Interview: Sean Barton
Much of his current work is a response to Barton's day-to-day working environment, a studio out of which he produces hand-painted signage. He is conscious of and draws on the mishaps and detritus that accumulate in this space - spills, palette marks, discarded tape, cigarette butts. Both the vernacular and materials of the sign trade inform his work. Using materials such as glass, gold leaf, paint, foam, canvas, and printed material, he creates work through a process of bricolage. He is drawn to the unpredictable outcomes that theses materials, sites and histories suggest.
He describes his process in terms of "catch" and "release"—the transformation of work which takes place between the moment of inspiration and the final product. Often, the act of execution alone becomes the driving force behind creating new work. Eschewing any traditional working order, Barton creates drawings spontaneously and initiates and executes paintings swiftly, moving quickly from one series to the next. In this method of production, his working timeline is a blurred continuum. He asks the viewer to make an imaginative whole out of disparate parts drawn from observation, the working space and process.
You’re originally from Santa Cruz / San Jose (correct?) but have lived up in Seattle for a long time. What brought you up north?
Yeah, that’s right, I was born in Santa Cruz grew up in the Santa Cruz mountains, right off of Highway 17. Moved to Germany, then to San Jose and eventually to Seattle in 1996.
What was the city like when you first got here compared to what it’s like now?
I think back then it was less traveled. Seattle was a city tucked way up into the northwest. People didn’t really visit or know much about it. It was metropolitan and dark, littered with brick buildings and fire escapes. The long winters gave it a Gotham city feel and you could run around all night undetected. It was unique in that way to other cities on the West Coast during that time. Architecturally speaking nowadays, there’s a lot more Glass, light and open spaces. Obviously the demographic has changed from a working class shipping port to a hub for technology. Geographically, it’s the same but at times visually you could be anywhere in the United States based on the current architecture.
Your artwork spans many different mediums; painting, sculpture, design, photography, installations, etc... Have these skills been cultivated at different points in your life or do you tend to work on a lot of different things at once?
Well, they didn’t all arrive at once. They were cultivated at different points along the way. I started with painting, I think because that was the obvious trajectory and possibly the easiest place to start . As I became more curious and educated in art my interests developed. I started to try my hand in different mediums and it blossomed from there. Now it has become more of a juggling act of ideas and mediums.
Can you speak to your process or motivations?
I think my process begins with a simple idea or visual that I want to see realized From there I dream about it, let it resonate, and decide how it might look best, then let the medium develop. Sometimes it might start out as a small maquette or a gouache painting and develop into a final version of a sculpture. A lot of my motivations come from my daily interactions with people, goods, services, life, pain, love, process, etc..
In regard to the Art making process I’ve never been interested in finding one medium that works. I find that to be restricting in the creative process. To spend my time shuffling around the studio making the same paintings over and over because it’s my style or because they might regularly sell, sounds like a nightmare to me. I’m not sure all ideas can be conveyed in one medium. I let the day decide what needs to be done moving from painting to sculpture to photography to installations in hopes that I might be able to convey the idea with more dimension and impact. I feel stagnant doing the same thing all the time. There are so many options, and different ways to convey an idea or a message.
I’m motivated by variety and challenges that exist in that. I’d like to see more people take risks with different mediums and think outside of what might be the obvious, comfortable choice.
The first time I’d seen or heard of you was in the sign painter documentary, how did you get into painting signs?
I got into painting signs from a friend who had picked it up. He was starting to dabble in lettering and I was tired of working odd jobs. It seemed unique and difficult and something that could possibly hold my attention for a long period of time. Without having any knowledge or connection to the sign industry, it was really like learning in the dark. I fumbled my way through it for years. With nobody to show me anything other than what I would see out in the street. I ended up trying so many different color combinations, layouts, alphabets etc. repeatedly failing and starting again. With patience and dedication my awareness of proper lettering and layout progressed. Sticking with it I was able to witness my gains in real time which increased my motivation to get better.
How has the industry / your career evolved over the years?
I’ve been painting Signs for more or less 25 years now. What I’ve seen happen is a renewed interest in the trade. Since the sign painting documentary came out that you mentioned it opened peoples eyes to an industry that was somewhat forgotten.This peaked the interest of sign painting and it spread like wildfire into popular culture.
Regarding sign painting vs fine art. Is there a need to compartmentalize these disciplines?
For me personally I somewhat compartmentalize the two disciplines. Sign painting is not really up for interpretation in the way that art is. There’s a right way and a wrong way to make a sign and it has functionality in that. Art on the other hand can be up for interpretation for lifetimes.
Does one function as a utility vs another coming from a different part of yourself?
Very much so, if we’re talking about Signs, it’s all utility. It has a job to do. It needs to convey a message. It needs to be attractive to the businesses demographic, readable and it needs to get the customer into the door. In order to do this correctly you have to take into account color, layout, scale, kerning, placement. Anybody can spot a bad sign. Although an attractive sign has proven time and time again to promote business.
