Featured CCA Biennial Artist Reclaims the Feminine Through “Monstrous” Installation

“…rather than reiterating these narratives throughout history of what makes women ‘women,’ or what makes women monstrous, I think women should be the ones to decide and to retell those narratives.”

Think of your favorite werewolf. Are you a traditionalist watching American Werewolf in London? Maybe your high school years were filled with Team Jacob debates or MTV made you a Scott McCall fan. Regardless, think about what all these representations have in common. What would these look like if the main monsters were women? 

This is what new South Carolinian, artist Marina Shaltout, asks in her installation Bad Bitch. Told best in her own words, this installation is a “meta-camp, multi-channel video installation that tells the story of a female werewolf exhibiting three symptoms of PMS (Ravenous, Reckless, and Raging).” 

A female werewolf being new or surprising is inherently ironic—women are no strangers to being portrayed as monsters. However, the feminine monster is typically just that: feminine. Think Uma Thurman’s Poison Ivy or Jennifer Lawrence’s Mystique; even in a non-human form they remain feminine, complete with sexual organs and rife with sensuality.

 If women are ever portrayed as fur-covered monsters, they are rarely allowed to be seen as women, losing all sense of femininity. This is the dichotomous relationship of the female monster, either too feminine or not feminine at all.

 Shaltout relates this in part to the experience of women portrayed by the media, saying, “It's this really interesting process where we women have this notion of, ‘I want to be this woman, but society hates this woman and deems her crazy or problematic or undesirable, so I also hate this woman and therefore I hate myself.’”

 With her own body, Shaltout resists this patriarchal narrative that defines the feminine by its standards. In these installation videos, she dons a full-body wolf costume and dresses it up with wigs, jewelry, and nails. She refuses to let the monster lose its femininity and refuses to let that femininity be comfortable.

“I explore mythologies of females throughout history and the way that we conflate femininity with evil and societal problems. I specifically consider how female monsters are sexualized while male monsters are bad-ass grotesque figures, and I'm interested in flipping those gender notions of what a monster has to be,” Shaltout reveals, “But rather than reiterating these narratives throughout history of what makes women ‘women,’ or what makes women monstrous, I think women should be the ones to decide and to retell those narratives.” 

This narrative consists of three videos, featured on three individual, decorated TVs. Each video presents the main character—Shaltout in costume—in three action sequences: in one, she is eating cakes messily, surrounded by purple fur and the moon that beckons her; in the second, she is putting on makeup at a light blue vanity with its shattered pieces creating the frame itself; and in the third, she is dancing, moving with glitter and framed by the oxymoronic exotic yet inherently natural foliage. All three parts of this installation coalesce at a peak wherein the character at their center stops existing to please the watcher.

 All the materials seen in the videos and on their frames are either handmade or personally sourced by Shaltout. The vanity was found, while the pieces on the frame were created to simply look like the broken furniture in the video. The cake fixtures actually came first with the pastries in the video baked by Shaltout to match. These “moments of artifice,” as she calls them, are key to her work and bridge the faux with authenticity. 

Learning what to create and what to reuse is key to ensuring her process moves along seamlessly, and Shaltout’s varied artistic background surely helps. Though born in Missouri, she grew up in Illinois where she went to college and received her BFA in Jewelry and Metalsmithing before doing a residency at New Mexico State University and finally becoming an MFA candidate in 3D and Extended Medium at the University of Arizona.

 Her work with 3D sculpture aids in hands on work, like wrapping violet fur or placing robin egg blue wood on a TV frame. Her work creating appendages supports her visual eye, seen in the careful cultivation of wardrobe or recreation of baked goods. And her work with body-based installation and performance allows her to blur the line between self and other. 

“Visuals is my favorite part. It's me saying does this glittery dress work for this? It's a gathering of materials and then kind of playing around to see what will work, and a lot goes into it,” she intimates, “I think I debated about the color of the wig for two weeks straight. These little things—they're arbitrary and yet hold so much weight—and at the end of the day, I get to make those decisions myself, which is really cool.” 

Video installation adds a fresh layer to performance in this ability to shift visuals and have multiple takes and edits. There are never many cuts, but Shaltout is able to play with lighting and color, even recreating sound. There always is an organic element, however, to what happens when the camera is turned on, and some things, like breaking the vanity, can only happen once.  

“I do script; I storyboard. But I'm more of a writer, so I'll write out the sequence of actions that I plan to take in my videos. And I kind of have that as like a blueprint, but a lot of times my work is improv,” Shaltout describes, “I set myself up with my props and with the general idea, but a lot of it is just kind of going with the feeling in the moment.”

 Donning these costumes and props both makes Shaltout appear as if she could be anybody and specifically embodies a particular part of femininity and perception of the feminine. What at first glance could appear as a strange, silly Halloween costume is a rumination on the very control of women’s bodies and personas, and by turning our expectations of both storytelling and genre on their head, Shaltout is able to reclaim the monstrous feminine.  

In the future, Shaltout aims to continue these stories in different, yet perpetually linked, personas. Her current idea involves mimicry, flowers, and phallic-shaped foods, but that’s your sneak peek for now. Regardless, she will continue to assert that if you’re going to represent me as a monster, I’m going to make you look at me as the “monster” I truly am. It is her, and our, narrative now. 

So—why are there no woman werewolves? They make people in a patriarchal world uncomfortable. They represent a breaking of boundaries and a power that makes people scared. But they should be. And we, as women, should be comfortable and proud of our power, fur and claws included. 

Bad Bitch is currently on display at 701 Whaley’s Center for Contemporary Art as part of their “Biennial Part 1,” which is up until November 14th. Read more about the Biennial here:

Shaltout now resides in Hartsville, South Carolina, teaching at Coker University as a Visiting Assistant Professor. You can follow her journey at her website.

-Christina Xan

Jasper Galleries presents Pam Bowers at Motor Supply

The Jasper Project is delighted to welcome the work of renown visual artist Pamela Bowers to the Jasper Galleries space at Motor Supply in Columbia’s historic Vista.

A Chicago native, for the past 20 years Pam Bowers has divided her time between in Columbia, South Carolina, the Umbrian hill town she calls her second home, and her world wide wide travels.

She has exhibited her work internationally at venues that include the Guilin Academy of Chinese Painting in China, the University of Fine Arts in Budapest, numerous venues in Italy, University of Newcastle in Australia, and the Ecole Nationale in Rabat, Morocco.

Nationally she has exhibited at the Bowery Gallery, New York, Blue Mountain Gallery New York, ARC and WMG galleries in Chicago, and many other university or museum venues including the the State Museum of South Carolina, City Gallery at Waterfront Park In Charleston, the University of North Carolina, Charlotte, and St. Mary's College of Notre Dame among others.

This is one of the first solo exhibits of her work in Columbia for many years.

Pam has lectured on her work and conducted numerous workshops both here and abroad. Her work is represented in numerous public and private collections. Additional works can be seen at pamjbowers.com.

About this exhibition and her work, in general, the artist says:

The work in this exhibition spans decades of my career as a painter and my life as an artist. As a kind of lifelong travel journal, these works express my passion for color and materials while reflecting my personal stories and imaginative musings on nature. Mine is a playful but serious practice rooted in the experience of the senses. I often paint directly from life outdoors; celebrating its elemental beauty through observation––watching the play of light across a flower, the flow of water over rocks, a storm at sea or the subtle movements of animals. I then bring these perceptual works into my studio where they inspire more elaborate pieces that allow for layers of imagination, meaning, and metaphor. Through a process of free association I enter into an almost sacred feeling, intimate kind of mental space within my psyche.  In this, I create works that speak to the experiences, emotions and thoughts present in my life’s journey.. In pursuit of this inspiration I have travelled widely working and exhibiting in many enchanting places across the globe. However, the watery Southeastern coastal areas remain closest to my heart. My studio in the woodlands between Columbia and the coast serves as basecamp for many adventures and excursions to explore our beautiful landscapes’ flora and fauna both here and beyond. I hope you enjoy this show.

The Jasper Project

will host a

Meet the Artist Evening

in the Motor Supply Bar on

Thursday, November 18th from 6 - 9pm

during Vista Lights.

Please come by, say hello to Pam, pick up the newest copy of Jasper Magazine, and have a drink or dinner at Motor!

REVIEW: Scenes from Metamorphoses, USC Theatre

I have to admit that I was surprised to see that the play, Scenes from Metamorphoses, based on the myths of Ovid by Mary Zimmerman, was being offered as part of the USC Department of Theatre and Dance’s season. My friend Ed Madden and I, along with our spouses, saw the play last weekend during its brief engagement, October 28-31, at the Booker T. Washington Lab Theatre on Wheat Street. Having had the opportunity to see the multi-award-winning production at Circle in the Square Theatre on Broadway in 2002, my memories of the experience were profoundly moving, and I remember being as impacted by the starkness of the minimalist set and costuming as I was by the power of the script and the heft of the acting and direction. The lighting in the Broadway production was so finely achieved that it almost became a character on its own.

Was it a good idea for a university to present a project as robust as Scenes from Metamorphoses? I’m still not sure.

