On my way back from my short hiatus, I ran into our next Iconic Convos interviewees, Hat n’ Boots at Oxbow Park in Georgetown. At 22-feet high (Boots) and 44-feet wide (Hat), these two are hard to ignore.

Nicole Bearden (NB): In honor of Seattle’s Faux Spring weather last week, I decided it was time to have a confab with one of my personal favorite Seattle Icons: A Sound Garden. Located on the NOAA campus near Magnuson Park, between Piers 15 and 17 on Lake Washington, A Sound Garden reverberates with hauntingly atmospheric intonations as the wind blows through artist Douglas Hollis’ twelve, 21-foot high, steel tower sculptures. Sound Garden, I appreciate your presence today.

A Sound Garden (SG): a chorus of metallic hums breezing through the air We are delighted to converse with you.

Nicole Bearden (NB): Hello, and welcome to another Iconic Convo with Seattle’s most recognizable icons. Today we are speaking with the Fremont Troll. We appreciate you spending time with us today, Fremont Troll. 

Fremont Troll (FT): Grunts, and nods slowly as dust drifts from his head to float through the air

NB: Now, you’ve been around since 1990. How have you noticed that the city has changed over the past 35 years?

A.K. Burns’ current show, What Is Perverse Is Liquid at Henry Art Gallery, curated by Senior Curator Nina Bozicnik, uses materiality, speculative fiction in the form of short, multi-channel film installations, and sound to envision a future spawned from our current trajectory. Burns’ work centers the queer capacity to thrive in the face of chaos and persecution, and draws a strong connection between our own human resilience and that of nature. 

NB: A few weeks ago, I had the pleasure of chatting with Pike Place Market. During our talk, Pike Place spoke briefly about their friend The Gum Wall. Now that we are clear of the market’s holiday hustle and bustle, Gum Wall has made time to connect with us and share some secrets. Welcome, Gum Wall, and thank you for speaking with us today.

This morning, I awoke to the news that one of my favorite authors walked beyond the veil on February 9. Tom Robbins, a prolific novelist, was born in North Carolina in 1932, then relocated to Washington State in the 1960s. He wrote with a bohemian playfulness and humor that often belied his philosophical style and was once most accurately dubbed “The Northwest’s Master of Zen-Punk” by Seattle Weekly writer Roger Downey in 2006.

Nicole Bearden (NB): Since we are deep into Seattle’s dark days (Winter), I thought it was about time to talk to our most famous, local, glacial icon: The Seattle Freeze. Thanks so much for joining us today, Freeze. What have you been up to?

Seattle Freeze (SF): Oh, just chilling. The usual.

NB: Snorts Oh! Ha. Very funny.

Nicole Bearden: Zdravstvuyte, today we are speaking with the Fremont Lenin statue. (I don’t speak Russian, but I learned the phrase for “hello”, just for today).

Lenin Statue: Hello. I do not speak Russian.

NB: Aren’t you a Lenin statue? I thought Lenin was Russian?

LS: Lenin was Russian. My nationality is more complicated. I was created by a Bulgarian, for Czechoslovakia, and have now been in the Capitalist States of America since the ‘90s. What is nationality anyway? What are borders, but arbitrary lines assigned to take power from the many and funnel it to the wealthy?

BS: The more people change, the more they remain the same. People, seasons, time—they all cycle, they all come back to incipience.

I bear witness to the spinning wheels of time, the turning clock of seasons, and the joys and sorrows of man—I bear it all and it is both a heavy burden, and a lightsome ecstasy. 

A trio of squirrels playing tag in my tree friends' branches. The cries of a woman brought to regret by a loathsome monster. And in between are the mediocre events, such as life and death which keep us turning—I see all.

NB: Thank you so much for agreeing to this interview, Mr. Kraken. I think a lot of people were confused when the Seattle Kraken’s mascot turned out to be…not a Kraken. Can you give us the inside scoop?

BK: Call me Brodie. Mr. Kraken is my dad and he's a huge bummer. I’m so stoked to get a chance to set the record straight, man. It’s been heavy since that little troll weirdo got picked over me.

Iconic Convos brings a lighthearted twist to celebrity interviews by conceiving imaginary chats with Seattle's most famous non-human icons.

Nicole Bearden: Before we begin, I would like to thank you, Pike Place, for finding time to speak with me today. I know how busy you are—you never get a day off!

Pike Place Market: Haha, that's right! But I am happy to have the chance to speak on my own behalf for once, and perhaps set the record straight on a few things.

The harmonious pairing of artist Mary Ann Peters and Alexis L. Silva has culminated in a truly outstanding show of Peters’ work at Frye Art Museum, the edge becomes the center. In this show, based on research on displacement and the Middle Eastern diaspora, Peters conducts archival research in several countries (Lebanon, Mexico, and France), then uses her artworks to contextualize her findings. I sat down recently with Peters and Silva to discuss the impetus for this body of Peters’ work and the professional synthesis between artist and curator.

In early November, On the Boards unveiled a briefly-run but awe-inspiring performance: Indian School by ritualist Timothy White Eagle (he/him) and co-created with Hatlo (they/them) White Eagle. White Eagle is quick to confirm that Indian School is a collaborative effort, and not a solo show.

Meghan Trainor’s work has always had spiritual connections. With a practice firmly rooted in her own ancestral Irish Catholic imagery and iconography in her early art-making days, Trainor found new inspiration via Mexican folk art when she was exposed to the work of Frida Kahlo and later from a nearby shop when she worked at Pike Place Market in the 1990s. Importantly, a 1980s show at Seattle Art Museum about African spiritual objects left a significant impression.

Brandon Vosika (BV): I used to live and work in a notoriously haunted building, and I guess it felt worth mentioning in my bio because I feel a deep nostalgic connection to old ghost stories and haunted houses from my youth. Now I have a new studio and only live in the haunted building! I used to put ghosts in my work a lot but I don’t so much anymore. They’ve become very popular which makes me want to stay away. In general, I’m not influenced by the PNW in my work aesthetically. Okay, I probably am subconsciously because I’ve lived here my whole life and love the rain and dark, but the typical PNW-themed art I find totally uninteresting.

A grid is a series of intersections: real or imagined lines that demarcate and converge to create a pattern. Grids are used in our systems of computing, to balance the distribution of electrical power, in many of our cities’ street layouts, and have long been utilized as a tool of craftsmanship and artistic expression (Agnes Martin’s 1960s works, quilts, such as those by Agatha Bennet, and multiple works by Sol Lewitt in the 1960s and 1970s are just some examples).

The Grid, at Seattle Central’s Rosetta M. Hunter gallery, features women whose works tap into the allure of the grid in distinctive ways.

Before attending the interactive experience, Leave Only Footprints, I was unsure about what to expect: A haunted house? A murder mystery? But this spooky, fun, campy, mystery experience by The Emilys (Emily Pike and Emily Sershon), along with a dynamic cast of 40+ performers and multiple writers, did not disappoint.

Campbell's work blends elements of fantasy, magical realism, poetry, and speculative fiction, which evokes the styles of a host of renowned authors, including Margaret Atwood, Isabel Allende, Walter de la Mere, Octavia Butler, Jonathan Swift, Douglas Adams, Ann Carson, and Brian O'Nolan, offering readers a robust, immersive literary experience.

Tara Campbell’s book tour continues at Hugo House in Seattle, with a reading and writing workshop on September 18, 2024, from 7pm-9pm at the Salon Stage.