FRESH BREAD No. 1

CONTENTS

Forewordby Chris Cran 4

Rabbit Boutiqueby Ethel H. Madoc 7

Appearancesby Viviane Mehr 11

A Conversation in Reference toHugly Mangry KilldrenSarah VS & Sarah Malik 16

Studio Furniture: The Functional Artsby Renato Vitic 22

Acknowledgements 26

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FOREWORD

by Chris Cran

The Coste House, Parachute, Clouds and Water, Artons, Second Story, Stride, Exploitation, EM, One White Wall, Carpet ‘n Toast, Sugar Estate, 809, Arbour Lake Sghool, Sugar Shack, Ideal, Pith, Contemporary Art Museum, Straw and more. Artist initiatives all. Some morphed, some disappeared. One lasted one night. One lasted 809 days. One changed its name three times and is still with us after thirty-five plus years. I can remember a certain trend amongst emerging artists in Calgary in the 70’s and 80’s. Graduate from art school and then get the hell out of town. Move to Toronto and once there, entertain aspirations to take on New York. Well, as it turned out, not everybody left. Lots of artists stayed. They liked their friends, they liked the scene, they liked the city. They discovered places to work and they came up with venues to show their work. If you are going to live in a city you might as well make it a fun place to live. And so this great enlivening scenario is being enacted once again in our town. The Bakery, a new young artist collective, IS COOKING! You hold in your hands one of its first public offerings. Fresh Bread will be published every six months logging The Bakery’s activities and those of its members. It promises to include articles, reviews and updates.

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The Bakery has its home in the old Alberta Boot factory on 10th Ave SW. Its founders acknowledge the generosity of Cat’s Eye Vintage for making space available to them in such a unique downtown venue. The whole place has the feel of a street market with intriguing stacks of stuff piled to the left and right from the front door all the way down the hall to the studios. The Bakery is a collective, made up of individual artists, some who have small and varied busi-nesses that extend beyond this downtown haven. There are visual artists, writers, furniture makers, fashion and home décor specialists and an independent publisher.

There is also the founder of a new gallery. In late Novem-ber 2010, on a frigid Saturday night I drove through haz-ardous snow clogged streets to an address in the residential northwest. I tried to park but my car came to rest on a deep layer of ploughed snow and wouldn’t budge backward or forward, blocking traffic in both directions. As if on cue two young men in suits came running out and quickly pushed me back out on the street. I parked and returned to the house. Individual letters attached to long spikes, driven into the snowy lawn announced that I was at Haight Gal-lery. My wife and I walked around to the back of the house where a group of stalwarts warmed themselves around a blazing fire-pit. Just beyond, a partly opened garage door beckoned. Here was an immaculate gallery space filled with enthusiasts attending to a great exhibition of paint-ings, drawings and sculpture. In someone’s backyard! I returned there several days later to find that there had been over two hundred and fifty visitors that weekend.

It was either Nietzsche or my mom who said, “Do it! No-body’s going to do it for you.” Mom is in heaven, Nietzsche is dead and I am in Calgary, but the three of us agree. The Bakery is DOING IT!

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RABBIT BOUTIQUE

by Ethel H. Madoc

Rabbit Boutique, a small, artist-run online venture, started by Cassandra Paul and Su Ying Strang in the summer of 2010, has been picking up speed alongside Calgary’s exploding civic pride. Only a few short years ago, the com-mon view among young folk here was “when can I leave this godforsaken shithole?” Viewed nationally as a cultural backwater, a conservative stronghold, and the debauched home of the Stampede, Calgary was a place to endure, not a place to live and thrive. The city has been changing, as more young people come to the city, intent on seizing the cowboy work ethic and applying it to arts, culture, non-profits, and politics. The sentiment has shifted to a desire to build Calgary into a lively, cultural hotspot – into a world-class destination.

“It’s like Calgary is in the beginning stages of a revolution almost,” Su Ying says. “I think we’re getting there, that

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Rabbit can help establish a place solely for Alberta-based craft artists.” Cassandra continues the thought, “we’re making a place that is the go-to for Calgary designers that are not already established, we’re about showcasing the best of emerging artists. That’s our role, promoting and marketing the best of Calgary craft artists,” she explains.

