B.A. Hohman Shares the Life and Art Experiences That Led to Eccentric Tiny Gallery Show “WILLY NILLY”

 “Sometimes you don’t know what you’re capable of until you just do it.” — B.A. Hohman

DREAMSCAPE

DREAMSCAPE

Today is the summer solstice, a new breath of transition, and this turning point, both reliable and spontaneous, sets the stage of our Tiny Gallery show of the month. “WILLY NILLY” by B.A. Hohman is a show rife with verve.   

Tiny Gallery Manager Christina Xan sat down to talk with Hohman about her life, as a human and artist, and what led up to this show. 

Jasper: We’ve known each other for a couple years now, but we’ve never talked much about your past—will you tell me a bit about your childhood? 

Hohman: I grew up in the era following the end of WWII. My paternal grandparents and my maternal great grandparents were German Lutheran immigrants who settled in northeastern Ohio. My parents were hard-working middle-class people who wanted the best for their three children. I was third in line and a bit of an anomaly, being the decidedly right brained one in the mix. I explored imaginary worlds, loved to read and draw, play with neighborhood friends, and was the consummate tom boy. We grew up in a time when we had the run of the neighborhood with no immediate parental supervision. We were one of the last generations to experience the freedom that comes with no internet, no cell phones—the fifties were a time of hope and new horizons.

 

Jasper: Hope and new horizons—I love that! Was art one of the things on the horizon? Did it exist around you growing up?

Hohman: Art was not a prevalent theme in our home. Basic needs outweighed luxuries, yet I must applaud my father for his exemplary carpentry skills, becoming a volunteer fireman and eventually working in the Emergency Room at our local hospital in addition to his full-time work at General Electric. Kudos to my mother for always encouraging my creative endeavors while teaching nursery school for 40 years. She recognized my artistic nature, enrolled me in summer art classes, urged me to join the youth choir, took me on weekly visits to the library, and introduced me to museums. I also had wonderful art instructors as well as some amazing English teachers throughout my middle and secondary level schooling.

 Teaching Art was instrumental in my own art education. It forced me to break down all the components inherent in the creative process and thereby expanded my own abilities.

Jasper: And did you pursue art in college as well?

Hohman: Yes. My parents worked hard to provide us every opportunity to succeed. We were expected to excel and eventually get a college degree despite the financial burden, and all three of us did. My decision to pursue a degree in Art, I am sure was met with some skepticism. Studio Art at Ohio University became my college concentration from the very start, although English Literature classes nearly outweighed my time in the studio.

MAGNOLIA

MAGNOLIA

Jasper: And at some point after graduation, you started teaching, right?

Hohman: My art took a back seat during the years of raising two girls, but my husband and I constantly found collaborative creative outlets. We had moved from Ohio to West Columbia and then to LeRoy, NY in 1981. The girls were still in elementary when I returned to school at Roberts Wesleyan College and completed my teaching certification. I did my student teaching at my girls’ Wolcott St. School and at Churchville Chilli High School, continuing for a long-term substitute position. I then taught at a local Catholic school. After moving back to West Columbia, I taught art at Pine Ridge Middle School and Airport High School. Teaching Art was instrumental in my own art education. It forced me to break down all the components inherent in the creative process and thereby expanded my own abilities.

 

Jasper: Oh, I’m all about the breaking down of boundaries. Tell me about how you moved full force into art.

Hohman: In 1999, I made the decision to leave teaching and embark on a career as a muralist and trompe l’oeil artist. A local designer gave me my first opportunity to showcase my work, and business took off! I have painted more murals in more houses than I can count. Although daunting to go from a canvas to painting entire walls and rooms as well as the exterior of a few businesses, I dove in and found it so liberating. I also discovered that I had the ability to paint just about anything my clients wanted. Sometimes you don’t know what you’re capable of until you just do it. I painted everything from whimsical and realistic animals in children’s’ rooms to huge 360-degree historical panoramas in varying styles, and faux windows, doorways and panels that fool the eye into thinking a flat surface is three dimensional. I often surprised myself.

THE SOUP

THE SOUP

Jasper: Within those different projects, and today, what types of mediums did, and do, you explore?

Hohman: Over the years, I have explored many mediums, styles, and subject matter, but acrylic painting remains my staple. It was my concentration in college, and it has remained my comfort zone. I found I do not have the patience necessary to work in oil, but all other mediums interest me from pencil and charcoal to marker and colored pencil to clay. My style varies with each project. I look forward to again working in clay and creating 3D pieces as soon as I give myself a refresher course and get my kiln running.

 

Jasper: Well, on that note, tell me about this show specifically. What went into “WILLY NILLY?”

Hohman: This past year catapulted me into near isolation. My reaction to the outbreak of the pandemic was unexpectedly fierce. The state of our country and the world became an incredible challenge to face. I’ve been around for quite a while, but nothing prepared me for the physical and mental shut down I experienced. On the positive side, I intensified my explorations into the past, into the latest discoveries in physics and the connectivity of all things and read many books. As the world reemerges, my hope is that we all have a better understanding of who we are and why we are here. “WILLY NILLY” is an amalgam of various mediums and styles that reflect this period of my life. What began with a creative spurt, slowly fizzled to small doodles and experiments that steered my mind away from the chaotic state of our country and the world.

CONNECTIONS

CONNECTIONS

Hohman’s show will be up until June 30th on Jasper’s Tiny Gallery site. When you go to the site, plan to see impressions of the natural world that quietly beckon visitation, geometric colors that seem to move like organisms under a slide, black and white illusions in which time seems to shift, and worlds clearly not our own and yet somehow strangely familiar. 

These works can be perused and purchased 24/7 here: https://the-jasper-project.square.site/tiny-gallery  

Hohman is unsure where she will go next but knows “the creative community in Columbia is always there to inspire.” While she embraces this inspiration, you can follow her work on Facebook @bahohman / Art & Murals by B.A.

 

NiA Returns with Two New Performances: Fan-Favorite Show HOLLA! and Thought-Provoking Play Eavesdropping

“This is my way, and our way, of saying we love you, too”

Darion McCloud with Friends

Darion McCloud with Friends

Local theatre company NiA was one of the many organizations impacted by the COVID-19 pandemic. Now, in these semi-post-pandemic times, NiA is performing their first large-scale in-person event in months. Over the next two Saturdays, NiA will be showcasing a long-loved project and a newer venture, as well.

Darion McCloud, who has led NiA for 23 years, discusses how difficult it was to not be able to perform during the times when people needed it the most, especially when their mission is rooted in storytelling and literacy.

“That's what we're about. We're about telling stories that don't usually get told, for people that you don't usually get a chance to hear them,” McCloud shares, “COVID effectively shut us down. We had a few small ventures out there: one or two with One Columbia, a Kids in Print for Richland Library, and one called Cocky's Reading Express from the University of South Carolina.” 

Now, the group is coming back with two events, four performances, repeating on two consecutive weekends. HOLLA! a NiA “family staple,” will kick off both Saturdays at 10am, and Eavesdropping, a play by Crystal Aldamuy, will end both Saturdays at 9pm. HOLLA! is a family show for all ages, and Eavesdropping is aimed at adult audiences. 

McCloud says the shows the group are doing are a direct response to the outpouring of love that not only NiA received over the pandemic, but that he himself benefitted from after a serious stroke. This performance is not just a comeback but a way to say thank you.

 “This is my way, and our way, of saying we love you, too. That's why it was important for these shows to be free,” McCloud reveals, “We want these shows to be free to our people, the city, free to anyone who wants to come and who wants to enjoy.” 

HOLLA! was the first event NiA ever did, starting back in 1998 for Somali Bantu, and is a multimedia event that changes in shape, style, and participants each time. For this performance, NiA is featuring the Upstart Crows, a local Shakespeare Company of young actors. The same show will take place both Saturdays, but there will be slight differences due to the spontaneous nature of the event. 

“HOLLA! is exactly what it says—it's big, it's loud, it's color. There's music, there's a lot of laughing, spontaneous dancing, storytelling, finger plays, and more,” McCloud effuses, “And it's for everybody; if you're an old dude like me and you come through, you think you're just coming with the kids, but you're going to find yourself caught up in the fun, too.” 

In contrast, Eavesdropping is a short play in 5 vignettes that addresses themes surrounding love, loss, and living. Aldamuy, who has worked with NiA before, was driven to write this play by her desire to experiment with fully colorblind casting, where any race or gender could fill a role. Aldamuy started writing small sketches, and then combined 5 into this play. 

“This piece is designed for playing with and exploring motivation and subtext, as well as gender, race, sexuality, and age in relationships,” Aldamuy intimates, “And how the audience, as voyeurs, makes assumptions about the deeper meaning behind someone else’s words based on what they look like and who they are talking to.” 

The five vignettes are as follows: First Impressions—two people on their first date; The Long Road Home—a person meets with their ex-spouse’s lover; Final Thoughts—estranged siblings wait for their mother’s ashes; Circling—old loves bump into each other after nearly a decade apart; Collison Course—two people meet on the anniversary of their mutual friend’s death.

The first act will be true to script and fairly identical both weekends; however, after a short intermission, the second act will see audience interaction, with people watching called up to audition and perform previous scenes of the play. 

“After the act break, we're going to ask the audience to come up, and we're going to run it like an audition. We hand them a script right there, but me and the audience are the casting director, so I get to say, ‘Okay, that was really good, Kevin. Could you do the scene again in an English accent?’” McCloud details, “So we get to have fun like that, but also people get to think about how an individual actor impacts a scene. It's a little bit of education, but it's a lot of fun.” 

NiA knew it was time to come back and start telling stories again—audiences needed to engage, with art on the stage and with one another. They chose these shows both for the level of audience interaction and because they are easily manageable under the safety precautions NiA is following for COVID-19.  

The performances will happen on Saturday, June 19, and Saturday, June 26, at their CO-OP at 1013 Duke Street with HOLLA! at 10am and Eavesdropping at 9pm both weekends. There will be outdoor seating, Porta Johns, and safety precautions in place for the safety of patrons. The event is free and first-come, first-served—approximately 100 people can be accommodated.  

“We hope there will be a lot of fun afterwards as well for people who want to hang out and talk about the show,” McCloud offers, “We're just hoping you come, bring yourself, your imagination, your fun, and hopefully a friend too.” 

