Blog

Mark Twain once wrote, "The older I get, the more I remember. I'm so old now, I remember things that never happened." You don't have to know many old men to know this is true. Memories are only vaguely related to any event, and context is everything.

     Mapping out brain activity, scientists have seen that the context of a memory can actually change the place in your brain where that memory occurs. You may think you're having the same memory of an event, but actually, you cannot. Everytime you remember something, it is different from the time before. There are many reasons for this; your incentive for remembering, your mood, the reactions of others this time and last, a world of changes and refinements you have made unknowingly. Accident investigations reveal constantly, not only the variations in our perceptions, but also the frailty of our memories. As Truman pointed out, the only true history is the one we don't know.

     How can this be? When so much of what we are is the sum total of our memories, how can we maintain our sense of who we are when those memories are so fleeting and inaccurate? To me, the answer is clear; humans are also fleeting and inaccurate.

     How else to explain the object I have looked at a thousand times and only just now seen? How else to explain why I never fully understood the first classic I read until I had read fifty? We are not static, unchanging beings, and neither are our memories. Dailey showers of information and new associations shape every part of us, even down to a cellular level. Diseases can be considered the combined memory of a body to a certain kind of exposure.

      Memories pile up and they change. We bury them and they bob to the surface, different somehow because we are changed. As Mark Twain has pointed out, age is part of the equation, but as our memories and bodies point out, mileage, simple life experience, is the other. It would seem to be the most ironic, and yet most hopeful of  compensations, that as our bodies diminish, our memories would blossum.

     If art is a lie that helps us know the truth, then I have a theory to go with that lie. Its not a new theory, but I hope its the same kind of lie.

     Look at a photo of a face, any face, and you'll see one eye is not looking back at you.  We call this a person's dead eye.  We all have them. Yet, I would propose it isn't dead at all, but instead of looking out, it is actually looking in.

     You're squinting. Stay with me here. Cats are real obvious. Stroke one and watch it's pupils dilate with every stroke. We're the same way .Our pupils open up when we are looking at something we like, and constrict when we're not happy with what we see. Our eyes constrict when we lie or if we think we are being lied to. That's why we say,"Look me in the eye and say that." Our eyes tell everything.

     So about this dead eye. For every minute of your waking life, your attention is directed outside of yourself for only seconds, and then you are looking in to make sense of what you just saw, and then you look out again, and back in. If we didn't do this, we would be like cameras, only recording what was in front of us without trying to make sense of it. Some of us spend more time looking out than in. Others of us seem unable to look out much at all.

     So what do you see when you look in? A clue would seem to be that if we shut both eyes, we eventually end up dreaming. Then with one eye looking out and the other looking in, are we experiencing half of a dream? I would say yes. Your experience of the world is necessarily funneled through your inner content, your interests, your fears, your blood sugar level... You can never know what the world really looks like, separate from your own personally shaped perceptions.

     And this is the realm of art. Unlike normal people, artists, (yes I said it) are those of us driven to express this "inside world" that has been brought on by this "outside world. Art is the physical embodiment of our attempts to express our own personal "inside worlds." These expressions then become part of the "outside world" , and are quickly observed and absorbed onto other artists "inside worlds", to become...

      Inhale, exhale. The ebb and flow of creative minds. We could not separate ourselves from this process if we wanted to. Not only, as Emerson said, does the earth laugh flowers, it also laughs us, the artists who paint and photograph them.  

By day, Bev Paulson drew airplane parts for Boeing. She used pencil. Her work had an exacting quality, though the result was pretty much black and white. Well, more like gray and white.

In the evenings, Paulson took a watercolor class. The instructor turned her on to the power of color. Like a key unlocking a door, those classes evoked her childhood memories of the fields outside her home in Lockport, N.Y., and of summer vacations in the Canadian woods.

"I try to reflect in watercolors encounters with furry or feathered creatures, the love and exuberance of children, the wisdom and spirit of the aging, and majestic moods and textures of the outdoors," Paulson said.

That result today is Paulson's final products contain very little gray but lots and lots of color. The kind of vibrant color that caused art lovers to take notice.

By vote of the Stanwood-Camano Arts Guild membership, Paulson's watercolor "Ready to Unfurl" won this year's poster contest for Art by the Bay, Camano Island's arts festival. A member of the arts guild, Paulson has won many awards at shows such as the Stanwood-Camano Arts Guild Spring Art Show, the Stanwood Camano Fair and the Shoreline Arts Council Show. She has also participated in events such as Art by the Bay, the Stanwood-Camano Art Banner Project, the Roaming Artists Show and the Port Ludlow Art Walk.