“Most of the artists we work with, it’s not their ‘full-time job’ – it’s their craft. They have full-time jobs, some have families,” says Cassandra. “One of our artists has two kids and a full-time job, then she hits the studio at night. She’s doing the work, but we’re doing the extra stuff – marketing and selling it so she can do other important things in her life.”

The first unconscious impressions of Rabbit came out of a trip to San Francisco, where Cassandra and Su Ying visited boutiques doing things differently – people passionately engaged in local arts, selling the unique work of San Fran craft-based artists. Two boutiques stood out: Upper Play-ground, which has become the destination for local, craft-based art in San Francisco, and To Die For, a taxidermy-to-jewelry shop. More endearing was the passion of local artists and the sense of community, welcoming new cre-ations, new artists, new ideas.

The San Fran trip planted the idea that things could be different in Calgary; that artists could create spaces spe-cifically for local craft-based designers, contribute to a stronger arts community, and engage Calgarians who may not otherwise go to art openings or be involved in the arts. For Cassandra and Su Ying, the idea of community was something that needed to be sustained and broadened to challenge the dated practice of getting the fuck outta Dodge after finishing school.

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“I came here to go to art school and I can’t leave now. I don’t want to leave and I can’t leave because I’ve built such a strong community,” Su Ying says. “It’s not something that you could just move to a new city and pick up. It’s all about relationships and knowing your city and knowing the people of your city, the community. Really growing with it, growing for it.”

The work that has been produced to date has included moose-tooth necklaces, handbags, leather wallets, pottery, scarves, among others – all handmade by local artists. It’s the experience of seeing unique work, of feeling the tex-ture of repurposed material, of finding something that was labored over with love, for Cassandra and Su Ying, and bringing that passion to communities across Calgary. “I feel so excited when I see something that’s unique, one of a kind, so obviously not mass produced. It’s local, it’s indi-vidual,” says Su Ying. “I feel that today, we overlook how a handmade cup feels in your palm, or what it means to wear handmade jewelry.”

The beauty of handmade jewelry, of a killer handbag, of a mouse’s foot in a locket – is that we make meaning for ourselves. We’re not being told, not being shown by Holly-wood icons what ‘normal’ looks like, what something must mean, or be. Like Calgary itself, as it is defined and rede-fined as the city grows, we create meaning ourselves as we interpret the craft of our local artists.

Visit Cassandra and Su Ying at Rabbit Boutique’s temporary lo-cation in Art Central, every Friday and Saturday from Noon - 4 , until April 30, 2011. Lower Level, 100 7 Avenue Southwest, Calgary, AB, or online at http://www.rabbit-boutique.com

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APPEARANCES

by Viviane Mehr

Anyone who has met the artist Nate McLeod would have to agree that he is a quiet, steady and genuine soul. It is in-teresting in light of this that he would seem to be venturing into the realm of artifice. His recent exhibition, “Elementa-ry Crystallography” was at Marion Nicoll Gallery from Oc-tober 10th until October 23rd, 2010. Whether a conscious choice or an instinctual wandering, the show engaged in a double entendre, an exploration of the duplicitous meaning of surface.

McLeod’s work has often considered the relationship between painting and sculpture. A painter at his roots, he recognizes the long held tradition within painting to create the façade of three dimensional depths on a flat surface. His recent practice has endeavoured to enact the reversal of this, making three dimensional pieces appear flat. In this show he utilized opposing walls to deal with the façade

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of both flatness and depth.

On the third, centre wall he installed a stunning sculptural piece with a painted wall behind it. The shadows and re-flection from the sculpture created two dimensional images on the wall and gallery floor. The epitome of hybrid, this central piece was painting and sculpture, with both depth and flatness as real and illusional elements.

Hybridity is a strong part of this work and in addition to its role in a consideration of dimensionality; McLeod has also utilized a form here that can be deemed both natural and artificial, his simulated crystals. Crystals, like coral, were of particular interest to the Surrealist theorist Andre Breton. His fascination with hybridity extended to a consideration of objects like these “…that have a peculiar ambiguity…that blur the boundary between plant and mineral, animate and inanimate.”¹

McLeod plays on this ambiguity. His crystals have some-thing to do with nature; they appear as natural mor-phological forms. In reality however, they are more of a reflection on the plastic realm, on artifice and simulation. When working on a previous collaborative installation with Cassandra Paul, titled “Technicolor Dreambox”, the two created multiple pieces of shaped and painted wood - a number of these pieces resembled crystal forms.