McCloud would like to thank several people helping as performers and behind the scenes: Heather McCue, Joseph Eisenriech, Lonetta Thompson, Katie Mixon, Deon Turner, Beth Dehart, and JB Frush-Marple with special thanks to One Columbia for sponsoring.

 

If you’d like to support NiA, you can give to their GoFundMe, which was initiated, after not making money for a year, to fund their return to performances and has stayed open for additional support: https://gofund.me/cc1cff68

 

—Christina Xan

REVIEW: Lady Day at Emerson's Bar and Grill Brings Billie Holiday Back

“… the key to the success of this Trustus show lies squarely at the feet of the women involved in its production.”

Katrina Garvin as Billie Holiday - photo by Jerimiah Greene

Katrina Garvin as Billie Holiday - photo by Jerimiah Greene

Had you asked me last week if I knew who Billie Holiday was, I would have answered, Of course! Who doesn’t know about Billie Holiday? 

But I would have been wrong.

I learned how much I didn’t know about Billie Holiday last Saturday night when I attended the second performance of Lady Day at Emerson’s Bar and Grill at Trustus Theatre, the company’s first presentation since quarantine.

Set in 1959 at the seedy South Philly Emerson’s Bar and Grill on a fictional night just before her death from Cirrhosis later that year, Lady Day at Emerson’s Bar and Grill, written by Lanie Robertson, takes the audience back in time and gives Holiday the microphone to do more than sing. Played by seasoned musical theatre artist Katrina Garvin, Billie Holiday tells her life story in provocative anecdotes in between performing more than a dozen of the title character’s classic tunes.

In an almost disturbingly casual manner we learn throughout the evening how the abuses of her childhood, including a rape at age 10, transformed Eleanora Fagan, which was Holiday’s birth name, into the stage’s Billie Holiday who adopted the name of her father, Clarence Halliday, a jazz musician who had abandoned her and her mother when Eleanora was born. We also learn about Holiday’s struggles with addiction and crippling insecurity both likely resulting from the institutional racism that plagued her professional life from the time she began singing in nightclubs in Harlem as a teenager, to her stint in prison by way of Carnegie Hall, until her untimely death at age 44.

Lady Day premiered in Atlanta in 1986 before moving to Off-Broadway and finally to Broadway in 2014 where it featured the incredible Audra McDonald in the title role. It is remarkable how well the play has held up and how fitting it is that Trustus Theatre decided to present it at this time of a renewed dedication to social justice in the country. The fact that it is essentially a one-woman show, with a musical accompanist, makes it a good choice in our quasi post-Covid times, too.

Lady Day opened to a sold-out Columbia audience and the house was almost full on Saturday, followed by another sold-out show on Sunday afternoon. I don’t expect many empty seats in the run of this show, and the key to the success of this Trustus show lies squarely at the feet of the women involved in its production.

Katrina Garvin, who most may remember from previous Trustus performances like Dreamgirls, In the Red Brown Water, and Constance performing under the name Katrina Blanding, was perfectly cast in the starring role as Billie Holiday. To say that Garvin embodies Holiday is an understatement. Keep in mind that Garvin already brings to the stage exceptional vocal skills but fortified with the wisdom imbued via direction from Jocelyn Sanders and backed up with dialect coaching by Marybeth Gorman and vocal coaching from Katie Leitner, Garvin subsequently delivers a performance that literally takes the audience’s breath away. And this is no small challenge given Holiday’s distinctive vocal stylings.

Garvin conveys all the same pain, frustration, and despondency that Holiday brought to the stage as well as the remarkable talent behind her interpretations of such difficult numbers as What a Little Moonlight Can Do and even Strange Fruit, one of the most painfully powerful songs ever written or performed.

Garvin’s stage partner, Shannon Pinkney in the role of Holiday’s piano accompanist, Jimmy Powers, more than holds up his corner of the stage with exceptional musical chops whether he accompanies Garvin or takes over the theatre for an extended solo while Garvin exits for a brief period near the end of the performance.

Terrance Henderson, Garvin’s musical partner in IndigoSOUL (along with Kendrick Marion), served as movement coach to Garvin, and Colleen Kelly served as stage manager for Sanders. Bad Boy Roy Brasley, Jr. styled Garvin’s hair into an elegant updo with a shock of white gardenias wrapped around the back; Abigail McNeely was costume designer; and Curtis Smoak handled lighting and the simple but convincing set for the show, easily creating the feeling that we were all sipping our drinks as we watched Lady Day at the end of her career and, sadder still, the premature end of her days.

Kudos to Trustus Theatre for bringing us back in our roles as audience members with the perfectly timed presentation of a play that reminds us of the power of art to confront the inadequacies of an imperfect culture.

Lady Day will run through June 20th on Thursdays through Sundays. For tickets and more information, visit Trustus.org.

And be sure to visit the lobby for an outstanding exhibit of art by Lori Isom. (See Below)

Art by Lori Isom.

Art by Lori Isom.

Meet Jasper's New Intern - Stephanie Allen!

Hi, I'm Stephanie, one of the interns for the Jasper Project! I'm currently pursuing a BA in English and a BFA in Studio Art at the University of South Carolina Honors College. While my technical focus is drawing, my work is extended to include painting, mixed media, and some printmaking. My practice and upcoming thesis work focus on artistically reclaiming and redefining the female form.

As a writer, I've spent the past several years focusing on editorial content for the student newspaper (the last year and a half of which I served as opinion editor) but I’ve also dabbled in arts reporting and radio.

As I begin working with Jasper, I look forward to engaging with its mission as both a writer and an artist. I am excited to see how these two passions merge over the next several months.

Columbia Poets Al Black and Randy Spencer Featured in Piccolo Spoleto’s Sundown Poetry Series

Al Black and Randy Spencer are effervescent poets, speakers who refuse to hold back or look away from what asks to be gazed upon. In their work, readers are taken on a journey of intertwining rivers where you learn about their histories, intimate parts of yourself, and the spaces and places in which we dwell. Keep reading to learn more about Piccolo Spoleto’s Sundown Poetry Series and Black and Spencer—and discover two poems from the artists. 

Former Charleston Mayor Joe Riley launched Piccolo Spoleto in 1979, two years after Italian composer Gian Carlo Menotti founded Spoleto Festival USA. Piccolo, alluding to the smallest woodwind and thus the smaller festival within the larger Spoleto, has reflected the City of Charleston’s desire to showcase local art and artists. 

The Sundown Poetry Series is one of the oldest events in Piccolo history, with the goal of featuring a select number of local poets. The current selection committee consists of Ed Gold, Katherine Williams, and Curtis Derrick. According to Derrick, the application process for poets parallels the process for all Piccolo Spoleto artists and is based on a submission of work. At times, however, the selection committee directly invites applications from poets who have “achieved particular notoriety or had recent book publications.”  

The original venue for the Sundown Series was the courtyard at the Dock Street Theater—so drama patrons could enjoy poetry as an art “appetizer” before a performance—but this year Sundown is being held in the Lenhardt Garden of the Gibbes Museum of Art to accommodate more efficient social distancing. 

Eight poets are being featured this year, one per evening, in the following order: Al Black, Valerie Nieman, H.R. “Randy” Spencer, Lola Haskins, Dr. David B. Axelrod, Kwoya Fagin Maples, Grace C. Ocasio, and Ren Ruggiero—two of the poets, Black and Spencer, are Columbia-based. 

Al Black has published two poetry collections: I Only Left for Tea (2014) and Man with Two Shadows (2018), both with Muddy Ford Press. He co-edited Hand in Hand, Poets Respond to Race (2017) and has been published in several anthologies, journals, periodicals, and blogs. He hosts various arts events, co-founded the Poets Respond to Race Initiative, and was Jasper Project’s 2017 Literary Artist of the Year. 

Black expresses anticipation for the reading—while often not the type to seek out readings and more so the one to host them, he deeply enjoys being a part of them. Derrick reached out to Black in 2019 and asked if he would be interested in reading for Sundown, and Black accepted and was slated for 2020, but when the festival was cancelled due to COVID-19, the poets were moved to 2021. 

Spencer was also originally slated to read in 2020 and is looking forward to reading this week. H.R. “Randy” Spencer is the author of several chapbooks, and his first full collection, The Color After Green, was published in 2019 by Finishing Line Press. As stated on Piccolo Spoleto’s Facebook, “Recently featured on SCETV’s By the River, this collection of contemporary nature poems is both personal and reaches for larger concerns around climate and ecological changes, sometimes set in the South Carolina Lowcountry.”

Spencer previously read as part of the Sundown Series in 2012 and had such a positive experience that, after the required waiting period between reapplying, he immediately applied to read again. “I don’t do many readings, and my favorite are small groups where we can sit and talk,” he divulges, “I’m looking forward to sharing my work with whoever comes.”   

Spencer says that he will start off the reading with poems from his collection but will mix up what he reads to fit this event. “I change it up due to where I am,” he shares, “Since it’s in Charleston, I’ll do more poems that have to do with the coast and the low country and traveling.”  

He will also read outside the book, reading some books from a chapbook of poems about the COVID-19 pandemic. He also recently wrote a poem in the Gullah language as a means to preserve and honor the lyrical language, and he hopes to read it during the event as well. 

Black also likes to switch readings up based on where he is performing. He will have the time it takes to read a work at the top of each poem’s page to ensure he fits within the time limit—each reading is approximately 40-45 minutes with time for a Q&A after. 

“I never have a set list of poems to read—I’ll have 2-3 poems in my head that I might open the night with, but I’ll walk in and try to get a feel for the night,” Black intimates, “based on people’s reactions I may end up reading a poem I’ve never read before.” 

Black intends to start “edgy,” potentially touching on racism and/or women’s issues. He will likely start with his first book (I Only Left for Tea), then move to the book about his father (Man with Two Shadows), then various publications, then a book about his mother—which he is currently prepping for publication—before ending with new work. 

Both Spencer and Black look forward to sharing work new and old in a fresh space. In that vein, both poets have offered a poem for the audiences of this blog. Spencer’s poem is from The Color After Green, and he feels it is a companion piece to the Gullah poem he may read at the event. Black’s poem is a recent one he was compelled to write after watching an ad card fall from a magazine.

Al.png

Beatitudes

 

Blessed is the morning.

Blessed is the coffee.

Blessed is the sun before the rain.

Blessed are the birds

that dampen traffic noise.

Blessed is the train that wails

and the siren song that fades.

Blessed is the drone of the plane that stays aloft.

