Donut Shops & Roadside Cafes: Paintings by Sam Vance
After brushing slushy snow off my car and driving in the rain to Taproot Theatre in North Seattle, I was ushered into a beautiful lobby, with a fireplace, where Seattle artist Sam Vance’s acrylic paintings of iconic American signage, from a bygone era in bright vibrant colors, contrasted nicely with the gloom and grey of the Seattle sky. While enjoying the visual feast, I thought I had died and gone to heaven, because it reminded me of my childhood in the 1950’s and 60’s.
Specifically, Vance’s paintings of the bright signage of that era, especially Mobile’s Red Pegasus (a galloping horse with wings) captured the optimistic spirit of the 1950’s and early 60’s. Highlighting this spirit of optimism, Vance chose to use an enhanced blue shade of paint for the vast skies in all of his paintings; it symbolized the boundless feeling of abundance we had in those days, before the struggles with inflation, the Viet-Nam war, awareness of pollution and other aspects of what we now call the Cultural Revolution of the 1970’s.
One particular favorite of mine both for its theme and its composition is Annabelle at Keeler’s Korner
It contains thematic and visual contradictions embedded in the same diagonal line, from the upper left to the lower right. At the upper left-hand corner, we see the symbol of the Red Pegasus (used by Mobile gas company at all their gas stations across the country) and in the lower right was a spiffy black motorcycle. So, there were two symbols of movement. Pegasus in Greek mythology symbolized freedom, and power, depicting a RED pegasus adds passion and energy. Black also symbolizes power as well as mystery and the unknown, while a motorcycle implies the open road and recklessness.
To psychologically balance these two images of aggressive movement is a green Volkswagen Beetle, which was popular in the late 1950’and 60’s, because it was cheap, small, and had very little horsepower. It is parked right next to a house representing permanence and using the same green color to tie them together. Together they represent stability, peace, and self-control. Although I adored all the paintings Annabelle was my favorite. It expressed the post-World War II optimism, energy, movement and risk taking but in a context of stability.
In the artist’s own words
“The signs, arrows and proliferation of neon all speak to an idealism that Americans had about the future during the 50’s and 60’s. I love the Pop Art movement which grew out of (and simultaneously influenced) consumer culture during that era. I find a lot of joy and humor in these signs and symbols. That may be why you see a lot of primary colors in my work. However, there are other reasons why I love these signs. Wayfaring tells us which way to go: Gas, Food, Lodging. We seek direction. Ultimately, we’re all looking for a sense of place and a home. But the small towns with a Main Street that offered so much promise 60 years ago are now largely abandoned. The vibrant colors fade, rust sets in, the light bulbs burn out. What I love about the signs I paint is the story that exists in that beautiful decay.”
Many of the other paintings are equally as fascinating, most of them with brilliant blue skies and the vibrant colors of traditional signage. Seeing the brilliant colors, in my opinion, was highly therapeutic given the overcast weather. I urge everybody to see the main attraction at Taproot, The Wickams: Christmas at Pemberly not only because it is an excellent amusing show, but also because of Sam Vance’s exhibition. If not, please peruse his website. www.vancearts.com It is as much a visual feast as Christmas dinner is a culinary one.
Donut Shops and Roadside Cafés: Paintings by Sam Vance. Kendall Art Exhibition Series, Taproot Theatre Lobby, 204 85th St. Seattle, 98103 (North Seattle, 85th and Greenwood)
For a review of The Wickams: Christmas at Pemberly see https://www.dramainthehood.net/2022/11/the-wickams-christmas-at-pemberly-taproots-finest-holiday/