McLeod was drawn to this form and chose to make it a part of his next work. He created a mold from this piece of wood and in turn used resin to create his crystals. What appears to be from the realm of nature is in truth an entirely man made fabrication. Similarly, the titling of the show was stumbled upon. While reading “A Clockwork Orange”, the artist was struck by a relatively insignificant scene where a gentleman was randomly attacked when coming out of

Elementary CrystallographyMixed media

2010

Elementary Crystallography No. 1 & No. 2Acrylic on panel

2010

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a library. The pile of books he was carrying was scattered on the sidewalk and among them was one titled, “Elemen-tary Crystallography”. There is superficiality in McLeod’s choice of content and title for this installation but there is no deception here, the artist’s work is quite simply more concerned with the idea of appearances; his hybrids blur boundaries forcing a more considered visual perception by his viewer. This installation leaves this viewer to ponder surface and its meanings.

1. Roberts, Donna. “Surrealism and Hybrid (Psycho-) Morpholo-gies.” Henry Moore Institute, Online Papers and Proceedings. Henri Moore Institute. 28 Sept. 2009 <http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=5777>.

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A CONVERSATION IN REFERENCE TO HUGLY MANGRY KILLDREN

This conversation took place between Sarah Van Sloten and Sarah Malik in reference to Hugly Mangry Killdren, an exhi-bition at TRUCK Contemporary Art in Calgary from Octo-ber 29, 2010 to November 25, 2010. The exhibit featured the work of Blair Brennan, Andrea Williamson, and Sarah VS.

Sarah Malik: Hi Sarah.

Sarah VS: Hi Sarah.

SM: Why don’t we just get right into it. The work in the show I understood as quite abstract, and I remember reading a quote about how abstraction could be consid-ered one of the most difficult approaches in art to achieve successfully—I really interpret that concept as a form of non-self-judgement, like creating without judging what it is that you are making, allowing yourself to just do what you do. Do you consider that stream-of-consciousness element integral to your process?

Hugly Mangry KilldrenInstallation view

2010

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VS: Yes, what I love is the honesty of abstraction, the fact that you create it and maybe it’s great, maybe it’s not; that definitely happens a lot for me, even with text, English or not, which may not be considered as abstract. In my process I’m very much wanting to create all the time. At the show I only had a limited amount of time to paint and manipulate the walls, so you really have no choice but to be honest.

SM: So you would say honesty is your underlying policy in art-making?

VS: Yeah, I’m just going to create anyways, so whatever comes out. It doesn’t really get more honest than that.

SM: It’s not necessarily goal-oriented, like “this is specifi-cally what I want to create and this is what its going to look like and this is how I’m going to do it.”

VS: Yes, exactly.

SM: What do you do instead?

VS: I find it’s a lot about esthetics with abstraction, I just fall into working working working until it looks good, but it’s hard to say when its finished and how much time has passed… you just sort of know or have a feeling.

SM: Yes… in relation to abstraction, there is no clear be-ginning, climax or ending. I noticed that also in the physi-cal layout of the show, it had a sort of infinity to it, unlike the typical structure of a story, yet you are telling a million stories with all these bits of information.

VS: I imagine it sort of as an epic, where it does have its highs and lows throughout the story, but it is kind of gen-

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eralized and can apply to anyone, like you could put in your own elements. For example, I might like to illustrate a spe-cific story from my childhood, and since everyone has had a childhood, everyone can find a way to relate whether it’s through having that feeling or doing those things yourself. It’s still specific, but taken out of context you can add your own points of reference.

SM: I have a lot of personal beliefs about the wisdom of the subconscious mind, and that became a huge part of the show for me—observing three different artists from three different backgrounds whose work seemed to seamlessly connect together, like a formation of order from a vast pool of chaotic thoughts.

VS: The interesting thing is that the three of us had no idea about each other, and it was actually the board at Truck who decided we would exhibit together. It was proposed as a sort of mentorship between Blair, who is an established artist, and Andrea and I, who are both emerging artists.

SM: To the unknowing eye, someone could walk into the gallery and assume that its all work made by one person.

VS: Yeah, it was amazing when we actually all met and discovered all these overlaps in how we work—we went to Chinatown and looked at each other’s sketchbooks, and realized that Blair and I both collect shopping lists, Andrea and I actually live on the same block, and Andrea and Blair both love drawing celebrity portraits.