Blessed are the dog walkers, the couples,

the skateboarders, the bike riders,

the joggers, the mommies pushing strollers,

and the daddies carrying daughters on shoulders.

Blessed are the lonely.

Blessed is the greening tree.

Blessed are the flowers that grow wild.

Blessed is the broken fence rail

I step over to enter the park.

Blessed is the cat that chases the squirrel

and the dog that scares the cat.

Blessed is the silent leaf blower

when the neighbor takes a break.

Blessed is the moss that fills

the empty spaces with color.

Blessed is the blue recycling bin

that sits outside our kitchen door.

Blessed is the card stock magazine ad

that falls at my feet

for it shall become a bookmark.

 

—     Al Black, 2021

 

Randy Spencer.png

Wind

                        September 23, 1989:

 

I can still feel it. The wind last night

sucked the breath out of me, flung it screaming

over the live oak and limbless pine.

Then the water swelling, some deep voice

sliding up to us, a dark face, its white woolen beard

spilling over us, straining the ballast

that kept our house rooted like a stiff barnacle

to some tether in the sand

My ears still roar like a seashell.

 

The ominous calm coming next. That calm

without even the random rustle of life,

birds appearing, silent in the dead air.

When the eye came, I walked outside.

There was a hole straight up

through all that darkness, like a tunnel,

starlight like pinhole punctures in a black screen.

I could barely see the pines, stunted, still straight,

but snapped off midway up, all clipped

the same height, bodiless legs

left planted in clay boots. I could see

cuts opened up in hardwoods, limbs broken

from live oaks, shrubs uprooted, scattered, terrifying.

 

It came back worse than before,

blowing oppositely, humming its tune

differently over the stringed forest. Inside,

when I could fall sleep I dreamed my ankle

braceletted by a whirl of rope leaping overboard

after an anchor, dragging me after it,

dreams of fish flying, their silver pancaked scales

covering my eyes, cutting into me like razors.

 

Then, this morning. Coming out

seeing sailboats piled like cordwood,

battered and strewn over the marsh,

masts stepped vertically yesterday

laying over now, angled north

as if they were still carrying sail,

reduced to sundials marking shadows in the morning sun,

birds blown north, vagrants, wounded, dazed,

Shells everywhere, freshly gutted open,

still slick with gristle or beaten white

and smooth, broken on some rock,

then carried inland, a whelk settled in a cowshed,

a purplish clam in a seaside garden

where chrysanthemums should be in bloom,

with my neighbors empty house half lifted

from its foundation and nesting in spartina grass,

on an ordinary autumn day

               with bright sunshine, mild sea breezes, soft breakers.

 

—    H.R. Spencer, from The Color After Green (in reference to Hurricane Hugo)

If you’re interested in potentially hearing these poems out loud and in hearing more from these poets, both readings occur in the coming days in Charleston. Black opens the Sundown Series tomorrow, June 1st, and Spencer reads Thursday, June 3rd. Both events begin at 6:30pm.  

Spencer’s collection can be purchased at larger retailers or directly from the publishing house, Finishing Line Press: https://www.finishinglinepress.com/product/the-color-after-green-by-h-r-spencer/  

Black’s books can also be purchased at larger retailers or the publishing house, Muddy Ford Press: https://www.amazon.com/Man-Two-Shadows-Al-Black/dp/1942081162

-Christina Xan

Tom Coolidge to Play Music at O'Hara's Public House in Lexington - Tuesday Night

Local singer-songwriter and musician Tom Coolidge asked Jasper to help him let folks know that he has a gig this Tuesday night at O’Hara’s Public House Lexington and he wants to see all his friends & enemies there!

Tom Coolidge writes, sings, and plays songs representing suburbicana music and Lexington, SC, is his home. According to Coolidge, when he’s not playing with a local band, he “conducts his acoustic musical mischief all around the state performing his brand of tasty home-style tunes. Some are original and others represent seldom-heard classics of his time.”

 

Coolidge says “Fun” is his prime musical directive and that some of the songs played have rough edges, but all represent authenticity and enjoyment of his craft.”

In 2011, he released his first CD, 'Bout Time, a compilation of original songs and tunes, accompanied by many friends and local talents.

 He is available for house concerts, special events, parties, barbecues, celebrations and memorials where volume can be subdued and reasonable. 

Coolidge is currently playing with his own band, LEFTOVERS, as well as collaborating with numerous local acts.

Two new CD-EPs are in the works for summer 2021 release.

Art in the Yard - This Week it's Keenan Terrace w/ 20+ Artists & Music AND Art from Adam Corbett

It’s spring and, along with the blooms and blossoms reminding us that there is life outside our homes, there is a mightily welcome crop of cultural events beckoning the vaccinated among us to don our loveliest masks and venture out to see what the winter created.

Some of these events are still scary — it’s surprising how many people are hesitant to get that free superpower injected in their arms. (But chances are they’re the same people who still refuse to wear a mask, no matter how fashionable they’ve become.)

But some of these events are no-brainers even if you’re concerned about conspiracy nuts and their germs, given that the events are outside and you’re on your feet at all times, ready to run away from unsavory-looking mask-less marauders.

Neighborhood art festivals, for example.

Saturday brings us Keenan Terrace Art in the Yard and April 25th bring us Melrose Park Art in the Yard — two completely different but equally exciting events.

The Keenan Terrace show, created in the fall of 2020 by Columbia-based artist and curator, Bohumila Augustinova, is located in and around 409 Cumberland Drive, runs from 2 to 6 pm, and is free and pet friendly.

Among the artists whose work you’ll both see and hear is Adam Corbett.

Adam Corbett is a multi-instrumentalist, singer-songwriter, and visual artist from Lexington South Carolina best known for his work in local band, The Restoration. After releasing numerous records, helping to produce a musical, and ending his career as a music teacher, Adam branched out into visual art as a way to cope with the COVID-19 lockdown. Throughout this period, he has experimented with various mediums in a variety of formats focusing always on exploration, play, and following his muse.

Corbett will also be providing live music for the event.

artist - Adam Corbett

artist - Adam Corbett

artist - Adam Corbett

artist - Adam Corbett

adam3.jpg

artist - Adam Corbett

Additional artists include but are not limited to Michael Krajewski, Flavia Lovatelli, Bohumila Augustinova, Candace Cotterman Thibeault, K. Wayne Thornley, Stan Cummings, Lucas Sams, Aimee Norris, and many more.

Now is a great time to start thinking about Mothers Day and Graduation presents, or even something special to reward yourself for making it through this winter of our discontent and embracing the new day.

artist - Stan Cummings

artist - Stan Cummings

artist - Flavia Lovatelli

artist - Flavia Lovatelli

artist - Michael Krajewski

artist - Michael Krajewski

artist - Susan Lenz

artist - Susan Lenz

artist - The Tie Lady

artist - The Tie Lady

artist - Candace Cotterman Thibeault

artist - Candace Cotterman Thibeault

artist - Bohumila Augustinova

artist - Bohumila Augustinova

"It's Been a While" - Group Art Exhibition at Outpost Arts Space by Ron Hagell (Guest Writer)

“It’s Been a While”

Group Art Exhibition at Outpost Arts Space

715 Saluda Ave., April 3 – 24, 2021

Care. Comfort, and Kindness by Olga Yukhno

Care. Comfort, and Kindness by Olga Yukhno

The Free Times leads off it’s piece in this week’s paper by saying, “Artists get lonely, too”.  In fact, this was one spark for this exhibition that helped to start it. Flavia Lovatelli, Kristi Ryba (a Charleston artist) and I were discussing how long it had been since we went to an opening and the general lack of exhibitions over the pandemic year. We decided that it might be possible to ask if the Outpost’s new exhibition space might be available in April. It turned out that the space was free and Caitlin Bright was very interested in helping get us off the ground. I’m not sure we were all “lonely,” maybe just missing what had become a rather active arts scene in Columbia. But once the artists started showing up with work this week, I realized how much I missed seeing everyone – so did they!  Our exhibition, “It’s Been a While,” opens on April 3 at Outpost Arts Space in Five Points.

You may remember that this group [along with the Jasper Project] used to be in the Tapp’s building on Main Street and we always had a new exhibition each “First Thursday on Main.” Then we were called The Tapp’s Arts Center and some still refer to us as “Tapp’s Outpost.” There are similarities between the two, the people and mission continue, but many things have changed beyond the actual location.

You may recall that, in addition to our exhibitions, we also had open studios (where shopping was possible) and you could pick-up a beer to start your art crawl on Main. Now we all know that First Thursday is not the same now that most of the “art” on Main has left for many reasons. For us, this location has made a big difference. Obviously the amount and character of the space is a vast difference, but the foot-traffic is very different. Often at Tapp’s we had very few visitors except for exhibit nights, but in Five Points there is a constant flow and some of us have experienced much better sales.

… we are hopeful that “It’s Been a While” will continue the spark of creative activity and be the rebirth of more and better days for our whole Columbia arts scene

There are also plans afoot to improve our new home and build even more and better studio/workshops inside and behind the existing shop fronts, as well as collaborative activities with the vast space behind the White Mule that is scheduled for future renovations. 

But, we are hopeful that “It’s Been a While” will continue the spark of creative activity and be the rebirth of more and better days for our whole Columbia arts scene. We invited many artists to join us and have a real cross-section of folks taking part.  Charleston-based artist Kristi Ryba, whom we met in 2019 while participating in Lake City’s annual ArtFields competition, has agreed to show two new works and many more local friends also wanted to take part.  There are sculptures by Olga Yukhno and Sharon Licata and a couple of large hanging fabric pieces by Janet Swigler. Columbia Photographer Molly Harrell shows her recent work and I’m putting in an older video because it just speaks to this moment so well. But, I’m also showing a few smaller paintings that I’ve been working on during this downtime.

In fact many others are showing works that deal directly with the pandemic such as Gerard Erley’s “Pandemic Cardinals” and more – not to be missed.

Pandemic Cardinals by Gerard Erley

Pandemic Cardinals by Gerard Erley

Also showing are works by Susan Lenz, Michael Krajewski, Keith Tolen, Bonnie Goldberg, Stephen Chesley, Heidi Darr Hope, Kirkland Smith, Tabitha Ott, Diko Pekdemir, and Flava Lovatelli. Some have direct connections to our past year and the pandemic or the political shift while others do not. It is a very eclectic event. 