A highly sophisticated project, Zimmerman refined her Metamorphoses over years of workshopping productions beginning in 1996 at Northwestern University. By the time it arrived on Broadway in 2002, the final iteration of the project was something pristine and exquisite. A compelling combination of the robust and the delicate that captivated audiences by reminding us of that conflict and resolution—hence, change—are both timeless and essential to life. The fact that Zimmerman also directed the play during its years on and off-Broadway should not be overlooked in terms of the organic flow in which she was able to offer her production.

While the title suggests that the presentation is an incomplete set of vignettes, in reality, we saw the play with all characters, as written, except with fewer actors. Based on David Slavitt’s 1994 translation of Ovid’s Metamorphosis the play features Cosmogony, Midas, Alcyone and Ceyx, Erysichthon and Ceres, Orpheus and Eurydice, Narcissus, Pomona and Vertumnus, Myrrha, Phaeton, Apollo, Eros and Psyche, and Baucis and Philemon. Zimmerman selected the myths to dramatize in order to replicate the rise and fall of a successful project, with all elements needed to create the arc of a well-accomplished stage play. Her use of the myth of King Midas, before his startling conflict and after his ultimate resolution represent the state of equilibrium that the play opens with and circles back to at the end.

The USC presentation featured Asaru Buffalo, Ezri Fender, Cameron Giordano, Cady Gray, Brighton Grice, Carly Siegel, and Nakao Zurlo, with direction by graduate student, Tiffani Hagan.

There were a number of challenges facing the team presenting Metamorphoses at USC last weekend. The greatest may have been the fit of this play for a group of undergraduate students. It can be difficult to discern where strengths and weaknesses come from—whether it is the actors or the director—without the conceit of knowing what the actors have brought to the table on their own. There was certainly an inconsistency in the performances with some players taking on a conscious meta theme to their interpretations and others a more lackadaisical approach. It was difficult to tell whether some of the nonchalance was prescriptive or organic. Others seemed uncomfortable but I’m not sure if their discomfort came from their roles or their own skin.

Madden made particular note of this. “One of the most interesting lines to me is: ‘You know what happened.’ The play is self-conscious about the fact that we know most of the stories. The art of the play lies in how they are put together and in how they are acted.” 

Given the use of the meta-dramatic theme, Madden, who rated the story of Narcissus as among the most beautifully told, based on the “gestures and movement of the actors,” but wondered “why a woman held the mirror for Narcissus—given his love for his own male beauty, it is the one spot in the entire play that could have included a queer element.”

The greatest challenge to this interpretation of Metamorphoses may be found in the absence of the pool of water which is central to every story line and is, in fact, the touchstone of the play. Originally written to have positioned center-stage a large, multi-use body of water serving as a character in and of itself—a place to wash, the ocean, the river Styx, and more—the pool  of water should act as the central part of the set, as a prop, as a destination, as a central unifying thread, and as the greatest symbol of change, or metamorphosis, itself. While this interpretation of the play uses a wooden barrel in that role, the barrel also becomes a receptacle for props and discarded clothing, and it is cast aside and ultimately moved off stage in what felt irreverent to this viewer.

The height of the performance, for both Madden and I, was the telling of the story of Phaeton, son of Helios, who hounded his father into letting him drive his chariot of horses across the sky creating the daily rising and falling of the sun. Phaeton’s failure to handle such a daunting task results in the scorching of the land and other earthly consequences as the boy had taken on more than he was capable of accomplishing. We both appreciated the role of the therapist who offered, as Madden says, “a way to understand the myth, and yet the very human story if the teenage boy.”

The epitaph on Phaeton’s tomb is ironically said to read, “Here Phaeton lies who in the sun-god's chariot fared. And though greatly he failed, more greatly he dared.” And while the cast and crew of Mary Zimmerman’s Scenes from Metamorphoses certainly did not fail, there is no doubt that they grew from the experience in the face of so many challenges presented them, not the least of which were the challenges they each wore on their faces—the very emblem of creating performance art in the days of Covid-19: their masks. As Madden says, the masks “Made some of the language difficult to understand, especially if the music was too loud, and may have caused some over-acting because the actors could not depend otherwise on facial movements to carry emotion.”

Kudos to the cast and crew of USC’s Metamorphoses. Every theatre artist should be so lucky to as to have the opportunity to make this play a part of their artistic lives.

-Cindi Boiter with Ed Madden

 

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Closing Reception for Nikolai Oskolkov's Art Exhibit at Motor Supply

Thursday, October 28th at 5 pm

Motor Supply

Friends and Patrons! Come out to Motor Supply restaurant downtown Columbia upcoming Thursday for an informal drop-in closing and art sale...meet the artist, order a drink or two from the bar and check out a large selection of NikO Art currently on display...Blessings and Inspiration to all and see y'all soon!

As Niko has returned from a recent trip to his homeland he has this to say:

“The recent trip to Russia is as always nostalgic, which is an emotion that is very dear to me.. .it is where my roots are, memories of childhood, when life is naturally brighter, more colorful, happier, so its always very healthy to revisit...the nature and people there are very close to the heart, even though Carolina has always been a great home, with many loving caring people who love art and music and allow artists a practical opportunity to develop and express themselves in any way they see fit for themselves...”

About this exhibition of his work at Motor Supply:

“The show is passively thematic...meaning it has a fairly benign focus on landscapes and scenes of our South Carolina, and the place that enchants me quite a lot...Venice...I am absolutely in love with Venice and love to revisit it through painting so I can possess it with sight and touch...so I can extend my time there...The advantages of a restaurant setting is of course the traffic of new fans and potential patrons is more regular, and that it doesn't have to be anyone looking for fine art in particular, so they can be surprised and truly inspired, instead of looking for inspiration or art intentionally, and feeling unsophisticated or inadequate when visiting an often exclusive, lofty commercial fine art galleries...I believe art is for EVERYONE...”



PREVIEW: Mary Zimmerman's Metamorphoses at USC Lab Theatre

Senior theatre major Nakoa Zurlo as Hades  

The University of South Carolina theatre program will present Scenes from Metamorphoses, Mary Zimmerman’s profoundly moving adaptations of classic Greek myths, October 28-31 at the Lab Theatre.  

 Showtime is 8pm nightly.  Tickets are $10 and available online at sc.universitytickets.com.  

In keeping with university safety protocols, masks will be required of all audience members, actors and crew, and seating will be limited to allow for appropriate social distancing between all patrons.  The Lab Theatre is located at 1400 Wheat St. on the first floor of the Booker T. Washington building.   

While the show’s title might indicate an abridged version of Zimmerman’s popular play, the production will indeed contain all the original’s text but with a smaller-than-usual cast of seven.  Hailed in 2002 as “the theatre event of the year” (Time), the award-winning Metamorphoses is a breathtaking fusion of classic and contemporary storytelling, bringing Roman poet Ovid’s timeless myths to dazzlingly theatrical life. Mary Zimmerman’s daring adaptations explore the wide gamut of our universal experience, from love to loss, from joy to despair, connecting it all with the idea that nothing in life comes without transformation.  

"Mary Zimmerman's lovely, deeply affecting work...shows that theater can provide not just escape but sometimes a glimpse of the divine." — Time 

“It’s a really unique combination of adaptations of Ovid’s stories mixed mixed with other iterations of the myths and Zimmerman's own interpretations of who the characters are and what they could be,” says director Tiffani Hagan, a second-year graduate theatre student.  “Each story touches on universal themes like love or loss or fear of the unknown, making them stories that everyone can relate to.” 

The play juxtaposes the mythic stories of well-known characters such as Midas, the greedy king who receives the power to turn everything he touches to gold, with lesser-known figures like Erysichthon, cursed by the goddess Ceres to endure an insatiable hunger.  Hagan says this production emphasizes the anachronistic style of the myths as they are presented in the play, placing many of the ancient tales in modern, often humorous settings.  Think Midas as a Steve Jobs-esque business mogul or Apollo’s son Phaeton telling his story in a therapy session on a pool float. 

“The myths can jump in and out of time because they really are timeless,” says Hagan. 

Cast in the production are undergraduate students Asaru BuffaloEzri FenderCameron GiordanoCady GrayBrighton GriceCarly Siegel, and Nakoa Zurlo.  The production’s design team includes third-year graduate student Heather Gonzalez (costumes) and undergraduates Logan Brodfuehrer (scenic), Brooks Beaty (lighting), and Josiah Burton (sound). 

 “These are stories we’ve all heard at some point in our lives,” says Hagan. “The characters show up again and again in television shows or movies, whether we recognize them as being originally Greek myths or not. This play is a fun way to see them in another light and in a new way.”  

For more information on Scenes from Metamorphoses or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.  

 

 —Courtesy of USC Department of Theatre and Dance

 

 

 

Renee Rouillier Explores Joy and Freedom Through Sculpture in New Tiny Gallery Show

October is a month of transition: first cool mornings of the year, beginning of turning leaves, and the first thoughts of holiday get-togethers. Renee Rouillier explores the larger transitions of freedom and confinement, loss and joy, in her Tiny Gallery show, Messages from Nature. Learn more about her and her show, which is in its final week, below!

Renee Rouillier grew up in rural Upstate New York as one of four siblings in a time where “the world felt like a safer place to live.”

