Corona Times - Photographer John Allen

Today’s Corona Times features Columbia-based photographer John Allen who has used photography for therapy, art, and as a business endeavor.

Welcome John!

JASPER: Can you tell us about your background, John? Where did you grow up and go to school and what part of the city do you live in now and how long have you been there? 

JOHN ALLEN: I have lived in Columbia my whole life, but my parents met in the military and I have family all over. Growing up, I went to Hammond School and then later attended Dreher High School. After that, I went to Midlands Technical College with ideas of being a history teacher, but I ended up in family business. Since then, I’ve been working at the university. I’ve been living on the Western Front (West Columbia) for about 17 years now.

 JASPER:  How did you get into photography -- when and where? Did you train or are you self-taught?

JOHN ALLEN: When I was teenager, I was hit by a car while biking and had to learn how to walk again. It was a near death experience that left quite an impact on me over the years (no pun intended). I shot a lot of photography from travels in the UK and Ireland using old SLR cameras and then stopped for a long time.  About ten years ago, I started working in a design department and learned a bunch of new tricks.

Prior to that, a dear friend of mine died and I spent a few years doing things I wouldn’t normally do; making photos again, art, being a little more adventurous, and social. Someone told me it was called exposure therapy. There’s a lot of people who think art therapy is nonsense, but I can tell you it helps tremendously – I am living proof.  It was really life changing for me.

JASPER: Who are your inspirations?

JOHN ALLEN:  Trey Ratcliff is probably the most prominent photographer I’ve followed. He’s known for HDR landscapes and the like. He was based in Austin, Texas and then eventually moved to New Zealand. He’s amazing. I follow a bunch of other photographers on the Viewbug photo community and a few around town, but that’s about it. I don’t really compare or compete with anyone, I just kind of like doing my own thing. Most of the time I take my camera with me while hiking and biking. It’s more of an activity for me and not just taking photos.

 JASPER: What type of photography do you mostly practice? What challenges you most?

JOHN ALLEN: Well, I have my work-work and then there’s my solo stuff I suppose. Most of the work I do on my own is geared toward a wide variety of photo art, landscapes, portraits, and local events.  I have a home studio and sometimes work on photo projects there as well but not as often. I also enjoy doing digital photo restoration.

The most challenging photography for me is probably photo restoration and night photography. Night photography requires solid knowledge of manual controls and restoration requires a lot of time and effort. When you master manual, in whatever weather, you are going to get a lot of great shots.

JASPER: Can you tell us about one of your favorite gigs and why you enjoyed it?

JOHN ALLEN: Not any single one in particular, but perhaps maybe a culmination of things. I enjoyed doing community events here such as the Runaway Runway fashion shows. The Colajazz City of Stars show was also quite fun especially when you know a lot of the participants already.  That was one was a fundraiser to raise money for children’s music education. Travel stuff. I’ve shot some landscapes in Canada and did a wedding there as well. I’ve also enjoyed collaborating with local artist friends.

I suppose a lot of people know me from sharing photos with Bohumila Augustinova and Diane Hare at the Anastasia & Friends art gallery on First Thursdays the past few years or so. There are many great memories captured from those days that might not otherwise have been recorded.   

I have participated in some of those photo communities like Viewbug and was interviewed a few times.  We used to spend weekends “photo hunting” around to submit to contests. It was fun watching how far our work would go in these online photo competitions.  It was a lot of sheer boyish-enthusiasm for the sake of making photos. Sometimes, friends and I would go on adventures and make art out of just pure enjoyment. I’ve also had a few of my photos accepted into the Artfields competition as well.

Aside from that, I’d say my other favorite “gig” was documenting the Take the Flag Down Rally back in 2015 as an activist. I’ll always remember that day and when the flag came down.

JASPER: What do you do when you aren't behind the camera?

JOHN ALLEN: I really like cooking and I’ve hosted some dinner clubs around town. I’m very much an outdoors person. I like hiking, mountain biking with friends, and occasionally camping and good music. A lot of people don’t know this, but I also do graphic design and tech/web stuff as well as some video work.

Model Alexis Doktor

Subjects: Lee Ann Kornegay, Ann Smith Hankins, Diane Hare, John Allen (photog) Billy Guess, Bohumila Augustinova, Lauren Melton, Paul Kaufmann

all photos courtesy of the artist

subject Tom Hall

The Jasper Galleries at Meridian Features Timely Portrait Exhibit on Race and Authenticity

Since 2019, the Jasper Project has been showing art in the external gallery spaces of the Meridian Building in downtown Columbia as well as in the building's lobby. In one of the first major exhibits since the start of COVID-19, the gallery is presenting a timely and poignant portrait show by Dalvin Spann and Lee Ann Kornegay.

The show features a collection of black and white portraits of everyday people in various poses and places. Aptly titled Black and White, the show “came out of a desire to gain and promote a better understanding of people of different color,” the Artist Statement says.  

Spann, a black 36-year-old photographer, and Kornegay, a white 57-year-old filmmaker and photographer, together “envisioned it as a project that would challenge themselves, then ultimately viewers of their work, to learn new things about their subjects and talk about what it feels like to be black or white in the current times.”  

Each photographer agreed to photograph people of a different color.  

“The goal was to step outside of our comfort zones and shoot outside of our race. We wanted to spark change and conversation in all walks of life,” Spann reflects, “This was important then and now more important than ever with what we are seeing socially around the world.”

These portraits show people as themselves, as human beings. Through dance, sport, or a simple smile, the subjects of these photos express themselves authentically. The portraits present not just a reflection of the subject but a reflection of the witness.

“I think if we take the time to talk to people without stereotyping or having a classism approach, we would be further along in changing the world we live in,” Spann asserts, “It is important that we first look in the mirror at ourselves and accept the things we were misinformed about or taught to ensure we do not repeat the cycle again.”

The photos are set up throughout the window that lines Washington Street.

In addition to the portrait exhibit, Bert Easter, Jasper board member and manager of the gallery, has refreshed the space by adding a couple new UofSC student pieces and an extraordinary pottery piece by Virginia Scotchie as well as moving a few current pieces around to give a fresh look.

The Jasper Galleries at Meridian is located at 1320 Main Street, and interested individuals can drop in or drive by Washington and Sumter Streets to see the art.

With a message ever so important in today’s world, the show aims to say that regardless of race, we can never move forward with successful and positive race relationships until we get to know each other, share fears and joys alike, and have authentic relationships. 

“We produced Black and White in 2017 to create a vehicle for meaningful conversations between blacks and whites in our community,” Kornegay shares, “A way to get to know each other in a deeper way and to prompt dialogues of understanding.

-by Christina Xan

July’s Virtual Tiny Gallery Features Lucas Sams’ Acrylic & Glass Ruminations on Past and Future

“If I can make any impact on other artists it would be just to encourage them to create whatever it is they want, create their own world, and don’t worry about how it will be perceived or try to compete with what is accepted or popular, or even if it ends up being ‘good.’ Make what makes you happy.”

—Lucas Sams

Artist Lucas Sams

Last month, Jasper transitioned our Tiny Gallery series online in a show featuring ceramic artist Vanessa Hewitt Devore. This month, we’re thrilled to feature our longtime friend artist, Lucas Sams, and his new collection, Paintings on Glass.

Sams, 30, is an award-winning Columbia based multi-media artist working in painting, sculpture, film, digital/multimedia, and installation art.  He was born in Greenwood, South Carolina and has resided in SC for most of his life, except for a year spent in Tokyo, Japan. “I think both of these facts have greatly influenced me in ways I am not yet fully aware of,” Sams shares.

Sams has been drawing since he could hold a pen, constantly supported by his family; specifically, his father, Carroll Sams of Greenwood, SC, and grandfather, John Proctor, both of whom helped teach Sams some of the basics. Sams shares that a lack of art classes at his Christian school made him have to search for ways to be self-motivated. “I drew during most of my classes whenever possible,” he says, “Drawing cartoons and comics before slowly transitioning into a shudder ‘fine artist.’”

Despite the lack of classes, Sams exhibited work throughout middle and high school, going on to attend the SC Governor’s School for the Arts and Humanities and the University of South Carolina, where he graduated with a Bachelor of Arts in Painting and Art History.

Sams started showing work “professionally” in Columbia in 2009. In the past decade, he’s worked in a variety of 2D and 3D mediums, including film and installation art. These days, however, he’s mostly painting and drawing or working with ceramics. “This show with Tiny Gallery consists of paintings on glass,” Sams details, “using a technique of painting images in reverse directly on glass taught to me by my father when I was a kid.”

Madonna and Child

This technique, which Sams’ own father used extensively in his work nearly 50 years ago, is not the only thing he taught him. “My father taught me how to paint more than any art teacher or professor, by teaching me not to be afraid of painting,” Sams illuminates, “The worst that can happen when painting is something has to be painted over, and glass is an even more forgiving medium, where mistakes can be simply wiped away.”

This approach carved a new perspective of art for a young Sams, who admits once upon a time, he hated painting. “I couldn’t get a grasp on the medium despite excelling with pen and ink and other media, until I learned how to do it in reverse,” Sams reflects, “The painted surface itself is messy, layered over with many layers of paint, and there is no definition, but flip it over, and it makes sense – the image has clarity, depth, and definition.”

Fault and Fracture

Many figures and ideas have emerged from the depth of the images on Sams’ glass, inspired by a mix of science fiction, anime, pop culture, modern art, religion, psychology, and history. Born in 1989, he grew up playing with '80s hand-me-downs, constantly experiencing a decade he never lived in. “I think nostalgia, even a hireath-like nostalgia for a world that never really existed, has always been under the surface,” Sams ruminates, “Being a small-town kid with big dreams and ideas led to creative world-building, of the past and future of imagined realities that are never fully realized.”

The imagined realities that exist in this crux of past and future are represented across panes of glass in Sams’ exhibit for Tiny Gallery. Drawing on memory, history, and current times, the paintings tread a multitude of different waters. In this collection, you’ll find various faces in different modes of contemplation, diptychs with bodies in conversation with one another, and vivid colors coming together to tell their own stories. Specifically, Sams works with an “almost manga-like visual style” that he’s been returning to recently. 

Masked Girl with Flowers

“My work draws from the unconscious, and from conscious repetitions and explorations of various interconnected but vastly diverse symbols and archetypes,” Sams shares,” Most of the figures or portraits are some of these archetypes, often a personal twist on a historical or mythological character/idea used as a framework to explore.”

Sams’ works have been exhibited locally and regionally in major art festivals, galleries and alternative spaces, and featured in Jasper Magazine, the SC State newspaper, Garnet and Black Magazine, and the Timber Journal of the University of Colorado, Boulder. He’s had about 30 formal shows, 8 solo shows, and 4 two-man shows with his good friend, and recent JAYS visual arts winner, Michael Krajewski. 

His favorite memory in all of these was the first time he won something. At the 2006 McCormick Arts Council’s Juried show, he won 1st place for an installation of ceramic masks, and somebody offered him a solo show at USC upstate…or at least they thought they did. “They actually offered it to my Dad, who they thought was me, and who was there accepting the award for me because I was in still high school, out of town,” Sams recalls, “When they found that out, the offer was rescinded. We laughed about that a lot and still do; it’s a good memory.”

