Jasper's Sidewalk Gallery at the Meridian Building Featured Artist -- REGINA LANGSTON

Regina Langston

Gina’s paintings embody the goddess mystique, celebrating the curves and edges of the feminine form using intense colors and vividly bold compositions. While she often varies her subject matter, her work largely focuses on the female figure as well as on the myriad faces of the nonbinary human spirit.

At first glance, it is easy to see the influences of Picasso and Klimt in Gina’s paintings. However, she has a wide portfolio of inspiration, including the whimsical post-war modernist work of a lesser-known painter, the late Friedensreich Hundertwasser of Austria, whose wildly colorful work was punctuated with organic shapes and spirals.

Gina returned to the Palmetto State with her family in 2018 and currently resides in The Avenues of Cayce. Her work has been exhibited at numerous SC venues, including 701 Whaley, Tapp’s Arts Center, University of South Carolina at Beaufort, and – most         recently – as part of Jasper Magazine’s “Tiny Gallery” series. She was featured in The Limelight, A Compendium of Contemporary Columbia Artists, Volume II, published by Muddy Ford Press in 2015. She has a studio in downtown Columbia, where she creates her own works and accepts commissions

Jasper's Sidewalk Gallery at The Meridian Building Featured Artist - CAROLINE CLARK

Caroline Clark

My functional ceramic sculptures highlight a sense of joy and wonder in everyday items. I explore my own variations of the hidden symbiotic systems of coral reefs and mycelium networks: systems that seem simple and beautiful at first, but upon closer examination are wildly complicated and predicated on mutual care. These systems in which every part depends on the others, and in which every part is vital and precious, draw a parallel to our human communities and support systems and invite examination of our own interconnectedness, growth, and movement.

I believe in magic. Not the potions and poof! kind, not the creation of another more beautiful and mysterious world, but the deep and unshakable knowledge that this, our world, is more extraordinary, strange, and awe-inspiring than any I could imagine. My work highlights that magic, refines and amplifies it, revealing a secret world nestled into the fabric of our own.

JASPER PROJECT INTERN APPLICATIONS OPEN NOW

Jasper Project Intern Program

The Jasper Project invites college and postgraduate students who reside full-time in the Columbia, SC area to apply for unpaid intern positions with the organization.

Positions are available in the following areas:

·         Magazine Writer

·         Photographer

·         Social Media Management

·         Marketing and PR

 

Responsibilities

Magazine Writer – you’ll be writing an assigned online article weekly which will be published in Jasper Online as well as writing one or more articles for a print issue of Jasper Magazine.

Photographer – you’ll be creating weekly photo assignments or essays for Jasper Online and contributing to the photography of a print issue of Jasper Magazine.

Social Media Management – you will be the daily voice of the Jasper Project on X and Instagram and will assist in marketing Jasper events and promoting Jasper artists

Galleries Management – you’ll be assisting the Jasper Project galleries director with gallery installation and receptions (2 or more per month) and attending all or most gallery openings and receptions as a diplomat of the Jasper Project, greeting guests and introducing them to the featured artist(s)

Marketing and PR – in conjunction with the executive and operating directors, you’ll be writing press releases for all Jasper events and disseminating them to local and state-wide media outlets

 

All Jasper Project Interns

You’ll be attending all Jasper Project board and committee meetings (typically one per month) and will choose or be assigned to one or more Jasper Project Committees, as well as meeting weekly (by phone, Zoom, in person, or via chat) with a member of the Jasper Project executive committee or project director to discuss assignments and assess your needs and questions

Apply

Please send a letter of introduction to JasperProjectColumbia@gmail.com including the following information:

·         Name, year in school, major

·         Any experience you have in the position you are applying for

·         Non-academic examples of your writing, if applying to be a writer, and photos, if you are applying to be a photog

·         Do you have your own transportation?

·         A letter of intent telling us which post you are interested in and why you’d like to work with Jasper.

JASPER INTERNS TYPICALL SERVE THROUGHOUT THE YEAR INCLUDING SUMMER AND TWO OR MORE SEMESTERS. EXCEPTIONS CAN BE MADE AND WE ARE HAPPY TO COMPLETE ACADEMIC FORMS FOR COURSE COMPLETION CREDIT

 

About Jasper

Jasper has been publishing a Midlands-based all arts magazine since 2011 that we distribute freely throughout the area. The Jasper Project became a 5013c in 2016 and still operates on an all-volunteer basis with no paid employees. We now have many projects including a film festival, literary journal, and a theatre series in which we annually produce and publish an adjudicated local play. Our priorities are making the process of creating art more understandable, nurturing community and collaboration, bringing to light a more positive narrative of SC, and making a penny squeal

Jasper Welcomes Dogon Krigga to the Koger Center’s Nook for February’s Third Thursday

The Jasper Project is proud to present Dogon Krigga as our featured February artist in the Koger Center’s Nook Gallery. The opening reception is February 15, from 5:30 – 7 p.m. in the Grand Tier lobby of the Koger Center. The event is free and open to the public, and features DJ Nori Noir providing live music.

Dogon is known for their mixed media collages and murals printed on vinyl, paper, and other adhesive substrates. They draw inspiration from spiritual principles and esoteric concepts found across the African Diaspora to create surrealist artworks. The viewer can then view their artwork as a kind of portal that allows them to peer into other realms, providing perspectives of Queer and Black people, identities, and cultures in a type of alternate dimension. Dogon’s work aims to challenge the status quo and disrupt the conventions of what we know to be cisgendered, heteronormative, and patriarchal ideologies, while offering something beautiful and uplifting in its place. The featured collection of work in the Nook is a body of work completed from 2021 through 2023. These pieces have also shown at the Columbia Museum of Art, Mike Brown Contemporary Gallery, Tapp’s Outpost, the 1013 Co-Op, The Bakery ATL (Atlanta, GA), and The Space (Charleston, SC).

Even if you can’t make it to the reception, Dogon’s art will be available for viewers to stop by and admire until mid-March. The Koger Center is open from 9 am – 5 pm Monday-Friday, and an hour prior to any Koger Center performance.

Artist Bio: Dogon Krigga (they/them) is a Columbia based multidisciplinary artist. Their interests in journalism and music production brought them into the community with musicians for whom Dogon began creating commissioned works of digital collage. They received early creative mentorship and influence from Tom Feelings and Walter Rutledge.