Rejecting any safety nets, however, young Rouillier embarked on a brief journey to an Airline Academy before settling in Rochester and enrolling in its Institute of Technology’s evening art program. At this time, she mainly worked with two-dimensional art and received a Certificate of Fine Arts.  

A new path opened after Rouillier underwent major surgery in her early 40’s. At this time, she decided to quit her job and return to school, choosing the Arts Program at SUNY Brockport.

“This is where everything began to come together,” Rouillier recalls. “I found myself evolving into the person I was meant to be and realized what a difference it made when someone believed in your capabilities and provided unconditional support.”

Soon, this blanket of enlightenment spread wings when Rouillier became immersed in and inundated by sculpture and clay, which she felt unlocked a connection she had never been able to find in 2D art. She began exploring interests and ideas, finally settling in a pocket of inspiration around Surrealism and German Expressionism.

“I began winning awards and honors and more importantly,” Rouillier asserts, “I began to believe in myself…drawing from art with an edge, dark side, or unforeseen side of reality.”

Not long after, Rouillier graduated with a BFA and a BS in Interdisciplinary Arts for Children with Honors and was offered a fellowship at the University of South Carolina concentrating in Ceramics and Sculpture, both studying and acting as a Teaching Assistant and Instructor of Record in Ceramics and Three-Dimensional Study.

“This is also another time-period I will always treasure,” Rouillier intimates, “The total involvement and atmosphere created between undergraduates, graduate students, instructors, and professors to create a whole interactive community; I cherished teaching and my students.” 

This experience culminated in an MFA, followed by an additional eight years of teaching at USC Columbia, USC Aiken, Columbia College, and South Carolina State University, before fully settling into the art community in Columbia, participating in events like The Supper Table, where she designed the place setting for Dr. Matilda Evans.

In preparation for her Tiny Gallery show, Rouillier turned to pieces sculpted before the pandemic but not completed. When the studio she sculpts at reopened, she began selecting pieces and adding surface treatments, which is “accomplished using oxides, underglazes, and glazes with multiple firings.”

Rouillier’s process for this show reflects both her baseline as an artist and her emerging feelings from the COVID-19 pandemic.

“I find myself continuously observing my surroundings, interactions, and world events,” Rouillier shares, “This series focuses on the freedom and joy, or my so-called interpretation of it, that I felt animals and wildlife experienced during our confinement.” 

Messages from Nature is filled with ruminating animals, not revealing their thoughts, but staring straight ahead as if beckoning you into conversation. Monkeys and hippos float as avian and amphibian friends perch on their rounded heads. Leopards and rams sit in an excess of both their own patterns and patterns not inherent to them. All the while, these ruminating animals are punctuated by the occasional face of a girl or goblin.

Rouillier’s personal favorites from the show are “Unusual Friends” and “Mystical,” the former of which reflects a challenge she faces—adding that little additional touch that completes the piece.”

“When I built the hippo, I liked it by itself, but it needed an additional element: the hummingbird,” Rouillier reflects, “When I underglazed (matte) the hummingbird and initially fired it, something still wasn't quite right—I put that little touch of gloss glaze on the beak and that did the trick.”

Renee Rouillier’s Messages from Nature will be available to peruse and to purchase from 24/7 on the Jasper virtual gallery space until October 31st: https://the-jasper-project.square.site/tiny-gallery. If you are looking for a unique holiday gift, a handcrafted sculpture is irreplaceable.

As for the future, Rouillier “can’t wait to see what evolves,” and you can follow her journey in the community as she takes on new adventures with her three-dimensional creations.

- - Christina Xan

REVIEW -- Amityville 1925

Seven years in the making, playwright and founder of Theatre Mysterium, Christofer Cook, brings his new play, “Amityville 1925” to the black box performance space at Columbia Music Festival Association, 914 Pulaski Street in Columbia’s Vista.

Inspired by mythology surrounding the famed house at the center of the Amityville Horror franchise, Cook’s cast enacts a tale about the Moynahan family, a real family who occupied the home in 1925. In Cook’s imagination, the Irish Catholic family of five is transplanted to Amityville, NY taking up residence at 112 Ocean Avenue, the same house that has appeared to be malevolently sneering down at us in all our scary movie-induced nightmares since the first film debuted in 1979.

In Cook’s play, the family arrives at their new home with their furnishings intact due to the kindness of Jesse Purdy, the patriarch John Moynahan’s best friend. They immediately have the home blessed in traditional Catholic fashion by the local priest Father Fitzgerald but, despite the ostensible blessings bestowed by the man of the cloth, something is awry from the start. Noises from beneath the floorboards, pops and snaps from the fireplace, toppled furniture and books flying through the air. Everything one would expect from a home we hope to be haunted.

But the Moynahan family of three adult children and parents are smarter than the average haunted household-dwellers and they use their deductive powers and Irish intellects to solve the mystery of a house that has a mind of its own.

Or do they?

Amityville 1925 is a world premiere play with exceedingly strong bones and quite a bit of meat on them, to boot. Having seen the first ever public performance of the play on its opening night of Thursday, October 21, I was engaged by where the story was going, where it took me, and impressed by the scenery along the way.

Cook has assembled an excellent cast of actors, each holding their own and contributing singularly significant pieces to the puzzle. The cast successfully performs as one expects an ensemble to do with no weak links and no characters overshadowing others.

The fourth wall having been delightfully broken from the onset as the players approach the stage via the audience, pausing on the steps of the home to acknowledge the beginning of their occupancy of the house, as well as the beginning of the play, various characters return to their conversation with the audience  throughout the performance. The convention works well as a comfortable narrative device with little to no meta-referential disruption.

As family matriarch Catherine Moynahan, Zsuzsa Manna neatly walks a narrow path of being both devoutly religious but still intellectually astute and perceptive. Her Irish accent was captivating as was that of her on-stage spouse, Frank Thompson in the role of John Moynahan.

The three Moynahan siblings, Stephanie Walker as Eileen, Katie Mixon as Marguerite, and James Nolan as Thomas, are strongly portrayed. Walker’s performance was particularly engaging, evoking comparisons with that of Samantha Sloyan’s Bev Keane on the Netflix drama Midnight Mass. Even on opening night the audience got a sense of the essence of the siblings’ unique personalities which, as the run progresses, I feel certain will acquire even more depth. James Nolan’s performance suggested a far more mature actor than I expected when I recognized his youth. As he more fully actualizes his role I would expect to see more of the youthful anger and frustration the character Thomas suggests as the play goes on.

In fact, the inference of a little more backstory for the family members as-a-whole might serve to further enrich the play. I would love to know more about the relationship between the children. While Walker’s Eileen appears naively boy crazy when she meets Father Fitzgerald, it is her (more mature or possessed?) sister who acts on those impulses later on. Why is this?

And no family with adult children under one roof get along so cordially and in such a non-confrontational manner as do the Moynahan siblings. The addition of inter-relationship awareness might add texture to the siblings’ characters. Similarly, I’d love to know some incidental history of the friendship between John Moynahan and his best friend Jesse Purdy, played devotedly by Landry Phillips.

The most challenging role of the play was that of Father Fitzgerald which Charlie Goodrich accomplished with ease. Goodrich fully possessed the variation required of his role, leading the audience to believe that Father Fitzgerald was quite the actor himself.

My only frustrations with Amityville 1925 were issues that could be avoided by two things: workshopping the play to address some of the small narrative gaps mentioned above, and the hard work of a good stage manager. As someone who appreciates the difficulty of presenting what is often a one-person production, I know well how frustrating it can be to have to put out fires when you’d rather be putting flowers in a vase to make everything pretty. A stage manager would make sure the set looked complete by finishing the painting and wallpapering so raw wood doesn’t peep through an empty grandfather clock. They would dust the lower shelves of tables at audience eye-level, replace an anachronistic plastic pesticide bottle with a glass jug marked with a skull and crossbones, and made sure the bed’s box springs couldn’t be seen on the floor.

That said, the fact that this playwright/production team put a performance of this caliber together is an unusual and quite remarkable accomplishment and they deserve high praise. The play is grounded, smart, wryly funny in unexpected places, (here’s to soda bread and rotting corpses), and thoroughly entertaining. It may, in fact, be the best thing you’ll see this Halloween season.

The next time I see it, and I really want to see it again, I hope it will be on a more professional and hospitable stage with a larger crew, a bigger budget—though Theatre Mysterium clearly did a lot with a little—and all the bells and whistles a well-conceived and soundly performed piece of theatre art like Amityville 1925 deserves.

October 21st, 22nd, 23rd, 24th
28th, 29th, 30th, 31st

These are Thursday - Sunday performances. 8:00 curtain, except Sundays which are 1:00 pm matinees.

General admission. Tickets are $20 per person. Go to TicketLeap.com to make reservations.

USC Opens Neil Simon's Rumors at Drayton Hall Friday Oct., 15th

The University of South Carolina Theatre Program will launch its 21/22 season in uproarious style October 15-22 with a production of Neil Simon’s raucous comedy Rumors at Drayton Hall Theatre.  

Show time is at 8 p.m. Tuesday through Saturday, with additional 3 p.m. matinee performances on Saturday, October 16 and Sunday, October 17. Admission is $15 for students, $20 for UofSC faculty/staff, military, and seniors 60+, and $22 for the general public. Tickets may be purchased online at sc.universitytickets.com. Drayton Hall Theatre is located at 1214 College St., across from the historic UofSC Horseshoe. In keeping with university safety protocols, masks will be required of all audience members, actors and crew, and seating will be limited to allow for appropriate social distancing between all patrons.  