ABC by Michael Krajewski

ABC by Michael Krajewski

As always our group wants to engage the community in ongoing conversation and creative connections. But now we really need to catch-up after over a year. It’s 17 artists wanting you to see their work and, as Caitlin says, she anticipates “a lot of sharing, commiserating, sympathy and empathy.”

Because, it’s been a while…

Ron Hagell, Studio Artist, Outpost Arts Space

Ron Hagell is a Columbia, SC-based artist who makes films and art with installations featuring paintings, projections, prints and film centered on portraiture.

Teacups by Kirkland Smith

Teacups by Kirkland Smith

jasper logo.jpg

If you haven’t joined the Jasper Project Guild yet this year, now is a good time to do so, guaranteeing that YOUR NAME will appear in the next issue of Jasper Magazine, releasing May 2021 and, depending on your contribution level, securing you a space at some of the limited seating events Jasper has in the works for the coming year.

Plus, everyone gets to see your name here!

Columbia City Ballet Opens Cinderella After a Year-Long Postponement -- Christina Xan Talks with Bonnie Boiter-Jolley

bonnie head shot.png

The Columbia City Ballet (CCB) is finally getting the chance to open Cinderella after having to cancel it last year due to COVID-19. Jasper got the chance to sit down with Cinderella herself, danced by Bonnie Boiter-Jolley, who has been with CCB for 10 years and is dancing her third season as principal dancer.

 

Jasper: Thanks for taking the time to chat with me about the show — I know you’re busy!

Boiter-Jolley: It’s no problem!

 

Jasper: So, this show was actually postponed, right? It was supposed to happen last year? 

Boiter-Jolley: Yeah, it was supposed to happen late March of last year (2020). We toured it to Florida, came home, had a performance in Columbia on Friday, the 13th and that was our last performance of the whole season. And last year, I was fairy godmother—our original Cinderella is a new mom, but I’ve been dancing all the principal roles this year because I’m the only principal in the company currently.

 

Jasper: Oh, I didn’t know that! I assume that’s just one of the many changes since COVID. And dancing in a mask! I can’t imagine — what’s that like? 

Boiter-Jolley: It is definitely a challenge. Dancing in a mask is not fun, I will certainly say that, but it is something that a lot of us have been working with since last year, as soon as we were cleared to get back into the studios. It doesn't make it any easier, but you do kind of get used to the feeling of having something strapped to your face. But it's not just a breathing issue. If you inhale sharply, it’ll get stuck in your mouth, and you don't have your usual full range of vision because the mask is cutting off everything below your eyes. There've been a couple of times that a mask has actually slipped up over people's eyes. It's a little frightening, but I think, honestly, most of us feel as though it's a small price to pay to be able to do what we love and continue to work at our passion. And we really want to protect, not just ourselves, but our coworkers, our families, everything.

 

Jasper: How has this affected rehearsal? 

Boiter-Jolley: So, we test every week. And we've actually been really, really lucky. Everyone has tested negative except for one false positive, and on that day, all rehearsals were cancelled and didn’t resume until we knew everyone was safe. We do our classes broken up into three different groups of people so that we're not all in one same group sweating and breathing together all day. It kind of gives us a little bit more space, so we feel like we have a little bit more room if we do need to pull our mask down on our face for just a second to get some water or to just catch a breath quickly. Partnering wise, we're trying to keep switching partners to a minimum when we can and trying to stay as closely quarantined amongst ourselves as possible.

 

Boiter-Jolley rehearses with guest artist Mark Krieger, coached by William Starrett

Boiter-Jolley rehearses with guest artist Mark Krieger, coached by William Starrett

Jasper: And how long have y'all been rehearsing for Cinderella now? 

Boiter-Jolley: We started last week, which isn’t particularly normal, but this is a show we had practiced for last season. I personally started rehearsing my role on my own over our Christmas break, and I came back into the studio in January, and [artistic director] William Starrett worked with me some individually. But many dancers had a head start and were able to recall roles they’ve danced before. And, of course, we’ve been trying to get in as much dance as we can because people need it these days. We just did “Off the Wall” two weeks ago, last week we had “Body,” and we're also working on “The Beatles” ballet.

 

Jasper: That’s so exciting! And even more so, this is your first time ever doing Cinderella, right? 

Boiter-Jolley: Yes!

 

Jasper: You’ve danced so many roles—I’ve seen you in several! What do you think is unique about Cinderella? 

Boiter-Jolley: There's a lot of acting in this role as well as some pretty hard dancing. I'm finding the partnering stuff in this one kind of challenging because I have a lot that's new to me. I'm actually learning some new bodily vocabulary—learning some new steps and new things that I haven't really been able to do before, I've never really tried before, or never been asked to do. I'm getting to push my boundaries, if you will, as far as what I am capable of. I've always been kind of a solo dancer, and that's just been my strength, to go out there and do my thing, but I'm going to get to carry this ballet. I start from the first scene and go all the way to the last scene. I'm a little bit nervous, but I'm also really excited because this ballet is all about Cinderella finally getting her chance to go to the ball. And I kind of see it that way, that it's finally my chance to go to the ball.

Boiter-Jolley in Off the Wall - photo by Ashleigh Concannon

Boiter-Jolley in Off the Wall - photo by Ashleigh Concannon

Jasper: You said this show is more acting heavy than others. What did you mean by that? 

Boiter-Jolley: Well, you know, there are the stepsisters and the stepmother, and they're kind of fun, I mean, they're mean, but goofy. And then Cinderella has to deal with them, she meets the prince and falls in love at first sight, and she’s on a path of self-discovery. So, it's kind of going back and forth between how I portray this sad girl and then how I transform into someone who will open themselves to love, who will accept it and become a princess…and all of that happens in a couple hours. So, to effectively communicate that to an audience is a challenge, and that's mostly my challenge in this coming week. I know all the steps, I know all the choreography, and this week, I'm really hoping to do a deep dive in character work to find out how I can bring this character to life.

 

Jasper: What does that look like for you? How do you do character work and make sure you're translating the ideas and emotions in your head into your movements? 

Boiter-Jolley: That's a great question, and it's going to be a little bit different this time around because we are masked, so it all has to be physical­­—there's going to be a lot of physicality. How does my body language read? If I turn a shoulder this way, point my fingers that way, what does it mean? I need to spend some time just myself thinking through each moment. I need to sit with the music in the studio on my own, dancing through things. When you stop thinking about the steps, then you can start thinking about what the character is, who that character is, you know? And then, likewise, once you stop having to think about the characters, you can just become that character.

 

Jasper: If you had to describe this show in only 3 words, what words would you choose? 

Boiter-Jolley: Romantic, whimsical, and inspiring.

 

Jasper: Oh, I love that! What do you think is inspiring about it? 

Boiter-Jolley: I think it gives you the sensation that anything is possible.

 

Jasper: For people who may only be familiar with the Disney story of Cinderella, what should they expect? You know, coming to this show, what will they see that's familiar and that's unfamiliar? 

Boiter-Jolley: Well, they're definitely going to see their favorite characters: Cinderella, the fairy godmother, the Prince, the stepmother, the stepsisters. But they're also going to see there's a whole horde of fairies from the traditional story that come to help the fairy godmother and bring her gifts that help her transform Cinderella into a princess at the ball. And I like to think these are just representations of things that Cinderella already has inside of her. You’ll see specific dances when the fairies give her gifts, and later on, she dances similar steps in her variation, so she kind of repeats the same steps that they did. I think that it's really showing that this is what was there all along, and they've just brought attention to it. Because you don't need a fairy godmother to make you a princess. You might just need a fairy godmother to let you be the princess you already are.

 

Jasper: I love that! Well, thank you again for talking to me. Good luck on the show! 

Boiter-Jolley: Thanks! I just hope that people do get a chance to come see it because we've all really been excited to try to bring this ballet to life for the past year.

 

Cinderella will open at the Koger Center this Friday the 26th at 7:30pm and continue Saturday the 27th with performances at both 3:00pm and 7:30pm. The Koger Center is taking several COVID-19 precautions including limited, spaced seating and the seating of patrons immediately upon arriving at the theatre. Tickets can be purchased here: https://itkt.choicecrm.net/templates/USCK/#/events

 

Two additional performances will be done at the Harbison Theatre at Midlands Technical College Friday, April 9th at 7:30pm and Saturday, April 10th at 3:00pm. The theatre will also be implementing precautions but says the show could be delayed. Tickets can be purchased here: https://ci.ovationtix.com/35980/production/1039663

 

—Christina Xan

(Full disclosure: Bonnie Boiter-Jolley is the daughter of Jasper Project executive director, Cindi Boiter.)

 

Tiny Gallery Artist Shelby LeBlanc Stiches Little Pieces into Bold, Bright Landscapes

“It might not work out right away, but it won’t work out at all if you just give up.”

 – Shelby LeBlanc

As we move into the warmer weather, so do we move into warm, inviting, and colorful pieces with our March Tiny Gallery show. Shelby LeBlanc, a Columbia native who recently made Charleston her home, brings us Little Pieces, a collection of inviting scenes stitched together with puzzle pieces.

 

LeBlanc, 29, recalls being artistic since a young girl with a natural talent for drawing. Her parents, noticing this, signed her up for classes with a local artist, Ms. Mossley, and she continued to take classes throughout high school with another artist, Angel Allen. After going to college, LeBlanc stepped away from art but found her way back when she needed it most. “I started back after a terrible time with depression,” she recollects, “Art probably saved my life.”

Open Road

Open Road

When it comes to what kind of art LeBlanc crafts, she is drawn to people, places, and nature and, like a photograph, her paintings develop into a concrete image over the time from conception to finality. “I’m not one for abstract work,” she asserts, “I like to paint what I see, but I want to enhance the colors, highlights, and shadows. I want the viewer to know what they're looking at.” 

LeBlanc appreciates variety not just in subject matter but style. She experiments with various paints, pens, and watercolors and continuously expands her color palette.  “I love pushing myself to try new subject matter, styles, mediums,” she remarks, “But I like to hide elements in my work with the book pages I use and love the textures it creates.”   

In Little Pieces, LeBlanc’s creativity is clearly at play. Vivid colors of cerulean, rose, and emerald leap out from the scalloped pieces, making the scenes appear more animate than still. LeBlanc offers a perspective of her environment while still allowing others to feel at home within its boundaries, boundaries you can trace with your own fingers.

