I'm not going to say anything about this yet. I will tell you that it's life-sized, it's made of clay and fake hair (which has swept a depression in the sand beneath the figure), and it's at Bellevue Arts Museum, in Tip Toland's show of figure sculptures. Toland was a Stranger Genius shorlister in 2007; more on her later. (I apologize for my bad video skills—I shot this yesterday and I'm inexperienced. But I do get to a closeup on the face at about 1:50, in case you start wondering.)

I've been giving that comment, by public artist Cheryl dos Remedios in a recent interview, some thought. Here she is talking about her LIV Project, which I devoted my column to this week—essentially, she is planning to redesign the street grid of Seattle.

From bullwinkle, from last week's post of a Scott Foldesi painting:

Look at the right side of the park bench. See the things holding it up? They're what I referred to as 'supporting struts'. There's two of them. Now, follow along down to where they meet the floor. There's a bar of metal set perpendicular to them, which extends over to the left side of the bench.

Are you looking to the left side of the bench now?

Do you notice that a) the perpendicular bar in the foreground does not lie on the same horizontal axis on the left side of the planter? That's what I was referring to when I questioned the merit of Foldesi's work on the basis of his "apparent inability to convincingly paint the support struts of a park bench in perspective".

Did you also notice that b) the left-facing park bench has only one 'supporting strut' holding it up? that's what I was referring to when I elaborated on a) by mentioning their absence.

I certainly could go on; in fact, I will. The only element in this composition that's worth a damn is the park bench itself, and even that's a botched job. You can see that some amount of effort has been made to build some perspective, marred as it is by the planters, which have a bright flatness to them that make them look as though they're from some other composition entirely.

And about the horrid things coming out from the planters, they look utterly flat, a non-commital, textural afterthought. But where it really grinds to a halt is unfortunately with the only other element at play: the contemptibly cliched (and lazy) use of a gridwork of white squares to add depth.

I also note the colour scheme... or the effort made to adhere to one, at any rate. If you could edit out those awful abstract ficus, you might just have something to work with.

Oh, but wait, I'm supposed to be impressed with the distorted reflections of the white squares in perspective. Look, they're a slightly different tone of beige. Amazing.

This is just the sort of thing that the parents of art students pay to have framed so they can hang it up on the off-white walls of their off-white living rooms, right over their beige couches, where they then can proceed to never look at it again until they move.

All in all I would characterize this composition as bland, commercial, and poorly-executed. And so, to "Dr Mambo" in remark #9 I say, who's the retard now, retard?

I'm not saying bullwinkle's right, just that he's not boring and predictable. Thank you, bullwinkle.

Free Sheep Foundation, the itinerant band of artists temporarily occupying soon-to-be-developed derelict spaces (here's my story about it), is being evicted. The artists have to pack up their caravan and move on out of their first home—at Third and Battery in Belltown—by Sunday. (They didn't do anything wrong; just the opposite. FSF is supposed to be nomadic. It's a moving, makeshift contemporary art center. They're the ones who brought you the Bridge Motel project and the wake for the Belmont.)

But before they switch off the lights, to coincide with Belltown's Artwalk on Friday Free Sheep Foundation is hosting The Seattle Street Biennial. Seattle's best graffiti artists will be covering the walls of the place with aerosol paintings, starting at 7. (The lineup is: NTG, Angel 179, Jesse Edwards, Video, Baldman, Ego, Towel, Merlot, Charms Won, Specs Wizard, Kiloe, Huemer, Static Invasion, Tom Chapel, Vinnie Rae, Team Nerd, Solace Wonder, and NKO.) Free Sheep is at 2400 Third Avenue.

And here's the future for the herd, from DK Pan:

In the coming year, we have some really exciting projects in the works, mostly based in the International District. We are partnering with the SCIDpda (Seattle Chinatown International District Preservation and Development Authority) on a number of public art works including an alleyway mural project in Canton and Maynard Alley, video interviews with neighborhood historians which will be on permanent display and included in podcast walking tours, working with neighorbood youth groups, and curatorial projects in vacant storefronts. Currently, we are also talking with the Uwajimaya family about temporarily occupying the Publix Hotel for exhibitions. ... We are also preparing for the TUBS Memorial Project (50th & Roosevelt in U-District) which be staged in the early spring—the tentative date being the first two weeks of March.