Sharp-edged wit meets madcap farce in legendary playwright Simon’s hit 1988 comedy.  When the first pair of guests arrive for an anniversary party at the opulent home of Charlie Brock, the Deputy Mayor of New York, they find their host unconscious, shot in the head (well…the ear lobe), and his wife missing.  Wanting to protect Charlie – and themselves – from potential scandal, they fabricate a lie to tell the rapidly-arriving partygoers, setting in motion an ever-more-hilarious series of cover-ups, misunderstandings and mishaps. "Has nothing on its mind except making the audience laugh." - The New York Times

Recipient of the Pulitzer Prize (1991) and the Mark Twain Prize for American Humor (2006), in addition to numerous Tony® awards, Neil Simon was one of the most successful writers of the 20th century, with hits like The Odd CoupleBarefoot in the Park, and Biloxi Blues becoming long-running successes on stage and screen.  His work has become especially personal to director David Britt, who counts Rumors as the seventh Simon play he’s helmed in the last decade.

“I am a student of Neil Simon and his writing,” says Britt.  “When I was growing up, he was as popular a playwright as anybody, and I see his influence in everything I’ve seen since. I will always pay tribute to him.”

There’s an old expression, ‘I dropped my basket,’ meaning you've lost it...  Everybody’s basket gets dropped in Rumors!

Although the playwright told The New York Times that Rumors was his “first farce” and “completely different for me,” the play’s humor is still classic Simon. “It’s a sarcasm that many of us in the South may not be familiar with,” says Britt of the Simon’s signature one-liners.  “Our sarcasm is often very passive-aggressive, but his is straight to the point.  It’s given and received with the same attitude.”

In keeping with the classic form of farce, Rumors’ comedy is rooted in characters who become completely unraveled in the wake of fast-moving chaos and absurdity.  However, Britt says that Simon’s heightened characters are still totally relatable.

“Having read about Simon and the circles he ran in I think these characters are people he would have attended parties with.  There’s no one in this play who is an unbelievable person and that’s what we’re going for -- to hold up a mirror and say, ‘Look how crazy we all are under pressure.’”  

“There’s an old expression, ‘I dropped my basket,’ meaning you've lost it,” he adds with a laugh.  “Everybody’s basket gets dropped in Rumors!”

Britt’s production will bring its own special sense of zaniness to the proceedings, transporting audiences back to the “decade of excess” with a 1980s design aesthetic filled with shoulder pads, big jewelry and even bigger hair. “This play is not only a farce, but a comedic commentary on the socio-economic status of the wealthy,” says graduate design student Kyla Little, costume designer for the production.  “Material possessions have an interesting way of changing the confidence of the human psyche and I take pleasure in exaggerating that through the aesthetic trends of that era.”

Additional designers for the production include Professor Jim Hunter (scenic), graduate design student Lawrence Ware (lighting), undergraduate media arts student Alisha De Jesus (makeup) and guest artist Danielle Wilson (sound.)  

The show’s cast includes students Brandon BadinskiJohn BoulayJesse BreazealeZoe ChanBilly CheekKoby HallAndie LoweCaroline McGeeJordan Pontelandolfo and Isabella Stenz.

“It’s non-stop laughter for the audience to watch,” promises Britt.  “There isn’t any message beyond just enjoying yourself watching these people who think they’re so collected become so uncollected in a matter of minutes.”  

“Just come and have a good time.”

For more information on Rumors or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.   

 Courtesy of UofSC Department of Theatre and Dance

REVIEW: Workshop Theatre Welcomes Audiences Back with New Work - The Campaign, written and directed by Crystal Aldamuy

In Shakespeare’s day, Elizabethans went not to see a play, but rather to ‘hear’ a play.  If the mark of a listenable story is its strength of dialogue, Crystal Aldamuy has the gift of gab. She puts words into her characters’ mouths that make us feel as though we are eavesdropping through a tenement wall. This is more than evident in her latest feat of derring do, a two-act relationship drama called The Campaign produced by Workshop Theatre. Not only does Aldamuy exhibit an acumen for how people talk, but she also proves a competent craftsperson in the construction of plot.

The Campaign tells the story of Kyle McMillian, an ambitious thirty-something who embarks on entering a local city council race, and his life with his flamboyant partner, Seth Williams. The two young men grapple with the universal vagaries of keeping their love alive while cohabitating in somewhat claustrophobic quarters. Their relationship is further challenged by Kyle’s meddling mom, Naomi, whose raison d’etre appears early on to be shopping for her son and picking out just the right sofa pillows.  

At the outset, Kyle and Seth present as a familiar trope of ‘gay odd couple.’ Kyle’s reticence is juxtaposed by Seth’s inability to keep anything to himself. When the moment arrives for Kyle to announce that he has thrown his hat in the ring to be a local politician, Seth has become disillusioned by the reality of their relationship. Seth now must compete for Kyle’s attention and must ‘campaign’ for his true loyalty. This conflict reaches a fever pitch when a man named Timothy enters the picture later in the game.   

Aldamuy’s two main characters’ wants and drives become clearer as the play progresses. Though the inclusion of Kyle’s mother, Naomi, appears first as a single-dimensional plot device, her development of personae is enriched by a touching scene wherein she connects for the first time with Seth at the kitchen table. No spoilers here, though.

Josh Kern as the earnest Kyle McMillion, son of the apparently legendary politician, Walter McMillion, is excellent. He moves throughout the play with ease, giving us a protagonist who desires far more than simply being a domestic AC repairman.

Julian Deleon sparkles with quick one-liners and hilarious mood swings. Deleon may well be the audience favorite as he maintains a type-A drama queen personality who is culinarily challenged and suffers panic attacks during failed attempts at assembling Ikea shelves.

Tiffany Dinsmore is delightful as Naomi McMillion, a mother who strives to insert herself into her son’s life and relationship with the best of intentions. Dinsmore is believable and never over-plays her hand in a role that could so easily have become a caricature.

As a playwright, Aldamuy delivers and gives us some firm bones.  

Missing, however, are clear and smooth transitions between scenes that could better convey the passage of time. These moments, when actors enter and exit depositing and retrieving props in half-light, were confusing.

Act One seemed to take a while before any significant conflict gave its characters the impetus for action. It might also have been technically stronger had Aldamuy directed Josh Kern to vocally project more as he was difficult to hear at times, keeping us on the edge of our seats for the wrong reasons. This took nothing away, however, from Kern’s powerful exchange with Deleon at the end of Act II, two scenes back-to-back that were worth the price of admission alone.

The script struggled to present a narrative that is socially relevant in 2021 with scenes about condoms and AIDS prevention (though certainly still a part of world we live in) giving us tired theatrical territory, once an important innovation in the eighties by dramatists such as Larry Kramer and William Hoffman, but by now a trope with which audiences are overly familiar.

Challenges aside, however, The Campaign is well-worth your time. Workshop Theatre has another winner here with local stalwarts Aldamuy, Kern, Deleon, and Dinsmore at the helm. Remaining performances are few. Do not miss this one!

Fri, Oct 8 8 PM, Sat, Oct 9 8 PM, Sun, Oct 10 3 PM

Tickets at Workshoptheatre.com

 

Christofer Cook is an active member of the Dramatists Guild of America. He holds an MFA, an MA, and a BA. An internationally produced and award-winning playwright, his latest work is “Amityville, 1925” which opens at Theatre Mysterium on October 21st.

 

Celebrating 66 Years of Allen Ginsberg's HOWL

HOWL

by Allen Ginsberg

For Carl Solomon

I

I saw the best minds of my generation destroyed by madness, starving hysterical naked,

dragging themselves through the negro streets at dawn looking for an angry fix,

angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night,

who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,

who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated,

who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war,

who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,

who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall,

who got busted in their pubic beards returning through Laredo with a belt of marijuana for New York,

who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night

with dreams, with drugs, with waking nightmares, alcohol and cock and endless balls,

incomparable blind streets of shuddering cloud and lightning in the mind leaping toward poles of Canada & Paterson, illuminating all the motionless world of Time between,