Weekend Waves

Weekend Waves

LeBlanc shares that she often uses recycled books in her work, but she wanted to try something new as she explored the Charleston landscape she has fallen in love with. “They are all actual puzzles that I assembled during quarantine” she reveals, “The sizes and the outer edges were a mixture of my own vision and manipulating the puzzles to fit the criteria for the show.”

 

While the Charleston landscapes and puzzle pieces may be newer to her portfolio, Columbia patrons will be familiar with her bold colors and line work. LeBlanc has shown work at Sakitumi, Vista Lights, Richland Library, 701 Whaley, Spencer's Art Gallery, and Art Mecca and even designed the origami room in Immersion SC. In 2019, she was the runner-up for Free Times’ Best Visual Artist. 

When it comes to her favorite memories, while LeBlanc says there are too many to put into words, the highlights always seem to cycle around family. “I love when my family gets to come to my shows, especially my 96-year-old grandmother,” she reflects, “I met my boyfriend, Sean, while I was working on a mural, and I spend most days at my house working alongside my dogs.”  

Though a lover of creation, LeBlanc’s motivation, like many artists’, took a blow with the events of 2020. “I had moments of doubt unlike ever before because no one knew what tomorrow was going to look like,” she recalls, “But I received several messages of encouragement for my work and openness about my mental health, and knowing that I had supporters, friends, and family in my corner helped me overcome those feelings and keep working.” 

Storm Off Sullivans

Storm Off Sullivans

If you want to see LeBlanc’s stories, told through the lens of a love for her city, they are available for view and purchase 24/7 on the Jasper website until March 31st: https://the-jasper-project.square.site/tiny-gallery  

After the show, you can keep an eye out for LeBlanc’ work at Affordable Art of Charleston’s showcase “Go Bold” on March 25th in Mt Pleasant and Avondale’s Highfalutin in Charleston this August and September. You can also see her work anytime at Art Mecca of Charleston, on Dress the Room, and via her Instagram (@shelby.leblanc) and Facebook (@shelbyleblancart). 

“Art has helped me through many crises before and this year was no different,” LeBlanc effuses, “I would tell any artist to keep at it. It might not work out right away, but it won’t work out at all if you just give up.”

 

— Christina Xan

REVIEW: Bad Girls -- Chris Bickel's 2nd Feature Film Embraces a New Paradigm for Indie Filmmaking

The democratization of access to equipment and technology has given creators an ability to create films that are deeply personal, or in the case of Bad Girls, a film that is like a blitzkrieg with moments of Zen sprinkled throughout. When that equipment and technology is put in the hands of someone like Bickel, who isn’t afraid of putting every ounce of energy and passion into his filmmaking, you get an achievement like Bad Girls. - Wade Sellers

bad girls logo.jpg

Whether you click your phone, hit your spacebar on your computer, or hit play on your DVD remote, when you start director Chris Bickel’s 2nd feature film Bad Girls, make sure you are in a comfortable seat because you won’t be leaving it for the next 97 minutes. 

There are plenty of accolades to spread around but the major achievement of Bickel’s micro-budget 2nd feature is the director’s ability to create an overwhelmingly inviting atmosphere from scene one. The film is violent and bloody from the start and Bickel commits to his script from the first frame to the bullet and blood-soaked end. 

At its heart, Bad Girls is a hyper-violent, drug induced road movie that follows the main characters Val, Carolyn, and Mitzi Ann on the run after they rob a strip club, steal a car, and begin a night of violence that is fueled by the search for love, and bullets. A lot of bullets.

bad girls 3.png

The three women who play the leads are the beautifully balanced center of Bad Girls. Bickel flexes a lot of clever low budget filmmaking tricks throughout the film, but a director can never escape bad casting. It's hard to look away from Morgan Shaley Renew the moment she appears center screen. Renew’s “Val” is strong, on a mission, and in charge, and the actor creates a magnetic performance. Shelby Guinn’s “Carolyn” and Sanethia Dresch’s “Mitzi Ann” are expertly balanced as Val’s co-conspirators. These three actors didn’t demand your attention throughout the film. 

Bickel’s choice for a supporting cast doesn’t disappoint either. Mike Amason plays nasal spray sniffing Special Agent Mike Cannon with a fun campiness that doesn’t turn into caricature. Special Agent Cannon chases the girls during their terror spree with the help of Special Agent McMurphy played by Dove Dupree. Dupree’s straight man to Amason is a fun turn from the normally dumbed down partner roles.

It’s a night that finds the Bad Girls terrorizing young lovers, beating obnoxious bar patrons, kidnapping rock stars, and fighting redneck white supremacists. 

Bickel and Shane Silman’s script is solid, with some incredibly funny throw away lines hidden throughout the film. And Bickel isn’t too proud to put his influences in a box, shake them up, and mix them with his growing adeptness to a relatively new style of indie filmmaking that has become more prevalent in the past 5 years. 

Bad Girls couldn’t have been made more than 5 years ago.

Bickel could have raised the same money (the film was made for $16k) and pulled a crew together to shoot his script on video, but something has changed in recent indie filmmaking. The democratization of access to equipment and technology has given creators an ability to create films that are deeply personal, or in the case of Bad Girls, a film that is like a blitzkrieg with moments of Zen sprinkled throughout. When that equipment and technology is put in the hands of someone like Bickel, who isn’t afraid of putting every ounce of energy and passion into his filmmaking, you get an achievement like Bad Girls

No detail is overlooked. Poor production design and bad audio can kill a film. Both excel in Bad Girls. The original and previously recorded music are used perfectly. The difficulty of taking an independent voice and translating it into an independent feature film when you have limited resources cannot be understated. 

The real achievement of Bickel and his film is the ability to understand the resources in front of him, ignore those saying it can’t be done, and bring together a group of people committed to helping make your vision a reality. Bad Girls is part of the new wave of American filmmaking- stories from creators who choose only to make films on their terms because they can. 

Once you start Bad Girls, you have just about 90 seconds to decide to back out before you find it impossible to pull away for the next hour. I suggest you hop in the car with them and just enjoy the ride.

 

Bad Girls

Directed by Chris Bickel

Written by Chris Bickel and Shane Silman

 

Review by Wade Sellers

 

2021 Cottontown Art Crawl is Just What Everyone Needs Right Now

cottontown12.jpg

It’s like all the art gods got together and whispered in the ears of Julie Seel and her team of talented friends and neighbors in the charming little hamlet of Cottontown at once, “Your community needs art and sunshine and music and a reminder that people are basically good and giving. Give them the art they crave!”

And it was so.

This Saturday from 10 - 3 plan to put your troubles on a plane to the moon, but take yourself and everyone you love to Columbia’s Cottontown-Bellevue historic district where you can bask in the vibes of 83 artists who have been cooped up for a year with nothing to do but express the gamut of their emotions with their hands and pent up creativity.

There is no telling what these amazing people have put together for us.

What we do know is this:

  • the Host Station is at 2150 Sumter Street where you can pick up maps or meet your friends

  • 42 art sites are neighborhood porches, yards, & in the areas of local businesses

  • the Cottontown Art Crawl organizers are committed to creating a safe and inviting atmosphere so social distancing and masks are required across the entire area

  • the event is free but the art is not - while almost all artists will take cards, it’s a good idea to have a little cash on hand

  • this is the third annual Cottontown Art Crawl, but it’s the biggest thus far, so plan accordingly

  • there will be music in the Indah Coffee parking lot - see the line-up below

cottontown.jpg
cottontown2.jpg
cottontown3.jpg
cottontown4.jpg
cottontown5.jpg
cottontown6.jpg
cottontown7.jpg
cottontown8.jpg
cottontown9.jpg
cottontown10.jpg
cottontown11.jpg
Cottontownbands.jpg

While you’re here, why not check out all our friends who have committed to supporting their local arts magazine by joining the JASPER GUILD

HERE

and maybe while you’re there you might want to add your own name to the list of esteemed supporters

Sarah Garvin & Lillie Morris's UISCE - Opening Tonight at the Arts Center of Kershaw County

lillie morris 1.jpg

Jasper loves few things more than a collaboration between multidisciplinary artists which is what the Bassett Gallery offers tonight.

The Arts Center of Kershaw County, in partnership with Irish Fest Camden, presents the Bassett Gallery Opening of "UISCE," an exhibit by Lillie Morris. Uisce /ish-ka/ is the Irish word for "water," and happens to be the origin of the word "whiskey."

Lillie morris 3.jpg

The event will begin at 5:30 p.m. and end at 7:00 p.m on Thursday, March 4. There will be a cash bar for patrons and all COVID-19 guidelines will be practiced.

Best known for her acrylic, collage and mixed media paintings, Lillie also occasionally works in cold wax and encaustic painting. She specializes in abstract art, both representational and non-representational. Her paintings, whether collage, acrylic or a mixture of mediums reveal a love of texture, color and experimentation. Richly layered and with her own vocabulary of gestural marks and linear elements, Lillie strives to convey the emotional impact of her source of inspiration...be it the landscape, music, poetry or deep personal experiences. Lillie enjoys creating visually stimulating images that leave the subject open to the viewer’s interpretation. Ms. Morris has travelled to Ireland many times and will display works depicting the people and places of Ireland. Mrs. Morris will be at the reception, so patrons will have the opportunity to meet with her and discuss her artwork.

lillie morris 2.jpg

Visit www.lilliemorrisfineart.com to view Lillie’s work.


sarah garvin.jpg

Music will be provided by Sarah Garvin. Sarah is the violin teacher for the Arts Center of Kershaw County. She is a violinist of almost 20 years, proficient in Classical, Bluegrass, Irish, and Scottish Celtic Fiddle music. She studied Music Performance at West Virginia University, and has extensive repertoire and experience in various genres for solo, orchestra and group ensemble. She has competition experience in Celtic and Bluegrass and is an experienced teacher of private and group lessons.

Sarah holds a Bachelor's Degree in Japanese Language and Literature from The Ohio State University. She lived for six months in Tokyo, Japan for additional intensive language study.

Visit www.irishfestcamden.com for more information about Irish Fest Camden and the other events going on around town!

CORONA TIMES - Bonnie Goldberg Shares her Thoughts on Painting, the Pandemic, and Virtual Art Friends with Jasper

Photo by Anastasia Chernoff

Photo by Anastasia Chernoff

I was born in Columbia so I have definitely been here a long time!  I received my degree in sociology from the University of South Carolina and got married shortly after graduation.  I definitely thought that I would be someone who would save the world! 