Krigga evolved their practice from digital art to include hand-cut paper collage and assemblage with printed and cut vinyl on acrylic and metal as well as installations. Krigga is a graphic designer with experience in commercial print, signage design, and signage project management that includes wide-format printing, metal fabrication, and acrylic fabrication. Krigga has created murals, exterior and interior signage displays for the main branch of Richland Library, SC State University, the 1801 Extension of SCSU, and Urban Wok restaurants.

Their works have been shown in several solo and group exhibitions including Tapp's Fine Art Center, The Sumter County Gallery of Art, Columbia Museum of Art, and The Goodall Gallery. Krigga's work can be found in numerous public and private collections, including the IP Stanback Museum. In 2023, they were Artist-in-Residence for Richland Library in Columbia, SC, producing and hosting community-based art programming and an exhibition Time & Time Again: Exploring the Antique Blacks--A Rootworker's Tarot. Dogon's artistic ventures also include the Collaborative Cohort Residency with the Highlander Center in New Market, TN (2020). Krigga is a recipient of grants from the SC Arts Commission.

Publication features of their work include "The African American Dream" by De Volkskrant (Amsterdam, March 2018), Volume 25.1: Yemassee Journal (USC, 2018), and "Dogon Krigga and Afrofuturism" by Jasper Magazine (2017). Krigga has been commissioned to design artwork for the covers of "Black Quantum Futurism" by Rasheedah Philips, and "BloodFresh" by Ebony Stewart. Dogon served as the lead designer for Ingrid LaFleur's 2017 mayoral campaign for Detroit, MI. Krigga has designed album artwork for King Britt, Kyle Bent, Hieroglyphic Being, Monty Luke, and Vibes Records. Dogon currently serves as the Art Director for the Atlanta-based music festival, Camp N Trip.

 

 

REVIEW: TRUSTUS THEATRE'S STUPID FUCKING BIRD

Trustus Theatre opened Aaron Posner’s Stupid Fucking Bird down on Lady Street on February 9th, under the direction of the theatre’s Executive Director, Jessica Francis Fichter. This play, which is advertised as “kinda based on” Anton Chekhov’s The Seagull, is a 2.5-hour experience that is “kinda” a comedy that explores family, love, unfulfilled potential, freedom, destruction, and art (all present in the source material on which it was kinda based). Trustus’ production is a winning moment for the theatre with a talented ensemble, adventurous technical execution and a team that not only had a deep understanding of what they wanted to try to do, but the expertise to make it a reality.  

Chekhov’s play is not essential to the audience’s engagement with Bird. Academics (read: theatre nerds) will enjoy the fun game of compare-and-contrast that this work allows, but the non-historian will be plenty occupied with experiencing the characters’ journeys, interacting with the actors in an environment without a fourth wall, exploring a dialogue regarding the authentic self and inviting their brains to ask, “what is art, why do we make it and why is it vital…or is it?”   

Stupid Fucking Bird concerns a stormy front of romantic and emotional entanglements amongst a family and their friends gathered at a large beach house. Conrad (Patrick Dodds) loves Nina (Cassidy Spencer), but Nina pines for Trigorin (Laurens Wilson) who is dating Conrad’s mom, Emma Arakdina (Erin Wilson). But wait, there’s more! Conrad’s platonic pal Mash (Martha Hearn) languishes for Conrad, and Dev (Cameron Muccio) swoons for Mash. The term “love triangle” doesn't suffice to explain the plot. Perhaps the geometrists in the crowd can do the math.  

As with all Chekhov and related materials, there must be an estate. Enter Dr. Eugene Sorn (Hunter Boyle), for whose attention all of these lover-friends are wrestling. Sorn is the only character who doesn’t have a love interest and is quite often the only sensible person in the room. Sorn’s questioning of whether we are ever our authentic selves is a particularly salient moment in the play.  

While there is a lot of frustration in watching these characters chase their misguided obsessions, the rewarding part of the Stupid Fucking Bird is the opportunity to engage in a discussion about art. Trustus is no stranger to material that has asked Columbia audiences to engage in this conversation (i.e. Yasmina Reza’s Art and Stew’s Passing Strange), and this type of work starts the dialogue within the walls of the theatre that evolves into colorful debate once you’ve cozied up to a bar afterwards.  

Trustus’ Bird has an excellent cast - not a weak link on stage. These are talented actors tackling challenging material, and they are in complete ownership of the proceedings. Patrick Dodds’ has played a wide range of roles since his first appearance at the theatre in 2011, but his portrayal of Conrad has probably been one of the most demanding jobs he’s taken on - and he delivers. Dodds succeeds in making us believe in his journey from obsession to destruction. His monologue towards the end of the first act, combined with the tech that was used, is jarring in the best kind of way.  

Erin and Laurens Wilson, in the roles of Emma and Trig, are a grounding and necessary presence for this cast which otherwise portray forlorn nihilists who refuse to stop thwarting themselves. Cameron Musccio makes a welcome debut on the Thigpen Main Stage with his Dev being an incredibly endearing straight-man-who-gets-the-laughs. Cassidy Spencer and Martha Hearn, as Nina and Mash respectively, turn in anchored performances. Hunter Boyle as Dr. Sorn exhibits more control and firmness than we’ve seen in recent years, and it is a delightful change of pace that leaves us hoping to see Boyle explore more roles like this - because it’s really really good.  

The production team deserves high marks for a finely-tuned scenic,  lighting, media, and sound design package. From moons that seamlessly cross the entire stage, to the simplicity of scene titles - Matt Pound has used different media outputs to make something quite complicated seem seamless. Paired with Marc Hurst’s sizzling lighting and Teddy Palmer’s use of the space as an abstraction of frames - these elements truly make you feel like you’re watching a production that was tailored down to the last stitch. We would also like to note that there is even a Shen Yun poster hidden in the mix (which can lead to a tangential conversation about art after the show). 

Though some music levels could be increased to improve audience-immersion throughout and tattoos could be better covered-up (or not covered?) as to not distract, Stupid Fucking Bird is a tight vehicle for the actors, designers, and audience. This is probably due to the work of Director Jessica Francis Fichter. We are very glad her voice is more prominent in Columbia’s theatre scene these days and look forward to more.  