Peyote solidities of halls, backyard green tree cemetery dawns, wine drunkenness over the rooftops, storefront boroughs of teahead joyride neon blinking traffic light, sun and moon and tree vibrations in the roaring winter dusks of Brooklyn, ashcan rantings and kind king light of mind,

who chained themselves to subways for the endless ride from Battery to holy Bronx on benzedrine until the noise of wheels and children brought them down shuddering mouth-wracked and battered bleak of brain all drained of brilliance in the drear light of Zoo,

who sank all night in submarine light of Bickford’s floated out and sat through the stale beer afternoon in desolate Fugazzi’s, listening to the crack of doom on the hydrogen jukebox,

who talked continuously seventy hours from park to pad to bar to Bellevue to museum to the Brooklyn Bridge,

a lost battalion of platonic conversationalists jumping down the stoops off fire escapes off windowsills off Empire State out of the moon,

yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of hospitals and jails and wars,

whole intellects disgorged in total recall for seven days and nights with brilliant eyes, meat for the Synagogue cast on the pavement,

who vanished into nowhere Zen New Jersey leaving a trail of ambiguous picture postcards of Atlantic City Hall,

suffering Eastern sweats and Tangerian bone-grindings and migraines of China under junk-withdrawal in Newark’s bleak furnished room,

who wandered around and around at midnight in the railroad yard wondering where to go, and went, leaving no broken hearts,

who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grandfather night,

who studied Plotinus Poe St. John of the Cross telepathy and bop kabbalah because the cosmos instinctively vibrated at their feet in Kansas,

who loned it through the streets of Idaho seeking visionary indian angels who were visionary indian angels,
who thought they were only mad when Baltimore gleamed in supernatural ecstasy,
who jumped in limousines with the Chinaman of Oklahoma on the impulse of winter midnight streetlight smalltown rain,

who lounged hungry and lonesome through Houston seeking jazz or sex or soup, and followed the brilliant Spaniard to converse about America and Eternity, a hopeless task, and so took ship to Africa,

who disappeared into the volcanoes of Mexico leaving behind nothing but the shadow of dungarees and the lava and ash of poetry scattered in fireplace Chicago,

who reappeared on the West Coast investigating the FBI in beards and shorts with big pacifist eyes sexy in their dark skin passing out incomprehensible leaflets,

who burned cigarette holes in their arms protesting the narcotic tobacco haze of Capitalism,

who distributed Supercommunist pamphlets in Union Square weeping and undressing while the sirens of Los Alamos wailed them down, and wailed down Wall, and the Staten Island ferry also wailed,

who broke down crying in white gymnasiums naked and trembling before the machinery of other skeletons,

who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild cooking pederasty and intoxication,

who howled on their knees in the subway and were dragged off the roof waving genitals and manuscripts,

who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy,

who blew and were blown by those human seraphim, the sailors, caresses of Atlantic and Caribbean love,

who balled in the morning in the evenings in rosegardens and the grass of public parks and cemeteries scattering their semen freely to whomever come who may,

who hiccuped endlessly trying to giggle but wound up with a sob behind a partition in a Turkish Bath when the blond & naked angel came to pierce them with a sword,

who lost their loveboys to the three old shrews of fate the one eyed shrew of the heterosexual dollar the one eyed shrew that winks out of the womb and the one eyed shrew that does nothing but sit on her ass and snip the intellectual golden threads of the craftsman’s loom,

who copulated ecstatic and insatiate with a bottle of beer a sweetheart a package of cigarettes a candle and fell off the bed, and continued along the floor and down the hall and ended fainting on the wall with a vision of ultimate cunt and come eluding the last gyzym of consciousness,

who sweetened the snatches of a million girls trembling in the sunset, and were red eyed in the morning but prepared to sweeten the snatch of the sunrise, flashing buttocks under barns and naked in the lake,

who went out whoring through Colorado in myriad stolen night-cars, N.C., secret hero of these poems, cocksman and Adonis of Denver—joy to the memory of his innumerable lays of girls in empty lots & diner backyards, moviehouses’ rickety rows, on mountaintops in caves or with gaunt waitresses in familiar roadside lonely petticoat upliftings & especially secret gas-station solipsisms of johns, & hometown alleys too,

who faded out in vast sordid movies, were shifted in dreams, woke on a sudden Manhattan, and picked themselves up out of basements hung-over with heartless Tokay and horrors of Third Avenue iron dreams & stumbled to unemployment offices,

who walked all night with their shoes full of blood on the snowbank docks waiting for a door in the East River to open to a room full of steam-heat and opium,

who created great suicidal dramas on the apartment cliff-banks of the Hudson under the wartime blue floodlight of the moon & their heads shall be crowned with laurel in oblivion,

who ate the lamb stew of the imagination or digested the crab at the muddy bottom of the rivers of Bowery,

who wept at the romance of the streets with their pushcarts full of onions and bad music,

who sat in boxes breathing in the darkness under the bridge, and rose up to build harpsichords in their lofts,

who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky surrounded by orange crates of theology,

who scribbled all night rocking and rolling over lofty incantations which in the yellow morning were stanzas of gibberish,

who cooked rotten animals lung heart feet tail borsht & tortillas dreaming of the pure vegetable kingdom,

who plunged themselves under meat trucks looking for an egg,

who threw their watches off the roof to cast their ballot for Eternity outside of Time, & alarm clocks fell on their heads every day for the next decade,

who cut their wrists three times successively unsuccessfully, gave up and were forced to open antique stores where they thought they were growing old and cried,

who were burned alive in their innocent flannel suits on Madison Avenue amid blasts of leaden verse & the tanked-up clatter of the iron regiments of fashion & the nitroglycerine shrieks of the fairies of advertising & the mustard gas of sinister intelligent editors, or were run down by the drunken taxicabs of Absolute Reality,

who jumped off the Brooklyn Bridge this actually happened and walked away unknown and forgotten into the ghostly daze of Chinatown soup alleyways & firetrucks, not even one free beer,

who sang out of their windows in despair, fell out of the subway window, jumped in the filthy Passaic, leaped on negroes, cried all over the street, danced on broken wineglasses barefoot smashed phonograph records of nostalgic European 1930s German jazz finished the whiskey and threw up groaning into the bloody toilet, moans in their ears and the blast of colossal steamwhistles,

who barreled down the highways of the past journeying to each other’s hotrod-Golgotha jail-solitude watch or Birmingham jazz incarnation,

who drove crosscountry seventytwo hours to find out if I had a vision or you had a vision or he had a vision to find out Eternity,

who journeyed to Denver, who died in Denver, who came back to Denver & waited in vain, who watched over Denver & brooded & loned in Denver and finally went away to find out the Time, & now Denver is lonesome for her heroes,

who fell on their knees in hopeless cathedrals praying for each other’s salvation and light and breasts, until the soul illuminated its hair for a second,

who crashed through their minds in jail waiting for impossible criminals with golden heads and the charm of reality in their hearts who sang sweet blues to Alcatraz,

who retired to Mexico to cultivate a habit, or Rocky Mount to tender Buddha or Tangiers to boys or Southern Pacific to the black locomotive or Harvard to Narcissus to Woodlawn to the daisychain or grave,

who demanded sanity trials accusing the radio of hypnotism & were left with their insanity & their hands & a hung jury,

who threw potato salad at CCNY lecturers on Dadaism and subsequently presented themselves on the granite steps of the madhouse with shaven heads and harlequin speech of suicide, demanding instantaneous lobotomy,

and who were given instead the concrete void of insulin Metrazol electricity hydrotherapy psychotherapy occupational therapy pingpong & amnesia,

who in humorless protest overturned only one symbolic pingpong table, resting briefly in catatonia,

returning years later truly bald except for a wig of blood, and tears and fingers, to the visible madman doom of the wards of the madtowns of the East,

Pilgrim State’s Rockland’s and Greystone’s foetid halls, bickering with the echoes of the soul, rocking and rolling in the midnight solitude-bench dolmen-realms of love, dream of life a nightmare, bodies turned to stone as heavy as the moon,

with mother finally ******, and the last fantastic book flung out of the tenement window, and the last door closed at 4 A.M. and the last telephone slammed at the wall in reply and the last furnished room emptied down to the last piece of mental furniture, a yellow paper rose twisted on a wire hanger in the closet, and even that imaginary, nothing but a hopeful little bit of hallucination—

ah, Carl, while you are not safe I am not safe, and now you’re really in the total animal soup of time—

and who therefore ran through the icy streets obsessed with a sudden flash of the alchemy of the use of the ellipsis catalogue a variable measure and the vibrating plane,

who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus

to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame, rejected yet confessing out the soul to conform to the rhythm of thought in his naked and endless head,

the madman bum and angel beat in Time, unknown, yet putting down here what might be left to say in time come after death,

and rose reincarnate in the ghostly clothes of jazz in the goldhorn shadow of the band and blew the suffering of America’s naked mind for love into an eli eli lamma lamma sabacthani saxophone cry that shivered the cities down to the last radio
with the absolute heart of the poem of life butchered out of their own bodies good to eat a thousand years.

II
What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagination?

Moloch! Solitude! Filth! Ugliness! Ashcans and unobtainable dollars! Children screaming under the stairways! Boys sobbing in armies! Old men weeping in the parks!

Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men!

Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse and Congress of sorrows! Moloch whose buildings are judgment! Moloch the vast stone of war! Moloch the stunned governments!
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a smoking tomb!
Moloch whose eyes are a thousand blind windows! Moloch whose skyscrapers stand in the long streets like endless Jehovahs! Moloch whose factories dream and croak in the fog! Moloch whose smoke-stacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the Mind!

Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch! Cocksucker in Moloch! Lacklove and manless in Moloch!

Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch! Light streaming out of the sky!

Moloch! Moloch! Robot apartments! invisible suburbs! skeleton treasuries! blind capitals! demonic industries! spectral nations! invincible madhouses! granite cocks! monstrous bombs!

They broke their backs lifting Moloch to Heaven! Pavements, trees, radios, tons! lifting the city to Heaven which exists and is everywhere about us!

Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!

Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!

Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! Despairs! Ten years’ animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!