Being a part of the art world affords me the opportunity to meet and engage with so many people…and art is so healing and powerful…I do believe that artists have an impact on the world in a very positive manner.  The arts show us who we are…where we come from…where we want to go.  I have been drawing and painting for 30 years and feel that the journey is one that has enriched my life in so many ways.  I am so fortunate to have had this in my life and I know that art is something that I can always do and make and create and share.

I started painting when my children were teenagers. I knew that I didn’t want to be an empty nester with no direction and I had always wanted to start painting, so I took some courses at Columbia College. From there, I went on to study with some wonderful artists at workshops out of town. Art became an important part of my life and I have never looked back.  

I have always drawn and painted from life. I worked from a live model several times a week for 20 plus years, and although I also paint pure non-objective abstracts as well, figurative work remains my main focus. 

bonnie G 5.jpg

I now work from reference materials of my own work…reworking an old painting, repainting an old drawing, reimagining an old image…Alex Powers used to tell me to do 5 or 6 interpretations of the same  piece and this is how I work now. Different versions of the same subject yield new interpretations…more abstract, more color, more experimentation. This has allowed me a greater freedom in my work and has allowed me to continue working and growing during the pandemic. 

I have sold over 900 pieces of art over the last 30 years…drawings and paintings…and I have photographed them all.  So now I am able to take the work that I previously did and use the photo references to do new versions. Although the originals are long gone, the artist always retains ownership of the images, so I have lots of reference material to work from.  

I do occasionally hire a model (not during the last year since the pandemic) and I will do commissions from photographs of people who want to be the subject of my work so I have that as well. The pandemic has actually offered me the opportunity to work more…grow more…and reach more people. I use social media to promote my work and because people are home and on social media more than ever, I find that I am reaching a larger audience than ever.

My conversations with my artist friends still happen…we still share our work and talk about art…just not in person.   I look forward to the in person again…I really miss it…but it has not kept us from sharing and loving what we do.

I am also represented by galleries and interior designers, and they too, have found that the audiences for art have grown with the increasing use of social media. Art has sold really well this past year…the galleries and designers have sold my work as well.  I think the focus of being at home gave the art buying public more time to look and reach out to artists for work. I have had several commissions as well and I think my connections to people who love art have grown.

So, for me, the art has not suffered during this time.  I am so grateful for this and for the opportunity and the time to focus on this part of my life that I love so much.  

Bonnie G 1.jpg

One of the great pleasures of my art is the friends that I make…both with artists and patrons. I often have repeat sales to people who collect my art and these people often become my treasured friends; but in the meantime, we have email and text, Instagram and Facebook.

And I find that I can deliver the art easily…by shipping or meeting at an outdoor space and delivering the art from the trunk of my car. Curbside art deliveries!

My conversations with my artist friends still happen…we still share our work and talk about art…just not in person.   I look forward to the in person again…I really miss it…but it has not kept us from sharing and loving what we do.

bonnie G 4.jpg

There is definitely a “magic” to painting someone in person…. “magic” to interact as artist and model…and “magic” to interact as artist to artist in a room full of working artists. But we have all had to adjust and I do believe that artists know how to adapt and grow in many different circumstances.

I see brilliant work on Instagram from artists all over the world. And they reach out and communicate with each other…I have artist connections all over the world now….someone in South America will like something that I post and reach out via private message and we share what we do.  I think it is an amazing thing that is happening right now in the art world.  I have always studied art and artists…people like Schiele and Modigliani and Picasso and Hoffman, Richter and Diebenkorn….I love their work…but the current artists are fantastic and creative and wonderful…and everyone shares their art on Instagram. So, we all learn and grow from each other.

Bonnie G 2.jpg

I don’t have any shows coming up but I do show my work on Facebook, Instagram, and on my website plus I am represented by the Anne Neilson Fine Art Gallery in Charlotte and Meredith Christenberry  Designs in Columbia. I retain the right to represent myself and sell my own work in Columbia so people are free to call me and come by my studio in the Arcade on Main…1332 Main Street…Suite 221 upstairs. I am back working in the studio again after a year of working mostly at home. And I do insist on people wearing a mask in the studio until we are free of this virus, but I do have a lot of work on the walls in the studio and it is always visible whether I am there or not.

I would end by saying that this year has truly been a nightmare for all of us. We have not been able to spend time with the people we love most…children, grandchildren, friends, parents. My Dad died in June and my Mom and my family and I have had to navigate his loss in the midst of a pandemic, but we survived the struggle and for that, we are grateful.

So many people have lost so much…and the world has suffered so much…but hopefully, we have all grown and learned something about ourselves and our lives; and as we return to normality, perhaps we will take some good from the experience and move forward into our lives stronger, healthier, more knowledgeable, and perhaps, happier….knowing  that we did survive and now have more opportunities to live and laugh and love.

And of course, create.

~~~~~

  THANKS TO THE

2021 MEMBERS OF THE JASPER GUILD

Please support stories like this by

JOINING the JASPER GUILD today!

Jasper Talks with Cellist Idris Chandler about Covid, Challenges for Classical Musicians of Color, How South Carolina Treats Black Artists, and Mr. Rogers Neighborhood

“South Carolina has a special responsibility due to its past, to check racism, biases, and judgement in the continued effort to support black communities. In my opinion we should be given, yes given, more education, guidance, grace, and support because of the history of white supremacy in South Carolina.”

Idris chandler 2.jpg

JASPER: Thanks for agreeing to chat with us about your life as an artist, Idris.

Can we start with learning a little about your background like where you’re from, where you went to school, and how you got to Columbia, SC?

CHANDLER: Thanks for asking me to participate. I’m a native of Columbia, born at Richland Memorial. I went to Brennan and Lyon Street Elementary, Crayton and Gibbs Middle and Eau Claire High Schools.

“I love wooden instruments. The resonance and beauty of the material is fascinating. Something that people build out of trees makes such special sounds.”

 

JASPER: Who have been your biggest influences as a musician?

CHANDLER: I am a fan of so much music. I fell in love with classical music in middle school, but grew up singing everything on the radio, especially R&B, and listening to reggae which my father played constantly though I didn’t understand why he loved it so much.  

A pivotal moment was seeing Yo-Yo Ma on Mr. Rogers Neighborhood. I listened to him speak so calmly about music and the cello and watched an intimate performance with him and Mr. Rogers who seemed so appreciative and fascinated. I think my parents got me a cassette tape of his Cello Suites and I was hooked. I pretty much taught myself how to play the first few weeks.

 

JASPER: In addition to playing cello, I know you play a number of additional string instruments, as well. Can you talk a little about that, please?

CHANDLER: Starting on the violin in 5th grade I switched to cello at Crayton and was amazed at the sound of this huge instrument. In 9th grade I picked the violin back up and even played it in the District Orchestra for a time. Having gone to USC to pursue an education degree and a performance certificate, I had to play the other string instruments (viola and bass) which I also have grown to admire, but I don’t play them as often or as well as the cello. I love wooden instruments. The resonance and beauty of the material is fascinating. Something that people build out of trees makes such special sounds. I generally play cello professionally and explore the others in my private studio. 

I’m teaching myself guitar and tenor guitar, though I’m not very good. One day I’d like to own all the guitars related to bowed strings like the mandolin and madola.

 

JASPER: I first learned about your work when I heard Day Clean several years ago and was blown away by your technique and musicality. That was a duo with you and Marcus Thomas, right? Is Day Clean still a thing?

CHANDLER: DayClean!!!! Sorry for yelling. The duo was me and Marcus who plays guitar. He’s an amazing soul, hip-hop, lyricist and songwriter. He currently leads worship and teen ministry in Virginia. I wrote string arrangements for the album and sang backup. It was and still is my favorite thing and I’m proud because it’s good music that speaks to people. I always wanted to do more than classical music and the time with Marcus was my education. He moved a couple times, and I blame him for being allergic to creating long distance! We still play occasionally.

 

JASPER: Where else do you perform?

CHANDLER: COVID has made things difficult obviously, but I usually play with the Resonance String Quartet, EdgeWire Music, and several regional orchestras which this year includes the North Charleston Pops. Like many musicians, in normal times, I’m also contracted for engagements including, studio recording, and other live concerts and shows.

“Navigating the emotions of this time has been difficult. Being unable to perform with my colleagues and friends, keeping track of my family, staying healthy, then watching hundreds of thousands of people die in the richest nation in the world, questioning how a musician and teacher can be of service during this time.”

 

JASPER: Can you tell us a bit about your personal practice and rehearsal schedule? (I think non-artists are always surprised by how many hours/week a performing artist logs in.)

CHANDLER: These days I’m averaging about an hour and ½ a day. I’d love to play for myself more! As I’m also an educator, most of my time is spent devising curriculum strategies. The pandemic has changed the way we teach, so a lot of my work has been revising the curriculum to teach online. The entire job has changed. Sometimes when people ask what I do it seems insignificant to say I practice, research, study, write and create. But that’s the life.

 

JASPER: What has been one of your greatest challenges as a classical musician and how have you overcome it?

CHANDLER: The biggest challenge is making a living. I’m learning as a musician to be flexible and versatile. It’s helpful to be open to new opportunities, while being discerning about the ones you except. Being a classical musician is about being business minded, a skill that doesn’t come easy to me, but I’m learning.

JASPER: And you’re a teacher, as well, is that right? Can you talk a bit about what and who you teach, and where?

CHANDLER: Yes, I was counseled that if I wanted a career I needed to teach. Low and behold, teachers don’t get paid much. And while teaching in the public school I realized that I couldn’t perform as much. Playing the instrument that I love became the sticking point. I decided if I couldn’t perform then I didn’t want to teach. I found that teaching privately and performing is a workable balance for me. I teach violin, viola, cello & bass to students from typically 7 to 70 years old. Though recently I started a really focused 4-year-old violinist and it has been a pleasure and an education. It’s reminded me how interested I used to be in early childhood music ed. at USC but didn’t have space for it. I’ve maintained a private studio at Freeway Music studios for over 10 years. Generally, beginner to advanced students, though my most advanced students are on cello.

JASPER: I also understand that you’ve had the privilege of performing with some pretty big superstars. I’d love to hear more about your brushes with greatness – what can you tell us?

CHANDLER: Ha! Not too many brushes, but as a bowed strings musician I’ve gotten to meet a variety of artists from Ray Charles and Valerie June to Pablo Casals and Edgar Myer. I’ve also performed with Edwin McCain, Lou Rawls, Tasha Cobbs Leonard, Mannheim Steamroller, Trans Siberian Orchestra, and many more but I need to do better at keeping track. I’m not the most star struck guy. I’m pretty quiet when it comes to meeting people and doing my job, but it’s cool the stages you get to share with great artists especially when you play in the orchestra. When I was a kid, one of my few dreams was to perform on tour with Janet Jackson. Fingers crossed…

 

JASPER: How has the COVID-19 pandemic impacted you as an artist?

CHANDLER: I wish I could say I’ve had time to catch up on unfinished projects and self care but its not the case. As with most people I lost income as 99% of performing was cancelled and several students had to quit. Juggling which bills to pay and calling companies for assistance became imperative. I’m thankful to have an education background so teaching has kept my head above water. Many of the students were able to transition to virtual lessons, but it’s not lost on me that technology is difficult if not nonexistent for many.

I volunteer as the worship leader at church as well. Moving our worship services online has been a very difficult endeavor, with a weekly deadline. The learning curve has been steep with countless hours of trial and error. As an artist, feeling inadequate to encourage the congregation has also been a struggle.

Navigating the emotions of this time has been difficult. Being unable to perform with my colleagues and friends, keeping track of my family, staying healthy, then watching hundreds of thousands of people die in the richest nation in the world, questioning how a musician and teacher can be of service during this time. It’s been a huge weight. I’ve had to trust that God will work for good even in these difficult times.

“I have however, experienced racism in spaces where I am known as well, but it’s South Carolina so you get used to it.”

