Tobeimean Peter

About

Born 1953 in New York, NY.

I'm a long-time artist -- as far back as I can recall. Well literally -- one of my first memories was that of learning to draw. My father was a painter and then-aspiring illustrator who enrolled in the Famous Artists (Learn-Illustration-By-Mail) School. It really didn't help him much in terms of making much money with it. He did form a pretty good technical grasp of the Dutch Masters, and later when he studied for years at The Arts Students League in Manhattan -- he shifted focus to a sort of capsulized comprehension of the French Impressionists and fairly painted a few exhibits worth of nudes as a student of Robert Brackman. He had a beautiful flat style (the illustrator in him contributed that), and he used a network of cross-hatched strokes that to this day I think were unique to him. He was a big early influence upon me.

My mom was an intelligent woman. She read a lot. She encouraged my literary side. Had she grown up in another era she might have been a writer, editor or some other literary-focused type person, but raising three kids in a working-class family is a hard way to go -- as I'm sure some of you must know, and opportunities for women were far less then. In the 50's and 60's she became politically interested in the Civil Rights Movement, and later in opposing the Viet-Nam mess.

My history as an Artist in any professional sense began in high school, and led me to study BFA level painting and it's satellite courses in the 1970's. Some of what I learned stuck. A great man and artist named Oscar Walters taught me to see, and I learned a little about Josef Albers' system of color-interaction from John S. Fawcett. Both of these folks taught at the University of Connecticut. That I was early-on attracted to the Pre-Raphaelites' works was largely because I came into contact with the Romantic scholar, Dr. Harold Spencer. I think some of all of their influences remain in my work. They collectively taught me enough of an academic POV that I have always categorized my work as that of an 'American' artist.

Growing up in the NYC Metropolitan area in the Sixties, and returning there for a couple years in the late 70's gave me access to seeing a lot of great Art, and Performances of all kinds. It was a good time to be there. I had a few shows, and made some "edgy" art. There wasn't a strong spiritual pull for me there though, and the local economy was going into perpetual recession.

In 1980 I hopped on a plane to Seattle and never looked back...

I've begun to explore mostly along the lines of digitally manipulated imagery. Other important areas of work are Paintings in Oil; Dolls; Reflective Collages; and Drawings. I personally have always felt that the "art" that an artist makes is more the record of the passage of the life and mind of a creative person, than marketing. As such, I'm more interested in engaging in a dialogue with the audience, and in expressing my points-of-view through my life's work.

I'm very excited lately with the progress of a series of self-portraits as Digital Images, and in my investigations into the *"GOETIA."* You will find a lot of recent work in those directions here and in some of the links. My oil painting is in the process of turning a corner. I'm experimenting with a glazing system of colors on slow and patient work. But it progresses. The Collages done in reflective materials, offer a lighter part of my vision and tend to be grounded in personal mythology and projections of an inner world.

Part of what I've been contending with in my recent ideas is the question: "For Whom does the Artist create?" I think I agree with those who say that the artist who creates for himself is a fool. It's too isolating. What applications then does one choose to apply her or himself to in order to fully "juice," the work, and connect with the all-essential audience? My recent involvement with the self-portrait -- both in it's infernal, and normal mode reflects this search -- in the context of some rather difficult times for the world and its social microspheres. I think there is no solid solution to this problem, but rather an evolution -- a dialectic.

I'm open to conversation about the Arts. I'm open to hear your point-of-view and interest. Contact me. … Read More

Location: Everett, WA , United States
Website: http://tobeimean-peter.com

Education

Organizational Experience:
100 Moons Circle, Non-profit, Co-founder and Program Director, 1997-2005.
Synergy Ensemble, Non-profit, Co-founder & Program Director, 1995-97.
The Mobius Group, Founder, 1988 - 91.
Triad Ensemble, Production Designer, 1988-91.
Red Sky Poetry Theater, Board Member, 1986, 1987

Experience:

BUILDING A BODY OF WORK, Solo -- building body of work to resume exhibiting paintings. 2006 - Present.