Candy Colored Clown

Whether it’s experiments with new mediums or cases of mistaken identity, Sams has one piece of advice for fellow artists: “If I can make any impact on other artists it would be just to encourage them to create whatever it is they want, create their own world, and don’t worry about how it will be perceived or try to compete with what is accepted or popular, or even if it ends up being ‘good.’ Make what makes you happy.”

Lucas Sams’ show, which holds 17 pieces ranging from $75 - $150, will be up until August 9th. You can see the works 24/7 at the following link: https://the-jasper-project.square.site/tiny-gallery

While he says it’s impossible to know what the future holds, for further viewing you can visit his website https://lucastsams.wixsite.com/sams, his weekly updated webstore https://lucassams.bigcartel.com/, and follow him on Instagram @trianglezero.

-Christina Xan

*Are you an artist interested in showing your work for a Virtual Tiny Gallery show? Email Tiny Gallery Manager Christina Xan at JasperProjectColumbia@gmail.com.

To support the work of Jasper, including articles like the one above,

please consider becoming a member of the Jasper Guild at www.JasperProject.org

Corona Times: Lauren Chapman Transforms Dining Room into a Whimsical Wonderland

In these constantly fluctuating times in which we live, Jasper continues to interview artists, checking in on them and their work and sharing their creations and processes with the community. I got the chance to talk to local artist, Lauren Chapman, about the three-month journey she took to paint a mural on all four walls of her dining room.

JASPER: You’re such a wonderful artist – what first got you into art?

CHAPMAN: I’ve always loved art since I was a child. My family always called me an “artist”, so I never questioned whether or not I was going to be an artist because I have considered myself one my entire life. They have been very supportive of my love for art, and my mom even went as far as to signing up for adult oil painting classes when I was twelve.

JASPER: Beyond your family, did you have other important supporters that helped define your work?

CHAPMAN: After moving to Iowa, I had two incredibly influential art teachers in high school who always treated what I was doing seriously. Hank Hall, whose work I would compare to the American Artist, Cy Twombly, would find creative ways for us to draw like tying string to pencils as we attempted shapes from still lifes and blind self-portraits where we would stare directly at ourselves in the mirror and draw without looking down at the piece paper. This taught me how to connect my eye with my hand so I’m not simply drawing what I believe is the shape but instead moving my hand with what my eye sees and creating that shape. 

My other high school art teacher, Brad Travis, made sure I could work with oils, going out of his way to find large boards for me to paint. I had total artistic freedom and painted with oil paint before I fully understood how the materials worked. We had several critiques each week, and I began to learn how to speak about my work and understand what it was I wanted to do with it. I would compare my work at this time to aboriginal art as it was vibrant with repetitive marks. 

JASPER: So you studied art professionally then?

CHAPMAN: I started becoming very serious about being an artist in 2015 when I switched my major from Art Education to Painting after studying abroad in Italy. Taking classes in the SVAD Painting department I learned much more about oil paint as a material and the process of working with this material. I took classes from Pam Bowers and Jaime Misenheimer who were the most integral part of my growth as an artist at USC. I developed a much broader understanding of the process of painting with oil paint as a material and what mediums worked best for me. 

JASPER: You say you’ve been creating art pretty much your entire life – how have recent events like COVID-19 challenged creating for you?

CHAPMAN: I was in New York City the week they began shutting everything down and started quarantine. My fiancé, Nathan Casassa, had proposed to me at the MET, and while we were taking engagement photos, we heard it was the last day they would be open. It was really crazy how quickly everything shut down and the fear of this virus settled in.

When I got back to Columbia, my work felt a bit pointless. I couldn’t get myself excited about what I had considered doing when I got back from my trip. I tried doing a large painting symbolic of COVID, but I ended up hating it. Although I’ve always felt this sort of judgement being an artist and not being an “essential” worker, I felt even less of a reason to be painting during a full out pandemic. 

JASPER: Was this project a way to break free of that? Or was it an endeavor you had been planning on?

CHAPMAN: I was feeling my work was rather pointless. I was running low on oil paint materials, and a house full of family pretty much killed my work ethic. This seemed to be a good time to slow down and take a little break from my normal studio days. 

Last August we purchased our first home, and we are still working on decorating the place. Having my mom, Tracy Howard, in town seemed like the perfect time to focus on picking paint colors for rooms since she is absolutely incredible at interior design. I painted the living room a royal green and our little library “magician’s cloak,” a deep manganese violet-reddish color. I want each room in the house to complement one another and feel like its own separate entity, and I always knew I wanted to do a mural in at least one room of our home.

 JASPER: So why the dining room then?

CHAPMAN: The dining room is where we spend the most time entertaining company in the house.  It is right off of the kitchen, and I’ve added a couch and two comfy chairs. I was inspired to add more seating to this room because of my grandparents’ house. Visiting their farm as a child, my Grandma Kay would always be in the kitchen, and we would all sit around her and talk for hours. They had a double seated rocking chair, and I can remember falling asleep on it while my mom, aunt, and grandma would talk long into the night. If I was going to do a mural in my home, I wanted it somewhere we would all congregate, so the dining room was the spot.

JASPER: Have you ever created a mural or something of this size before?

CHAPMAN: In 2017, I had a studio at Tapp’s, and Caitlin Bright came to me one day and asked if I’d like to do an exhibition. She said she was thinking something Alice in Wonderland inspired. There was a large wall at the entrance of Tapp’s, and I did my first mural on it. It was the entrance to the show, and the door was turned into a rabbit’s hole that one had to duck down to go through. Surrounding the door were massive snakes, stars, a rabbit eating one of the snakes, and the title of the show, written in a cursive style inspired by carnival writing, was “Wild in Wonderland.” For that particular mural I used acrylic paint.

 JASPER: What was different about the experience with your dining room?

CHAPMAN: For the dining room mural, I decided to try watercolor. I did a little research and found that the original paint I had in the dining room was a perfect prime for watercolor – a matte coat which allowed for the watercolor paint to absorb into. So, for me, this mural still felt like new territory as I was using a material I rarely use in the first place on a wall instead of paper. I have never painted anything large with watercolor before. In fact, anything I’d done in the past had been on a tiny piece of paper. Since I prefer working larger, being able to do this mural in watercolor and paint life size anatomical structures, I now feel a freedom and new confidence painting with this material and will most likely continue testing its waters. 

JASPER: There are so many wonderful colors and details in the paintings. How did you pick the theme?

CHAPMAN: As a child I lived in my imagination and was always pretending. You could find me deep in the ravines of the neighborhood creating characters and stories I told myself. Painting has become a way I can once again pretend and create narratives within fanciful realms.  Since I lived in my own fairytale land as a child, as an adult I have begun to recreate fairytale lands, although in my oil painting series the characters within them have been much darker as dragons become symbolic for rape culture, snakes the patriarch, crying unicorns who know innocence isn’t forever, and jaded sirens haunting the seas. Each piece a whimsical character and landscape filled with tropes and symbols I had created as warning signs - what I’ve learned about being a woman up to this point. With the mural for my dining room I wanted to create something whimsical and calming - a place that reminded me of where my imagination took off as a child, outside, in the woods.

JASPER: Did you sketch the scenes out, or did you let it come organically as you went?

CHAPMAN: I am not a fan of making plans. I guess I hold on to this child like quality in that way. Nothing exciting ever happens if you know it’s about to happen. 

I started on the right side of the door in the corner next to the window. I did a few different drawings, and then once one felt right, I continued on the Scientific Illustration path. The blue heron was the first figure. We have a pond in the backyard, and I’ve seen many herons scoping it out for fish. They’re magnificent.

JASPER: And did the rest of the mural continue like that? What was the process as a whole like?

CHAPMAN: I started with a little green caterpillar I had found in one of my favorite Alice in Wonderland editions illustrated by Salvador Dali; after that a butterfly; I painted over the caterpillar, left the butterfly. This is my normal process. Just jump right in and paint over whatever doesn’t work. I painted the eyes Saint Lucy holds in the painting by Francesco del Cossa and then a ton of flowers surrounding it. Although I wiped away the Saint Lucy piece – it reminded me of frescos. This made me consider the entire space I would be working with differently. Instead of painting one area at a time I began thinking of all of the walls as one composition and how one figure would react to another across the room.

For example, I painted the fox in the middle of the room. Originally, I painted her straightforward so when you turned to her, she was staring directly into your soul. Something about it seemed to break the circular motion of the mural so I wiped her away with water and recreated the fox on a hunt. The irony of the fox hunt is the rabbit, a Young Hare created originally by Albrecht Dürer, the German artist. The fox pushes onward unaware of the nice tasty treat right under her nose. I only worked on the hare once with plans to go back and work on her again. Alas, I abandoned the plans. This became a much bigger project than I ever could have imagined. 

JASPER: It is definitely a big project! How long did it take you?

CHAPMAN: People always ask me how long something takes. I never really know because time passes by so quickly when I’m working. For instance, I would work a whole day simply on tiny lines within leaves on the magnolia tree. I started the project mid-March and finished mid-June. So, a total of three months with most of my weekdays and a couple of weekends dedicated to it.

 JASPER: Would you do it again?

CHAPMAN: I most definitely want to do another. If only there were more of a market for murals, I’d love to make a business doing it! 

JASPER: What would you say has been the most special part about creating this?

CHAPMAN: There’s a quote from my favorite book, The Chronology of Water, by Lidia Yuknavitch that says, “If I could go back, I'd coach myself. I'd be the woman who taught me how to stand up, how to want things, how to ask for them. I'd be the woman who says, your mind, your imagination, they are everything. Look how beautiful. You deserve to sit at the table. The radiance falls on all of us.” This quote has really followed and pushed me through the past decade of my life as I continue to remind myself that I am deserving to sit at the table in all aspects of life. To have my own table, surrounded by something beautiful that I’ve created, I like to believe would make my favorite writer, Yuknavitch, proud. 

JASPER: Has the journey taught you anything about yourself as a person or creator?

CHAPMAN: It’s crazy – three months isn’t much time, but it’s felt like an entire year. Doing this mural has been such a great experience. I feel like I let myself try something new, and because of it I have evolved as an artist. It can be hard to do as sometimes you feel stuck defining yourself as this or that, “Oh I’m an oil painter.” Now I can add experience with watercolor and creating a mural. I’m glad I continued creating during a time I desperately needed and decided not to give up even though it felt so pointless to me at times. It’s given me purpose and kept me calm when I feel like I could just scream most of the time. 

JASPER: For creators who are also struggling with motivation or the feeling of creating being pointless, what advice would you give them?

CHAPMAN: My only advice: paint the walls! If you’re going through a rut of inspiration and motivation right now, I can definitely relate. These past few months have felt like a restart button for most artists I know, but also on that note a restart for our country, and the entire world!  It’s a wonderful time to humble oneself and be open to learning. Educate yourself on the Black Lives Matter movement, wear a mask, stay home as much as you can, and use art as a form of therapy.