Paulson actually started her drawing career with a pen, not a pencil. After moving west from New York, her employer arranged for her to illustrate a purchasing manual using a pen and ink drawing for the state of Oregon, and urged her to study commercial art at Oregon Technical Institute. She went on to work as a production illustrator at the Boeing plant in Renton, rendering pencil isometric drawings of clamps, pipes and wire bundles. The company offered an after-hours class, where painting instructor Chuck Webster introduced Paulson to watercolors.

Paulson, who married Bill Paulson in 1957, took time off from the work force to help raise the couple's two children. She returned to work and spent 11 years working for a picture framer and continued to paint. Bev and Bill moved from Kent to Camano Island in 2001.

Also honored at this year's Art by the Bay is Cassandra Olsen, who received the Stanwood-Camano Arts Guild scholarship. The guild awards a yearly scholarship to an outstanding art student attending Stanwood High School. Olsen has already received multiple awards and honors. Between 2005 and 2006, she earned seven different regional scholastic awards, and her paintings received ribbons in the 2005 and 2006 Art Bash. She also provided the winning T-shirt design for the 2006 Stanwood Camano Community Fair. During a high school class outing to lend a helping artistic hand to some fourth-grade students, Olsen discovered that she liked to teach.

"The kids got so excited when I showed them what they could do with a simple piece of charcoal," she said.

She plans on attending Everett Community College and Western Washington University to earn a teaching degree.

ARCHIVES - Meet the Board Members (2006)

Elaine Iodice - President
Mark Dodge - 1st Vice President & Webmaster
Victor Loverro - 2nd Vice President
Elizabeth Michailoff - Treasurer
Jeannie Burham - Secretary & Newsletter Editor
Hallie Price - Member-at-Large
John Muhler - Ex-Officio

Elaine Iodice - President - Elaine Iodice hails from Massachusetts and came of age in historic Concord. Elaine's grandparents emigrated from Italy. Her grandfather worked as an accomplished stone mason, truck farming was the business on the other side of the family.

As a young girl, Elaine studied and performed dance and ballet with her two sisters. She graduated in 1969 from the Boston Conservatory with a Bachelor of Fine Arts degree, studying theater and dance. Due partly to an undistinguished performing arts career and partly to the youth movement of the late 60’s, Elaine found herself drawn to the Northwest. In 1980, she graduated from the University of Victoria with a B.Sc. degree in Computer Science. Her natural mathematical abilities coincided with the rise of the high tech and software industries.

Elaine spent the next seventeen years in California helping to make the computer the ubiquitous presence it is today. She and her husband returned to the Northwest in 1998, where she became aware of the Seattle Art Glass movement. Following a visit to Venice and the Island of Murano, she decided to learn more about the craft of creating art glass. Classes at the Pratt Fine Arts Center exposed her to the various techniques of glass work. Taken with its inspirational natural beauty and slower pace, Elaine moved from Bellevue to Camano Island in 2000. The following year Elaine finished building her fused glass studio and started her business, Deception Glass.

Elaine shows her kiln-worked glass in several Puget Sound galleries. She currently serves as President of the Stanwood/Camano Arts Guild and is a past vice president of the Camano Arts Association. The Deception Glass studio is a popular stop on the annual Mother’s Day studio tour on Camano Island. www.DeceptionGlass.com  360-387-7869

Mark Dodge - 1st Vice-President and Webmaster - Mark was born in Erie, Pennsylvania, where he began studying music and art at 6 years of age through his mother, a grade-school art teacher and musician. Mark holds an eclectic Bachelor's degree from Antioch University Seattle, comprising three years of Fine Arts at Edinboro State University in Pennsylvania, and 2+ years of academic and business courses in the Northwest. Mark moved to Washington State in 1975, where he began a 10-year professional music career.

Today, he records and produces CDs on his own label, Big Quack Records. His photographic interests started in the early 70s, and in 1980, he began working as a graphic designer, creating advertising, promotional materials, and studio photography. Mark created ad campaigns and web sites for many commercial and non-profit organizations, served as a director on the board of the Alpaca Association of Western Washington, the Stanwood-Camano Music Festival, and the Stanwood-Camano Arts Guild, for which he is also webmaster. His fine art photography has won over two dozen awards since he began entering shows in 2003, including six blue ribbons, a best in show and two purchase awards.