SM: Like patterns appear to emerge where you least expect them… I’m curious then to know where you draw influence from, art or otherwise?

VS: I think of myself as a fairly colour-oriented person,

Sarah VSTold Me Fuck Off

Mixed media2010

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and I’ll take mental photos from my surroundings, like observing the contrast of this blue recycling bin next to this yellow milk crate… I also sketch and take notes from other people’s conversations, and things like that.

SM: Everything in fragments, much like the show… so perhaps what you mean is that art refers to everything and everything refers to art?

VS: Yes, indeed.

SM: Alright, one more thing—where did the title Hugly Mangry Killdren come from?

VS: It was something that Blair came up with, but we all instantly bonded over it, especially for me because I really thrive off of misspelling, misspeaking, and misunderstand-ings. I think they’re hilarious.

SM: You know when you tune into a radio and you get static? The show kind of reminded me of that, how static is full of information, obliterating any sort of coherent com-prehension, its such a complex sound… and relating what you three were doing visually, composed of so many things that it became one giant entity of a quite vivid subcon-scious landscape.

VS: Thank you!

SM: No, thank you.

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STUDIO FURNITURE: THE FUNCTIONAL ARTS

by Renato Vitic

In the preface to the collection of essays on the contempo-rary “studio furniture” movement, coeditor John Kelsey defines the term as referring to works “made one piece at a time or in small production runs, by individuals and small teams of artisans, for functional reasons as well as artistic ones.”¹ Vague enough in its syntax this definition serves well enough to define a newly emerging tradition of art making that straddles the line between fine art and fine furniture. Traditionally at odds with one another — an object strongly identified as art had traditionally little value as fine furniture, and vice versa — the unstable marriage of these two disciplines challenges dividing boundaries along multiple lines of design, function, beauty, means of production, and interactivity.² The question of reinforcing traditional boundaries or qualities is less interesting than the question of those qualities “in the service of what?” Un-

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der this scrutiny, meaning and the nature of performative relationships are more interesting inquiries; it is exactly on this territory that the wall between art and life is unde-cided.

The tensions that emerge in today’s studio furniture move-ment are not unique, there is a litany of artists and move-ments that have historically explored and exploited the tensions within this subject – Picasso, The Dadaists, de Stijj, and Jasper Johns are just a few, and this text is far too short for a comprehensive listing. Despite this his-tory, mass production and economic interests enforce the boundaries between artistic and craft disciplines. In an environment of art making that holds to account every facet of human relations as part and parcel of the aesthetic experience, it is exactly this instability and tension that makes studio furniture so compelling.

Every artist that makes studio furniture must lay claim to part of this territory. Moreover, establishing a balance between what are seen as competing, “defining,” charac-teristics are essential to the reception of work as either commercial objects or interactive sculpture. Matthew Mark Bourree and Jeremy Terrance Pavka, two artists that make up MMJT Contemporary Furniture, have set out to stake their claim in the wilderness of the studio furniture terri-tory. Having recently graduated from ACAD, Bourree and Pavka’s pedigree emerges from the tradition of fine arts rather than the furniture/cabinet making trades. Their work has been described as “Frank Lloyd Wright meets Gene Roddenberry,” and MMJT offers up the technical skills to bring to life the aesthetic experiences within their concept based furniture pieces.

Working on a commission basis, functionality and concept occupy an equal position in the emerging works of MMJT.

The MMJT Dining RoomWalnut and zebra wood

2010

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A recent piece, The MMJT Dining Room, was a commis-sion designed based on the concept of a re-arrangeable painting. Each chair following a similar frame but crafted to be unique and interchangeable³. This walnut and ze-brawood set questions the notion of conformity and utility, one could almost consider this the “final” table and chair set with the endless permutations within a prescribed frame.

Another recent work, Cross, is a glass coffee table that houses a series of stick sculptures. Reminiscent of P Shun Leong’s 1999 work, Xanadu in a Coffee Table, the viewer looks into the interior to engage in an aesthetic experience on this interactive object⁴. Not simply a surface to rest the latest coffee table volume, the table invites the viewers’ visual contemplation and itself, speaks volumes.