Real holy laughter in the river! They saw it all! the wild eyes! the holy yells! They bade farewell! They jumped off the roof! to solitude! waving! carrying flowers! Down to the river! into the street!

III
Carl Solomon! I’m with you in Rockland

where you’re madder than I am

I’m with you in Rockland

where you must feel very strange

I’m with you in Rockland

where you imitate the shade of my mother

I’m with you in Rockland

where you’ve murdered your twelve secretaries

I’m with you in Rockland

where you laugh at this invisible humor

I’m with you in Rockland

where we are great writers on the same dreadful typewriter

I’m with you in Rockland

where your condition has become serious and is reported on the radio

I’m with you in Rockland

where the faculties of the skull no longer admit the worms of the senses

I'm with you in Rockland
where you drink the tea of the breasts of the spinsters of Utica

I’m with you in Rockland

where you pun on the bodies of your nurses the harpies of the Bronx

I’m with you in Rockland

where you scream in a straightjacket that you’re losing the game of the actual pingpong of the abyss

I’m with you in Rockland

where you bang on the catatonic piano the soul is innocent and immortal it should never die ungodly in an armed madhouse

I’m with you in Rockland

where fifty more shocks will never return your soul to its body again from its pilgrimage to a cross in the void

I’m with you in Rockland

where you accuse your doctors of insanity and plot the Hebrew socialist revolution against the fascist national Golgotha

I’m with you in Rockland

where you will split the heavens of Long Island and resurrect your living human Jesus from the superhuman tomb

I’m with you in Rockland

where there are twentyfive thousand mad comrades all together singing the final stanzas of the Internationale

I’m with you in Rockland

where we hug and kiss the United States under our bedsheets the United States that coughs all night and won’t let us sleep

I’m with you in Rockland

where we wake up electrified out of the coma by our own souls’ airplanes roaring over the roof they’ve come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we’re free

I’m with you in Rockland

in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night

First public reading, October 7, 1955, at the Six Gallery in San Francisco

Zachary Diaz and the Recycled Parts of Life

“If you’re always following the recipe, that’s as good as it’s ever going to taste.”

Zachary Diaz’s upcoming Stormwater show started with a ball of paper.

Years ago, Diaz wrote (and quickly discarded) an emotional letter to an ex, only to find the wadded paper months later. Capturing the words he had written on the page in a still life, Diaz hesitantly included the drawing of the letter in an earlier exhibition at Stormwater Studios. 

Several people pointed out the piece to him in the show, and Diaz started to realize a point of connection. “If that’s one way that I can connect with total strangers, how many more ways can we connect with other people? What other experiences or memories or reflections do we have that coincide with how someone else has felt?” Diaz asks. From that moment, a residency was born.

Diaz’s residency at 701 Center for Contemporary Art expanded this idea of unsent letters by outsourcing writing. Participants wrote letters to people or experiences, which were published anonymously on Diaz’s website. Several were selected to be the subjects of drawings that will be featured in his upcoming exhibition, which shows at Stormwater Studios from October 8-17.

This show is a combination of work from this residency and an earlier show called Cloudwalker, both of which were partially released online due to the pandemic.

Cloudwalker features clouds, as its title suggests, birds, and varying figures hidden in the compositions. “I like creating narrative stories that the viewer can make up themselves… I sort of lay the groundwork — I give them all the accents— and they can kinda come up with their own imagination what’s really going on,” Diaz says. He likes making work that makes people think.

The Letters portion of the show is ongoing throughout the duration of the exhibition. Viewers will be invited to submit their own letters, all of which will culminate in an installation that will be featured in the show’s closing reception on October 17 from 6-8pm.

While Diaz is still conceptualizing how the installation will look, he plans on ordering the letters in a way that reflects their content, identifying themes such as love, forgiveness, and varying emotions.  

Since starting the Letters project, Diaz says he’s become a lot more interested in how he feels when he’s making. His earlier creative process involved stricter planning and reference sketching. Now, Diaz works more intuitively, which, in turn, has made projects go faster and made him more aware of what he’s creating.

Diaz tends to mix mediums in nontraditional ways, layering oil paint over gessoed paper and drawing on top with charcoal. “I don’t think there’s any concrete way to create something” Diaz says. “If you’re always following the recipe, that’s as good as it’s ever going to taste.”

By making the letters in this show anonymous, Diaz says that he gives people a shield to really be honest. This openness displays his belief that so many experiences in life are shared, whether you know it or not.

Diaz describes the exhibition as a dive into his mind. “If you’re interested in learning more about everyone around you through the eyes of an artist, then come to the show,” Diaz says. “It’s a story in two parts… Cloudwalker is about how I see the world and everything around me. Letters is about how you see the world and learning more about the people around you.”

The opening reception for the exhibition is October 9 from 5-8pm. Whether by attending the show or submitting an anonymous letter yourself, Diaz wants to help create connections.

“Artists are gardeners. We make roses from the recycled parts of life,” Diaz says. To see how one crumpled piece of paper turned into a show, stop by Stormwater Studios before October 17.

 - Stephanie Allen

Special Friends Free Concert Series Comes to Bourbon's Courtyard Saturday Night with Cap City Playboys

Free Concerts from the Chillest Place to Sip on Main Street?

Yes, Please

Capital City Playboys featuring l-r Kevin Brewer, Jay Matheson, Marty Fort

Capital City Playboys featuring l-r Kevin Brewer, Jay Matheson, Marty Fort

In keeping with his perpetual support of the city, restauranteur and hockey beauty Kristian Niemi is giving yet another gift to Columbia in the form of a free concert series in the swanky, yet comfy, courtyard of one of his prize restaurants and bar, Bourbon.

Located at 1214 Main Street, Bourbon is a whiskey bar with a menu that focuses on Cajun and Creole delights. Over the course of the pandemic, the intimate drinking restaurant expanded into its larger neighboring space, creating an adjacent bar and lounge with a partially covered multi-level courtyard, perfect for the city’s beloved shoulder seasons when breezes beckon us to sit outside and sip on something artisanal and, often, locally designed and created.

Last week, Brandy and the Butcher gathered a crowd and, this week, the Capital City Playboys will be performing one set only starting at 9 pm.

Kristian Niemi  - photo by Richard Best

Kristian Niemi - photo by Richard Best

“I’ve always tried to support local arts, whether musical or in any of the other disciplines, so this was just a natural progression,” Niemi says. “We’ve been doing live music at Black Rooster all year; it was time to do it at Bourbon, also. This series should honestly be called ‘Kristian’s Friends’ Bands’ series since nearly every band has members that are close friends of mine, and I love to see them perform. I chose bands that are all very upbeat, rocking bands for this series. We’ll do more with other genres in the future, but this first series is definitely rocking.” 

The series, sponsored by Jack Daniels distillery, runs through November 13th, and will include, among other Midlands-based groups, Glamcocks, Grand Republic, and will close out the series with Niemi’s self-claimed “best friend” and band, Tom Hall and the Plowboys. Niemi says that while he’ll start up a new concert series in the spring, he will continue to have live music on the patio, but it just won’t be concerts, per se. 

“I want it to be a concert, not background music,” Niemi says. “I really want the crowd to get into it; to get in front of the stage and dance and sing along. I really want a concert vibe. These artists have spent a lot of time writing original material and I want it appreciated as a concert.” 

Jay Matheson of the Capital City Playboys is excited about their show on Saturday night. “I know Kristian loves music and I’ll bet he would like to do more things like this just to be able to hang out himself and enjoy the show with friends,” Matheson says. “It’s a great space for a music show and the first one last week with Brandy and the Butcher was a really good time. Best fun I’ve had at a show in a while.”

“Jack Daniels distillery has signed on as our sponsor for this series, and as a part of that are giving away some cool stuff. In addition to us creating some special cocktails for the bands, Jack Daniels is giving away some swag and some bigger prizes that we’ll announce at the end of the series” Niemi says.  “They’ll include bottles of their Single Barrel selections, some high-end swag, and even an exclusive VIP tour of the distillery followed by dinner.” 

After a long strange trip, Jerry Fest is back this Sunday!

“Don't tell me this town ain’t got no heart”


Jerry Garcia

Per The Five Points Association …

The Five Points Association, Loose Lucy’s and Mind Harvest Press are hosting the return of JerryFest—live and in-person—this Sunday, October 3, 2021. A FREE outdoor concert held at the main Five Points fountain on Saluda Avenue, JerryFest runs from 2pm-10pm and features multiple bands all performing Jerry Garcia and Grateful Dead music.

 

Since 2014, the event has welcomed around 1,200 to the Five Points village for a family- and pet-friendly afternoon of fellowship and music along with artisan crafts, food, beverage and merchandise vendors. JerryFest was started to commemorate the life and art of Jerry Garcia. Rock guitarist and musical icon, Garcia was best known as the lead guitarist for the Grateful Dead that inspired legions of followers known as “Deadheads.”

 “One of our signature neighborhood events returns with its tie-dyed sea of happy faces all enjoying 'rainbows full of sound,' as the song goes,” says Don McCallister, co-owner of Loose Lucy’s along with his wife Jenn.“

The music for the 2021 edition kicks off with the Columbia Community Drum Circle, followed by a regional headliner, the cleverly-named JGBCB (Jerry Garcia Band Cover Band). Local acts Big Sky Revival, Stillhouse and Gentle Jack round out the main stage bill, with the Red Shack Pickers performing at The Hubbell art installation across from Loose Lucy’s located at 709 Saluda Avenue. 