~~~

“As I’ve gotten older, I’ve realized that not seeing yourself in the world has been a hindrance.”

JASPER: Have you found ways to problem solve some of the constraints COVID has presented?

CHANDLER: I’ve pivoted to different aspects of the profession including arranging and composing and keeping my chops up so that when restrictions are lightened, I’ll be ready to play. Also outlining ideas and creating pages for a string method book, creating videos to use my YouTube page better and overall trying to figure out how to make more income with the skills I have. It’s so tempting to want to pivot to a different field or add another hustle, and maybe there’s a time for that; but one of the pitfalls of being an artist is doing too many different things, and I definitely succumb to that. Being a classical musician requires more creativity due to its place in our culture. I’m trying to stay open to the possibilities.

“It’s difficult to be a classical musician unless you have means. So, wealth inequality keeps black musicians from the profession.” 

JASPER: What are your thoughts about being a working artist of color in the SC Midlands? Does the community of artists in general give you the support you need? If not, where do you get your support? Your sense of community? 

CHANDLER: This is a difficult question. The classical community has been as “supportive” as it can be; they know me because I grew up here. I have however, experienced racism in spaces where I am known as well, but it’s South Carolina so you get used to it. In college I had teachers who were outwardly racist toward me for which I had to receive counseling. It was where I “learned” that those that have control over you can determine the outcome of your circumstances. I also had very generous professors for whom I’m very grateful.

It’s been a solitary existence. I’ve struggled with being one of the only black male string players working in Columbia. I can count on one hand how many there are. As I’ve gotten older, I’ve realized that not seeing yourself in the world has been a hindrance. Without “stars” to reach, some personalities can languish in mediocrity, in the median, waiting for someone to tell them they can do “it” or recreating the wheel because there are few mentors. I wish it wasn’t like this, but it’s human. I want to grow to be an artist that sees what hasn’t been and isn’t afraid to try. I need to work smarter, not harder.

I believe that if SC and more locally Columbia wants to be a thriving city, that locals and tourists enjoy it will need to support the arts and entertainment in a more substantive way, by supporting artists. A specific issue that I experienced was not being able to find affordable housing. It took me a year to find an agency that would rent me the cheapest apartment I could find in a pleasant area. There is a lack of concern for artists in this regard. If artists can’t find affordable housing it must follow that they won’t be able to live here and add to the culture of our city. I’d rather not argue about the profession that I chose and my work ethic as I’m sure many readers will immediately question. Being an artist is a profession that has always required a bit of subsidy and/or help from patrons. I just hope that Columbia isn’t a place where only those that can afford to be artists; that come to the table with a level of wealth can make it work.

 

JASPER: How prevalent are classical musicians of color? How do the challenges of being a classical musician differ for artists of color – or do they? And if they do, what are your recommendations for meeting these challenges? 

CHANDLER: There are more and more of us. In my opinion being in the classical music industry is difficult for everyone involved. It is a niche that is only now beginning to appeal to a wider audience mostly due to those entertainers who are trying to expose the art, with more contemporary styles and genres. However strictly “classical” music is still an artform that needs to be considered an investment not for its revenue stream but for its cultural and spiritual significance to our society.

It’s difficult to be a classical musician unless you have means. So, wealth inequality keeps black musicians from the profession. In fact, I’ve counseled students to be discerning when considering music as their only career option, for fear that they’ll have some of the same struggles that I’ve faced.

More positively I’ve participated in a few Black Classical Conferences like the Sphinx and Colour of Music organizations and its really nice to see you’re not alone; so nice to sit next to someone that has had similar experiences, someone you can look up to, or help inspire.

“I think it’s interesting that we pay so little for art, but the tools of the trade are so expensive.” 

JASPER: As a culture, what needs to happen for us to see more young men and women of color pursuing careers in classical music?

CHANDLER: Columbia has a history of providing string education, particularly in the public schools. We should have more black musicians performing after high school. Many of things I’ve mentioned are barriers to this. Access to quality instruments is important. I got into a disagreement some time ago with a lawyer who claimed that anybody can succeed in this field if they work at it. I proposed that without means its difficult to pursue this career. The students that cultivate the best sound usually have a good instrument, whether they purchase or borrow it. Most black students borrow their instrument if the school provides it, or they don’t play. In most cases it will be the cheapest instrument the district deems it should spend, which won’t sound good and will not encourage the best from a student. When the year is over, they return it. The end. Communities that value this art form invest in it.

I think it’s interesting that we pay so little for art, but the tools of the trade are so expensive. Owning a good, bowed instrument is like owning a car. I was trying to explain how expensive quality instruments are, including all the accessories and maintenance. I’m grateful for being given the opportunity to acquire an instrument through many donors when I was in college. It’s an intermediate cello that I play professionally, a $4000 instrument and bow that I still play to this day. Where would I be without the generosity of thoughtful patrons?

We also need to be able to make and see more opportunities for success. I pray that the biases of the business community don’t make it hard for black artists to present their work and make a decent living doing so. Classical music is a small niche. It’s not beloved and sought after in the popular sphere. There are unique challenges for an art form that is in the minority culturally. Let’s take this a step further. Are rap artists, whose art informs popular culture, being given a chance to showcase their art in Columbia? When they are, are they treated equitably? More widely are black businesses being prejudged for the clients they might attract? Is it assumed that a black artist will not provide a quality experience? Are black artists being admonished to succeed without avenues to hone their skills? We know that white entrepreneurs are allowed to fail, but if they are black the judgement is disproportionate, and second chances are less likely. I wonder sometimes if I play less than perfect if I will be called again. There’s a level of doubt and anxiety that is perpetuated by all the things we encounter as black artists. It takes a lot to be confident under the pressures of this culture. I don’t have all the answers, but we can at least consider these types of issues when we are planning events and making spaces for artists.

When people move here, the complaint I here is that there is a lack of diversity and variety in the arts and entertainment. Could we be missing out as a city? I can’t speak for other groups, but I believe and will espouse that South Carolina has a special responsibility due to its past, to check racism, biases, and judgement in the continued effort to support black communities. In my opinion we should be given, yes given, more education, guidance, grace, and support because of the history of white supremacy in South Carolina.

JASPER: So, what’s next on the horizon for you, Idris?

CHANDLER: I’ll continue to push forward in business and my art. I find myself doing lots of things for other people, which is fun and informative, but I’d like to publish work and create art of my own. I have lots of interests and projects to finish. I’m passionate about making things whether it be art, music or students that thrive in their endeavors. I’d love to study abroad.

I’m very grateful that we are at a place where we feel it important to talk about race. In South Carolina, this willingness is long overdue and must be continued in the face of objections. Thanks for this platform. Thanks for highlighting the arts in Columbia, and thanks again for having me.

 

JASPER: Thank you so much for agreeing to take part in this unique interview form.

 

THANKS TO THE 2021 MEMBERS OF THE JASPER GUILD

Please support stories like this by JOINING the JASPER GUILD today!

K. Wayne Thornley Presents Haunting Gallery Show Reflecting Loss, Memory, and What it Means to be Human

“Creating art has always been my…tether to my true self.”

wayne thornley.png

On February 1st, we kicked off our Tiny Gallery show with K. Wayne Thornley. In five days, the show, Figure Studies, sold 9 out of 12 pieces. To learn more about Thornley and the inspiration behind this haunting and stunning collection, keep reading. 

Thornley grew up in the Lowcountry of South Carolina and notes that being an artistic boy in the South was not exactly easy. His talents were acknowledged and appreciated—Thornley recalls family saying, “he can draw real good”—but a career in art was not a viable option.  

“It took a long time for me to realize my parents simply did not have the tools to understand me or my fascination with making things,” Wayne recollects, “Luckily, I had some friends who supported me, and we all hung together until going to college.”

 “he can draw real good”

When it comes to college, his parents were insistent on Thornley getting a degree. While he picked out a handful of colleges he was passionate about, like Parsons and RISD, his parents were not on the same page. They were concerned “art schools” did not promise a real job with security.

“It took a long time for me to realize my parents simply did not have the tools to understand me or my fascination with making things,” 

“I basically said, before the phrase was popular, ‘Uh, hello! Do you know me?’” Thornley jokes, “They had something more practical in mind – like a business degree. Fast forward to them unloading me at UofSC in Columbia, giving me a kiss, wishing me luck, reminding me to make the Dean’s list and driving away.” 

Thornley recalls that he spent the beginning of his time at school trying to find a major that could balance his parents’ wishes and his own desires, which he found in the school of journalism. Graphic design was an integral part of advertising, and upon following that path, Thornley could take several art classes.  

“I graduated with a degree in Advertising and Public Relations and what would equate to a minor in art studio,” he shares, “My first job was as a graphic designer, then art director. Because I could write, I became a creative director, then senior producer, communications director, VP of marketing, and so on.”  

Throughout all these ventures with a variety of positions, Thornley has kept a studio at home for creative work. Even though he has never made a living from art, he has made a life with it: “Creating art has always been my escape, my therapy, the tether to my true self,” he intimates.    