If you’re into light comedic fare that intends to entertain by way of jazz hands, this is no play for you. However, if you’re just the slightest bit adventurous, enjoy conflict and the promise of a post-show arts salon: trust Trustus with this play. This is the kind of work that the theatre’s co-founders intended the theatre to produce, and true to form - whether you actually like the play or not - this is the only place you can experience work like it in these parts. Stupid Fucking Bird runs through February 24th at Trustus (520 Lady St.), and you can get your tickets to make up your own mind about this production at www.trustus.org

(edited 2/11/24)

 

Hyatt Park Community Art Project with Artist Keith Tolen

Join visual artist Keith Tolen and his young guests and collaborators in the unveiling of the Hyatt Park Community Art Project Friday, February 15th at Hyatt Park.

Hyatt Park students have partnered with veteran artist and arts educator (and member of the Jasper Project board of directors, we’re proud to say!) in creating this beautiful piece of public art which will go on display in the city of Columbia.

Their collaborative sculpture will be unveiled at 4200 North Main Street. The event is free and open to the public.

Come out to celebrate public art, young art, and the collaboration of youth and experience!

Poetry of the People featuring Jane Zenger

This week's Poet of the People is the Bard of Cedar Creek, Jane Zenger.  Jane, is a legend from the Pee Dee to the Broad to infinity and beyond. She is a force of nature - an organizer, educator, environmentalist, small farmer, who also happens to be an excellent poet. A gifted storyteller, Jane will make you laugh and gasp in the same stanza. Buy her book, Night Bloomer, and know she is a life well-lived.

Jane Zenger lives in Blythewood, SC in an old forest on the edge of Cedar Creek . She has a BA in English literature and a Ph.D. in Reading and Literacy. Jane studied poetry at USC with the late James Dickey and her work is included in his book, From the Green Horseshoe.  ‌She‌ ‌was‌ ‌a‌ ‌feature‌ ‌writer‌ ‌and‌ ‌poetry‌ ‌editor‌ ‌for‌ ‌‌Auntie‌ ‌Bellum‌,‌ ‌a feminist‌ ‌magazine‌ ‌published‌ ‌in‌ ‌South‌ ‌Carolina.‌  ‌She‌ ‌also‌ ‌edited‌ ‌‌The‌ ‌Spotlight‌,‌ ‌a‌ journal‌ ‌dedicated‌ ‌to‌ ‌at‌ ‌risk‌ ‌youth,‌ ‌teen‌ ‌pregnancy‌, ‌and‌ ‌dropout‌ ‌prevention. She worked as an English/Reading teacher in both urban and rural South Carolina schools and was a USC instructor, researcher and director of federal Teacher Quality Enhancement programs. As an undergraduate she did archaeological research on an early man site through The University of Alaska. She also worked on a USC environmental impact study on the coast. Jane has worked in Texas, China and Zambia. She is a passionate advocate of the Spoken Word
movement in South Carolina and has recently completed Night Bloomer from Muddy Ford Press. This new book of poetry reflects love, heartbreak, travel adventures, comical events, and always- her close connection the woods and creeks where she lives.

____

The Unraveling

What is there to love in a world unraveling?

It’s unsafe to put such precious cargo as a heart

and soul in the broken box of my body.

I can’t stop thinking on this cold spring day,

watching the creek  overflow, what’s next?

There are the same old wars waging,

the same fires we extinguish over and over

sprouting up again, rising from a mystical phoenix.

 

The same old hate and anger boils over.

Wars I can’t smash, bury, ignore or accept.

The wrong people are making the same choices

over and over. When their choices bully me, I resist.

In the world that kind of ignorant selfishness

leads to loss and division, disease and death.

What century is this where the infantile, selfish,

and belligerent still retain power?

 

When is the dawning of the Age of Aquarius

that we were promised?

 

On this afternoon I flow through the meadow.

I wish I could punch the clouds full of acid rain.

I won’t punch the clean willowy ones after an April storm,

or the ones today glowing pink, orange and purple at sunset.

I drop to the ground face down to experience the

soil scent and the soft grass and clover. I sense another

world upside down, feel a mild wind, the old buck snorts,

I hear distant airplanes and at least five, no- six bird calls 

and something chirping. The crows acknowledge me and

buzzards form a wide circle. My cats gather round curious,

but not really caring why I am upside down. They wait,

preening and watching the birds so as not to waste time.

So fortunate in their blissful oblivion.  



Whip Lash in the Pandemic                                    

I can be blistered in the sun one day,

and frozen from the inside out the next,

losing my footing in the turbulence.

 

I feel like a kitten in her mother's mouth

being dragged and bumped, helpless.

But at least I am not left behind.

 

I have to find myself again every morning.

Find the humor in how I am going down.

It is a whip lash and I am serving time for all my sins.

 

Encourage me. Discourage me. Ignore me. Adore me.

It’s all the same. The tide is always running out.

The sky is winter pale, nothing on either horizon.

 

Baby birds are blown out of the nest,

trying to fly, only to be eaten by my feral cat

Other creatures waiting below.

 

My body is broken as well- from the day

I tried, stiff and weak, to fly after so much time

quarantined, sequestered, afraid.

 

This is the year  of one pandemic after another.

This sorrow bangs me like a limb on a window pane.

I am not shattered yet, stubborn as I am.

 

From my perch let's examine today,

the joy of being alive, of being loved helps.

I am mining memories. Someone is

reminding me to breathe...sing...cry…reach out.

 

Selfish choices placed me on this precipice,

tethered to the vows I made. That life is over.

I live for love and I long to live. Yes, you may come in.



It Only Takes a Moment to Die

 

When you took your last breath

It was so simple

So calm and unanticipated

So remarkably

Like any other day

Like a wisp of a cloud

On a clear sky

 

I knew the time was near

I knew the moment would be

yours only.

Unpredictable.

Controlling death as you did our life.

I slipped away for just a moment.

Stepped alone into the morning air.

You stepped alone into eternal peace.

For death, like life, is an unpredictable gift.

Jasper's Sidewalk Gallery at The Meridian Building Featured Artist - BOHUMILA AUGUSTINOVA

Bohumila Augustinova

Augustinova spent her childhood in Czechoslavakia, 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 to 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.

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.

“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.”

