or assist us with each decision.
‘What’s Your Medium?’
Jacobson shows me his mark-up photo being used as his canvas. “It’s a picture, me, facing a computer screen,” Jacobson enlightens. “There’s a sense of wonder, and possibility, danger and unknown, fortune and folly.” He further explains, “Dead space put life into public art which should be accessible and free, and walls hold a lot of energy, as does this one, brick-by-brick.”
“I’m doing some work for Jed Smythe, the club owner,” the artist explains, “I designed and painted his room upstairs.”
“What’s your medium, Son?” I ask.
Jacobson said that he uses acrylic spray paint, with nozzles. It will take 30-40 hours to complete the mural, “and I’ll put it up on Instagram and Facebook,” he says. I think to myself that it’s Post-Internet Realism that’s hyper-real hyperbole.
Jacobson’s combining his skill sets and investing in worthwhile endeavors after a year’s study at the Art Institute of Seattle. I apologize if he has any student loan debt. My generation’s theft from his generation of millennials. I decide to zip it on the political statements and get right to the heart of what he’s saying in the piece.
Energy, In This Time, This Place
He loops back again to Post-Internet Reality. “By his character considering the screen, he means nothing satirical but creates honest awareness,” Jacobson says, “Art like this emits and evokes energy, to this time, this place.”
“So, it’s not rocket science but it does mine emotions,” I wax on, “emotions that are like a heart tugging good-bye, infused by tears and hug induced.”
The self-portrait, now on display, is titled ‘Digital Divinity’. It projects power and potential. There is atomized paint and air brushed dark to light, rendered with aqua accents. Just like Jacobson’s aqua hair.
Gone are brush strokes; here are spray cans and nozzles. Graffiti spray cans, painters and taggers also produce today’s mural art. It’s just a little more real, more powerful – and by permission
Jacobson is a self-identified member of the Millennial generation. This new millennial monument captures the millennial dilemmas and conundrums of post-internet realities, in real time serenades. And not a hair out of place in the space or on the face. The face is larger than life, a one-story tall head, warrior listening, deciding, and weighing the post internet threshold before them. Is it people? Is it the earth? Is it human? Is it fair? Is it right? Will the mural be permanent, or semi-temporary?
“You know you’re in the Artist’s Republic of Fremont or A.R.F?” I ask, like he should know better.
“Yes,” Jacobson answers, “but I didn’t know that’s what they called it.”
Community Serving Community
Today, my medium, ironically, is semi-gloss, gray, stair paint, with added sand for traction. I’m painting the two sets of stairs which face the street, to the half-story walk-up in the four-plex. My tool is a hefty 4-inch-wide brush that slops and snorts up the paint.
Quite a contrast, defining the foot of Francis Avenue, or is this the face? I see this wondrous soul’s face emitting energy as inspiration, and looking over my shoulder, multi-tasking my realities and time dimensions, which are counterintuitive or complementary to Jacobson’s.
I don’t think I’ll tire of seeing his face. I will walk by most days and see his mug gazing back. He’s an artist worthy of note for the post-internet reality, with something important to say to his fellow millennials, and Fremonsters like me.
Two more art installations may occur at our foot of Francis Ave:
- Charms, another spray can artist, has plans for another mural across the street,
- And it is time to re-do the ‘painting’ on the Photo Engraver storefront, on N 36th.
It’s a chain reaction of community serving community, and self-expression on the communal canvas.
About Bill Crossman: A retired educator, grandfather, volunteer, writer, storyteller and aspiring curmudgeon living in Fremont, Crossman (age 66) has a hobby business previously featured on Fremocentrist.com, called ’62 Seattle Collectibles, displaying and trading memorabilia from the World’s Fair.
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Text © Bill Crossman
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