HEKATEES ORCAS ORACLE, with Dani Christian. -- created an art-installation: The
Oracle Shrine, for the Aquarian Tabernacle Churchs Hekatees Sickle Festival; at the
Experimental Learning Center in Camp Moran (Orcas Island, WA). Performed an all-day
Fortune-Telling Oracle event. 2006.

ART OUTSIDE 2003, 100 Moons Circle -- co-conceived and produced a 58 minute video
documentary about an outdoor sculpture exhibition at Port Angeles Fine Art Center. Shot in
mini-dv and edited in Final Cut Pro. 2003. (Part of 100 Moons Presents series).

VORTEX, 100 Moons Circle -- involved in all aspects of a three-person performance at Sound
Vision Gallery in Portland, OR. Wrote and performed spoken-word, created music, installed
visual elements. 2003.

DIA DE LOS MUERTOS, 100 Moons Circle -- shot and edited a 28 minute video documentary
about the Dia de los Muertos exhibition at El Centro de la Raza community center in Seattle,
WA. Shot in mini-dv and edited in IMovie 3. 2002.

100 MOONS PRESENTS, 100 Moons Circle -- A one-hour arts series shown on
Seattle SCAN Channel 77. Directed/edited. In-depth studies of individual artists works
including at-length interviews and performances. Twenty-one programs produced to
date.

EYE-V ARTS MAGAZINE , 100 Moons Circle -- produced, directed & edited a monthly series
of 28 minute magazine-format programs focusing on regional and national level arists of all
disciplines. 36 programs -- more than 100 featured artists. Aired as a series on S.C.A.N. (Seattle
Cable Channel 77). 1997 - 2002.

