When Palisadian Dana Torrey submitted a painting of the Pacific Palisades coastline to Gladstone’s as a possible menu cover design, he believed that diners might enjoy his artwork briefly before perusing the restaurant’s fare. However, managers at Gladstone’s had loftier plans for his beautiful landscape painting, and when they decided to remodel the back room they asked him if he could expand his menu design into a mural. Soon, Torrey was diligently working on a plan for such a large-scale painting, which now covers the upper portion of the north and south walls in the back room at Gladstone’s. He began with his original painting, altered the vertical image to a horizontal and expanded its magnitude before creating giant sketches that would serve as his guide for the final painting. ‘I had pretty much the whole thing planned out before I started,’ Torrey said. ‘The real work started before the painting, not during the process itself.’ Still, despite his thorough preparation, painting was no easy task. To avoid any discord with customers, Torrey began painting at night, when the restaurant was closed. He started with his sketch, wash and blocking, but it quickly became apparent that nighttime did not provide enough good light, which was crucial for the realization of his vision. ‘I told them that I just couldn’t work at night. I need the daylight to see how it’s going to look,’ Torrey said. Since Gladstone’s wished to keep the back room open for business, Torrey’s only option was to paint, carefully, around patrons. Fortunately, Torrey had chosen acrylic paint as his medium, so diners would not have to deal with any pungent smells during their meal. Still, Torrey’s biggest obstacle was not the customers, but rather the height of the mural, which is located about 12 feet from the floor on the upper walls, and extends another eight to 10 feet, just below the ceiling. The only way to paint it was from a ladder. ‘I would climb the ladder 200 times a day and that was my limit,’ Torrey said. ‘After that I was done, physically done.’ That many climbs kept Torrey painting between two and four hours daily, over a course of several weeks. Midway through completion, a buildup of floor wax began to form on the bottom of the ladder, unbeknownst to Torrey. Then one afternoon, while perched on one of the highest rungs, the ladder began to slip. Torrey had just enough time to scream, ‘Get out of the way!’ to his two daughters, who were on the floor below him, before he and his ladder came crashing to the ground, breaking a chair and a table in the process. Torrey landed between two rungs, on his feet, brush and palette still in hand. ‘The thing just shot out from under me,’ Torrey said. ‘Nothing else happened, but it scared the heck out of me.’ The following week Torrey purchased non-skid padding for the floor and ropes to secure the ladder to the wall before continuing his work on the mural. ‘For the next week I was pretty nervous,’ he said. Still, painting at Gladstone’s was a job Torrey thoroughly enjoyed, especially his commute. ‘It was the first time I’ve had a job where I could drive five minutes and be at work,’ Torrey said. ‘I appreciated that a lot.’ Torrey began his career at the University of Vermont Teaching Hospital, where he worked with cadavers, creating medical illustrations. In 1982, he moved to Los Angeles to broaden his creative skills, and began studying commercial art at Art Center in Pasadena. He soon landed a job as a cityscape backdrop painter for Hollywood movie studios. He also worked as an art director for several feature films, painted the King Kong exhibit mural at Universal tours and animated a video game based on ‘The Simpsons.’ Tired of illustrating and painting the ideas of others, Torrey took the next step in his career, choosing to pursue his own creative interests. Soon he was painting stunning landscapes and portraits all around Los Angeles. He even painted two angels for the ‘A Community of Angels’ project several years ago. One was displayed at LAX and the other at City Hall. He painted former Los Angeles Mayor Richard Riordan’s official portrait, but the city lost it after Riordan left office. ‘If anyone knows where it is, let me know,’ said Torrey, whose other portrait of Riordan is on display at the Richard Riordan Central Library downtown. He also has paintings on display at the Getty House, the mayor’s official residence. ‘Now I’m doing what I want, but I do miss the artist camaraderie of a film set where all these artists were working together,’ Torrey said. This time around, though, at Gladstone’s, Torrey had the good fortune to work with two budding artists, his daughters Jes, 8 and Liz, 5 who not only kept him company, but helped him paint. Liz assisted with the wash, and Jes with the blocking. Their likenesses appear in the mural, on the south wall, sitting on a park bench overlooking the ocean, alongside the likeness of their grandfather, Richard Riordan, owner of Gladstone’s restaurant. Torrey’s favorite part of the painting, in addition to his family member’s images, are the personal items he painted near them, including bicycles and helmets the same colors as his daughters’ favorites. ‘As long as the paintings last,’ Torrey said, ‘they have a memory of their childhood.’ The rest of the mural features a beautiful panorama of Pacific Palisades. To create his realistic landscape, Torrey visited and photographed the coastline frequently, focusing on the dramatic interplay of light, shadow and haze on an environment that is constantly changing. ‘Impressionism is about going to the place and painting the feeling of that place,’ said Torrey, whose mural certainly captures the essence of the region.
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