— by Christina Xan

Christina Xan is a writer, a doctoral student at the University of SC, and a member of the board of directors of the Jasper Project where she manages the Tiny Art Gallery Project.

To support the work of Jasper, including articles like the one above,

please consider becoming a member of the Jasper Guild at www.JasperProject.org

Clay Artist Vanessa Hewitt Devore Kicks Off New Virtual Tiny Gallery Series for the Jasper Project

The Jasper Project kicked off our Tiny Gallery Series back in October, 2018 with the express purpose of affording artists an opportunity to show a selection of their smaller pieces of art at affordable price points. With a variety of work priced at $250 or less, our shows have attracted seasoned buyers and budding art collectors alike, featuring top Columbia-based artists like Thomas Washington, Christopher Lane, Michael Krajewski, Olga Yukhno, and Eileen Blyth.

While safety concerns related to COVID-19 may prohibit us from welcoming artists and their patrons in person, Jasper is excited to announce a new component of the Jasper Project – the Virtual Tiny Gallery Series! Upcoming artists include Lucas Sams, Gina Langston Brewer, Lindsay R. Wiggins, and more later as the year progresses.

Today, we’re delighted to announce our first Virtual Tiny Gallery artist – Columbia-based clay artist, Vanessa Hewitt Devore. Devore grew up in Columbia before attending Winthrop University, the place she fell in love with ceramics. After kindling that relationship, she made it concrete with an MFA in Ceramics from GSU in Atlanta.

Devore isn’t the only artist in her family, though. In fact, she is a fourth-generation artist—her great grandmother was a painter; her grandmother was a potter and painter; her father is glass artist, Steve Hewitt; and her mother is renowned artist and educator, Mana Hewitt (one of our featured artists at the Supper Table, whose metal-worked place setting for Eartha Kitt became the cover of the book, Setting the Supper Table).

The work Devore creates is often inspired by her love of nature, plants, and animals. Some of her earliest memories are of her grandmother’s backyard. “Every day, [I] would help her plant and tend her flowers, and she would point out to [me] all the different birds and animals that would visit her garden,” Devore says. 

Beyond pottery, Devore has experimented with stained glass and metalsmithing and is drawn to needlework and quilt making. “Colors and simple shapes really appeal to me,” she says. “My ideas center around creating a whimsical, fun object.”

All the work exhibited in the Tiny Gallery show is porcelain, carved using the sgriffitto technique, and made on the same wheel on which her grandmother once threw.

In her collection of 8 pieces, including bowls, vases, and jars, Devore demonstrates her color mastery with hues of terracotta and turquoise traced in black amongst a stark textured white background. According to Devore, “I like that my objects are usable, and I hope the work I make makes people smile.” 

You can see Devore’s work on the Jasper Project website until Monday, July 13th. All purchases can be made directly from the site. Upon purchasing, your info will be shared with the artist to arrange delivery of the artwork.

*Are you an artist interested in showing your work for a Virtual Tiny Gallery show? Email Tiny Gallery Manager Christina Xan at JasperProjectColumbia@gmail.com.

An Interview with Board Member Bert Easter on the Jasper Project Galleries at Meridian

With the Street Gallery concept, the public can visit the Jasper Project Galleries windows and not have virus concerns.  Viewing artwork at these windows can be done safely from the sidewalk; someone could even drive by and take a peek at the artworks from their car. 

-Bert Easter

Board Member, The Jasper Project

Bert Easter - courtesy of Ed Madden

Last April, The Jasper Project opened a new gallery in a prominent downtown Columbia building. Though the Meridian Building opened its doors in 2004, it was built from the facade of the 19th century Consolidated Building. This coalescence of elements externally can also be found internally, through the art featured in the lobby and the display windows that line Sumter and Washington Streets.

courtesy Historic Columbia

I was able to chat with fellow board member Bert Easter, who started and organized the gallery, about what this first year has been like, what artists are currently being featured, and how the public can interact with this significant space and the art within it.

JASPER: It’s been just over a year now that you’ve been working on the Meridian. How has it been?

EASTER: I really have had great luck with the Meridian hosting and being very helpful with my little idea.  It’s actually been a lot of fun, and some work, pulling together artwork to offer in downtown Columbia. And we have been very lucky to develop a partnership with Virginia Scotchie of USC to show student work alongside her artwork.

JASPER: What made you first walk past this building and think, “This is the place for a gallery”?

EASTER: I saw the windows as a missed opportunity for both the city and the arts community.  When I approached the Meridian, I was pleased that they were excited with this idea and even offered the additional space of the grand lobby area to be opened up for local artists. 

JASPER: Did you have any specific goals for it then?

EASTER: I hoped then, and now, that at the Meridian we would have business folks who might see, connect with, and purchase local art.

JASPER: With such a great pool of artists in Columbia, how do you select artists to meet the gallery’s goals?

EASTER: Thus far I have contacted the artists and helped select artwork that I hope works well and complements the other artists’ work.  I try to also have a few pieces that challenge the traditional ideas of artwork – to offer abstract paintings or a brutalist sculpture or a pottery vase that you would never use for flowers.   

JASPER: Have you had any highlights in this journey of merging art styles and voices?

EASTER: Pulling together Assemblages by Susan Lenz, with plastic assembled work by Kirkland Smith, alongside found metal items sculptured by Andy White was one of my favorite window displays show in our first show.  I have also enjoyed showing pottery by Paul Moore with carved palmettos on the side of the vases placed by landscape paintings.  

JASPER: Well other than great art, what should people expect when going to the gallery?

EASTER: The windows are just like storefront windows for a department store.  They are lighted at night, and I actually tell folks that the windows look better at night from the street and sidewalk.  The lovely Main Street lobby is limited to weekday business hours (8-6) due to the security concerns of the Meridian. Currently, once you enter through the revolving doors on Main, you’ll find pottery on pedestals by Virginia Scotchie and USC students and paintings on canvas by Nikolai K Oskolkov.

 JASPER: Has COVID-19 impacted the way people visit the gallery?

EASTER: With the Street Gallery concept, the public can visit the Jasper Project Galleries windows and not have virus concerns.  Viewing artwork at these windows can be done safely from the sidewalk; someone could even drive by and take a peek at the artworks from their car. 

JASPER: You mentioned it briefly before, but if people want to stop in or drive by, what artists can they expect to find currently? And how long will the current artists be up?

EASTER: The current show has 10 different artists being offered with a large collection of paintings by Nikolai Oskolkov in each of the 3 galleries on this block. We have been switching out artwork every 3 months so that we would have 4 shows each year.  When the virus hit, we stopped, and the current show has been left up, but I plan to switch out the artwork after the virus is less of a concern. This show includes art by Nikolai K Oskolkov, Bohumila Augustinova, Michael Krajewski, Eileen Blyth, Virginia Scotchie, and USC students from the School of Visual Art and Design. 

JASPER: What should people do if they see one of these pieces of art and fall in love with it?

EASTER: The signage will provide the cost of the artwork and my cell number where folks are able to ask any questions, arrange for me to come to the Meridian and meet with them, or to arrange purchase of the artwork. As far as pricing, we have offered original artwork starting with prices at $200 and going up to $2,500.  

JASPER: Well, to round all this out, tell me: Columbia is a city full of artists & galleries — what makes the gallery at the Meridian special?

EASTER: We have established this partnership with the Meridian to offer artwork outside the gallery setting to bring local artworks to the people who might not visit galleries with the intention of purchasing artwork – in a hope that downtown folks might see, connect, and enjoy art by local working artists.  We think that the display window setting might allow someone just headed out to a meeting, dinner, or a local church service to view artwork in downtown Columbia.

The Jasper Galleries at Meridian is located at 1320 Main Street. If you’re feeling cooped up at home and want to feel inspired, take a drive down Washington or Sumter Street and see the selection of artists that Property Manager Amy Reeves stated “brought life to our windows”, and maybe even take a piece home to keep you company.

 -Christina Xan

Christina Xan is a writer, a doctoral student at the University of SC, and a member of the board of directors of the Jasper Project where she manages the Tiny Art Gallery Project.

The Jasper Project operates public space galleries at Harbison Theatre, Motor Supply Company Bistro, and the Meridian Building in downtown Columbia. If you’re interested in developing a gallery area in your public space, or you’d like to exhibit your art, please contact Laura Garner Hine, Bert Easter, Christina Xan, Cindi Boiter, or Wade Sellers.

To support the work of Jasper, including articles like the one above,

please consider becoming a member of the Jasper Guild at www.JasperProject.org

Jasper Project Galleries Adds New Location at Motor Supply Company - Curated by Laura Garner Hine

The Jasper Project is pleased to add Motor Supply Company Bistro in Columbia’s historic Vista to our growing list of Jasper Project Galleries, including Harbison Theatre Gallery and the Meridien Building Sreetside Galleries (curated by Bert Easter) at Washington and Sumter Streets in downtown Columbia.

Jasper Project board member and Jasper Magazine visual arts editor Laura Garner Hine will be curating the series for the Jasper Project and is opening the series with a selection of her own work beginning this week.

Below, please find an excerpt from a story featuring Hine written in 2019 for Jasper Magazine by Christina Xan.

Laura Garner Hine

Though many people struggle to decide on a career path, Hine knew she was going to be an artist for as long as she can remember. “It's my strongest sense,” Hine says, “There was never a question, my whole life.” 

Hine started seriously studying art as soon as she became cognizant of her choice to commit to it. Upon graduating high school, when she got a scholarship for USC, she knew immediately she was going major in art studio. “I didn't know what I was going to focus on yet,” she recalls, “but eventually it became oil painting. You can make it so many different things.”

Hine is indebted in large part to her mentor, Pam Bowers. She remembers her and Bowers harvesting dirt from which they would make their own paints: “I felt like I was doing alchemy,” she said. This is when she ended up minoring in art history.

After Hine graduated, she studied abroad in the Netherlands. While there, she heard of a conservation course happening in Maastricht, and she decided to go – a decision that would change her life. Hine reflects on her first experience with conservation: “It was the marriage, to me, of all the things that I'd loved: art history, that alchemy, and the science behind art.”

Although this trip was the first time Hine had experienced conservation hands on, she believes she was always meant to conserve art. She remarks that, “I think I'm in the business of seeing. Everybody has the capacity to look, but there's merit and thought behind really seeing. It's kind of a fantastical thing.”

Hine believes her relationship to seeing beyond the surface of an image or object is really what led her to first her path as an artist and then her job as a restorator, a process she is incredibly lucky to be a part of: “It's quite meditative,” she ponders, “I think it transcends you into this moment of this dissolving of perception, and you become one with it.”

The process of conserving and restoring art is a multistep process, and it’s not formulaic. However, there is a system to work through. First, Hine has to do research, find out what the materials are and what they're sensitive to. After preliminary research, Hine begins testing to deduce what would be safest to use on the art piece. Grime or dirt can be removed with something as simple as distilled water to something as damaging as toluenes, but Hine avoids using anything toxic unless it’s absolutely necessary.