ZODIAC POETRY MASQUE, 100 Moons Circle -- Directed and edited a limited series which
explored original arts video based on legend, myth, and dreams. Aired on Seattle Public Access.
Fifteen programs. 1997 - 2002.
PATHOS, 100 Moons Circle -- Co-designed, created, and installed collaborative multi-media
mural ( 17 x 8 ) exhibited for one year at Globe Cafe, Seattle, WA. 1998.
MONKEY MIND, 100 Moons Circle -- Co-wrote and performed 30 minute live piece in
experimental dissociated style. Various cafe venues. 1997.
NORTHEAST-NORTHWEST, Co-produced a poetry symposium in Washington, NH along
with Colorwheel Magazine. Produced video document of same. 1997.
ONE PISSED-OFF ANT, Produced, directed and co-edited 28 minute performance video with
Nancy Du & Connie Cox. 1996.
TOTALLY WIPED, Produced, conceived and co-edited 15 minute special-effected short. 1996.
STOP THE MADNESS, Synergy Ensemble -- Co-created & directed monthly live-on-tape
interview series portraying local/national activists and their issues. 3 Camera studio format. Aired
on Seattle Public Access. 12 Programs. 1995 - 1996.
SMOKE & MIRRORS: ALIEN CONTACT, Synergy Ensemble -- Co-wrote, designed and
directed an original 30 minute teleplay. Aired on Seattle Public Access and bicycled to other
access stations in the US. Designed storyboards for same. 1995.
SEEING PELE -- GLIMPSES OF A GODDESS, Synergy Ensemble -- Production, set and
graphic design for 90 minute, one-woman performance by Charlotte London, at Freeholds
Rhino theater. 1994 - 95. Directed 30 minute video version which aired on Public Access. Piece
placed in archives at TCI Production Center. 1995.
CATS & DOGS, Synergy Ensemble -- Designed, painted and installed 60-foot visual piece at
Seattle Centers Cruelty Free Festival,, and at later dates on the SCCC campus, and along the
path of the PAWS Walk in Woodland Park, Seattle. Designed poster and graphics for the
Cruelty-Free Festival. 1995.
STORYBOARDS, Synergy Ensemble -- Co-wrote, painted and installed 56 foot long
storyboards in full color of two one-act plays. Displayed in mural-fashion at Globe Cafe.
Designed poster for same. 1994.
Page Three
CRUELTY-FREE DAY, Synergy Ensemble -- Designed, created and installed two 15-foot
square drops, and a 17 foot long, four-person Cruelty-Free Dragon puppet. Westlake Park,
Seattle. 1994.
LIFE ON JUPITER, Window installation in painted paper mache w/ Nancy Du at Retro Viva
in downtown Seattle. 1993.
TRIAGE, Designed and built set for Themis Productions original play. Set was designed for
rear and forward slide projections. Broadway Performance Hall. 1993. Designed and installed 13
foot square Banner outside building for same.
CITY CHEEP CITY, Collaborative performance and set w/ Nancy Du. Wonderful World of
Art. 1992.
THE SILENT LAND, Collaborative performance and set w/ Nancy Du & Connie Cox. Opened
for Allen Ginsberg in the Bagley Wright Theater. Bumbershoot, 1991. Poem published in Ergo,
an anthology put out by the festival.
UNKNOWN LANGUAGE, 30 new paintings. Seattle Artspace. 1991.
RED SKY OPEN, Juried readings. Selected as one of four laureates from a field of 84
contestants to go on to perform at Bumbershoot. 1991.
THE BILL OF RIGHTS, Lead. Saboteur Theater. Co-wrote and performed this political drama
against the first Gulf War. Cast of seven. Opening performance for the debut Seattle Fringe
Festival. 1991.
BAO CHI, Designed/built set for Triad Ensemble. 1990. Designed poster for the show.
TRUE BEAUTIES, Designed/built set for Seattle Public Theater. 1990.
PAC-MAN IN THE HOLDING CELL, Installation, costumes,and performance w/ Nancy Du
at Alternative to Loud Boats. 1990.
1940, Full-room installation at the AFLN Gallery based on the fall of France. 1990.
VISIONS OF SIMONE MACHARD, Production and set design for TRIAD Ensemble. Staged
at On the Boards. 1990. Designed poster for the show.
Page Four
FISH SERVICE, Co-wrote and performed with Nancy Du, as part of Midnight Performance
series -- Two Bells Tavern. 1989.
HOUSE OF TEETH, twelve actor performance of 1950s Goon Show radio-play. Directed by
Connie Cox. Part of Midnight Performance series -- Two Bells Tavern. 1989.
MOBIUS GROUP RETROSPECTIVE, 20 major collaborative works by design group focused
on experimental set/environment/installation pieces. AFLN Gallery. 1989.
THESMOPHORIAZUSAE, Played Mnesilochus in classic Aristophanes farce. Two Bells
Taverns Spkn Wrd series. Cast of eight. Designed costumes and props for show.
HEART-THROB, Mobius Group, production designer & set design/build with group for
TRIAD Ensemble. 1989. Designed poster for the show.
DOPPELGANGER, Mobius Group, production designer & set design/build with group for
TRIAD Ensemble. 1989. Designed poster for the show.
JANEY & PETEY GET LAID, designed set, puppets and performed w/ Jayne Taini. Two
Bells Spkn Wrd series performance and COCA. 1989.
THE APOLLO OF BELLAC, Mobius Group, production designer & set design/build with
group for Seattle Public Theater. 1989. Designed poster for the show
GHOSTS, Mobius Group, production designer & set design/build with group for TRIAD
Ensemble. 1989. Designed poster for the show
THE BOOKWORM, Mobius Group, production designer & set design/build with group for
TRIAD Ensemble. 1988. Designed poster for the show.
TEXTILE LABYRINTH, Mobius Group, installation in painted & hand-dyed canvas, 2x4
stretchers, and baked wheat-flour masks (40x 65x 17 tall). Fremont Fair. 1988.
1989, Mobius Group, Designer & portable set-builder for Seattle Public Theater. 1988.
LOBSTERS, Designed and built television set for Red Sky Poetry Theater Live, public access
programs premiere broadcast. Westinghouse Cable. 1988.

EDUCATION & TRAINING:
University of Connecticut, Storrs, CT; BFA (painting), 1974.
Research in Greece & Egypt, 1987.
Video Training through S.C.A.N, Viacom, TCI, & Summit Studios, 1995 -2003., … Read More