The ART BAR Brings Back One of the Baddest-Assed, Pearl-Clutching Acts Around -- BERNIE LOVE'S TRIBUTE TO ELVIS

Don't miss this Tribute to ELVIS Sat March 2nd at the Art Bar!

Bernie Love featuring Patrick Baxley, Jay Matheson, Marty Fort, and Kevin Brewer delivers the goods.

Early 9 p.m. show, 21+ Comedian Mike Reed kicks things off.

Bernie Love only offers this show about twice a year, so come on out!

More at www.bernieloverocks.com

CALL FOR PUBLISHED LITERARY ARTISTS!

If you have had the joy of welcoming a new book to the world since January 1, 2023 and you live in the SC Midlands, Jasper would like to celebrate you in the next issue of Jasper Magazine, releasing in Spring 2024.

Please send a high resolution image of your book cover along with a 100 word or less description of your book and all your contact info (email, snail mail, website, and phone) to

jasperprojectcolumbia@gmail.com

no later than Monday, February 26th.

While your book may not be reviewed at this time, we will list your publication in a special section of the magazine with that of all the other local literary artists in the area.

And always remember, if you would like your new publications considered for review in Jasper Magazine or Jasper Online, please send review copies to

Jasper Editor

1009 Muddy Ford Road

Chapin, SC 29036

THANKS!

Book Launch and Celebration for DeLana Dameron's REDWOOD COURT

FEBRUARY 9TH 6:30 - 9 PM

MIKE BROWN CONTEMPORARY GALLERY

122 LINCOLN STREET - IN THE VISTA

From our friends at Mike Brown Contemporary …

A breathtaking debut about one unforgettable Southern Black family, seen through the eyes of its youngest daughter as she comes of age in the 1990s Columbia, SC.

"A beautiful exploration of a family . . . deeply moving." Ann Napolitano, New York Times bestselling author of Hello Beautiful

“Mika, you sit at our feet all these hours and days, hearing us tell our tales. You have all these stories inside all the stories everyone in our family knows and all the stories everyone in our family tells. You write ’em in your books and show everyone who we are.”

So begins award-winning poet DéLana R. A. Dameron’s debut novel, Redwood Court . The baby of the family, Mika Tabor spends much of her time in the care of loved ones, listening to their stories and witnessing their struggles. On Redwood Court, the cul-de-sac in the all-Black working-class suburb of Columbia, South Carolina, where her grandparents live, Mika learns important lessons from the people who raise her exhausted parents, who work long hours at multiple jobs while still making sure their kids experience the adventure of family vacations; her older sister, who in a house filled with Motown would rather listen to Alanis Morrisette; her retired grandparents, children of Jim Crow, who realized their own vision of success when they bought their house on the Court in the 1960s, imagining it filled with future generations; and the many neighbors who hold tight to the community they’ve built, committed to fostering joy and love in an America so insistent on seeing Black people stumble and fall.

With visceral clarity and powerful prose, Dameron reveals the devastation of being made to feel invisible and the transformative power of being seen. Redwood Court is a celebration of extraordinary, ordinary people striving to achieve their own American dreams.

Poetry of the People Featuring Ann-Chadwell Humphries

This week's Poet of the People is Ann-Chadwell Humphries. Ann declares that she is from the earth and belongs here. She is a force of nature - granite sparkling in the sun. Silica and alkali metal oxides stirred in the magma of life's challenges, congealed into the poet, Ann-Chadwell Humphries. I am honored to call her a friend.

Ann-Chadwell Humphries, a blind poet from Columbia, SC, was selected by Muddy Ford Press to publish her first collection, An Eclipse and A Butcher. She has twice been a finalist for the Carrie McCray Nickens and once for the Julia Mood Peterkin poetry contests. She won Syzygy’s Emerging Voice Award, sponsored by The Jasper Project, for “An Eclipse and A Butcher.” She is a speaker scholar for South Carolina Humanities and her papers are archived at USC Special Collections Library.


____


Thirteen Ways of Looking Through Darkness
~If it's darkness we're having, let it be extravagant — Jane Kenyon

I
At the fire-fringed margins of the universe,
Images of the origins of light stream
Through the eye of a gold-plated telescope.
II
I am fluent in Light and Dark.
The demise of my retina
Reveals infinite sentient worlds.
III
When illumined, darkness loses its dominion.
Technology renders the unseeable, seeable.
IV
Lightness and darkness
Are one.
As much in the mind as in space
They are one.
V
I do not know which to prefer,
The beauty of resilience
Or the beauty of interdependence,
The odyssey into the unknown
Or the transcendence thereof.
VI
The freight of low expectations
Slow-grinds the human spirit.
The only way around is through.
VII
O voice of self-doubt and discouragement
Why do you shout?
Why do I listen?
Why dismiss the universe
Of riches there for the taking?
VIII
I have wandered outermost reaches
And territories of resistance,
And come to exalt
The company of Darkness.
IX
Infrared waves send images
Of unprecedented clarity
Through the lens of the deep space telescope.
X
Reticular spirals and arcs
Flower in the womb of morning.
Bots of importunity align.
XI
When I was diagnosed, doctors advised
That I not overthink; I could prepare.
Not chase cures in China nor Europe—
for They knew I would
Go to the ends of the universe.
XII
I have learned to see with my feet, my ears, my skin.
Import my imagination.
My heart is not blind.
XIII
Years of tests, classes, cursors, prisms
led me on an arduous journey
into the gravitational pull of blindness—
my new orbit—frisson from the cosmology of sight.




Wildflower Trail

Overgrazed ranch land proffers rare views
of blue hills that rumple and bunch until fracture
on the fault line into limestone cliffs, spring jeweled
water from chambered aquifers into creeks,
into rivers fringed with cypress tresses combed
by wind, siren temptress, intoxicant to tourists
and retirees. Overnight, bare-boned water and sewer lines
incise hillsides, weave asphalt webs of infrastructure
for tract housing between Austin and San Antonio.
My parents succumb, lured by open spaces, slower paces
and light-filled rooms of new construction, new appliances—
fresh start from hard work. My father plants cedar elm
for shade, Blue Italian Cyprus for windbreak—
this is Texas harsh—and as trees grow, so grows development:
Methodist church, elementary school off the bypass,
doctors’ office complex within walking distance.
In the undeveloped acreage behind, my father hangs
a blue gate shaped like the Alamo, drags a mower
through that gate to mow walking trails, shortcuts to church.
In March, the field flames in airy wildflowers which wave
fiesta-colored blooms to passersby on the farm-to-market road.
And in their yard, my father trims the bluebonnet patch
that spreads each year as if inviting flower kin. In that seasonal
profusion, my parents host a wildflower brunch for neighbors
and library friends for guests to wade waist-high amid bliss.