Sometimes, though, the painting is further compromised. If there is a tear or severe damage, Hine must remedy that first. These losses need to be fixed by covering cracks and shaping areas that have lost texture. Last, it’s time to color correct, which is where “the fun starts” for Hine and where her jobs as artist and restorator most closely overlap. When just a little color is missing, she looks at the surrounding area and mimics, but if something major like a face is missing, then she has to do more detailed research to create an impression as close to the original as possible. From start to finish, on average, it takes Hine around 8 hours to restore a painting.

Hine worked at the CMA as an Assistant Preparator for two years, but now she works full time for Carolina Conservation. For her, restoring art is just as intimate as creating it: “I want to hear the paintings talk to me. I want to know what they've seen. I'm a firm believer that energy never dies. People always come back through the ethers.” This conversing is one aspect that strongly connects Hine’s restoration and personal creation.

Hine laughs when trying to pin point herself as an artist, claiming people will go into a show of hers and think the art is from multiple different artists. One continual tether Hine has with her art, however, is her sensitivity and how once something has touched her, she has no choice but to create in inspiration of it. “My inspiration can be pretty; it can be grotesque,” she muses, “Any moment that arrests you, whether it's disgust or awe, I like those moments.”

While she might feel all over the place as an artist, she feels a strong importance in her work: “I think that what really inspires me is how people are inspired by me. I feel that anybody I meet likes to listen to my story, and I like to listen to their story.”

-Christina Xan

Motor Supply Company Bistro is located at 920 Gervais Street in Columbia, SC’s historic Vista

Find out more about Motor Supply at

www.motorsupplycobistro.com

To support the work of Jasper, including articles like the one above, please consider becoming a member of the Jasper Guild at www.JasperProject.org

Corona Times - Profile of Portraitist Lori Isom

…as if a worldwide virus killing thousands of people weren't enough, now the news of not one, but a string of black people being killed by police and others in succession - Breonna Taylor, Ahmaud Arbery, George Floyd. … I went numb.

— Lori Isom

——-

Jasper continues to check in with Columbia artists to see how we’re all doing during these strangely hypnotic times in which we’re living. Jasper editor Cindi Boiter had the opportunity to chat with Columbia-based portrait artist and fascinating human being, Lori Isom.

Here’s what we learned from Lori.

Artist and baker Lori Isom

JASPER: You and I met when you joined the Supper Table arts team last year, and I know you are originally from Brooklyn and that you studied at Parsons School of Design. What else can you tell our readers about your background and how you came to live and work in Columbia?

LORI ISOM: I like to tell people that I've had experience with just about all the arts. I had a love of drawing from a young child, and a strange obsession with cooking programs like The French Chef with Julia Child.  I studied fashion illustration in high school and then portrait and figure drawing at Parsons.  Due to an injury that my dad sustained on his job, I was unable to afford to continue going to Parsons, but I felt it was serendipitous because I'd really been wanting to explore my newest obsession which was dance! I went on to study and perform for several years, even creating and performing with my own dance company.   I did go back to college eventually, Hunter College, but again got pulled away following the siren's song of show business.  I spent about two decades of my life as a performer which included some touring and living in different states.  I've acted in several plays, done musical theater, appeared in a handful of T.V. commercials, and even a couple of music videos.

I have lived in Columbia on a few different occasions. My parents left New York and moved here in the late ‘80s, and it was kind of a respite for me at times. During one of those stays I began to earnestly pursue my art again.  I had the opportunity to exhibit my work, created a small business as a portrait artist, and taught children’s' art classes.  I eventually met my husband at Fort Jackson. He was a Drill Sergeant there, and I would set up at the PX to do portrait drawings and paintings of the cadets and other military personnel.   As a result of him being in the military, we lived in a variety of places, and I would navigate my way into the art community so that I could continue to work as an artist.  We moved back to Columbia in 2011 and have been here ever since.

JASPER: Do you consider yourself to be primarily a portraitist? What medium do you prefer?

LORI ISOM: I do consider myself to be a portraitist. I have always been interested in the anatomy of the human face and figure.  Capturing different expressions is also something that I'm very passionate about because facial expressions and body language are instantly relatable.   That said, for my non-commissioned work, I prefer natural expressions rather than posed. My preferred medium is charcoal - it's what we worked with the most in school because knowing how to draw was essential.  Also, to be honest, I really find having to mix colors to get the right skin tone and values to be tiresome.  Charcoal is so immediate, and uncomplicated.  I also really enjoy a simple number two pencil - the retractable kind because the point is always sharp.

Woman 12 by Lori Isom

JASPER: You've just finished up a beautiful project called Grey Matters. Can you tell us about this work - how the project presented itself to you, how long you worked on it, what your work entailed, and where we can see it?

LORI ISOM: A few years ago, it began becoming obvious that my aged parents would start to require more of my attention and help than just a few short years before. Of course, as time moved on, their mental and physical health continued to decline which made them increasingly reliant on me. These are my parents and I would do anything I could to maintain their quality of life, however I didn't realize it at the time how deeply I was being affected by their deteriorating health issues.  Simultaneously, I started looking at my own life and asking myself questions like am I pleased with where I am at this stage of my life? And, more importantly, WHO am I at this point in my life'?

The "Grey Matters - Women in Progress" series developed out of the reality that I had in fact crossed over into a new age group.  I was now a senior, and that was a shock to my system.  I started journaling my feelings and sought out voices of other women whom I could relate to and receive inspiration from.  So, I went to social media and asked women of my age group and beyond if they would send me photos of themselves participating in things that brought meaning to their lives, of course getting their permission to utilize them in a series that I was going to be working on.  It took the better part of 2019 to do the paintings, however, it might not actually be completed.  The work is not currently on display, but I did exhibit them this past February in North Charleston at the City Gallery. 

Woman 4 by Lori Isom

JASPER: And I understand that not only our current COVID-19 situation, but also the myriad other challenges humanity is now facing has brought a new influence on your work. What can you tell us about what you've been pursuing lately?

LORI ISOM: Indeed. The onslaught of the Corona virus was something I took very seriously right from the start.  No one had to persuade me to take precautions since I'd started following the news about it quite early on.  As a matter of fact, they laughed at me at my job because I came in talking about it AND wearing a mask as soon as I was able to get one! A couple of weeks later as more information started coming out on an ongoing basis, the laughing subsided.  I was, however, taken aback by the initial lack of response, and then the slowness of action by my employer.  It confirmed for me how much you must take ownership of your own behavior and actions.  No person or entity can do your thinking for you. If you see things going on around you, and you try to seek out as much information about it, then you have to weigh it through your own filter, and do what's best for you.  I learned that from my momma!

Then, as if a worldwide virus killing thousands of people weren't enough, now the news of not one, but a string of black people being killed by police and others in succession - Breonna Taylor, Ahmaud Arbery, George Floyd. Then toss in the performance of the young woman making a call to the police alleging that an African American man was assaulting her in the park, as she practically hanged her dog on live video.  I went numb.

So, one of the pieces that I recently finished is a self-portrait drawn in charcoal over a background of words that are partially covered by white gesso.  Words like climate control, racism, poverty, mass shootings, and other issues of the day. It's drawn on mixed media paper that I fashioned like a piece of loose-leaf paper.  The current title is "What Will We Teach Them. What Will They Learn", but it may change.  Right now, I've been taking photos of as many people as I can - all ethnicities, ages, and backgrounds - with their faces behind masks.  I'm still waiting for inspiration from my muse for this one!

JASPER: Your work is so empathetic, sincere, and authentically moving. When something as horrible as the murder of George Floyd happens, are you compelled to address it with art? To do so must be heart-crushing - does it help or hurt more? Do you have advice for others who are grappling with how to use their art to try to place such wrong-minded act of inhumanity somewhere in their world?

LORI ISOM: Thank you for that beautiful compliment.  I would say that in the past, I never really tried to express my feelings in response to anything I'd seen or heard about in the news or elsewhere.  Honestly, I felt incapable of taking my emotions about something external and successfully interpreting them on canvas. Even now, it continues to be a learning process for me; but at least I'm no longer running from it. I allow myself time to sit with my feelings in response to something that captures my attention and figure out how to best interpret those feelings in a way that's sincere and honest. I also find it helpful to write down ideas, descriptive words, and random thoughts about a new piece, even if they seem unrelated. I suppose the biggest piece of advice I would offer other artists is to keep working through things that are uncomfortable for you. 

JASPER: What drives you as an artist? What makes you create?

LORI ISOM: As an artist, I am driven by the need to express something in a different way each time I venture to my easel.  I don't ever want to feel that my work is stagnate and predictable.  When I see the work of artists who I admire, or listen to music that moves me, or read something that uplifts me, that's what keeps me wanting to create and keep improving.  I really want to know how far I can go as a creative person.

Woman 2 by Lori Isom

JASPER: What is your favorite piece that you have created during our sheltering in?

LORI ISOM: During our time of sheltering in, I have been drawing or painting something pretty much every day. I've had the pleasure of doing several commissioned charcoal and pencil drawings, and finally completed and delivered a large painting of two sweet little boys. 

However, there are a couple of original pieces that I really enjoyed doing, each for a different reason.  One is titled "Teaching My Sons to Swim" and the other is called "Banjo".  The first piece was inspired by an old photograph I found amongst my parents' enormous photo collection.  It seems to be from around the 1940s or 50s, and it has three young boys and an older man, all in swimming trunks.  The photo is taken in front of one of those backdrops that used to be so popular in that era.  The idea came to me that this man, who I felt could be their father, wanted to teach his sons something as basic as swimming. This seemingly ordinary skill that he could pass on to them, could not only save their lives, but possibly could help them see themselves and their place in the world differently.

The second piece, "Banjo" is a friend’s dog that I had just recently had the pleasure to meet. I completely fell in love with this lively creature, and he was the first doggie that I'd had close contact with since the loss of my own dog a couple of months earlier.  I took several pictures of him and couldn't wait to do a painting that would capture his joyful personality.

Teaching My Boys to Swim by Lori Isom

JASPER: Where can we see more of your work now and in the future?

LORI ISOM: As of this moment, I have several pieces hanging at the public library on Assembly Street in downtown Columbia.  However, due to Covid 19, the library has been closed for the last couple of months.  I'm not sure what their plan is regarding the artwork that's been hanging during this time.  I post work quite frequently on my Facebook page (Lori Starnes Isom) and on my Instagram page (artinthenow). 

-Cindi Boiter

Cindi Boiter is the editor of Jasper and the founder and ED of the The Jasper Project. To support the work of Jasper, including articles like the one above, please consider becoming a member of the Jasper Guild at www.JasperProject.org

Corona Times - Inside Clay Wooten's Celebration of the Life & Heart of Anastasia Chernoff

“Honestly I couldn't believe it when they reached out to me about this and I was extremely honored.” — Clay Wooten, sculptor

Artist Clay Wooten pictured with his sculpture, “Her Heart,” honoring our late friend, artist, gallerist, and arts advocate, Anastasia Chernoff

Last week, One Columbia for Arts and Culture announced the completion and installation on Senate Street in the Congaree Vista of the latest piece of public art to punctuate the landscape of Columbia, SC.