Mark and his wife Vicki operate Quacky Studios out of their home on Camano Island. Mark's photography and CDs are available locally at Gallery in the Loft, located in the Camano Commons, and he performs periodically with his own band, as well as several other groups. See www.quackystudios.com and www.bigquack.com for more information. 360-387-8295

Victor Loverro - 2nd Vice-President - A photographer, Victor works with antique and large-format cameras. In 2003, his photographs were part of an exhibit at Stanwood House Gallery titled "Architectural Elements". Using large-format cameras, he produced photographs of grain silos, smokestacks, and other architectural buildings in Conway, Stanwood and other local sites. Currently, Victor's fine art photography can be seen locally at Gallery in the Loft,at Camano Commons. 360-387-2071

Elizabeth Michailoff - Treasurer - "For me, the mingling of water and pigment on paper is magic. Often, these elements interact with my thoughts and feelings and I find their impact on the finished paper fascinating. Art is much more than just the visual, so when someone looks at one of my paintings, I want them to feel the message the art is projecting. I want them to taste the salt in the ocean air as the sailboat glides through the water, to smell the hay near the barn and to feel the warmth of the sun as it hits the side of a mailbox along a rural road."

"Although I picked up a brush and started painting relatively later in life, I truly believe it when artists say they have been painting their entire life. Everything I have done and learned along the way has prepared me for painting. My undergraduate degree included emphasis in machine and design drafting. The more I learn, I realize how this early training has enabled me to imagine the inside structure of what I am painting. I also used to doodle for hours through staff meetings—little did I know what a great drawing exercise that was until now."

Active in the Camano Arts Association, the Camano Roaming Artists and the Stanwood Camano Arts Guild as well as the Northwest Watercolor Society. Elizabeth participates in at least four shows a year, including Art by the Bay. 360-387-6419

Jeannie Burham - Secretary & Newsletter Editor - "A native of Montana, my fondest memories are from the early adventures I had growing up at the Nine Mile Remount Station just outside Missoula. My Dad, Phil Yovetich, worked as a Forest Ranger for the U.S. Forest Service. Dad, along with the wooded, nearly wilderness setting of the ranger station, provided the first inspiration for the love of nature, the flora and fauna, reflected in my art. Always an artist—I studied Art and Art History in the groovy ‘70s at the University of Montana. Later, I earned a degree in Graphic Design & Illustration from Seattle Central Community College, class of 2000. My Art and my Family have always been the center of my life. My fabulous, creative Boyz—Ty, Micah and Nick—live in Seattle. My husband, Kevin, and I enjoy the sunset view from our Happy Bungalow on Camano Island. Our roommates are the big dogs, JoJo and Seven, and also Sweet Potato (aka Spud) the tortoise. Chance the Appaloosa is just down the road, waiting for the opportunity to go for a ride on the trails.

I paint large and small: wall murals, floorcloth to faux postage stamps. Recent local shows include Pets on Parade (Snohomish Arts Council), UnClad 2005 & 2006, DogFest, the Spring Art Show, and Art by the Bay. Locally, my art can be seen at the Gallery in the Loft located at Camano Commons. I never met an artists material I didn't like, but I work mostly in acrylics with colored pencil and oils and collage always inticing me. And now I've met encaustic... 360-387-2757

Hallie Price - Member-at-Large - Hallie is past treasurer (a position that lasted five years) of the Stanwood Camano Arts Guild, CAA and Camno Roaming Artists. Her art experience began when she was an Interior Designer. Around 1998 or 1999, she was introduced to watercolors through a workshop with Diane Hill. Since then, Hallie has taken several art workshops, gaining much enjoyment and enthusiasm with each new process or technique learned.

To pass on her passion for learning and to encourage other adults to delve into their own creativity, Hallie has generously funded an annual scholarship which is available through the Stanwood Camano Area Foundation. The Hallie M. Price Visual Arts Fund was established to expose artists to a variety of techniques and forms of expression and encourage joy in the creative process. The scholarship provides an annual award of up to $500 for tuition and fees. For more information, The Stanwood Camano Area Foundation, 360-629-6878, www.s-caf.org. Hallie can be reached at 360-387-9292.