The Coffin Maker

An occasional call with plea and please for a coffin
tomorrow or day after for a friend’s stillborn granddaughter.
His motion slow and solemn, he sorts through his pile
of special wood favored to repurpose. Finds an orphaned
burled walnut he had forgotten, hardwood not too heavy
for something this small. He makes a pattern, his hands
fit the wood into a clamp, align with the saw an extension
of himself, reciting Keats as he makes a six-sided box, corners
interlocked like fingers, and with a tiny tip, traces
a thread of glue to bond all surfaces, taps nails as surety.
Shakes coffee cans for hinges; from a nail, pulls a rope
to knot for handles. He breathes blessings into the wood
as he cuts top from bottom like her little life cut from us.
Sands and oils for rich luster, its aura, a comfort for the family
to trace the grain, bend to kiss, the fragrance like her sweetness.
~
She will be lowered into black dirt free of rocks
dug by her grandfather and uncles. They will hold hands
at the family cemetery where she will lie with other infants
and ancestors. Word-of-mouth will spread that Grover made
the coffin. In time, a daughter will brave a call for a pine box
for her father handmade rather than ordered from Costco.
~
There in the corner stands his own box partially made
to remind him he has a place — chokes on his prayer,
“God forbid I survive my wife.”



If You Hear My Voice...
~2011

~1~
On a snow-fringed hillside overlooking the Pacific,
a black rotary dial nests inside a lone telephone booth.
~2~
There was only an eight to ten-minute warning.
~3~
A grandfather salvaged an old metal and glass structure
from thousands of abandoned ones in a field,
set it in his garden, a cenotaph for his family who drowned.
~4~
Eighty miles off northeastern Japan, a 9.0 earthquake
thrust from the ocean floor. Two years later,
the beaten hull of a fishing skiff reached California.
~5~
A frayed cord connects the receiver.
Black numbers spin on coins of white paint.
~6~
Snow fell the day of the disaster,
iced all roads out.
~7~
Hello, hello, are you there? Are you cold?
Be alive somewhere, anywhere,
words misted in sea spray.
~8~
Waves thirteen stories high crushed
thousands fleeing in cars.
~9~
Daily, he refreshed incense, rice, fruit
on his home altar trying to fill his hollowness.

~10~
Twenty thousand dead, six thousand injured,
three thousand missing, quarter million unhoused.
~11~
News spread of the phone booth. Early spring, cherry blossoms
whitened his garden. A woman in a puffy pink parka arrived,
full of loneliness swept from silent rooms.
She opened and closed the bifold door, sat for a moment.
As she dialed, she murmured their old number.
~12~
On a blue night meadowed with stars, a young man approached
in flip-flops and shorts. Speak to me, my son. Let me hear you say
I love you, Papa. I am so sorry I could not save you.
~13~
The Fukushima nuclear plant spewed radiation
into sea life for miles, for years.
~14~
The evening sun slides into its fire. Harvest over,
an old farmer stands before the door. Farmers hold their words,
for crops do not speak. Do you have enough to eat?
Don’t worry about me. You go on. I’ll find you.
~15~
Do you think Grandfather heard us?


Jasper's Sidewalk Gallery at The Meridian Building Featured Artist - ANNA HERRERA

I am a local artists originally from Charlotte NC, but I have lived in Columbia for 15 years. I work with acrylic paint mostly, sketch, and use charcoal in my free time. I enjoy the downtown area, going to art events and markets that support locals. I hope to one day have my own show at my mother’s restaurant, Sound Bites Eatery, which is located on Sumter street that regularly hosts art shows and events.

I take art lessons when I can at Painting with a Twist gallery located in the Harbison area, which I’ve been going to for years. I hope to learn more about painting and how to apply different techniques and materials to my work. Expanding my knowledge can benefit my work and allow me to further my potential as an artist as well as become better recognized for more future showing opportunities.

Jasper Welcomes MICHAEL KRAJEWSKI to SOUND BITES EATERY GALLERY for First Thursday

A veteran of Jasper Galleries, we’re excited to bring artist Michael Krajewski to our gallery space at Sound Bites Eatery, which is one of our favorite places to admire and discuss art with so many of our Midlands area friends. The exhibition opens Thursday night, during First Thursday, at 6 pm. Sound Bites is located at 1425 Sumter Street, just a short block off Main

Jasper asked Krajewski for a little tease about what he is bringing to Sound Bites and he’s what he gave us:


Jasper: What have you been working on lately and what should we expect to see in this new show? Any surprises? 

Krajewski: I've been doing a bit of everything! Commissions, teaching private lessons, and ongoing mural work at the Black Rooster. Newest mix media project is a 72in trout sculpture for City of Columbia. For the new show at Sound Bites, folks can expect to see some familiar favorites and some new smaller pieces, as well as some older work. I do have a new larger piece that I'll be showing for the first time, but no spoilers there [puts on his best Matthew McConaughey impression] 'Wouldn't be a surprise if I told ya, now would it?"

 

Jasper: There seems to be a new and unique quality to your work -- have you noticed it? to what do you attribute this? 

Krajewski: I can't really say that I've noticed. That's really interesting though, and I'll take it as a compliment. I think my art evolves with me, so I'd like to think that it's just a sign my own evolution. 

 

Jasper:  Can you tell us about 2 or 3 of your favorite pieces that you will be offering at this show?  

Krajewski: This show is sprinkled through with notes on love and nostalgia... I'm hoping folks check out "Holding hands" (especially if you like otters in party hats) I just finished a mix media piece (paint on a record) Titled "Love Me for What I am" that I hope people respond to. 

Thanks Michael! We’ll see you all this Thursday night, February 1st, 2024 from 6 - 9 pm!

For more info on Jasper Galleries and to submit YOUR WORK for consideration, please check us out here!

PLAY RIGHT SERIES SCRIPTS DUE WEDNESDAY!

