After two years of diligent painting, painful research, and almost another year of layout and pre-press matters, my first self published book is finally in my hands! After all is said and done, this first edition is a soft bound, signed and numbered edition of 50. Printing and binding was done by HH Imaging in San Francisco.
This book would not have been possible if it were not for the help of Delaine Ureno, Betsy Winchell, Angel Villanueva, Chris Vena, Dominique Chatterjee, Chris Zeigler and Adrienne at HHI. And surely not last, nor least, a thank you goes out to my wife Corinn, for dealing patiently with one person's obsessive talking about beer paintings for three years straight. All day, every day, seriously.
An extra thank you also goes out to Jeff Grimes, for his contributions to this project of not only his writing, but also his creative mentorship. Thank you, thank you!
As 2014 unfolds, I will be announcing my sales plans for the book, along with coinciding plans for a gallery exhibition, so keep checking in for all that! In the meantime, here is a preview of the paintings.
My friends, Tall Tales and the Silver Linings have a new self-released album out next month! I did the typography-design-layout. The photo is by Betsy Winchell. For the social media savvy - you know the deal.
If you live in (or will be visiting) Los Angeles during the month of January, catch Tall Tales live at the Echo on the 3rd, and at Los Globos on the 7th and 14th. Fun Times for the New Year!
Joe Lally -Fort Campbell, Kentucky, Why Should I Get Used To It (Dischord Records, 2011)
I used to play bass. Not in any big bands, just garage and (post) punk bands, before I went to art school. I love music, playing and listening, though I have done more of the latter since the last band I was in. Technically, I still pick it up now and then when at home, alone at night, with headphones. Who knows, maybe someday again? I still do love it, though my chops betray me. Oh, well. Riding a bike.
It might be very revealing of my age to list the bass players that I am most inspired by and who affected my perspective on how to approach the instrument: Geezer Butler, Aston "Family Man" Barrett, Mike Watt, Leonard Hubbard, Chuck Dukowski, Matt Freeman, Klaus Fluoride, Eric Avery, Joe Lally.
Of all of them, Joe Lally is the one.
It's what he plays. It's what he does not play.
That's the open air secret of brilliant bass playing that is most challenging to master. It's hardest to play the negative spaces yet to not come across as lazy or uninspired, than anything else. Triplets, ghost notes, harmonics over chords, tapping, slap, all challenges to dexterity and strength. But it's that space, that silence, that makes great bass playing. That, and knowing when to play with simplicity. Simplicity and the desire to sit back, hold it down and let everyone else shine in the light, until your solo, if there ever is one.
Dale Dreiling is a multi-media artist whose work rebukes the traditional concept of beauty by overlapping existing aesthetic ideals, incorporating both the expected and unexpected.
His body of work demonstrates his capability for realistic technique as well as his sensibility for impressionistic representations of the everyday, strongly occupying the grey space of not-highbrow, nor-lowbrow.
Playing in limbo presents a challenge unique to contemporary art: bringing new perspective to dancing down the middle of the road. Dreiling has an innate sense of when to veer one direction or the other, revealing a mastery of that ever elusive balance: the beauty in inbetweeenness.
Dreiling is a graduate of the San Francisco Art Institute. He is an Art Director for Studio Number One and currently lives in South Pasadena, CA.
Contact For price, purchase, commission and exhibition inquiries. (213) 239-4658
"Dale Dreiling takes inspiration from the everyday occurrences in Los Angeles, highlighting icons that are often overlooked, from street vendors and other characters, to liquor stores, swap meets, and catering trucks. Though his paintings bring color and focus to those images that go unnoticed, his subjects are often eerily faceless. Perhaps this is just for the sake of anonymity, or maybe Dreiling is attesting to the idea that we are not as different from others as we think." -Beautiful Decay