1. Preface to the volume “Tradition in Contemporary Furniture,” Rick Mastelli & John Kelsey Eds. 2002. The Furniture Society, Free Union, VA. pp 5.2. “Art Furniture,” Kathran Siegel in “Tradition in Contemporary Furniture,” Rick Mastelli & John Kelsey Eds. 2002. The Furni-ture Society, Free Union, VA. pp. 843. http://www.mmjt.ca/diningroom/4. Furniture Galery in “Tradition in Contemporary Furniture,” Rick Mastelli & John Kelsey Eds. 2002. The Furniture Society, Free Union, VA. pp. 107

ACKNOWLEDGEMENTS

Chris Cran graduated in 1979 from the Alberta College of Art and Design in Calgary. The recipient of numerous Canada Coun-cil grants, Cran has exhibited internationally at the 49th Parallel Gallery, New York City (1992) and in the Fourth International Painting Biennial, Cuenca, Ecuador (1994). In addition to his professional activities as a painter and teacher (ACAD), Chris Cran has been actively involved with Calgary’s internationally recognized One Yellow Rabbit Performance Theatre. Chris Cran’s work may be found in numerous private and public collections including the National Gallery of Canada, the Glenbow Museum and The Mackenzie Art Gallery. Chris Cran is represented by TrépanierBaer Gallery in Calgary and Clint Roenisch Gallery in Toronto.

http://www.chriscran.com

Viviane Mehr completed a Bachelor of Arts degree at the University of Alberta in 1986 and went on to complete a Master’s degree in Social Work at the University of Toronto in 1991. She was well immersed into her Social Work career when in 2000 she became involved with Arts Umbrella, a Vancouver based art edu-cation centre for children. It was in her capacity as a volunteer with this organization that Viviane discovered her love of and tal-ent for the visual arts. In addition to raising her three sons with her husband Jay, Viviane has embraced this discovery. In the spring of 2010 she completed her Bachelor of Fine Arts degree with distinction at Alberta College of Art and Design (ACAD). She creates her art in Calgary as a member of the Art4Five Artist Collective.

http://www.vivianemehr.com

Renato Vitic is an artist and arts administrator currently based in Calgary. Vitic’s works have been exhibited in Edmonton, Cal-gary, and Halifax. Vitic has also been a member of the Ministry of Walking for the past three years. Past walking performances have included “Walking on Water,” presented as part of The New Flâneurs: Contemporary Urban Practice and the Picturesque

and Visualeyze Performance Art Festival. “Finding Your Inner Flâneur: An Artists Guide to Perambulating,” in conjunction with the Walking and Art Artist residency at the Banff Centre, and recently “Le Trebuchet,” presented on behalf of ArtCity as part of the Bow River Flow Festival, and independently as part of the Choose Yer Own Festival. Vitic will be presenting the performa-tive installation, “Interchange: The Deconstructionists Market,” at the Epcor Centre for the Performing Arts in October of 2011.

Ethel H. Madoc is a freelance writer, conceived in the Kensing-ton Pub over one too many beers and an uncontrollable bout of curiosity over the form and features of the opposite sex. She has had a varied work history, enforcing contracts for a repossession outfit, listening to the stories of our elders across Alberta, and most recently, reading, writing, and thinking about the challeng-es and successes of measuring collaboration.

Sarah Van Sloten recently received a BFA in Drawing from the Alberta College of Art & Design. Sarah is currently teaching a class at Studio C, as well as working part time at a coffee shop. She is involved in a project called Daily Double, where she and Tiffany Eng make and post wall drawings on a blog every day for one year. Sarah is also part of the permanent collection of the Contemporary Art Museum based in Calgary.

http://www.365dailydouble.blogspot.comhttp://www.printingmatters.blogspot.com

Sarah Malik is an emerging multidisciplinary artist and writer haunted by vivid dreams, strange synchronicities, supernatural encounters and the serendipitous, which collectively culminate to become the basis of her practice working primarily in installa-tion, video/animation, sculpture and performance. Her current work is invested in the connection of faith/fear and the parallel mysteries of religious and psychedelic experience, by a devout reinterpretation of stories and ideas of the past, and a scientific and metaphorical study of reflection and light. She most recently exhibited at a group show, Lost Symbols, in Brooklyn, New York, and at the Illingworth Kerr Gallery’s summer 2010 exhibit With Nothing You Starve, With a Little You Survive.