Wednesday January 31st is the last day to submit your original stage play to the Jasper Project’s Play Right Series competition.

We’re so excited to share that Trustus Theatre has invited Jasper to present this year’s winning entry’s staged reading as part of a new theatre fest this summer that they will be announcing soon. Even better, Trustus has graciously invited Jasper’s previous two winning stage plays to be performed as part of the same fest! Thank you, Trustus Theatre, for making it all about the community and for continuing your commitment to NEW ART!

Read here to get all the deets on how to submit your play and get it to us no laster than midnight on Wednesday!

Cheers and Break a Leg!

Poetry of the People with Marlanda DeKine

This week's Poet of The People is Marlanda Dekine. A force of nature and a force for good, her poetry inter-weaves with her social justice values and inspires and intoxicates. I first met Marlanda in the upstate; she has now migrated to the Pee Dee and is recognized for her work outside South Carolina. 

BIO: Marlanda Dekine makes connections of depth through poetry and facilitation. She is the author of Thresh & Hold (Hub City Press) and i am from a punch & a kiss (unnamed LLC). Her work has been anthologized in This is the Honey: An Anthology of Contemporary Black Poets (2024), What Things Cost: An Anthology for the People (2023), and Ecological Solidarities: Mobilizing Faith and Justice in an Entangled World (2019). She is a South Carolina Arts Commission Spoken Word/Slam Poetry fellow (2023), Castle of our Skins Shirley Graham Dubois Creative in Residence (2021), Tin House scholar (2021), and Palm Beach Poetry Langston Hughes fellow (2022). Her poems have been published by Orion Magazine, Oxford American, Southern Cultures, and elsewhere. She received a Governor’s Award from South Carolina Humanities (2019) and the New Southern Voices in Poetry Prize (2021). She is the founder of Speaking Down Barriers, an organization working towards equity and justice. Dekine holds a BA in Psychology from Furman University (2008), an MSW in Social Work from the University of South Carolina (2011), and is currently a MFA Candidate in Poetry at Converse University (2024). For more information, visit www.marlandadekine.com.

____

sarah’s glossolalia

i was not born
on an island tethered to water

my spirit is timeless
knows of places larger than 48 states

i don’t read maps
i lay down in clay
cracks tell me where i am

i think of lou’s tongue
in my mouth
i do this to become a madhouse
filled with faces of dolls

while her tongue is in my mouth
i think about who’s seeing our tongues

i went out into rain
let my mouth riddle off words
wonder sounds
brought in our future
oh to be free


  from a voice 

i don’t need to be a woman 

    I am a child of gods with many doors 

i don’t need to be a man 

     i am a child of their blue skies  


past is future


grandpa moses will you let me in
all queer and free in your image
my voice a pulpit voice like yours
listen to me going on
on my soapbox with my secrets
all out in the open
we buried yours with you
did you wish hell on great-great-greatgrandma sarah and ms lou
for what they brought to us
when i go to any ocean
water tells me things
i’m not supposed to know
i used to forget for you—
is that your voice hidden inside of thunder
i remember you in your chair
saying holy holy holy your large finger
dressed in a crimson masonic ring
your hands large over my entire life
i don’t know your rituals
do i have the right to make rites in your honor
all my rings bear no allegiance
i stay light as getting up from an altar call


love


there are so many ways
we don’t want to love
the man tells me
not to write for the straights
the woman tells me not to kiss
my woman in front of the boy
my woman wants me to say
she is my woman

    she is my woman

i want right words
for our hurt
the first moment the hurt hit my body
i felt it in my stomach
i was six years old
i don’t want the boy to know
hurt in his little stomach
the way my beloveds can feel
when i got the hurt again
and they ask you good

i’m bad off and imagining
my next glass of rye whiskey
after remembering
some don’t know how to love
a part of me well

i am trying to get the hurt down
right onto the page

so children will know
not to follow
our shipwrecked words
bodies floating
in brown water
that was blue
i want the boy to paint
the water blue now
to go into his own room and conjure
colors beyond our muted rainbows
beyond america
the experiment that is not a home

my heart is a home i am cultivating
it helped me to say my feelings were hurt
when my ego (an unpoetic word) wanted to say
fuck you i don’t need you

i don’t think i’m writing for the straights
but maybe i am writing to that part of myself angled
just so i can see how many degrees
i am not removed
because i too am human
i’m digging
because i know my ancestors
put love here too
inside my little puny heart
i am building a home
wherein i am not a victim
of weaponized language

spirit i am yours
within a cosmos
where the boy has a future
written over his life
and the boy is free to feel
and speak over his life
whatever water it may need
and the boy’s paint becomes
his great-great-great-grandma sarah’s face
and he is surrounded by women
sitting in a circle doing nothing
other than what they want



Jasper Presents Laurie Brownell McIntosh at Harbison Theatre - Reception January 25th at 6:30 pm

The Jasper Project is delighted to present the work of visual artist Laurie Brownell McIntosh at the Jasper Gallery at Harbison Theatre at Midlands Technical College, 7300 College Street in Irmo, SC. On display from December 2023 through February 2024, McIntosh’s exhibition is currently on display and available for viewing during normal business hours and special events.

There will be a reception for the McIntosh show at 6:30 pm on January 25th during which the artist will meet and greet patrons and answer questions about her work. The artist reception is in conjunction with the evening’s performance by Ruben Stoddard and Clay Aiken. The artist reception is free to the public but tickets are required for the musical performance.

McIntosh says, “I was raised in an environment that supported and encouraged the creative process.” Continuing that, “I have discovered through the years that I don’t work like many artists do. I don’t have an exact style or medium that defines me. I work in large bodies of work that usually take years to explore. These large bodies are many times divided into series within the body. Most of these bodies of work are driven by line and shape trying to express ideas and stories through mark making, color, shape and texture.

Several times it has been a true calling from within myself... sounds corny but it’s true. This is the work that can’t be denied. Or I find something that intrigues me, something I want to explore, and then I research and pursue that avenue until I have exhausted my curiosity and then I move on. The medium I use is the one that solves the problem presented before me. 

In my head I compare it to a writer who writes novels. The idea.. the reserch.. the execution.. the editing… the chapters... the final execution and the presentation of the finished pieces. Once this is done, onto the next. Almost always, within the present body of work I stumble on the next path. Almost...