Fox 102.3 will be broadcasting live from 5pm-7pm at Greene and Harden Streets, and you’ll also get a glimpse of our JerryFest Dancing Bear parading throughout the festival footprint. There will also be an opportunity at the Columbia Fireflies booth for a photo op with Mason and our Dancing Bear.

 

Music Line Up:

  • Columbia Community Drum Circle - 2pm-3pm

  • Gentle Jack - 3pm-4pm

  • Big Sky Revival - 4:30pm-5:30pm

  • Stillhouse - 6pm-7pm

  • JGBCB - 7:30pm-10pm

 

Participating Vendors:

  • Bang Back Pinball Lounge

  • Blue Pizza

  • Booze Pops Columbia

  • Columbia Fireflies

  • Crowntown Cannabis (formerly Charlotte CBD Five Points)

  • Grizzly Belle

  • High Life Smoke Shop

  • Kombi Keg

  • Nessy's Naturals

  • Pelican's SnoBalls

  • Philly Flava II

  • Revyved Records

  • Something Special

  • Stolon Superfoods

 

There will be street closures that day from 10am-11:59pm. The 2000 Block of Greene Street starting at the stage in front of CJ’s down to Harden Street will be closed and blocked off. The main fountain plaza at 747 Saluda Avenue, Saluda Avenue in front of Starbucks and Saluda’s and the Saluda Avenue loading zone between the fountain and the Harden Street parking lot will be closed and blocked off as well. 

COVID-19 protocols will be encouraged for all festival participants and vendors due to the City of Columbia’s Mask Ordinance. Please see full details of the ordinance at columbiasc.gov. Cash will be accepted, but please bring credit/debit cards for your primary form of payment. Per SC Code of Laws Section 23-31-235, NO CONCEALABLE WEAPONS ALLOWED. 

For more information on JerryFest, please visit FivePointsColumbia.com/JerryFest. You can also follow the festival on Facebook @FivePointsSC, Twitter @FivePointsSC and Instagram @FivePointsSC.

 

Fall Lines 2021 RESCHEDULED for January 2022 Due to Covid

As per the directive of Richland Library,

the release and reading for

Fall Lines Volumes VII & VIII

has been rescheduled for

Sunday, January 23rd at 2 pm

in the auditorium of the

Main Branch of Richland Library.

All contributors are invited to read ONE piece of their work from the combined volumes.

As per the request of the Jasper Project, all attendees should be vaccinated.

Thank you for your patience and understanding.

Second City Comedy Coming to Harbison Theatre This Weekend!

Making people pee their pants with laughter has been to goal of Second City Comedy since they opened their doors in 1959, producing such comic geniuses as Bill Murray, Catherine O’Hara, Eugene Levy, Tina Fey, Kate McKinnon, Amy Poehler, Jordan Peele, and far too many more to list here.

But don’t forget the Belushi Brothers, Jason Sudeikis, and Tim Meadows. And Keegan-Michael Key.

And SC’s own Stephen Colbert got his start with Second City by answering phones in the BO and selling t-shirts in exchange for classes.

In 1969, Second City launched a touring company featuring comedians like Brian Doyle-Murray and Harold Ramis, (and in the ‘80s they developed a training center which eventually merged in 2016 with the Harold Ramis Film school, founded in Ramis’ honor.)

But it was from this touring company that Second City came to sharing laughs via improv and sketch comedy with the rest of the world, and Columbia has the opportunity to take part in this roving party this Friday night at Harbison Theatre via Second City Remix.

Second City Remix describe themselves as “the next generation of comedy superstars putting their spin on the legendary comedy company’s greatest hits, re-booted and re-imagined for today.”

The October 1st show is the company’s only performance in SC this season and it begins at 7:30.

For tickets visit the Harbison Theatre website and get a $5 off coupon by applying "SecondCityHT" to your purchase.

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For more on the history of Second City, visit their website!

Harbison Theatre Covid Policy

Future Fortune Artist Talk: Dogon Krigga interviewed by Michael Murray at Tapp's Outpost October 3rd, 2021

Tapp's Outpost is excited to host an intimate discussion between Artist Dogon Krigga and Co-host of the Podcast Cultivated Ignorance, Michael Murray, on October 3rd at 4pm. Unpacking the vision and inspiration of the exhibition Future Fortune: A visual treatise on perspective, Dogon and Michael will hone in on the experiences, characters, and world views that shaped the artists visual story line. The talk will also be streamed on Facebook live for those community members who can't participate in person. The show is currently on view at Tapp's Outpost, 715 Saluda Avenue, Columbia, SC 29205, and is free and open to the public Tuesday through Saturday 10am to 6pm

Dogon Krigga expresses magick with the use of pixel and paper. Known as “the keeper of the crossroads between magick and mixed media”, Dogon incorporates divine mysteries, transcribed over time throughout their ancestors’ experiences to connect Black people to the future and the past.

Dogon immortalizes modern and ancient traditions, wisdom, and theory into majestic and whimsical digital and mixed media collages that venerate those that came before, those that will come, and those that exist outside of time. 

Dogon Krigga utilized over a decade of experiences, techniques, knowledge and training as a graphic designer and practitioner of Afrofuturism and other African diasporic traditional religions to illuminate the spiritual paths and possibilities for all whom receive their creations.

Dogon Krigga currently resides where they grew up, in Columbia, SC. Krigga is primarily a self-taught artist, with a creative lineage connected to legends like Romare Bearden and Tom feelings. Their background in creative writing, journalism, and music production also lends to their creative perspective.

Michael A. Murray is a local poet/author who has been writing stories and stanzas ever since his hand could hold a pen. He is also a photographer, filmmaker, podcast host, public speaker, mentor, and founder of the NU GRWTH Artist Collective: a premier conduit that gives black and brown artists of the south the resources, visibility, and appreciation needed to be as influential as their dreams aspire to be.

Since 2016 Michael has joined various creative circles and founded various artistic outlets with one objective constantly in mind: Do whatever it takes to help see both the world and all those who inhabit it reach their highest, truest potential. With this goal at the forefront, Michael founded Playlixt LLC, an event and multi-media based platform built to promote and celebrate artists of various backgrounds and disciplines looking for opportunities to showcase their talents to the masses.
 

The exhibition will be on view September 9th through October 30, 2021. The exhibition is free and open to the public Tuesday through Saturday 12pm to 6pm. Masks and social distancing will be required. For questions about the works on view or Tapp's Outpost, please email caitlin@outpostartspace.org

SC Philharmonic Celebrates Return to its “Groove” With Launch of the 2021/2022 Masterworks Series

“With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present …,”

- Morihiko Nakahara

Morihiko Nakahara - photo by Kevin Kyzer

Morihiko Nakahara - photo by Kevin Kyzer

The South Carolina Philharmonic presents Mendelssohn’s “Scottish”  Symphony Saturday, October 9, 2021, 7:30 PM at the Koger Center for the Arts. This first  concert of the 2021/2022 Masterworks Series features Fanny Mendelssohn-Hensel’s Overture  in C Major, Andrea Gabrieli and Mark Scatterday’s Aria della battaglia, Vivaldi’s Concerto for  Four Violins in B minor and Felix Mendelssohn’s Symphony No. 3 in A minor, op. 56,  “Scottish.” The Vivaldi spotlights SC Phil Concertmaster Mary Lee Taylor Kinosian, and SC Phil  musicians Ashley Horvat, Damir Horvat and Sophie Wang. All concerts this season will be  presented in person and livestreamed. 

Following a season of production challenges because of COVID, Music Director Morihiko  Nakahara mused on the most thrilling way for the SC Philharmonic to return to the Koger Center  for the 2021/2022 Masterworks Series. “Frankly there are many ways for orchestras to celebrate  ‘the return to normalcy,” said Nakahara. “One could feature a huge piece to raise the roof like  Beethoven's 9th, or one could enlist a marquee guest artist. We're taking another approach that  says: ‘this is our musical family, and welcome back to our musical home, both in-person and  virtually.’” 

Nakahara went on to explain that the first concert of the season is continuing the organization’s  artistic goals, while also celebrating the talent within the community. “With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present,” said Nakahara. “We also wanted to create fun ways for  our musical family to get back into the groove, like highlighting several of them in a solo role.  We are doing this with the Vivaldi on this program, and the Bach on the next program. We also  get to highlight various sections of the orchestra in the Gabrieli piece - for example, our winds  and brass sections.” 

The concert will be bookended by pieces that were composed by siblings Fanny and Felix  Mendelssohn. This pairing has been a longtime goal of Nakahara’s. Felix Mendelssohn remains  one of Maestro’s favorite composers since his days playing the clarinet. He believes that the  "Scottish" Symphony highlights the well-documented aspect of Mendelssohn's creative output  as a painter, and expects listeners to hear, see and smell what the composer must have  experienced when becoming inspired in Scotland. Though history doesn’t reveal much about  how Fanny Mendelssohn-Hensel’s Overture in C Major came to be, Nakahara believes listeners can sense Fanny’s joy and excitement in writing for a full orchestra, which makes it a stunning  opener for this concert and for the season. 