John Muhler - Ex-Officio - John is past President of the Guild (a position that lasted over 5 years), member of Camano Arts Association and South End String Band. John has been a professional artist and art instructor for over 25 years, creating vibrant and striking images using a variety of techniques.

"Painting is a creative exploration of colors, ideas, techniques and response. The give and take can be playful to downright ludicrous, as challenging as a 10,000 paint-stroke puzzle, and whose end can be as slippery as sea lettuce." "Life Encounters on Canvas" is John's 10 year project - a series of portraits and stories of immigrant students. The remarkable images have been exhibited in community centers, libraries, and colleges. Locally, John's paintings may be seen at Gallery in the Loft, at Camano Commons. John's studio is also a favorite on the CAA Studio Tour in May. 360-387-2251 begin_of_the_skype_highlighting            360-387-2251  

ARCHIVES - President’s Message - November 2005
The Language of Art Or, How to Develop an Expressive Relationship
(A tongue-in-cheek treatise from John Muhler's Art Guild Ramblings)

It's the most insane puzzle of your life. It's the chance to make a unique statement. It's a vision of your foolish life. You can call it a love affair or a just a chance encounter... we prefer to call it our latest greatest painting - the culmination of thirty years of exasperation and exhilaration. It's all about me, playing hide and seek with light and shadows; capturing the fleeting moment of inspiration, where focused observation meets artistic license. It's a process where furrowed eyebrows and derisive expressions often follow outbursts of laughter and the whole process can make me pull out my hair trying to get at the root of the problem. And what is the problem? Of course it's my challenging relationship with two-dimensional imagery. This relationship has to be courted and there are certain necessary and expected rules. First, a proper introduction will help clarify who is charge. This is followed by a sudden and frustrating alpha reversal... usually due to the fact that the image is the one in control and one can only hope to persuade her (actually I'm not sure of the gender but because I'm a guy I think it's best that the image is of the female gender)... to persuade her to come out in a timely manner.

Alas this just isn't the case... she always needs more time, and no pressure please; a little more touch up here and something over there. Perhaps a change of outfit... should I go with the blue or the red? One must always be patient because to her there are no deadlines. And any argument is fruitless. I know, I know, you are ready, you've been ready, but if you push too hard disaster awaits. In fact you might as well put away your brushes and go outside (or inside if you've been doing that plein air thing). If things really get out of control it's probably time for intervention. There are professionals out there that can help but for me counseling is often addressed at the wood block with an axe or at the beach wrestling with driftwood. And that usually leads to a bottle of ibuprofen or merlot.

With some music you may be able to woo her to dance again - just make sure your footwork is as clever as your handiwork. At some point the dance comes to an end and the trick is to figure out the best time to leave the studio and find some other foolish enterprise to engage in. Despite my best intentions she keeps calling and I realize that I am not done and glaring splotches of color or worn out clichés stare at me until I am forced to give in and start with a fresh palette. Euphoric bliss is seldom reached but there is a moment or two when everything seems to fit together and the magical illusion of space coupled with a unique interpretation allows me to scribble a signature and claim our relationship to be consummated. Hopefully in nine months or so someone will want to adopt her- for a price, mind you!

Now art is a special form of communication and is probably a lot more succinct than all this word-processed jargon. We want to buy art because it speaks to us- sings to us or even consoles us. And if you find the right piece it will continue to talk to you for a long, long time. So you buy it. Good for you. Good for the artist. This is not just an ordinary purchase... it can be an important addition to the house, yard or body that should reflect your appreciation and acknowledge the unique form of communication that it shares. I call this honoring the expressions of the artist... or simply honoring the artist. Let's face it, this is a distinctive creation- treat her as such.

The language of art is not always clear and is often designed to make you feel a little uncomfortable until you get it. But once you get it and you find the place to honor it there is an incredible sense of connection, a relationship has formed between the artist and the collector with the artwork acting as the bonding glue.

And now my bottom line: If you're the collector- well it takes a fool to know one... I mean, we genuinely thank you for getting "it"- we are honored by your embrace... just don't let her get jealous. If you're the artist - dance with your oeuvre, sashay with your tools of choice, open your studio door and let the light shine on, let the shadows play across the earth, and watch your endeavors (along with Mother Nature's) show off a new dress everyday, amen.
   -John D. Muhler

ARCHIVES - President’s Message - September 2005
Entitled Space
By John Muhler

There is always a period of adjustment after you return from a vacation. And flying from coast to coast literally puts you in an alternative time/space zone. You’ve been breathing different air, smelling different things, and of course there is only an outhouse in which to contemplate these things.