I have also discovered that the quickest way to become dissatisfied with my work is to create art for people I do not know. I have to trust my gut and follow my own lead and my own truth.  If I make art with the thought of what others might like, or buy, I’ve sold myself out. I will have left none of myself behind when I’m gone if I’ve spent my time trying to please others and by guessing what strangers might want. 

In my newest body of work in linocut is a result of studying a new medium, navigating the isolation of the past three years and celebrating our coming out of it. My family enjoyed being together during that time, spending time gathering crabs and fish, growing tomatoes, and doing the things outdoors that we love. It kept us busy.

My family’s most treasured times are sharing that bounty with dear friends, which is reflected in the collection. Being able to gather with people again and enjoy homegrown and home-caught food, tell some tall tales, drink a cold beer, and have a laugh is what my family is all about. I hope that love of people and the land comes across in this body of work.”

In a brief interview with Jasper Magazine editor Cindi Boiter, McIntosh answered the following questions:

Jasper: I know your art often presents itself to you as something of a project and that sometimes it takes a while for that project to reveal itself to you. This seems fairly mystical to me and it's one of the things I most appreciate about your work. How does this exhibition represent where you are with this body of work? How far along the way are you? What does this exhibition mean to you at this stage of your artistic journey?

McIntosh: That’s a big ole question…I started this journey with linocut reductions towards the end of my Swimmer series and the beginnings of Covid. I love the line quality and color breakdown it brings to an image. This process is a big-time commitment and takes a lot of muscle, but the results are worth it. Added bonus is you get multiple original works. I find the carving involved to be meditative and calming which is why it was such a God send during Covid. I keep pushing the difficulty factor and I am presently experimenting with taking the outtakes and leftovers into mixed media pieces. The images that result from the bones of the plate after it has been carved to its bare minimum are fascinating. Might work…might not. I won't know until I try.  

I always feel so good about showing my art in Columbia. Especially at a venue that is so dedicated to the arts with the support and backing of Jasper.

Jasper: Can you talk about your medium for this exhibition?

McIntosh: Linocut Reduction is a relief printing process in which the artist carves a reverse image in a block of linoleum. The image is inked in a single color and printed on paper. The artist then carves an additional layer, applies a different color, and prints again. Each piece must be carefully and exactly registered into place for each color pull. The process is repeated until all color layers are applied. Because the process does not allow an artist to adjust a prior layer, the process is sometimes referred to as “suicide printing.” 

The artist must commit to a number of prints from the start knowing there is going to be spoilage along the way. I normally begin with 10-20 knowing I will lose 25-40% to errors along the way. 

Jasper: Of the pieces in this body of work, what do you like the most and why?

McIntosh: I love the large, complicated pieces such as Henredon Heron, The Alligator King, and Git Da Net. They take so much time, muscle, and energy. I just have to be proud of them. Henredon Heron alone has over 150 hours of carving and hand printing time involved

REVIEW: Exit, Pursued by a Bear - Trustus Side Door Theatre

January 18 – 27

Written by Lauren Gunderson

Directed by Ginny Ives 

(Trigger warning – this script tackles the issue of domestic violence.)

Exit, Pursued by a Bear is Trustus’ Side Door’s current offering. Nan has finally had it with her husband Kyle’s physical and emotional abuse, and paybacks are hell. Assisted by her forever “ride or die” bestie, Simon and her new friend, a stripper named Sweetheart, Nan hatches a plan to teach Kyle the lesson of his life. Kyle comes home, tosses back a drink, and passes out in his favorite chair. Nan enters and proceeds to duct-tape him to said chair. When he comes to, he is made to watch Nan, Simon and Sweetheart act out scenes from a marriage – his marriage to Nan. Nan lets him know from the start that the “final act” is to cover the room with honey and venison (acquired through Kyle’s illegal hunting techniques), then leave Kyle to be devoured by bears.

I love bears. Always have. Dancing Bear on Captain Kangaroo, and Pooh Bear. Smokey the Bear. Yogi Bear and Booboo. Paddington. The list of cute, adorable bears goes on and on. B-HP’s mascot was a bear. (Go Bars!!!). Real bears, on the other hand, are not particularly cute and adorable. Shakespeare used a bear quite cleverly in A Winter’s Tale  - from whence cometh the title at hand. (Duh.) As a recovering Baptist, I will remind you that God sent bears to devour the small children who mocked the prophet Elisha (2nd Kings 2:23 – 24). Timothy Treadwell and his girlfriend learned the hard way that bears are not our friends. I digress…

Kyle is sore afraid. As the evening progresses, he beseeches Nan not to follow through with her plan. He begs, he pleads, he coerces. He pulls out all the tricks that charming, attractive, magnetic abusers have up their sleeves, and  many times Nan very nearly succumbs to his charms. Simon and Sweetheart are there to make sure she doesn’t.

The “who are theys” in this production are Liza Hunter as Nan, Isabella Stenz as Sweetheart, and Bryent Taylor Marshall as Kyle. Clint Poston, a veteran of numerous Trustus productions, rounds out the cast as Simon. All four of these actors inhabit their characters with passion, humor, doubt, and determination. Some of the action in this play is ridiculous, absurd and over the top, but Ginny Ives’ direction, combined with the skills of each of these actors, creates very believable characters. We know these people. We, at least I, grew up with these people. Sweet, timid Nan; macho, violent, angry Kyle, “I’m gonna be an actress!” Sweetheart; and loyal, brave, and fearless Simon. Lord love all these people who grew up in the rural South. Bless their hearts, and I mean that with every fiber of my being. It ain’t easy bein’ weird. Especially when it’s the Kyles of the world who are considered “normal.”

Hunter’s Nan is the human version of a bunny rabbit. Sweet and fluffy and you just want to smoosh her widdle cheeks together and boop her nose! And then you realize this bunny has teeth. She moves from floofy bunny to Monty Python bunny with precision.

Isabella Stenz is so refreshing as Sweetheart, the stripper whose ambition is to be a real actress. She stays committed at every moment. Take a second to watch her when she isn’t the focus of the action.

Clint Poston is the cheerleading bestie we all want. From high camp to deadly serious, Poston’s Simon is  the best sidekick ever. And the boy got some stems. Just saying. 