Mendelssohn’s “Scottish” Symphony will be presented on Saturday, October 9, 2021 at 7:30 PM  at the Koger Center for the Arts.

Tickets may be purchased at scphilharmonic.com or by calling  the Koger Center Box Office at 803-251-2222.

Audiences are encouraged to visit the Koger  Center’s website to learn about all safety protocols for in-person performances:  kogercenterforthearts.com

The SC Philharmonic will continue to follow CDC and  University of South Carolina guidelines for the safety of the audience and musicians.

For  October 9, audience members will be required to wear masks and are asked to watch the  performance virtually if they are not vaccinated. 



Bohumila Augustinova Carves Shapes and Stories into Clay in New Tiny Gallery Show Layers

As we enter the second half of September and inch closer to fall, so do we mark the halfway point of Jasper’s Tiny Gallery show with Bohumila Augustinova. The show, Layers, presents 20 pottery pieces that highlight, mainly, the Scraffito technique.   

Augustinova spent her childhood in Czechoslovakia, now known as the Czech Republic. She recalls that her younger years were spent always making something and that she could “never keep [her] hands still.” 

“My mom and dad were very supportive, so even as a small child they taught me how to knit, crochet, sew, cook, and use power tools,” Augustinova remembers. “My mom and I used to make all the costumes for me and my brothers, and I was making my own clothes by the time I was 9.” 

Augustinova used this experience and passion to pursue fashion design, which she received a degree in, but soon after, she desired a fresh artistic venture and has since worked with primarily wire art and pottery, being self-taught in both.  

Currently, clay is her preferred medium, but she insists that her and wire are simply on a “break” and that she hopes to integrate them in the future. When it comes to her current technique, Augustinova has been utilizing Scraffito, a “surface decoration technique where color (underglaze) is applied on leather-hard (raw) clay and designs are carved though the color, exposing the clay underneath.”

“When my work closed last year, I figured I needed to stay busy. I could throw a full bag of clay in one day, but then what?” Augustinova pondered, “I took a Scraffito workshop but never had time to explore the technique, so I figured I would just play, and I immediately fell in love with it.” 

Augustinova’s first experiments with Scraffito were doodles from her childhood, and soon, new designs began blossoming before her eyes. Sometimes she already has in mind how she desires a piece to look and pulls it into existence, while sometimes the clay takes shape and flows together into its own identity.  

“Last year I made a mug for my partner inspired by mid-century design, and it was a big hit, so I started messing around with different mid-century designs, which I still love,” Augustinova shares. “I was also working on piece where I was just free handing lines and patterns and then I realized it looks like water, so clearly sitting by the pond inspires me too.”  

Augustinova notes that beyond being inspired to make art, the process of making is inspiring and therapeutic all on its own. She insists that the mutable clay sliding under her hands and the constant hum of the wheel moving is meditative, and she often throws with her eyes closed. 

“After throwing, you apply the underglaze, which I like doing before the actual carving…the carving is where I get lost in my own world,” she says. “I can sit there for hours, listening to whatever I am listening to and work. There have been times when I worked till 2 am or just until I ran out of things to carve.”  

Scraffito is an extremely detailed and precise process that balances this space of being outside and fully within oneself. Even the coloring and glazing process is multilayered—literally—and requires great attention, focus, and a bit of luck with the kiln.  

“I am always looking for good balance of the color I applied and the exposed clay. With pottery and Scraffito, how the piece looks when you finish carving is very different from how it will look after both firings,” Augustinova explains. “After the first firing, the colors will be more vibrant but still a matte finish, and after glazing the colors will come out even deeper and shiny.” 

For this show, specifically, Augustinova has gathered a combination of new and old work, with the goal of offering a large range of sizes and prices for various audiences, but a few pieces were made specifically with this show’s goal in mind. 

“What I hope is that people will see my pottery as usable art. Almost all of my pottery is fully glazed and food safe. I love seeing flower arrangements in my vases, and I love people drinking out of my cups,” Augustinova effuses. “One of my favorite pottery moments was when a friend told me that he was visiting a friend and his tea was served in one of my mugs.” 

If you enter the virtual gallery space, you will see small vases with vibrant designs in pinks and greens, large bowls with detailed carvings in deep jeweled tones, and smooth geometric vases looped with wires that reach to the sky.  

While new to showing pottery, Augustinova is far from new to the Columbia art scene, having managed Anastasia and Friends gallery for several years, worked at the Columbia Art Center (her current occupation), helped lead the Yarnbombers, and won Runaway Runway twice. Her favorite memories as an artist surround this process of making and sharing art. 

“As I am sitting here and answering these questions, I am waiting for the kiln to cool down. I value the moment something comes out of the kiln, and you love it so much you may tear up,” she says. “But it’s also hearing from people how much they love my work. There are few of my friends that have serious collections of my stuff and I just feel so honored by it.”  

In the near future, Augustinova hopes to do new fall and winter shows, and though specific plans are not in place, she will post updates to her Instagram @art_by_bohumila 

To explore Bohumila Augustinova’s pottery, which is only available until the end of September, head over to Jasper’s virtual Tiny Gallery: https://the-jasper-project.square.site/tiny-gallery

Stephanie Allen Questions Perceptions of the Female Form in First Solo Show

“Who owns [the female body]? What does that mean? …begin challenging the way that we look at art versus the way that we look at human beings” — Allen

If you enter Cool Beans to grab an afternoon coffee, waiting in line with you will be a vibrant triptych of the female form. As you find a place to sit, you may cozy up by stark black sketches of a hauntingly familiar—yet distant—woman’s face.

 This rumination on femininity and the body is the work of Stephanie Allen, a senior in Drawing and English at the University of South Carolina (UofSC). Active in the art community, Allen has served as an intern for the Columbia Museum of Art and The Jasper Project as well as edited for The Daily Gamecock. A previous participant in juried and group exhibitions, this is her first solo show. 

Allen is a South Carolina native, having spent her childhood in Charleston before moving to Columbia to attend UofSC. In the past three years, she has experimented with various styles and mediums, and as she grows into herself as an artist, she finds herself circling around questions of gender and connections between the exterior and interior self, based specifically on perceptions of the female body.   

This show is rooted in these questions and presents a journey through the work Allen has created during undergrad, mostly in the past 2 years. The selected pieces are mostly in her two preferred mediums: oil painting and India ink sketches, the latter of which she uses a bamboo stick to create.

 “Oil is so vibrant and saturated, and it also takes much longer to dry, so I'm able to take my time and really work through both the colors and the piece as a whole,” Allen reflects, “When it comes to ink, I like that the drawings are very transparent in that I can't hide when I mess up. There's no erasing, there's no going over—you have to be able to work with mistakes.”

In terms of her evolving style and what she has grown into, Allen finds herself leaning more towards the abstract even though realism is what she most often explored in her early years. Though all the pieces in the show are clearly bodies, they may not always be “realistic” or even show the full body—faces are rarely a part of Allen’s work.  

“Hands are something that I’ve begun to do a lot of. Hands have a capacity to be very emotive, but in a way that’s still anonymous,” Allen explains, “When you see a face emoting, and you're wondering, ‘What is that person thinking about?’, hands still have that and can be evocative in a very similar way without you immediately wondering, ‘Who is that person?’ It gives a much broader definition that takes the focus away from a singular experience.” 

Whereas the feminine form in body or hand allows for an experience that relies less on identity and more on message, two pieces in the show are sketches of a female face. “I think it's the eyes that make it,” Allen says in relation to their bridge between anonymity and identity. The faces, while clearly faces, being sketched over in ink so many times makes them appear both distinctly human yet somewhat inhuman and monstrous at the same time. 

Sitting in this interstitial space between the real and imagined, both as a woman who teaches women’s fitness classes and as an artist who perceives the female body, Allen has had to reckon with her own mindset about women’s bodies, even her own. 

“I think one of the things that I have to try to remember is that there is a gear shift. When I look at drawings or paintings or the feminine form, it’s easy to say, ‘This is art and something beautiful,’” Allen effuses, “But then you see those in real time, and they tend to judge and pinpoint imperfections that simply aren't there. The body is the art, and the body is the person, which is so much more pertinent.”  

With a collection of past work on display, Allen turns her focus to her Honors Thesis and Senior Show, which will expand on these same themes but with a focus on queer women and non-binary people and their relationships with their bodies and femininity. 

“It's going to be an interview-based series, where I interview a subject about their relationship with their body,” Allen divulges, “Then I'll have them pose for me or send a picture of their body for me to sketch. I'm not planning on doing faces in this either.” 

Though it’s still months away, Allen is considering layering the art with realistic drawings based on the individuals’ photographs in the background and abstract paintings derived from the interview responses on plexiglass hanging in front. 

Whether you encounter Allen’s work at Cool Beans or her Senior Show this spring, she hopes you’ll ponder the following: “I hope my work leads to questioning of how we perceive the female form. Who owns it? What does that mean? And then, in that perspective, I hope others begin challenging the way that we look at art versus the way that we look at human beings.”

 Allen’s show will be up until Sunday, October 3rd. Cool Beans, located at 1217 College Street, is open weekdays from 7a - 10p and weekends from 9a - 10p.