I feel like art comes from outside ourselves, it uses the body to execute and project an idea back into the universe. It can be whatever you want it to be and most likely it will be perceived in ways you hadn’t imagined. It’s up for interpretation, critique and study. It’s a compulsion to relay a message with color and form. It has the power to start conversations, make babies and end wars.
Is there an act of fight in either disciplines either mentally or physically?
Yes, absolutely. As with any discipline, you have a mental and physical battle that you have to work through. In my experience that fight usually presents itself somewhere around the 50 to 70% completion point. You might be physically sore and/or mentally exhausted. You might not be sure if you can make it all the way to the end or if the final product will be what you had hoped for. Your patience is running thin. Energy or confidence is low. If you stick with it and remain persistent then boom! The next thing you know you’re coming back down the other side and you finish. As frustrating as it can be this process happens to me with damn near everything I do and I think it’s important to see the process through regardless of the final outcome.
You put out a book last year called Indecent Exposure Anthology, the anthology of graffiti zines. Can you talk about the era which those zines are from and why zines were an important part of the culture at the time?
Those magazines were produced in the late 90s. It was the last decade before digital communication really started to ramp up. The final decade of folklore in my opinion. A time when stories were still passed down through generations and a valuable way to connect future generations. A time when we were unable to ‘google it’ which seemed to add mystery and intrigue. An element of the unknown. Like you never really knew if things were fully true, but you always wanted to believe them simply because it was more fun that way. I feel like all DIY printed matter pre computer was a way for subcultures to communicate with their tribe directly and a way to connect with other subcultures who were like minded.
What made you want to put out that book now?
There’s a few books I’m working on currently and this one just made sense. I had been wanting to produce some tangible printed matter for sometime and the indecent exposure anthology seemed like a great place to start. All the material was already in place and as a collection, it feels more relevant and presentable.
You did a skateboard graphic with 35th North skateshop based on a sculpture you made of a Pink Pearl eraser. Can you talk about the significants of that piece / graphic?
That was a sculpture I had in my head for quite some time. The original exists with original scale pink pearl erasers. 12 erasers mounted from left to right on a piece of drywall starting with a brand new eraser and ending with a small worn out nub. Then I made an oversized version. 12 solid cast rubber erasers each one about the size of two shoeboxes, displayed on top of a 16’ plinth. It showcases the different stages of an eraser throughout its life. Essentially, it’s a sculpture about the process of removal. The removal of material both of the eraser itself and what it might have erased from paper or other surfaces. Those forgotten memories or ideas that happen along the way. I think there’s also a youthful nostalgia and connection to those pink pearl erasers specifically. It’s a common object globally speaking that people can identify with. 
Concerning the graphic for 35th it seemed like a fun way to play with a pre-existing idea, altering the text and making it a shop deck. I thought the bright pink would look nice as a graphic and not a color you see very often. It’s just a fun idea to be riding around on a giant eraser. Maybe if Tony prints it again I could collect used decks from people when they are done with them and do a small presentation on the wall of 35th. Emulating the original sculpture, but with the skateboard decks starting with a brand new deck then showcasing the erosion process and ending with a broken piece?
Where is / was that sculpture displayed?
That sculpture was displayed at the Bellevue art museum in 2019 I think. Now it’s just wrapped up and sitting in storage. I’d love to donate it to an educational institution for permanent public display. It would probably be better suited at a library or college than sitting in my storage.
What has skateboarding been to you over the years? How has it evolved / shifted for you?
I started skating in 1989 up until 96 or 97. Then I pretty much stopped. I got into other unproductive activities which eventually led me to sign painting and that held my focus for years. I didn’t really step on a skateboard for 22 years other than a couple mini ramp sessions here and there.
At the time I was trying to ride my bike, trying to swim and basically just trying to create better physical routines because Sign painting was destroying my body. One day I decided to buy a skateboard again. It’s been funny and a little uncomfortable being a skateboarder again but I’m leaning into it. Mostly I just wanna have fun. Try and keep a couple tricks in my bag, push myself in my own lane and stay limber. Even though I don’t have anything to prove at this age it’s funny how my inability and shortcomings can be highlighted in my mind when I’m around people that are really good. Sometimes I feel like I’m 13 years old again stepping to a spot and feeling uncomfortable in my own skin. It’s been a good lesson in trying to shed those self-conscious feelings and just skate. Sometimes that has to do with personalities but mostly it has to do with my own insecurities. Either way I’m still having a good time and if I’m not, I leave.
You did an art show back in 2018 called Dirty Laundry and then one more recently when you released the graffiti zine book. Do you tend to work with a concept in mind? Or are you accumulating work and then figuring out how to curate it?