“Her Heart” is a metal wire sculpture of a human heart, designed and created by Clay Wooten to honor the late Anastasia Chernoff, who died in 2016 after an extensive battle with cancer. Anastasia was an artist who used her gallery space on Main Street, Anastasia and Friends, to sometimes show her own quirky and imaginative sculptures, but primarily to exhibit the work of artists friends, old and new.

Wooten was selected by Chernoff’s family to design and create the memorial which was funded through contributions from family and friends.

According to One Columbia, the organization “provided administrative support in accepting contributions and working with family members and close friends to assist in the selection and installation of the piece.”

While everyone looks forward to the opportunity to gather together to welcome the art to the city in an official celebration and dedication, the Jasper Project wanted to take a moment to chat with sculptor Clayton Wooten and get some inside information on the creation of this important and moving work.

Here we go —

Jasper: Hi Clay, thanks for talking to Jasper, and thanks for adding another interest point to the growing collection of public art in Columbia. This piece is special to so many of us because it honors our late beloved friend and colleague, Anastasia Chernoff. What can you tell us about your relationship with Anastasia?

Wooten: My relationship with Anastasia started when her daughter Lauren (Melton) and I became friends back in 2010. I would go to dinner parties at her house, she was always welcoming friends into her home. The amount of amazing art she had really blew me away.  I met a lot of creative people at these parties. She then asked me to exhibit some of my paintings in her gallery and of course that was an honor in itself. 

Jasper: How did it feel to be the artist selected to honor someone so beloved by her community?

Wooten: Honestly I couldn't believe it when they reached out to me about this and I was extremely honored. I felt excited and nervous at the same time, I knew that I would have to create a piece that represented her contributions to the art community in Columbia.

Jasper: Tell us about how you arrived at the concept of your sculpture. Did you receive direction from Anastasia’s family, One Columbia, or the Vista Guild, or were you able to approach the project carte blanc?

Wooten: The first time I met with the committee, they explained to me that I would have complete artistic freedom. I sat down and thought about Anastasia and came up with three or four concepts. When I presented the sketches to the group a unanimous decision was reached almost immediately. I then created a small scale model of the sculpture that was used to drum up interest in the last show held at Anastasia and friend’s gallery. 

Model of “Her Heart”

Jasper: Can you share some of the specifics of the piece with us? Like – how long did you work on it? How large is it? How much does it weigh? What is the material?

Wooten: The heart is made of 1/4 inch steel rod. I used a number of different methods to bend the rods but ultimately ended up using my hands and some elbow grease to get the shape I wanted. I worked on it for several months on and off. It took longer than I thought but in the end i'm very happy with the finished product. It stands over 12 feet tall and 9 feet wide, weighing around 150 pounds and that does not include the two large stands that connect to the sides. 

Jasper: How did you arrive at painting the piece with sparkling lavender? Is the color representative?

Wooten: The sculpture is actually powder coated in that sparkling lavender color, thanks to the guys over at the Stuyck company. The committee wanted to go with a lavender because it was Anastasia’s favorite and we thought it would blend well with the natural greens surrounding the location.

Jasper: What kind of upkeep of the sculpture require? Is it malleable at all? Will it change with age and weathering?

Wooten:  I'm hoping the sculpture will last forever! I'm sure it will see some discoloring and rust over the years but it will not need much maintenance.

“Her Heart” by Clayton Wooten

Jasper: I know the pandemic has kept us from celebrating the official unveiling of the sculpture, but we hope to be able to come together to celebrate your art and all the visions Anastasia left us with soon. Are there any plans for this yet?

Wooten: We are still waiting to see how all this plays out and have not planned the official unveiling.

Jasper: Where can we see more of your work and what’s your next project?

Wooten:  I build and design exhibits at EdVenture Children's Museum as a full time job so you can see some of my work there. I also have a woodworking instagram @spruce_creations along with my art page @wooo10_art.

Thanks Clay!

By Cindi Boiter

Cindi Boiter is the editor of Jasper and the founder and ED of the The Jasper Project. To support the work of Jasper, including articles like the one above, please consider becoming a member of the Jasper Guild at www.JasperProject.org

Anastasia Chernoff, photo credit unknwon

Corona Times - Have you met Noah Van Sciver?

“Noah Van Sciver is an Ignatz award-winning cartoonist who first came to comic readers’ attention with his critically acclaimed comic book series Blammo. His work has appeared in Spongebob comics, Teenage Mutant Ninja Turtles, the Best American Comics, as well as countless graphic anthologies. Van Sciver is a regular contributor to Mad magazine and has created many graphic novels including The Hypo, Saint Cole, and the three part Fante Bukowski series.”

- Fantagraphics — Publisher of the World’s Greatest Cartoonists

Noah Van Sciver

Of the unending ways in which one can tell a story, comics, cartoons, and graphic novels number among the most fascinating and yet, possibly, the most underappreciated.

This writer’s experience with graphic storytelling began, like most people’s, when I was a kid in the ‘60s and early ‘70s and my allowance was just enough to purchase two issues of Archie Comics from the gift shop at the airport where my father worked. I loved Betty and hated Veronica. By the time I had lost interest in Jughead and the gang I had fallen in love with a nerd-boy who read and collected every single copy of Classics Illustrated he could find. Sadly, the boy’s parents threw away his comics collection when he went away to college, but happily, he and his new family, our family, have replaced all but one issue.

I also remember the naughtiness of Robert Crumb’s Fritz the Cat from when I was too young to understand how Fritz wanted to occupy most of his time, (getting stoned and getting laid), but I didn’t see the film until I was much older.

The next time I think I thought about comics was in 2003 when the strange, but mesmerizing indie film, American Splendor, came out. The film American Splendor was a biopic on the day-to-day life of Harvey Pekar and was taken from the series of comix by the same title. In addition to the Sundance Film Festival Grand Jury Prize it won a slew of additional awards.

Since then, actually starting before then I’m sure, comix and graphic novels, even the underground kind, have played a much more mainstream role in literary culture. The little this writer knows about that culture has led me to the conclusion that there is so much more to learn., and I’m working on it.

To that end, I asked Columbia-based cartoonist/illustrator Noah Van Sciver to answer a few questions for the Jasper Project blog as an entree to a more detailed profile of the multiple award-winning author which will be published later this year in Jasper Magazine.

Let’s get started.

Preorder for 12/15/20 see below

JASPER: Hi Noah and thank you for agreeing to talk with the Jasper Project. First, am I using the correct terminology? Do you describe yourself as a cartoon artist or something else?

NOAH: Hello! Yeah, I describe myself as a Cartoonist around most people and an Illustrator around anyone i’m trying to impress.

JASPER: How did you become interested in this work? I know you were influenced by R. Crumb who gave my generation Fritz the Cat and Mr. Natural. Can you speak to that influence and others?

NOAH: Well, I’m from a family that read a lot of comics. My father was a comics reader since he was a child and continues still. So he took myself and my brothers to the comic shops with him and from as far back as I can remember we all had our own collections. I drew my own cartoons in notebooks growing up, mostly to amuse friends of mine, but it was after seeing the documentary “Crumb” that I realized that this was something you could do seriously. And since then I’ve been publishing my stories and luckily have built a small cult-following of readers.

JASPER: You were born in New Jersey, but am I correct that you got your start in Denver? Can you tell us about starting out and how you were able to break into the art form?

NOAH: Yeah, I moved to Denver when I was 22 and immediately began self-publishing small comic books with a xerox machine, which I’d sell or give away on the street or in coffee shops, record stores or boutiques. Doing that brought me to the attention of the Alternative weekly newspaper (Westword) who hired me to draw a weekly comic strip, which I did for the next 7 years, all the while writing graphic novels and submitting to book publishers. It was an obsessive period of time but all of the hard work got me a lot of attention within the world of graphic novels and I soon began making a living from my comics.

Van Sciver’s debut graphic novel, 2012 — Ranked #1 on MTV Geek's "Best Graphic Novels of 2012" — One of Library Journal's "Best Books of 2012: Graphic Novels" — Ranked #3 (tie) on Boing Boing's "Best Damn Comics of the Year" survey

JASPER: Like many of our most successful artists you are self-taught, right? Can you talk about your auto-didacticism and how you accomplished it?

NOAH: Oh yes, I am a self-taught artist and I’m still learning. I learned by carrying composition notebooks with me and drawing at every chance I could. I recommend using cheap notebooks to draw in because the more expensive and beautiful the sketchbook, the more pressure you’ll feel to draw great. But you can’t draw great. You have to draw bad for a long time, and you have to do it often!

JASPER: I’m curious about your process. What is your workday like and how do completed comics come to you? What comes first, the words or the drawings, or do they happen at the same time?

NOAH: I try to work from 9-5 like most jobs. I wake up in the morning, answer emails and sit at my desk to write or work on a drawing that’s in progress. I write visually with loose drawings. When it comes to my comics I need to think on paper.With comics you need to think visually, because so much of it depends on what the art is doing. But if I’m working on a true story I’ll spend most days taking notes and drawing doodles in a notebook before I feel confident enough to jump into the drawing part.

 JASPER: How has the COVID-19 pandemic affected your work in terms of creation,  content and marketing?

NOAH: I think the affects will mostly reveal themselves over the year— I did have a new graphic novel released on the day the bookstores closed down so that was a big dent, and I had another book held up until autumn because of the closures. So much of the book events planned for 2020 have been canceled. Instead I’ve spent my time at home in front of my desk or in my office drawing a new story about my first apartment and first roommate, which was a helpful distraction. Another thing I’ve done is to start a Youtube channel to record casual conversations with cartoonists that I admire and that’s been helpful as a way to check in with each other during this isolation.

2929 — "At its deepest, Fante Bukowski stands as a commentary on hordes of recognition-hungry artists with nothing to say, but as a straight parody, Fante Bukowski is hilarious enough to summon tears." — Paste Magazine

JASPER: You are a busy artist. Can you tell us about the projects you are working on now and how we can see more of your work?

NOAH: I’m currently working on a graphic novel called Joseph Smith and his Mormons all about the origins and foundations of the Church of Jesus Christ of Latter-Day Saints. It’s a history that I’m personally invested in learning, after being partly raised in the church (and later leaving). Besides that mostly just illustration work that comes my way!

JASPER: I also know that you have quite a few accolades to your name. R. Crumb said of your 2016 graphic novel, “I thought [My Hot Date] was one of the best autobiographical comics ever.” Take this opportunity to brag a bit about your accomplishments.

NOAH: (Ha ha ha) Well, it’s been an uphill battle for most of my time drawing comics, but there have been some successes. I’ve won a few awards, I’ve done some artist’s residencies, and I’ve traveled all over the world because of what I draw, but it’s true there is nothing quite like getting praise from people whose work you’ve admired for so long.

JASPER: There’s a lot to know about the world of cartooning, comics, and graphic novels – will you talk with me again for a more in-depth interview to be published in Jasper Magazine?