Wayne 9.png

When it comes to what kind of art Thornley creates, he does not like to be limited. In the past four years, he has focused on painting and wire sculpture. However, throughout his creative journey, he has experimented with printmaking, fiber sculpture, painting, drawing, and assemblage.  

“Because I have never made my living from art, I have always felt free to explore and experiment with many mediums, and I love object-making as much as image-making,” he remarks, “I have been fortunate enough to find a few gallerists, jurors and patrons who have found merit in my work over the years.”  

The largest influence on Thornley’s work, though, was being a part of his father’s Alzheimer’s experience. Thornley had often worked with images and objects that, in his eyes, mirrored the past, like landscapes of the Lowcountry he was raised in. However, watching his father’s decline was an experience that altered his art as well as his life. 

“Watching my dad slowly fade away, forgetting words, names, and faces changed my perspective on who we are as individuals in this life. Without memories, everything loses its significance. As the mind becomes a blank slate, the body becomes a shell,” he imparts, “That kind of thing changes you. All my work deals with that experience on some level whether in figures that seem to be searching or wire structures that represent cages or containers of fragile elements.”

wayne.png

And these themes move through the lines that trace each figure in Thornley’s Tiny Gallery show. He wanted to “continue [his] investigation of the human form in space, some strong, some weak, some uncertain” and to create works that may serve as inspiration for larger pieces in his upcoming show at Stormwater Studios. 

If you visit Figure Studies, you will see 12 individuals, sketched in graphite and painted with acrylic. Some seem to lean forward from their boards as if to await conversation or whisper almost tangibly. Some look away, just off-stage, or cover their heads, both at something unknown. Some are tethered, to wings and to wrappings. Though all appear as people, they all seem to ask: “What is it that makes us human?”

wayne 12.png

Those in the Columbia area are likely not new to the staying power of Thornley’s work. He has been on this journey of storytelling for some time now. Full of memories, he recalls that his favorite moment as an artist happened around two years ago, when he spent a week at Arrowmont School in Tennessee.  

“I worked in the fiber studio combining my sculptural forms with abaca fibers and handmade paper,” he reflects, “It was a freeing experience for me, to finally be an artist at ‘art school’ with other artists and no other purpose or agenda than to create.” 

On the note of recent events having a profound effect, 2020 and 2021 have been unlike any other years, for every artist, and Thornley shares that they have shaped his work, building on and contributing layers to the themes he already explored. 

“The things that have happened in our country, mostly beginning with the election of 2016, have only added to my perceptions of what is real, what is important, and what the value of our lives, together, really add up to,” he asserts, “In my opinion, any artist whose work has not been affected in some way by the world events of the last four years might need to reconsider what they are doing.”

As stated above, Thornley’s next exhibition will be in May at Stormwater Studios here in Columbia. He will be showing new figurative paintings alongside the sculptural work of clay artist Lucy Bailey.  

“While our interpretations of the figure are quite different, I think the juxtaposition of the two will make for an interesting show,” Thornley states, “We are not sure about what form the opening of this show will take. We may do a virtual opening. As with everything else in these uncertain times, you must move forward and make your choices as they arise.” 

As for after the show? “I plan to continue painting small works and put more time into exploring my wire structures,” Thornley ruminates, “Maybe I will weave myself a cocoon and reemerge when COVID-19 is not the major focus of each day.”   

You can see Thornley’s show 24/7 via the Jasper website until the final day of February. If you want to be one of the lucky people to snag one of the last 3 pieces in the show, you can also do so at any time: https://the-jasper-project.square.site/tiny-gallery

 

—Christina Xan

Spotlight on Writer Aliada Duncan

Aliada Duncan

Aliada Duncan

Aliada Duncan was born in Beaufort, SC in 1992 and relocated to Columbia in 2008. A graduate of Limestone College, she will be graduating this year with an MSW from Winthrop University.

Duncan says she began writing at the age of thirteen. “Writing was a way for me to express myself. My pre-teen and teen years were tough. I started off writing poems. I was most inspired by Langston Hughes.” 

Duncan says, “I’ve self-published six books thus far in total. My first book, Wordplay: A Potion Name Poetry was officially my introduction to the world of writing. It was composed of poems that I had written throughout the years.”  

Her other publications include Gumbo: A Potent Poetry and Parables, a novella titled Satan, You Can’t Have My Marriage, two books of erotica titled Secrets Under My tongue and Flames: Magic at Midnight; and her most recent book is, Tongues: Enter My Ethos. All have been self-published and are available from Amazon. 

Duncan started her own business in June of 2020, Anu Vision LLC and says, “I’ve been busy with getting that off the ground. I haven’t written in a while; however, you haven’t seen the last of me.”

 

 

And here’s a sample of Duncan’s work:

 

 

The G.O.A.T Chronicles

 

 I am God frequency energy

The inner-G in me is key to immortality

What I am relaying is a result of what I am displaying

Slaying the odds with my warmest regards

I am the essence of this message

I have opened a portal and undefeated by mortals

In totality and in total

Whether local or worldwide, my illumination, you just can’t hide

Fruitful and forbidden, my power cannot be hidden

With pride and stride, I conquered the battles presented to me

Now they realize that my presence is a present

I am King to the peasants

Power I devour, it’s what I represent

I ascend and send solutions for my revolution

I descend and suspend executions of my evolution

Consistency is infinitely embedded inside of me

My levels is hard to reach, hard to sustain

My reign on the throne is solidified

 My magnetism defies the isms

My prism holds the light—

It cannot be dimmed, try as you might

I have summoned my sanctuary

Building contrary to what was meant to bury, me

You’re not even worth my stardust

I am governed by the divine

This brilliance is my shrine

This is the rhythm, this is the rhyme

My potency should be a crime

The G.O.A.T— Greatest of all time

USC Dance Brings Back Live Dance With Spring Concert

Junior dance majors Logan and Lydia Acker rehearse Jennifer Deckert’s original work, A Season of Echoes, on the Drayton Hall stage.

Junior dance majors Logan and Lydia Acker rehearse Jennifer Deckert’s original work, A Season of Echoes, on the Drayton Hall stage.

Part of being a student of dance is learning how to dance in front of an audience. For pre-professional dance students at USC’s School of Dance this hasn’t happened since before the COVID-19 pandemic brought much of live performance art to a halt last March.

But this will change when USC Dance presents its Spring Concert next week, February 10 -13 at Drayton Hall.

Like every arts organization that is making a foray into live performance, the dance school is taking enormous precautions to protect the health and safety of their students, staff, and audience. So if you’re really itching to see some live art next week and you’re willing to take a chance, this may be your best bet.

Over the years, USC Dance has given the community innovative choreography that, more than a decade ago, arguably challenged the programs the professional companies in the city were presenting, resulting in a much more 21st century dance diet for audiences. While Columbia still has a long way to go to catch up with other cities of the same size, if not the same arts budgets, the past few years have offered some delicious treats such as Columbia City Ballet’s annual Body and Movement presentation of all new and innovative choreography (coming up in March, fingers crossed.)

For more on what to expect from the performance , check out USC Dance’s media info below.

CB

usc dance1.jpg

USC Dance Spring Concert

February 10-13, 2021

Show Times:

February 10-12, 7:30pm | February 13: 2pm

Drayton Hall Theatre,1214 College St.


Purchase Tickets

Tickets available only for the purchase of a single seat or a pair of seats, with single seats priced at $15 for students, $20 for UofSC Faculty/Staff, Military and Seniors and $22 for the general public, and ticket pairs priced $30-$44. Tickets may only be purchased online and will not be sold at the door.


UofSC Dance is back and in-person on the Drayton Hall stage next week!

Featuring three brand-new contemporary works by dance faculty Erin Bailey, Jennifer Deckert and André Megerdichian, the concert will mark the dance program’s first on-stage performances since the beginning of the COVID-19 pandemic. Concerts during the fall semester were filmed and streamed online.

To help ensure a healthy environment for all gathering in the theatre, a number of safety measures are being implemented by the department. In addition to socially distanced seating, facial coverings will be required of all audience members, performers and theatre staff. To help ensure distancing, patrons will be seated upon entering the building and asked to leave immediately after the performance. Patrons are asked to monitor their own health and not attend if they have been previously diagnosed with COVID-19 within 14 days, have been in contact with anyone diagnosed with the virus or are exhibiting any symptoms of illness. The theatre will be cleaned before each performance.

Precautions have also been in place during rehearsal, with dancers required to report their temperature and health conditions daily and wear face coverings. Additionally, the choreographers have incorporated social distancing into their works. Dancers are only allowed to be in close contact if they share a living space.

Pandemic-related limitations have directly inspired the creation of Jennifer Deckert’s A Season of Echoes. Set to the music of Vivaldi’s Four Seasons, the contemporary ballet explores how the solitude of social distancing has, for many, provided a chance for personal reflection.

“I think this forced stillness that we’ve all been put into allows us to reflect on past experiences and emotional baggage that we may not have had the time, energy or space to acknowledge in our lives,” says Associate Professor Deckert. “It’s very much a reflection of managing this pandemic, managing the social unrest and managing how we’re reflecting on ways of being and interacting.”

The impact of the pandemic has similarly informed Megerdichian, an assistant professor in the dance program. However, his work, Meetings Along the Edge, intends to give audiences a more visceral experience.

“We’ve all been sort of cooped up in these times and that has put us in this state of external stillness,” says Megerdichian. “But, internally the wheels are spinning at 90 miles an hour. I thought what we need is a release of that internal spinning, projected physically.”

Contrasting emotions also fuel dance instructor Erin Bailey’s under. Inspired by a trip to a Berlin museum, the piece brings to light conflicting feelings of contrition and redemption.

“I felt… an overwhelming sense of shame,” Bailey says of her powerful experience with history. “At the same time, I felt very much alive and pure. This experience of simultaneously feeling heavy and light, unclean and clean, inspired me to explore the complexities of these relationships through movement.”

One feeling shared by all of the artists in this concert, choreographers and dancers alike, is a sense of excitement at finally being able to get back on stage

“This is what we live for,” says Deckert. “We’re craving interaction with each other and that creative energy. There are a lot of artists who aren’t able to have that right now and I’m just grateful that we’re in a place where we can.”

“Our hearts feel a little calmer than they had,” she adds, “knowing that we get to be on stage in front of an audience and living the life that we were born to live.”