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Photographs and drawings by Georgette Freeman © 2017. All rights reserved.
Copyright © 2017 by Georgette Freeman. All rights reserved.

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Currently on the Drawing Board: 12/31/17


Currently on the Drawing Board: 10/5/17




Currently on the Drawing Board: 7/7/17

Living Forever at Mabel's

Since my room here, my self-contained room on Jones, is very similar in construction and tone to that of my room at Mabel's, can I not say I’m at Mabel's now . . . here inside Jones? (Got all my stuff and it's laid out and in use, you betcha.)

As for the studio, all anyone of us needs to do is to go down to our respective coffee shops/bars (mine is both), set up a table, our table, much like what we did in that studio this fall, and work.

I don't know about you, but at 3 pm today, the start of happy hour at Joe’s (much like happy hour at The Burger Stand there in Taos, by the way), I'm going once again to set up my table and work.

Am I not at Mabel's? Until you know the answer is yes, you may never know Mabel's lesson. I only go back because I always seem to forget it. And I do love early fall in Taos, my room, you all, Mabel's table, and The Burger Stand.

September 24


Currently on the Drawing Board: 5/26/17

Anthony & Geo

Anthony and Geo playing cribbage at Jupiter in Berkeley, after Anthony's shift was over. While it was something of a runaway game, Anthony wasn't skunked. Georgette had had a run of good luck against SA prior to pairing off with Anthony for a quick game that day, and Geo's luck was undiminished.  Anyone can win with good hands.
Cross-eyed stereoview by SA and published in Stereoscopy, the journal of the International Stereoscopic Union (ISU) Number 111, Issue 3.2017.


Currently on the Drawing Board: 5/24/17


Currently on the Drawing Board: 3/5/17

logo carving


Currently on the Drawing Board: 1/21/17


Narrative is necessary when I work. The work must speak, thus providing narrative. No narrative, no work. It can’t be forced to still be authentic. Stones don’t often talk, but we’ve been pondering petroglyphs for decades in the modern world. Eons in the ancient.

On the day I made this paste paper (yes, in Leigh’s class at the SFCB) all that came to mind was my signature logo—geo (preferably in Helvetica). It was truly my first day out in society after the fall on December 8. I was wearing a cast on my left leg and walking wearing a boot. Walked around like a pirate.

Made 6 papers that day. With the third I was doing variations on the paste treatment and continued use of the logo. Felt good, looked good. If I had a product to be packaged in the thousands I would have this as an alternative wrapping paper.

I love seeing my logo in print. I make logos just for that purpose and have always had logos (in the broadest sense) since I started advertising my photographic aspirations through business cards and as the cut-line on my photographs appearing (often) in the Sacramento State Hornet, starting almost fifty-years ago in 1967 (Photography by GC Freeman).

Remembering back to hating my signature in grade school (and beyond), until after having to sign my name more often after my transition, what with the involvement with the SFCB and the creation and presentation of my new work and self.

As George Charlton Freeman I was well onto my way to becoming comfortable with a signature. But after Georgette Freeman (aka geo) was born, my handwriting took note and got in step. I guess a measure of how well one feels about oneself is how you feel about your signature.

One of the continuing pleasures of traveling is that I use my credit card more often—often enough to have evolved a digital (pun intended) signature, used only on touch screens. I actually delight in using my trusty right index-finger with a reverse twist at the end of the n’s tail.

I got my whole body into it today and when I made this paste paper, I was able to get back in touch with that feeling after two months of recuperation, much of it seated and housebound with my left leg elevated 6 inches above my heart.


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