NOAH: Of course! Anytime you want!

 To order books by Noah Van Sciver please visit

Fantagraphics.com

To follow Noah’s blog please visit

Noah's Blog

By Cindi Boiter

Cindi Boiter is the editor of Jasper and the founder and ED of the The Jasper Project. To support the work of Jasper, including articles like the one above, please consider becoming a member of the Jasper Guild at www.JasperProject.org

Laurie McIntosh's Beautiful Swimmers at Stormwater Studios

ARTIST LAURIE MCINTOSH OPENS EXHIBITION OF NEW WORK “BEAUTIFUL SWIMMERS” AT COLUMBIA’S STORMWATER STUDIOS

Visual Artist Laurie McIntosh will open a new showing of work called “Beautiful Swimmers” at Columbia’s Stormwater Studios, 413 Pendleton Street, February 27 through March 8, 2020 with an opening reception on February 28 from 5 – 8 pm. “Beautiful Swimmers” is a collection of more than a dozen mostly large-format oil paintings in addition to a brilliant display of papier mâché life from the sea.

Formerly of Vista Studios - Gallery 80808 from 2010 until 2016, McIntosh founded Northlight Studio in Camden, SC in 2016 where she currently works and paints. McIntosh is a SC native who earned a BA in Fine Art from the University of SC in 1982 and went on to train at the Center for Creative Imaging, Penland School of Crafts, and more. Previous noteworthy exhibitions include “All the In-Between: My Story of Agnes,” which served as the inspiration for an annotated art book written by the artist in 2012, the SC State Museum 30th Anniversary Juried Exhibition in 2019, and a number of juried and invitational solo and group shows throughout SC. In 2019 McIntosh was commissioned to create public art for the “Art Bus” for Comet Public Transportation, also in Columbia, and, in 2018, she exhibited a solo show, “Environmental and Poetic Abstractions” at the Fine Arts Center of Kershaw County.

An aquaphile by nature, the artist’s concept for the exhibition “Beautiful Swimmers” came from her passion for weightlessness and the freedom from physical and mental burden it implies. “My mom made me take synchronized swimming when I was a kid in Greenville, SC,” McIntosh says, and images of the art form appear in this collection. Recognizable figures from her 2012 series All the In Between also reappear. “Upon the winding down of my last series, ‘Environmental Abstractions,’ she continues, “I had a strong desire to simplify my images, introduce more pattern and invent more space within the painting. In the process of sketching and pushing these ideas around, figures, pattern, and open spaces began to make the images feel very light and weightless and my swimmers began to immerge.”

McIntosh’s “Beautiful Swimmers” offers the viewer a world of two-legged, four-legged and no-legged creatures expressed through an assortment of art mediums, inviting the viewer to suspend gravity and dive into an art setting where their terrestrial troubles will temporarily float away.

For more information on artist Laurie McIntosh please visit her website at lauriemcintoshart.com and to learn more about Stormwater Studios visit stormwaterstudios.org.

Opening at 701 CCA -- Greenville artist Kent Ambler: Into the Wood

In March 2020, 701 Center for Contemporary Art in Columbia, S.C., will open a solo exhibition of Greenville, S.C., artist Kent Ambler, presenting woodcuts, related sculptures, and architectural installation of woodblocks. The exhibition, entitled Into the Wood, will run from March 12 – April 26, 2020. The opening reception is Thursday, March 12, 7:00 – 8:30 p.m., preceded by an artist’s talk at 6:30. 

Ambler is one of South Carolina’s most prolific and successful woodcut artists. His work impresses art professionals and more casual art lovers alike. Ambler’s surroundings provide his subjects, whether they are birds, dogs and goats; trees, mountains and neighborhoods; ice cream; or beer and bananas. His approach is intuitive and aesthetic rather than conceptual. 

The exhibition will be Ambler’s largest solo exhibition to date, with his largest-ever three-dimensional component. The show will present three dozen woodcut prints, 20 woodcut-collage house sculptures, and an installation of a shed-sized house structure built from old, carved wood blocks. 

“My work is autobiographical,” Ambler says. “It is derived from my life and surroundings, my observations. It usually starts with an observation or a quick sketch. While the imagery in my art is generally subject- or object-oriented, the visual appearance of each piece is of most importance to me. I try not to overthink or over-plan my work. I generally do my best work when my brain is ‘turned off’, so to speak. I am inspired by the simplicity of idea and image addressed by genuine folk artists.”

Hammond, Indiana, native Ambler (b. 1970) has been a full-time artist since 1997. He has had dozens of exhibitions, including solo shows in Alabama, North Carolina, South Carolina, Massachusetts, Maryland, Tennessee, New York, Michigan and Virginia, as well as Taiwan.  Ambler is represented by eight galleries throughout the country and sells his work at high-end art fairs throughout the Southeast and beyond. He received a BFA from Indiana’s Ball State University in 1992 and did graduate studies at Clemson University in 2001-2002.

“Kent is an interesting case as an artist who is deeply respected by his peers for the quality and breadth of his work, and at the same time appeals to a very wide audience,” said 701 CCA board chair Wim Roefs, who curated the exhibition. “The everyday nature of his subject matter certainly helps with this appeal since it provides easy entry points into the work. But at the same time, Ambler often presents an interesting take and surprising angle, the latter literally and figuratively. And there’s a good bit of humor in the work, too, both in the imagery and in his use of text. The work possesses a lot of energy and movement, and shows mastery of the woodcut medium -- giving the work a raw quality, too.”

Opening Reception: Thursday, March 12, 7 – 8:30 pm

Artist Talk: Thursday, March 12, 6:30 pm

Exhibition: March 12 - April 26, 2020

Admission: Free; $5 suggested donation 

701 Center for Contemporary Art

701 Whaley St., 2nd Floor, Columbia, SC 29201

JAY Visual Arts Finalists Share Their Influences - Michael Krajewski, Chris Lane, and Olga Yukhno

by Christina Xan

All three of our nominees for Jasper Artist of the Year in Visual Arts have had incredible years, together participating in a plethora of solo shows in and out of the state, juried art competitions, and artist-in-residence positions – many of which resulted in awards.

Keep reading to get to know our nominees and to find out which artists have inspired them throughout their artistic endeavors.

MICHAEL KRAJEWSKI

Michael Krajewski is a self-taught artist from Columbia, South Carolina. His style has been described as Neo expressionist, but he is less concerned with labeling than with creating from an authentic, mindful space and expressing what he's feeling and experiencing in the moment. He works in mixed media and has experimented with everything from video / multimedia integrations to painting live on models.

Krajewski is humbled and excited to be nominated and is thankful to everyone who has supported his work in this year and the past (so much so he woke up early and answered questions for this article in a record 2 minutes).

CHRISTOPHER LANE

Born in Minnesota in 1968, Lane has been creating stories in his art for decades. His works often offer historical, political or spiritual narratives, and each painting can usually be broken down into several separate paintings or scenes yet are cohesive in theme.  He uses symbolism, colors, and double imagery, along with many other techniques, to create an elaborate narrative on canvas.  His goal: to draw the viewer into the work, seeing something for the first time, each time. 

Lane is thankful for the opportunity of this nomination, especially this year in which he put thousands of hours towards his solo exhibition Resist Division, which speaks directly to our current political crisis. As he says, “To receive recognition for this body of work gives me hope that society can put aside their differences and work together to advocate for a resistance of the divisive leadership our present government offers.”

OLGA YUKHNO

Originally from Russia, Yukhno is now the Gallery Director for the School of Visual Art and Design at UofSC. After dabbling in multiple art forms, Yukhno found a home in ceramic sculpting, where she feels that she has no limits. She can create anything that she can – and can’t – imagine. No two of her completely handmade pieces are ever identical. She is influenced by the way the human mind works, and her work ranges from jewelry to sculptures.

Yukhno is happy to be nominated, especially in 2019. This year is special for her; she says, “I was able to create and exhibit several bodies of work that represent very important topics for me, such as social justice, division in our society and, of course, the theme that I feel particularly passionate about - dementia and other neurodegenerative conditions.”

Inspiration

I asked all three of our JAY nominees what artist, big or small, has been the biggest influence in their artistic careers. From three people, I discovered an array of unique inspirations.

Looking back on his career, Lane recognizes inspiration from a plethora of artists and time periods. However, he states his biggest artistic influence is Salvador Dalí. Lane comments that “Dalí’s work is deeply complex and forces one to truly contemplate it.” Beyond just the canvas, Dalí shared a unique love with his muse, his wife Gala. Lane shares this connection with his own partner, Lisa.

While their names might not be as vastly known as Dalí, Yukhno remembers two just as important artists, her Russian mentor, Nikolaj Mickhailovich Vdovkin; and North Carolina Sculptor, Lisa Clague. These figures are hallmarks in Yukhno’s work, as she states, “not only did they allow me the privilege to learn from them, but they also helped me find my voice and my own path in art, supporting me creatively and personally.”

Muses don’t have to come from names you can find on gallery walls, though. For nominee Krajewski, his biggest inspiration is his older brother, Joe, who created art when he was younger and inspired Krajewski to begin drawing as well. Family is a corner stone for Krajewski, as he elaborates, his parents, George & Eveline, “always encouraged me to explore my imagination.”

Whether family, mentors, local artists, or the prominent names we’ve come to know and love, one of the biggest lessons to learn from our Jasper nominees is that inspiration for art can come from anyone. It can be from the Van Gogh print you keep on your wall or from the way you remember your mother’s smile. Whatever it is, always be willing to take that chance and create something all your own, just like these artists do every day.

To get tickets for the JAYS ceremony and see which visual artist takes the prize, join us this Friday evening at the White Mule.

We’ll have tasty treats from SCOTT HALL CATERING and more:

https://jasperjays.bpt.me/?fbclid=IwAR33tRaJsPg_nE5AT9C9zTtD0SrmbnPqILqtrL-cwtcHvD1U82jQN00S29Q

PREVIEW: Eileen Blyth Opens New Show - The Shadow Line - at Stormwater Studios

Cait Patel talks with Eileen Blyth about her show opening this week at

Stormwater Studios

Stormwater Studios is a community gallery and studio space housing 10 resident artists. Among those residents is Eileen Blyth, a staple in the Columbia art scene for close to 30 years. In her upcoming exhibition, she seeks to explore the relationship between line and shadow in her abstract paintings and sculpture. The Shadow Line, at Stormwater. Set to open Tuesday, January 21st, the show will display somewhere between 30 and 40 pieces of her latest work. The opening reception will be held at Stormwater on Wednesday, January 22, from 5-8 pm and the show closes on Sunday, February 2nd at 4:00 pm.

Who is Eileen Blyth?

Eileen graduated from the College of Charleston with a bachelor’s degree in Studio Art. Shortly after graduating, she moved to Columbia, where she pursued coursework at the University of South Carolina in graphic design and illustration. She worked for several years for a local typography company in Columbia. She has had many other exhibitions around South Carolina in galleries such as Gallery 808 in Columbia, Art and Light Gallery in Greenville, and Carolina Gallery in Spartanburg. You may also have seen her metal drum sculptures in Columbia as part of a public art initiative.

