Sydney K. Eaton was born in Bellingham Washington, on may 1st, 1919.
He earned a Bachelor of Arts from Whitworth college in 1941, where he was famously remembered as the prankster behind the "Whitworth Rock Hoax" of 1942. The prank perfectly foreshadowed the hints of amateur archeology, and humor, that would be later staples of his work. Details of the event can be read about at the link below:
Sydney Eaton Whitworh Rock Hoax
Shortly after, between 1942 and 1945, Sydney found himself in the midst of World War II, stationed in the North and South Pacific islands, where the Navy believed that his experience in music would make him more adept at foreign language and communications.
But it was during the time spent living on these islands, and in particular, Papua New Guinea, that he became enchanted with indigenous art and spirituality.
Sydney traded whatever he could for masks and other artifacts from locals, Once notoriously arriving back to his camp naked, carrying nothing but his belt, and a new drum. He wrote fantastical wandering parables, cartoons about revolt, penned stacks of poems for his wife Harriet, And for a moment, he befriended a Monkey named Sen-sen.
The animism and abstractions from this region forever transformed his perspectives on art, and became a pillar of his curriculum as an instructor.
He wrote
"The first Axe must have been such a turnaround of power that surely it was created in the image of god. Tools live of course, not the ajax drill or bench saw, but the carefully and lovingly crafted stone tool, which, except for changes in the material, has not become drastically different. they LIVE, can be talked to, can do the work of nine men, and in ceremony, can take any form they choose. can be sent out, and are a repository, for all the mythics who would be a part of them"
from 1945 to 1958 Sydney taught Art at the Chehalis High School
A note at one of his backyard showings reads "let us not give grave labels to demonstration, but recognize it as a ceremony, oh yes! I know what I have done! I have had a one man march, each picture is a ceremony, an inserted message, and you are trapped here!"
While Living and teaching in Chehalis, Syd and Harrriet had two daughters, Judy and Trudy, and he continued to Show art regionally, winning numerous awards.
Sydney received his Master of Arts in 1955 from Washington State University. and in 1959, he founded the Art Department at Skagit Valley College. During that same time, he and Harriet began building their home, in Mount Vernon, Washington.
Just as soon as the walls on the house were up, they hosted a show for friend and Artist Kenneth Callahan. The themes of their work would later come to define part of the "northwest mystics" or "northwest school" art movement, along with Guy Anderson, Morris Graves, Mark Tobey, Richard Gilkey, Phil McCracken, and many others in the region.
Syd and Harriet would continue to host art shows under the cedar canopy of their backyard during the summer months
And somewhere along the line, the Nun became a recurring figure in his paintings
while teaching at SVC, Sydney continued to travel, looking to indigenous art for inspiration and understanding.
in 1973, Sydney and close friend Dwight Milne, spent ten weeks in the Central American jungle, working with native masons, on restoring the oldest pre conquest Mayan temple (Uaxatum pyramid, adjascent to the complex of Tikal) They described it not as archaeological, but a "grassroots aid in restoration and education, of tropical biology, linguistics, health and ethnology, of spanish speaking natives"
Sydney was always looking for larger, and more magical stones.
Sydney's role as instructor at Skagit Valley College is recalled as hilariously contentious. Harriet reminds me how hard he fought to allow live models in the drawing class, or how he ignored the dress code standard white shirt and black tie, in favor of Hawaiian shirts and his jade stone necklaces.
Administration eventually learned to accept this.
Friend and fellow teacher, Rand Robbin, recalls in a letter that upon arriving, his first day at SVC, that the president warned him
"Sydney, this guy, he'll chaaaaange you maaaaaaaaan"
of his iconic Jade stone necklaces, he wrote
"I myself wear jade to keep the volcanoes from erupting on me, and as long as I have faithfully worn these jade stones, no volcanoes in the united states, the south pacific, central america, mexico, or asia, have erupted even CLOSE to me...
...we have found life precious and priceless. Particularly our own, now there is one fear that I have not found a magic amulet for, as of yet, that is the fear that some might think buildings and places, more important than people..."
in 1973 Sydney retired
but continued to draw and paint, nearly every day
until he passed away in 1996
He was remembered in a beautiful tribute, by artist Rand Robbin
But Harriet always kept his memory alive
Until She passed away in their home, at the age of 96 on July 27, 2016
in a letter from Sydney to Harriet, he once wrote
"In praise of vine ripened berries
and jazzy introits
lets bang tambourine with your sandled
and painted feet
stomp the blossoms
and myrrh in cadence with
the marked and reassured
jangle of ankle bells
sound the flageolet
dear vestals
and let every
downhearted frail
wail and the closing night
and becoming lover
let a candle be lighted
selah, shalome, tema'm and amen"
and then just like that, Sydney -who had passed away when I was only 13 years old- Sydney who always said with such conviction, that one could speak to stones, that one could hear them if they listened, Sydney who showed us how to use the oil from the bridge of our nose to draw out the true color of jade, like some sorcery, like some final prank, carefully, through all these years, revealed himself in stone, in oil, In milo, and panama rosewood. That he and Harriet were in the backyard, unfolding the sword ferns and welcoming the spring.