Every summer Wende and I head Downeast to the family camp and visit her brother’s family in his neck of the woods- (neck of the woods ­ where does that come from?). This year we were able to avoid the skeeters, black flies and no see-ums by going later and that made all the difference in the world. Not too early in the morning I took my bath in the cool lake water to the tunes of the loons, dried off on a conveniently placed trampoline -in the water- to keep the nasty red fire ants off, and then dramatically increased my heart rate by doing 200 jumping jacks- in doses of fifty or less. The days were spent foolishly playing rummy, visiting relatives and absorbing the sights and sounds of the east. Evenings we read our mystery novels and listened to the bats in the attic- (I could pass on that experience… I kept ducking when they flew even though they weren’t in the room … they were nesting(?) about two feet and a ceiling away.

This was a much-needed vacation after a very busy July… The July that literally changed the way I create art…. It began with a plan to judiciously use the old picture windows from the house and convert the carport into a much needed studio space. I built it in six by eight foot sections in between the posts. Added some French doors and voila- a creative space the likes of which I haven’t seen in nearly twenty years. The size is modest… 13 x 18 but that merely reflects my own self image…. Now, now don’t laugh, in reality I ­ actually at this time I’d rather not get into this discussion… it hurts my head (I guess I really do need a shrink- get it … big head … shrink… o..kay).

Anyway- after a smooth journey home I was greeted by my new studio- and without picking up a hammer or a nail I found I was ready to get to work (or play as I see it). With the music cranked and the tubes squeezed, my brushes went flying and my heart was singing. It will be a full September- with gallery talks, up-coming shows, several portrait commissions and setting up the display of my Life Encounters on Canvas immigrant portrait project at the Snohomish Public Library.

Well, enough of me… and my stuff… I’m sure you have better things to do in your entitled space.

- Johnny D.

ARCHIVES - President’s Message - June 2005
Studio Spaces and Other Stuff
By John Muhler

As part of my stay at home therapy I have been awarded the task of replacing some or rather most, perhaps even all of our windows. Our house suffers from the consequence of inexpensive electricity when it was built forty years ago. And with approximately six hundred square feet of uniquely sized and shaped windows the task is a bit intimidating. But, with a little help from my friends, by the end of the week I’ll have about half of the job done.

Now the bonus to all this labor and expense is a wealth of 1/4” plate glass perfect for my wanna be studio.... and of course along with the materials comes the challenge of designing the space to accept the various sized and shaped windows. As the dream advances so does the size and height of the imagined studio. My mind wanders to studios past and present- of close friends’ and perceived master’s. The funny thing is I have always managed to define my art space judiciously with regards to living with other people and the confines of the house. Some of my requirements are dancing space—I need to have space to move—to be able to express physically as well as on canvas. It’s a chance to limber up stiff joints, get a little cardiovascular thing going and find a fast way to the kitchen!! One of the other advantages of this movement is to see the piece from different angles and distances. Really. This is a must and is highly recommended to artists of all ages (you may want to see your doctor before any prolonged periods of dance therapy). My studio space tends to be the center of the house, with all the issues that comes with that choice. You can spend a minute or two pondering that aspect I’m sure! In truth I kind of spread the stuff around. Our spaces are defined by creative work areas, storage space, framing sections, and business areas. For some artisans this can all happen in one large room. Others find ways of dispersing the activities in many rooms—that would be me.

So as I imagine my new studio space adding to and replacing my current arenas, I am hoping that it can evolve into a place that will serve all its perceived functions. And of course, filled with all these odd windows, I can only hope that I won’t have to replace them for the same reasons I’m replacing them now. After all, moving six by seven foot 1/4” plate glass once seems to be plenty—twice is foolish—and that would be me too! Why didn’t I just stick to building that driftwood wall... Don did you get it... stick to the driftwood....

Oh well, see you soon at Art by the Bay and other places too.

- Johnny D.

