Participating Artists: Barbara De Pirro Miguel Edwards Aaron Haba Meredith Hall and Vaughn Bell Todd Lawson Julie Lindell Peppé Stephen Rock Gerry Stecca Kristin Tollefson Sylwia Tur Sponsored by: Center on Contemporary Art Carkeek Park Advisory Council Seattle Parks and Recreation Associated Recreational Council Department of Neighborhoods Supported by: Seattle Weekly Piper's Creek Nursery Hardware Sales, Bellingham, WA Ballard Hardware Ballard Sheet Metal		Site 13: Todd Lawson Seattle, Washington www.lawsonad.com Artist's Statement: BLAME IT ON YOKO As an architect, artist and observer of the world around me, I have always been interested in things that express the act of being made, contain some level of ambiguity, and include expressions of materials and things that inspire a very personal, internal dialog. This is true for both objects and places. I don’t like to be hit on the head with dogma or the obvious. I search for the subtle, the timeless and the less tangible that make this happen. But if I look for the subtle in art, then why is there a ladder stuck in the middle of this sculpture? Not very subtle, but very tangible. You’ll have to blame that on Yoko Ono. Did he just say “yoko ono”? Yes, Yoko Ono. As a student, I saw an installation made up of a tall white ladder in an empty room. Viewers climb the ladder to where a magnifying glass hanging from the ceiling allowed them to view the word "YES" written in tiny letters on a framed piece of paper affixed to the ceiling. I was moved. Just “Yes”… what the what? My young mind was officially bent forever. The artist was Yoko Ono. Who knew? It was the start of a personal debate that confronts me to this day: Why did the Beatles break up? But more importantly, how could a hard core modernist such as my self, raised on logic and the minimalist mantra of “less is more,” be moved by a “conceptual piece of art” that uses literal objects and text to evoke such a strong reaction? At the same time, I had found the minimalist work of modernists like Richard Serra (enormous sheets of rusted metal bent and tilted). Exploration of this dichotomy between meaning and emotion drives my work to this day. Materials: Wood snow fence Misc lumber Lexan mirror Metal fabrications Support: 1925 third LLC Jerry Everard Darek Mays