http://www.sarahsmalik.ca

Cassandra Paul received her Bachelor of Fine Arts, majoring in Painting, from the Alberta College of Art & Design in 2010. While pursuing a solo and collaborative painting practice, Cassandra has also co-founded Rabbit Boutique, an online fashion boutique showcasing local, handmade, wearable items. Cassandra current-ly sits on the board and acts as the Fundraising Coordinator for Untitled Art Society, and works part-time as a design consultant at Revolve Furnishings, a locally owned small business focusing on innovative furniture and contemporary interiors.

http://www.cassandrapaul.comhttp://www.rabbit-boutique.com

Su Ying Strang is a recent graduate of the Alberta College of Art & Design, with a major in Painting. Strang’s studio practice has recently turned to a stream-of-conciousness method of mark making, in an attempt to make visual maps of her thoughts. She includes fragments of collage in these paintings that carry memo-ries of her personal history - these fragments are placed through intuitive decision-making. Outside of her studio practice, Strang co-founded Rabbit Boutique, an online initiative that show-cases local emerging designers. Strang contributes to many of the artist-run centres in Calgary, most notably as the Volunteer Coordinator of The New Gallery.

http://www.rabbit-boutique.com

Nate McLeod is a Calgary-based artist and recent graduate of the Alberta College of Art & Design. As a co-founder of The Bak-ery, a studio collective dedicated to providing visual artists with low rent studio space in downtown Calgary, McLeod coordinates Fresh Bread, a semi-annual publication focused on arts and culture in Calgary and beyond. McLeod’s studio practice, most often manifested through paintings, sculptures, and installations, focuses on the relationship between exhibition space, artwork, and viewer. McLeod has recently exhibited in the TRUCK +15 Window Space in Calgary, and at XPACE Cultural Centre in To-ronto, with upcoming exhibitions at the Untitled Art Society,The New Gallery, and Haight Gallery.

http://www.natemcleod.comhttp://www.haightgallery.com/artist/nate

Jeremy Pavka is known for his attention to detail in every image he composes. This attention to detail is driven from two vehicles; first being that of a designer, and second that of a film-maker. Jeremy’s admiration for balance resonates through all his artistic fields bringing the entire gestalt of the image into consid-eration. Practicing both in more traditional fields like film and screen printing and modern areas such as digital work and con-temporary furniture design Jeremy keeps a consistent simplistic and minimal style throughout all his pieces enhancing the value of each. Jeremy Pavka is finishing a BFA from the Alberta College of Art + Design and plans to further his studies with a Masters in Industrial Design.

http://www.mmjt.cahttp://www.colourdesign.cahttp://www.jeremypavka.com

Matthew Mark has recently been working with fellow artists Nate McLeod and Cassandra Paul to create a shared studio set-ting for a number of artists - The Bakery. With McLeod, Mark has also curated and exhibited a series of contemporary art shows called Phase. Phase has taken a variety of forms - from curated gallery exhibits, to art work with stencils and paint on buildings in San Francisco or emptying out a suburban Calgary house to create a three floor gallery. Further exploring collabora-tion, Mark has worked with industrial designer/artist Jeremy Pavka to create a line of functional/fine art furniture which explores areas of painting, sculpture, design and traditional woodworking. Most recently, Mark opened Haight - a gallery in the garage of his current house dedicated to exhibiting the work of emerging artists. While continuing his own practice, Mark has recently shown his paintings and installations at The Straw Gallery, Weeds Café, Market Collective, and Gallery 5732, and has upcoming exhibitions in TRUCK’s +15 Window Space, and Untitled Art Society.

http://www.haightgallery.comhttp://www.mmjt.ca

Thanks to:

Cat’s Eye Vintage, Weeds Cafe, XPACE Cultural Centre, TRUCK Contemporary Art, Lorrie Matheson, Mackenzie Pavka, Rita McKeough, Richard Brown, Trevor Williams, Hayden Brown, Julian McAuley, Pat McAuley, Greg Peace, Heath McLeod, Julien Fournier, Sean Sader, Ken Buera, and all artists & contributors involved with Fresh Bread No. 1

Fresh Bread No. 1 was made possible through The Bakery Night One - a performance held at Weeds Cafe in November of 2010, featuring Dinosaur Arcade, Sleepy Panther, Tall Ships, and Lor-rie Matheson.

© 2011The Bakery, artists, & contributors

Publisher: The BakeryEditors: Nate McLeod & Matthew MarkDesign: Nate McLeod Print: Burntdog Marketing Communications