ARCHIVES - President’s Message - May 2005
The Painting’s Message II:Honoring the Expressions of the Artist
By John Muhler

Of course it all begins with communication… heck, just about anything you can think of is about the transfer of some charged chemical or electrical energy that will end up as thoughts, words, touch and, well, all the other things that are out there. That’s as far as I plan to go scientifically speaking; a language better left for my daughter, Sara - the research chemist. I’m much better at the esoteric approach, which really comes down to a minor rave or simply carrying on. Sara would call this stream of consciousness—it’s probably something slightly less than that. (This is where I sigh, shake my head and try to paddle on.) Problem is my paddle’s full of holes.

Now, art is a special form of communication and is probably a lot more succinct than all this word-processed jargon. We want to buy art because it speaks to us, sings to us, or even consoles us. And if you find the right piece it will continue to talk to you for a long long time. So you buy it. Good for you. Good for the artist. This is not just an ordinary purchase; it can be an important addition to the house, yard or body that should reflect your appreciation and acknowledge the unique form of communication that it shares. I call this honoring the expressions of the artist … or simply honoring the artist. Let’s face it, this is a distinctive creation; treat it as such. Whenever I make a purchase I try to have a plan as to where it could go, it’s particular soapbox. Over time the piece may need to be moved as the message is newly interpreted. Respecting the piece is still the priority.

As an artist that takes on commissions, usually portraits, I’m often invited into the home to see where the piece will hang - its setting - before I paint it. I know other artists are involved in this defining process and it can be a delicate issue. Once I was commissioned for a large pastoral scene. The problem was, the couple kept changing the format; first a horizontal rectangle, then a vertical rectangle and they even threw in a square. And of course the request to change always occurred right after I ordered the custom size stretched canvas. Fortunately the framer understood fickle people and decided to wait after he cut the canvas once! I was rather embarrassed to keep calling him. Another time I had to repaint the face several times as the client decided on new images. It’s important to show the work as it progresses so the ideas can be better visualized. Patience is always a huge lesson to be learned and allowing a little time for the ideas to mature can be a good thing.

I especially like it when the collector takes her time and gets to know your work and understand a bit of what you’re trying to say before they purchase. The language of art is not always clear and is often designed to make you feel a little uncomfortable until you get it. But once you get it and you find the place to honor it there is an incredible sense of connection, a relationship has formed between the artist and the collector with the artwork acting as the bonding glue. Now this is where I’d like to finish with a clever remark but for once I’m really stuck…
     - John D. Muhler

ARCHIVES - MAILBOX ART PROJECT
By Jack Archibald

KIDS!! It’s that time of year to start sprucing up the joint. You know, put another tire on the mobile home’s roof and nail down some scrap metal over the rotted hole in the porch, all those projects simmering on the back burner. We know you’re all busy, what with the banner program starting up and the mother’s day studio shindig, the Camano Center Pole Building facelift, the bank art preview, the public art stuff, the new gallery opening, the Tazer concert series with the featured artists, but what’s one more chore to put on your list as long as you’re putting the others off?

I’m talkin, of course, about jazzing up that butt ugly mailbox you got stuck out by the road for everybody and their uncle to see. Wouldn’t it be something nice if we all started, in an ad hoc sort of way, (no, don’t run to the pawn shop yet) putting out interesting and strange and beautiful and conversational mailboxes? Sculptural or painted or plastered or funny or pretty. What’s more in-your-face art than miles and miles of adulterated postal receptacles??

Now, the South End Arts Association and Tourism Bureau was going to sponsor this thing. Set up a gazillion meetings and fundraise and apply for grants and sponsorships, put out four color brochures and press packets, the whole nine backyards. But we finally decided the best way to handle this kind of grassroots art bizness - and avoid the Homeland Security Mailbox Tampering Division --was to just go ahead and do it, one mailbox at a time. Actually, we put out two, but unless you really need extra phonebooks, one’s plenty.

The neighbors, a lot of them, painted theirs and one put a tractor on a pole and called it art. Debbi Rhodes has a great welded post-industrial one in the Country Club. It’s a start. So jump in. The water’s wet. And with any luck, maybe this thing will grow gills and evolve on its own three legs. Imagine a street that’s sprouting art. Imagine a cul-de-sac, an avenue, a two lane blacktop, the whole State Highway. Doesn’t hurt to try. Keep Camano Beautiful. Do something with that ugly box. And you might twist the neighbors’ arm too. Or pass the message to another person. Not affiliated with the Tampering Division. Thanks for letting us spam you.
     - (Jack Archibald) South End Alliance for Postal Purification