 What is the show about?

Her show, The Shadow Line, will display a variety of abstract sculptures and paintings that communicate with one another. Blyth’s sculptures are composed almost entirely of objects extracted from found pieces. She works primarily with wood, metal, and cement. The juxtaposition of the paintings and sculptures are quite visually interesting and leave the viewer wanting to know more. For her, the repeated reflection of shapes and lines throughout her work is almost a subconscious theme. Her paintings are colorful abstracts with fine, elegant lines that echo in her sculptures. The relationship between the two is clear and compelling. Blyth says she’s inspired by the way the light comes through the window of her studio and informs how she views her own work. She seeks to answer questions such as, “How does the lighting and shadow of a piece inform how it is understood?” and “How does the relationship between a painting and a sculpture affect the viewer?” Her goal is to intrigue the viewer to ask themselves what they are truly seeing, whether real or perceived. The simple lines, shapes, colors, and shadows of her work will do just that.

What is one of her favorite “found” objects in the show?

 A few of the sculptures in the exhibition were produced from molds she bought at a garage sale held by the SC State Museum. When asked how the molds were used originally, she says they were likely for small structural pieces of the old cotton mill such as nuts and bolts. She uses them to create castings in cement to fabricate simple and unique shapes that she can use as an individual piece, or in conjunction with metal or wood to create a finished work. The combination of the hearty cement shapes with a delicate metal line produces something that is truly visually fascinating.

How does this show differ from previous exhibitions?

 Blyth says this show could be considered in some ways less intentional than previous shows. She is largely influenced by the stimulus of her surroundings and says this affects how she starts to paint or sculpt from moment to moment. Often times, she may start with an idea that ends up changing and evolving as she goes through the creative process.

 What’s up next for Eileen?

Blyth says she isn’t quite sure what’s up next for her and that excites her. She wants to take a step back and look at the progression of her work over the past year and possibly go back to the basics of drawing and sculpting. She is also exploring the idea of taking time to travel and be open to where that may lead her next.

 by Cait Patel

For more about her show visit

https://www.stormwaterstudios.org/event/eileen-blyth

For more information about her work visit

http://www.eileenblyth.com/

Jasper Project and Harbison Theatre at MTC Bring Art Exhibitions to Lobby Gallery

Artist - MTC Graduate Anthony Lewis

In an exciting partnership with Harbison Theatre at Midlands Technical College, Jasper is pleased to announce a series of art exhibitions in the Harbison Theatre lobby’s gallery space.

Last year, the Jasper Project worked with Harbison Theatre to exhibit several shows, beginning with Camden native and retired educator Keith Tolen’s work. Having enjoyed the collaboration so much we have developed a full season of exhibitions for the 2019-2020 art season, which started with the installation of the Supper Table in early September and runs through summer 2020.

Beginning with the continued exhibition of Kirkland Smith’s Supper Table Portraits, which will remain on display until early November, we follow up with an exhibition by photographer Kathryn Van Aernum titled Common Ground.

A Young Sara Leverette by Kirkland Smith

Van Aernum’s photographic subjects range from the mundane to the sublime, and she continues to cultivate a sense of spaciousness, curiosity, humor and wonder in her work  through the exploration of themes such as Reclamation; Ubiquity (her CocaCola® series); and Common Ground. While photography is her main medium, she is also an accomplished watercolorist, mixed media and book artist. She teaches classes in photography, creative process, watercolor, and journal making. Her work has appeared in juried competitions, and group and solo exhibits in Key West, FL; Boulder, CO; Fort Collins, CO; Ann Arbor, MI; and Columbia, Spartanburg and Lake City, SC. and is in many private collections throughout the US. Most recently, she was one of 19 Columbia artists whose work was juried into ArtFields 2019. Find her on the web at KvanaStudios.com KathrynVanAernum.com.

About This show Van Aernum says, “Most of the images in Common Ground were gathered on my morning and evening walks with my dog Noah. I live in Midlands Terrace in Columbia, but he and I will frequently hop in the car and walk in other neighborhoods for a change of scenery. There are a few photos from other SC locations, and a 2018 trip to Greece. Living in a city, man-made surfaces are the predominant element I come in contact with. With no sandy beaches, mountains, or vast vistas for inspiration, I often look down to the ground. As I allowed pavement, asphalt, cobblestones and concrete to become my muses, abstract “paintings” created by the interaction of time, weather, earth and humans began to reveal themselves. All the artificial terrains portrayed have one thing in common: to facilitate human flow and interaction. What I hope to offer here is a surprising, whimsical, striking, and maybe even beautiful meditation on the surfaces we share in common.”

Jasper and Harbison Theatre will celebrate the opening of Van Aernum’s exhibit on Friday, November 15th at 6 pm in conjunction with a stellar performance by Motown Superstar Thelma Houston. (Reception – free; Concert tickets at harbisontheatre.org.)

Artist Kathryn Van Aernum from the Common Ground collection

Following the Van Aernum exhibition, acclaimed artist Stephen Chesley’s art will be exhibited in January and February 2020, with an opening reception on January 24th, 2020 at 6 pm in conjunction with a performance by Akintunde and Joey I.L.O.

Stephen Chesley was born in Schenectady, New York in 1952. He exhibited a natural proclivity for drawing and art almost as soon as he could hold pastel and pencil which were often Christmas gifts from his family. Growing up in Virginia Beach in the late 1950s he was exposed to the Beat Generation of musicians, artists, and writers when Virginia Beach was still a seasonal seaside resort. Self motivated, he continued with his drawing and small paintings along with exposure to local artists throughout elementary and high school and into college. His collegiate exposure led to a meld of art and science with degrees in Urban Studies and a Masters Degree in Urban Planning in 1980 from the school of Architecture at Clemson University. Graduating in a deep national economic recession Chesley turned back to his art. Spending 5 years on rivers and sea islands to explore his asthetic, subject matter, influential painters, and styles, Chesley’s paintings and art work began to move to the foreground. Recognized in 1981 by the Columbia Museum of Art as an emerging talent, he went on to win top 100 in the first National Parks competition of 1987, exhibiting at the Smithsonian, and in 1996 a National Endowment for the Arts, Southeast Regional Fellowship, Southeast Center for Contemporary Art. Chesley has continued his work, characterized as poetic realism, along with welded and carved sculptural pieces in addition to joint works illustrating Archibald Rutledge short stories and WS Merwin’s poem, ”Palm” for the Thomas Cooper Society’s Thomas Cooper Medal for WS Merwin in 2012.

Stephen Chesley

Arts photographer Kevin Kyzer will exhibit in March and April, 2020 with an opening reception on March 21st, 2020 in conjunction with the wildly popular MTC Show-Off.

Artist Kevin Kyzer’s photo of dancers Claire Richards Rapp and Bonnie Boiter-Jolley

Anthony Lewis is an emerging self-taught visual artist and a resident of Columbia, South Carolina. Anthony was born in raised in Camden, NJ.  The owner of Alewisproject,LLC, Lewis will exhibit in May and June 2020.

Anthony Lewis

And closing out the season we will be featuring Ginny Merett. Ginny currently uses collage techniques to create portraits and figurative works of art that are best described as a mix of surrealism and whimsy. Ginny’s work has won several awards and accolades. She is the cover and featured artist in The Jasper Magazine Spring 2019 edition; and received First Place and Second Place Awards at the Rosewood Art and Music Festival, Best in Show at Time for Art sponsored by the Jasper Project; and participated in Women Speak Art Gallery at SC State Library 2017, Artfields 2019, and numerous other exhibits.

Women in Hats by Ginny Merett

Information on artists talks and additional opening receptions are TBD. Stay tuned to www.JasperProject.org and https://www.harbisontheatre.org/ for updates and information.

Supper Table Spotlight: Ebony Wilson and Malie Heider

We’re featuring the artists from the Supper Table project throughout the summer. This is the 23rd in our series on Supper Table Artists!

Still from Ebony Wilson’s film honoring Sarah Leverette

Sarah Leverette was, and is, a powerful inspiration to women in and outside of South Carolina, having spent her life breaking glass ceilings wherever she went, from the Civil Air Patrol to the School of Law at USC, where she was the first female law professor. She passed only shortly over a year ago, but her accomplishments will not soon be forgotten.

Tasked with turning Leverette’s long & varied career into one short film is Ebony Wilson. Since 2012, Wilson has written, directed, produced, and edited her own original works, most notably the 2017 feature Sci-Fi Drama, 2025: Prelude to Infusco. In the process of undertaking countless projects and workloads, Wilson has managed to sell her work, build brand engagement for her clients, and nurture long relationships with those around her. She owns and operates her independent production company, Midnight Crow Pro- ductions, and is the founder and administrator of the Columbia Film Community. The Supper Table project will be Ebony’s third collaboration with the Jasper Project.

As Wilson approached ideas for her film on Leverette, what struck her the most was how influential Leverette was/is for women. Still today, women struggle with issues of motherhood, glass ceilings, and the legacy they will be able to leave behind. Leverette is a constant force that reminds women they can leave whatever mark on the world they choose to. Thus, Wilson decided not to make a biopic about Leverette but instead to explore how Leverette’s legacy affects women now, in 2019 and beyond.

Ebony Wilson

Bringing Sarah Leverette to life on the stage is Malie Heider. Heider grew up in Columbia, where she began studying acting with Mary Lou Kramer. Since then, she has enjoyed acting, studying, and teaching theatre in a variety of places up and down the East Coast, as well as China, Japan, and Indonesia. In Columbia, she has worked at Trustus Theatre, Workshop Theatre, the University of South Carolina, the South Carolina Shakespeare Company, the Arts at Shandon, and SCETV, most recently in Betsy Newman’s documentary production on Belle Baruch.  

Heider remarks that she’s in awe of what Leverette did in her life and the fact she did it for so long. Leverette was 98 when she passed, and Heider believes, as do many others, that if Leverette was alive today, she would still be avidly working to keep breaking glass ceilings and to make it possible for others to do so as well. Heider also wonders about what Leverette had to give up in terms of personal life and family in order to throw herself so completely into her work and mentorship. Heider hopes that this passion, determination, and sacrifice comes across in her performance.

Malie Heider

Wilson’s complete film and Heider’s performance will be available for viewing at both opening events for the Supper Table. Our Trustus Theatre event is sold out, but our nearly identical second opening event is Sunday, September 8th, at Harbison Theatre, and tickets start at $15.

Supper Table Spotlight: Eileen Blyth and Katly Hong

We’re featuring the artists from the Supper Table project throughout the summer. This is the 22nd in our series on Supper Table Artists!

Still from Katly Hong’s film on Althea Gibson

Althea Gibson was the first black athlete to break racial barriers of international tennis, specifically when she became the first black American to win a Grand Slam title. Additionally, Gibson was a golfer, a singer, and a black woman trying to have access to the same rights and activities as everyone around her, through doing what she did best – playing tennis.