I feel like most of the time. I’m just working, putting ideas out there. When it gets to the point where the room starts to fill up I might try and connect the dots and assemble an idea. Then at other times I might have the exhibition concept or a theme I’m working with and try to make art that fits into that category. It helps to have a deadline or a date set on the horizon. I can focus a bit better knowing I have something coming up. Having a deadline means having a space so the location or scale/shape of the gallery/institution might provide different ideas and directions for the work based on how it will all fit.
There is reoccurring theme in your work with common objects like laundry tickets, erasers, hand-written notes. Sometimes blown up to a large scale. What is it about these types of object that interest you and how they function in the art conversation?
In part I’m drawn to surrealism and in the manipulation of every day objects. I like the idea of art appearing familiar yet out of place. Intentionally shifting the horizon line or playing with scale and manipulating history can create a place where the viewer might feel as though they are sitting inside of a dream. A uncomfortable place within the familiar. The objects I use often have a personal connection, Whether that be a shared personal experience or a receipt from a specific transaction. Playing with the material is a good way to add a surreal quality to an artwork. There’s a lot of ways this can happen. I’d like to try and transition into making work that removes my personal narrative. I’m actively trying but I’m not sure if that’s possible.
Similar to the versatility of your work, you seem to be well travelled; living in different places and have some roots planted all over. Is being mobile a part of the way you like to move in this world? Or is it more of the nature of the work you do?
I moved around a lot as a kid and so traveling and moving about came naturally to me. I think a lot of it had to do with not wanting to sit still and my desire to explore the planet. This place is huge. It worked out good because that way of life is conducive to the sign painters lifestyle and it’s nice to have a different office each day. Lately I’ve been trying to practice the art of sitting still which I’m sort of doing haha. I’ve been enjoying staying local (USA) That might have to do with just being more comfortable in my own skin or with age. I’m not sure but it feels good to just stay put nowadays.
How has traveling and living other places affected your perspective?
I think it gives you a well-rounded view of humans in general. It teaches you how to deal with all types of different personalities and to be comfortable being uncomfortable if that makes sense. I think at the baseline we all want the same things. We want shelter, we want an opportunity to earn an income. We need family and/or friends and we need food and water. In my opinion, we’re all the same in that. I just wish people could understand that. Ultimately I think experience is a remedy for xenophobia.
I’ve heard you bring up that you are a gemini on a few occasions. Do you or your family have interest in astrology?
My mom has big interest in astrology. I like to keep up with it to some extent, but for the most part, it’s just a fun exercise. Lately I’ve been digging Astro cartography, which is a map based on your birth time and it shows you where all the planets were when you were born. The planetary lines have different values based on where each planet was located and what each planet represents. I like the idea of that, as a map or a way to try and navigate places within the world, places where you might fit and where you might not.
Do you connect with the traits of a gemini?
I’m sure I do to some extent, but you know, we also have to take into account our moon, sun and rising signs. Some of my closest friends are Geminis, including my brother! You’d have to ask them.
Is most of your sign painting work referral based?
Yeah, for the most part, it’s all referral based. Lately I’ve been beating the street trying to find new clients. Trying to get back to my roots of going door to door.
What’s peaking your interest currently? Last time I talked to you, you mentioned learning how to surf?
Yeah surfing actually. I finally got a board today so I’m going out tomorrow morning to see how I fair. I tried it a couple times last year but I’m feeling more focused on trying to learn now, so we’ll see. I’m planning on sticking with it. I don’t have huge expectations but I’d love to learn how to carve a little bit and keep my body young. Build my life around that and see what presents itself. Lately I’ve been trying to get that raw compulsion back to make art. I’ve gone through a pretty rough dry spell these last five years and I’m hoping to get back to the place where I make art for the sake of making art. You know what I mean? I want to get back to that place where we all started. That place of making art without any expectations.
How can people see what you are up to or hit you up for work / commissions?
I shut my Instagram off a few months ago because I got tired of all the noise. So people can hit me up through my email Bartonsigns@gmail.com Or hit you guys up for my phone number. I also have a couple websites I should probably update. Check out seanbartonsigns.com and seanbarton.work which has art work and merchandise.
Anything I missed?
I don’t think so, I feel like we covered a lot of ground and I appreciate the in- depth questions.
Anything else you want to share or for people to know?
I guess I want people to know that life doesn’t need to be a burden and that we all have our own path. It’s important to remind yourself every day that you’re only here for a limited amount of time and before you know it, it will all be gone. Don’t let your mind be your own worst enemy. Allow yourself to be humbled. Try and shed the ego and don’t be scared to try something new because if it’s difficult, it will most likely be fulfilling. Make good use of your time however that looks. Make mistakes (if you can even call them that) pick yourself back up and try again. It’s really all we can do. There’s no owners manual to this shit. We’re all just trying to figure it out.
Finally, peace to Pearl and 35th north and all my dogs in and out of Seattle and the Bay y’all know who you are!
Barton script pocket tee available here
