I posted a small picture on my Instagram feed on the 18th of November in 2015. A decade ago, as of next week.

I’m working on a project far from home. While there have been many weeks of preparation, research, emails, written reflections on the purpose, detailed itinerary and contact lists, from the first day of raging thunderstorms and lightning strikes things have been: different. Not the plan.

I’ve been in crunch mode between multiple projects, here and abroad. All of them, directly or not, are about the materials of the current era: the elements of a man-made world. More as these projects continue – I thought I’d add a tiny slice to the site today.

Art at the Source 2025 begins in two days: I’ve been printing recent images, including this one from the set “桜風” or “Cherry Blossom Wind,” photographed during 2025’s sakura-viewing season.

My studio space will be open June 7-8 and 14-15 in Petaluma: Studio 4: 65 Eastside Circle, Petaluma (not Sebastopol).

Station, April 2025.

I’m reluctant to call this made-in-Japan a Liquidity portrait since it’s not part of that project, nor is it, like LiquiditySF, about the banking district. And yet.

I guess there are umbrellas? What I aim for in a “liquidity” is the flow of people, the tension between identity, collective motion, presence and a sense of being carried along by an impatient world. Finding moments in the flow, usually driven by urgent commerce.

This weekend! The 2025 edition of Salute to American Graffiti and the first time that Graffiti Generations is available not only from me directly, but also at the Petaluma Arts Center and also online.

Meanwhile, I’ve started right in on new photos of the 2025 show, beginning today with a parking lot cruise-in.

For the past couple of weeks the low rumble of big idling motors has been heard in the neighborhood – people checking to see if their old cars will still run this year. A few of those cars have been circling the block verrry slowly, just to be certain. Even if they can’t get it out of second gear.

A few of those cars can barely make it to the parking lot, and won’t be in the annual cruise parade. It’s okay. The event has something for everyone – even, this year, an all-electric vehicle built by the local HS auto-shop team.

At this June’s Art at the Source I’ll be showing new hanami images – specifically looking at the cherry blossom bursts of April 2025 in the villages and forests of Japan’s rural Kiso Valley and part of the Nakasendō highway.

This portrait, made among the blossoms at Nagoya Castle, won’t be one of them – it’s a happily related personal extra.

A few weeks ago I realized that the entire print run for my small book Graffiti Generations had sold out – I only had my own copy remaining!

The stack had evaporated over about six months, a process which had snuck up on me by ones and twos.

Just in time for Sonoma County’s Art at the Source 2025 event, a small run of Graffiti Generations has been reprinted. The same format and same 47 photographs, several of which you may have seen exhibited at galleries around the Bay Area.

Copies of Graffiti Generations purchased in-person are signed and studio-stamped. After the summer art fair copies will also be available online, though without those handmade marks.

In this case, $0.01 – after a wait of eighteen years.

The prodigal URL: kevinbjorke.com has come home. And with it, a new site.

Sixteen selected photos from my ongoing “Chinese Sonoma” project are on display at Santa Rosa’s Finley Center throughout January 2025.

A couple of days after October’s Art Trails 2024 we packed up the SD cards and have been out of town (to Kentucky, obviously). So posts may have been thin, but days are dense.

With the New Year approaching, expect new changes on botzilla.com, including the return of a long-lost URL.

It’s easy to be busier thinking about sales tax and framing and not about making new pictures. Yet somehow a few new prints have snuck in, between Spring’s Art at the Source 2024 and October’s Art Trails 2024.