Eileen Blyth is the visual artist who created a place-setting for Gibson. Blyth is a Columbia artist known for her paintings and found art sculptures. Originally from Charleston, Eileen has always thought of herself as a painter. She earned her BA from the College of Charleston and studied graphic design at the University of South Carolina. She is inspired by the moment of creation when there is a sudden shift into a space of knowing and composition falls into place. Blyth’s studio is located at Stormwater Studios in Columbia, and her work is represented by Carol Saunders Gallery in Columbia, Camilla Art Gallery in Hilton Head, and Art & Light Gallery in Greenville.

Eileen Blyth

Blyth’s place-setting is heavily inspired by Gibson’s tennis career, which is what brought her to fame, but also contains elements of Gibson’s other achievements. For example, the background of Blyth’s place-setting is modeled after a tennis court, and both the frame on her platter as well as the handle of her goblet come from disassembled found tennis rackets.

Blyth said that she “liked the metaphor for serving and service both on the court and at the clubs she was allowed to play in but not go in” that is represented by the frame on the platter as well as the glove holding the golf club.

The platter itself is engraved with Gibson’s name and the quote: “She was born too soon”.

Turning Gibson’s full life into a short film is Katly Hong. She is an interdisciplinary artist who regularly pivots between visual, media, and performance art. For the Supper Table, Hong was enthralled by the challenge of honoring Gibson’s incredible athleticism and her determination to be somebody in a time of segregation and open discrimination.

Katly Hong

Hong’s film uses animation and music to honor Gibson’s life. While the film’s animation mainly focuses on Gibson’s tennis accomplishments and accolades, the music in the background is Gibson’s own from the music career she embarked on later in life.

Supper Table Spotlight: Flavia Lovatelli and Jocelyn Sanders

We’re featuring the artists from the Supper Table project throughout the summer. This is the 21st in our series on Supper Table Artists!

Flavia Lovatelli

It’d be nearly impossible to give a complete list of adjectives describing Supper Table honoree Mary McLeod Bethune. In her lifetime, Bethune was an educator, activist, businesswoman, and political advisor. She was friends to the Roosevelts and referred to by FDR as “The First Lady of the Struggle” for her tireless advocacy for black communities in America. Is it possible to contain all that is Bethune into a single place-setting? A single theatrical performance? Even if not, with incredible artists like these, we’ve come as close as possible.

Flavia Lovatelli is a local artist who created our Supper Table place-setting for Bethune. Passionate about collecting what society typically views as the “throwaways,” she is an artist who creates innovative, imaginative artwork using recycled goods. Originally from Northern Italy, she moved to the states in 1979, where she founded the Art Ecology Group, a movement of sustainable artists. She was one of four artists chosen to represent Sustainable Charlotte during the Democratic National Convention in 2012, and her work has won several awards including the CharlotteArtPop.

As a paper artist, Lovatelli used recycled magazine paper and textbooks for her place-setting, the textbook pages specifically representing Bethune’s passion for education, the foundation of her activism. The color red is prominent within the piece and “represents the strife, anger, passion and fight the African American community have suffered in History which fueled Mary’s causes” while the gold represents Bethune’s work in the political spectrum.

Overall, Lovatelli hopes that from her place-setting, people see the “incredible life, full of achievements and strides Mary McLeod Bethune had.”

Tasked with using her body and voice to present the life of Bethune is native Columbian, Jocelyn Sanders. Sanders has been actively engaged in theatre ever since graduating from college. She was employed for several years at Trustus Theatre as Box Office Manager. While working with Trustus, she was also one of the original founding instructors of the African American Acting Workshop, which was later renamed the Multi-Ethnic Acting Workshop. She left Trustus and went on to teach; her last teaching position was with Eau Claire High School where she instructed teachers in integrating the arts into their curriculum.

Sanders is a director and an actor, having worked in numerous productions in the city. Some of her most memorable productions she’s directed are Crowns and A Wedding Band, with Trustus Theatre, and A Lesson Before Dying and The Color Purple, with Workshop Theatre.

Jocelyn Sanders

Sanders has reflected on how different the times were when Bethune was an activist versus today, and believes that if Bethune were alive now, she would look around and still see a whole lot of work to be done. In her performance, she hopes to show the empowering nature of Bethune when she was alive as well as use it as a challenge to pick up our own crosses today and continue the work she once started.

Lovatelli’s complete place-setting and Sanders’ performance will be available for viewing at both opening events for the Supper Table. Our opening night event is Friday, September 6th, at Trustus Theatre (almost gone!), and tickets start at $50. Our second opening event is Sunday, September 8th, at Harbison Theatre, and tickets start at $15.

 -Christina Xan

The Supper Table is made possible by a generous grant from

Central Carolina Community Foundation

Supper Table Spotlight: Qiana Whitted and Annette Dees Grevious

We’re featuring the artists from the Supper Table project throughout the summer. This is the 20th in our series on Supper Table Artists

Qiana Whitted - photo Michael Danzler

Known by Martin Luther King Jr. as “The Mother of the Movement,” Septima Clark was an educator and civil rights activist who spent her life fighting for literacy and equality for black Americans. Two Supper Table artists had the task of speaking life into Clark’s story, one through written word and the other through spoken.

Qiana Whitted is the literary artist who wrote a non-fiction literary essay about Septima Clark’s life. Whitted is the Director of the African American Studies Program at the University of South Carolina. Her research focuses on African-American literary and cultural studies, American comics, and graphic novels. Her recent book, EC Comics: Race, Shock, and Social Protest, explores representations of race and racism. She is also the author of “A God of Justice?”: The Problem of Evil in Twentieth-Century Black Literature and co-editor of Comics and the U.S. South. Additionally, Whitted is editor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. She is the mother of two children, Naima and Alex.

The following is an excerpt from her essay:

Clark began her career during World War I on Johns Island at a school with over 130 students. Miss Seppie, as the Gullah folk called her, would go on to teach across the Carolinas, from rural classrooms in Mars Hill and McClellanville to Avery Normal Institute in Charleston and Booker T. Washington School in Columbia. After school hours and on weekends, Clark turned her attention to the needs of her students’ parents and grandparents. She helped local residents to write letters and speeches, fill out applications and mail-order forms, and organize sewing circles, immunization drives, and handwriting clinics. While her own training at Avery emphasized a pedagogy that embraced racial uplift ideology and respectability as core values, those early years as a teacher challenged her assumptions about the realities of social and economic inequality and demanded from her a different kind of resourcefulness. Clark gained a profound appreciation for adult literacy training, deploying what historian Katherine Mellen Charron calls “educational camouflage” to transform classroom basics into acts of recognition and resistance against white supremacy. Clark’s experience on Johns Island sowed the seeds for the Citizenship Schools, a grassroots educational initiative in the South that combined practical literacy with voter registration, civics instruction, and community action.

It was Clark’s advocacy on behalf of students and teachers that transformed her into a freedom fighter. Her first steps included taking part in the NAACP campaign to allow black teachers to be hired in Charleston’s public schools. Canvassing door to door with fellow teachers, and even a few sixth-graders, Clark tirelessly gathered signatures for the successful petition. She was inspired by black women activist educators such as Mary McLeod Bethune to expand her reach within teachers’ associations and women’s clubs during the 1930s. She helped to integrate the central board of Charleston’s YWCA and made a point to forge relationships with white-led civic organizations that focused on school reform and health promotion. When it came to education for citizenship, Clark was concerned by the way many Progressive era initiatives encouraged students to exercise their rights without disrupting the status quo of segregation. Therefore, when given the opportunity to develop her own curriculum, Clark modeled her endeavors after local education reformers such as Wil Lou Gray and Booker T. Washington’s principal, C.A. Johnson. She listened closely to the needs of black adult learners, respected their experiential knowledge, and nurtured their aspirations, whether they required help reading the newspaper or understanding election laws.

Annette Dees Grevious

Embodying these words in the Supper Table theatrical performance is Annette Dees Grevious. Grevious is an Associate of Professor of Speech and Drama at Claflin University, where she has served as Theatre Program Coordinator and Director of the Theatre Ensemble for 17 years. She received an MFA in Theatre Performance from the University of Louisville and a BA in Theatre from Brenau University. Grevious has been performing professionally for more than two decades. She has performed with and on the following South Carolina theatre companies and stages: Trustus Theatre, Art Forms and Theatre Concepts, Inc., and Motion FilmWorks.

Septima Clark is a name full of such power yet a name so little known. In her performance, Grevious hopes to not only represent the struggles and success of Clark’s life but tell her story in a way that will ensure no one forgets her name again.

To read the rest of Whitted’s essay, located in our book Setting the Supper Table, and to see Grevious’ performance of Septima Clark, come to one of our opening events on either September 6th at Trustus (almost gone!) or September 8th at Harbison.

 -Christina Xan

Supper Table Spotlight: Christina Xan, assistant project director - by Cindi Boiter

We’re featuring the artists from the Supper Table project throughout the summer. This is the 19th in our series on Supper Table Artists

Christina reading her own poetry at Girls Block 2019

Christina Xan came to the Jasper Project by way of playwright and academician Jon Tuttle who, though he directs the honors program at Francis Marion University and lives in Florence, is a founding member of the Soda Citizen Auxiliary (no, there is no such thing as this). Jon introduced Christina to me when she first came to grad school at USC. The next year, Christina approached me about serving as an intern with Jasper and we were delighted to bring her and all her talents on board.

To say Christina fit right in would be an understatement. To say she pitched right in would be even more of an understatement.

In the year Christina has been involved in the Jasper Project she has risen to every challenge presented to her. An avid blogger, Christina has shared her writing, photographic, graphic design, administrative, editorial, and immense personable skills with Jasper and our friends with generosity and enthusiasm.

When it came time to invite writers to join the Supper Table project as essayists, there was no question in my mind that the young artist should be included. In addition to writing about Eartha Kit, Christina also stepped in when we needed someone to take over writing about Mary McLeod Bethune.

But Christina’s most profound impact on the project has been in her role as assistant project director — in other words, assistant to me. So I know of what I speak. I jokingly say that when Christina came on board (and she actually is on the board of directors for the Jasper Project now) it was like I grew another arm. But that doesn’t really cover it. Having Christina’s assistance has been great, but it has been the gifts she has offered via her insights, contributions, attitude, and enthusiasm that have made the difference in this project. Every time I felt like I was drowning Christina would be there to tap me on the head and remind me the water wasn’t really that deep. Every time she would meet a new artist on the team she suddenly had a new best friend. Her kindness and selflessness have magnified the element of love and mutual appreciation that has so characterized this project tenfold. Working with Christina has been an absolute joy.

Christina and author Dorothy Allison -Deckle Edge 2019

Christina Xan is a poet, playwright, photographer, and adjunct professor of English. She graduated with an MA from the University of South Carolina, where she is now pursuing her doctorate. Her work has been published by Snow Island Review and Z House Publishing, and her play Glass was turned into a short film that toured SC festivals in 2017. Her art is influenced by her life, as each story contains a different element of herself, and she is inspired by the concepts and questions people usually hide away from.

Christina with FMU mentor Jon Tuttle

-Cindi Boiter