Bryent Taylor-Marshall as the utterly horrid Kyle. Argh! He is an awful, reprehensible, hot-tempered card-carrying NRA member (wait, no. He’s too cheap to pay the dues), Fox-watching abusive redneck. And he is so cute and sweet and apologetic and coercive. I wanted to release him from his duct tape shackles, but I also wanted to bash his head against rocks.

I anticipated a “Misery” moment. Not gonna tell ya.

Dewey Scott-Wiley’s set is true. I know that trailer. The rutted driveway leading from the tar and gravel road up to the front porch. (We don’t see it, but we know it’s there). The deer head mounted on the wall. The hideous recliner. Absolutely evocative of rural upstate Georgia. (And South Carolina).

Sound and lighting design fit this production perfectly. The use of projections for scene changes and some narration is excellent.

A fun evening. Nothing but Bonfires.

 

Housekeeping: The show runs right at 90 minutes without intermission. Plan accordingly. The Side Door is an “intimate” space, so watch your feet so as not to trip up the actors. Get there early as the space fills up quickly. Beer, wine, soft drinks, and snacks are available for purchase.

Curtain is at 8:00 p.m. so don’t be late. There’s no sneaking into this space. Tickets are $22.50 - $25.00.

 

If you or someone you love is a victim of physical or emotional violence, please don’t suffer in silence. The National Domestic Violence Hotline number is 800-799-7233. Sistercare’ s 24-hour crisis line is 803-765-9428. The Women’s Shelter can be reached at 803-779-4709. And yes, there is help for men who are victims. Oliver Gospel Mission at 803-254-6470, the National Domestic Violence Hotline, and the SC Department of Social Services are available to you. The play is funny. The issue is not.

A Musical Mosaic of the South – Short Stories, vol. 1 by David Garner and Greg Stuart By Emily Moffitt

The University of South Carolina’s School of Music is filled to the brim with ambitious creative minds, all leading the newest generations of musicians while simultaneously maintaining their own artistic endeavors. One of the newest projects born from the walls of the Assembly Street building is Short Stories, vol. 1, a new collaborative album by David Garner and Greg Stuart. Garner and Stuart are both Associate Professors at the School of Music, with the former teaching Composition and Theory and the latter teaching Experimental Music Performance and Music Literature. This album is composed of original accompaniments by Garner and Stuart, performed along archived recordings of Southern folk songs. 

Ever since his graduate school years, Garner found the genre of American roots music fascinating, and he continues to use the genre as source material and inspiration for his own work. The existing relationship with the genre led Garner on the path to creating Short Stories, vol. 1, but he notes that “I don’t know that there was a single ‘a-ha’ moment to start this project, but rather a thousand small discoveries that built up over many years.” Short Stories, vol. 1 utilizes recordings from the Southern Mosaic: The John and Ruby Lomax 1939 Southern States Recording Trip collection, which Garner has worked with since 2016, composing a piece called “DwnByThRckyMtns” that was also built around a recording from the collection.  The Lomax collection is a massive one, containing nearly 700 sound recordings, field notes, dust jackets, and other pertinent manuscripts that encompass a 6,500-mile trip taken by the eponymous travelers. Garner notes that listening to the original recordings before his renditions is not necessary but worthwhile. “I think some listeners might enjoy hearing the original field recordings in order to hear how the recordings were transformed in our album,” Garner says. “There are many thousands of hours of incredible early 20th century field recordings...these recordings might not be beautiful on the surface—with amateur performers and grainy, crackly recordings—but I find they are all so intriguing and rich with history, meaning, and culture.” 

When asked about the process of choosing which pieces to adapt, Garner mentions that he has kept a list of favorite recordings over the seven years he has worked with the collection. The six he chose were picked after “lots of play and experimentation to see which ones would work well in these transformed settings.” He took into consideration the particular nuances, shapes, timbres, and emotions of each recording, then set on the journey to create something new but still complementary. Garner started making entirely electronic settings for the pieces he chose a few years prior, but it was not until the fall of 2023 that he brought them to Stuart’s attention after working on a new composition together, and the duo followed through to create Short Stories. Garner shares an interest in archival field recordings and has played pieces that incorporate recorded sound as well as pieces that focus on timbre and noise elements. After long periods of brainstorming, structured improvisation, and testing what worked and what did not, the duo came to conclusions that achieved their ideas yet allowed room for the addition of piano, vibraphone, and percussion: the path to creating a finished piece finally laid bare. The structured improvisation is a key aspect of the creative process for this album. Garner says, “A few of the pieces are almost completely written out in traditional notation, but most of them are left much more open for improvising using a set of guidelines that we follow—note choices, rhythms, chords, gestures—we are improvising within predetermined time spans.” Garner also values the power of nostalgia and acknowledges the power it holds to shape how someone listens to music; he says “I think I have been fascinated by nostalgia and have felt it deeply my whole life; it is so important in music and so crucial to how I listen.” With the nature of the album’s contents focusing on folk music and storytelling, it is natural for the listener to also long for a time and place they may or may not have been to before, yearning to listen to a new voice that could remind them of another. This is intentional on Garner’s behalf—in his own words, he is also fascinated by the cultural and societal nostalgia that influences and informs how we listen to older music. 

Amplifying marginalized voices is a key goal for Short Stories, vol. 1. Many of the folk songs featured stem from southern African American communities, and Garner’s work celebrates that. The listener is beckoned into feeling a sense of longing and contemplation, with a vein of Southern Gothic darkness and mystery throughout. The pure emotional connections made via this music show through on "Lost Train," where the recorded voices are but a suggestion, looped in as an additional undercurrent to Stuart and Garner's instrumentation. On "All The Way Round" takes a Livingston, Alabama field recording that sounds like a playground chant and lays it bare in its repetitive style against minimalist accompaniment." Garner continues to compose pieces that surround the histories of other recordings in the Lomax collection, which also includes work from white and Mexican American performers. Garner beautifully describes the importance of a collection like this in his description of the album: “I hope to give forgotten voices another chance to be heard, histories to be told, and to highlight moments of particular beauty that might otherwise be overlooked. Embedded in every crackly field recording is a wealth of knowledge, experience, history, and humanity from which we can learn.”

You can listen to Garner and Stuart’s album on YouTube here. The album will be released on all streaming platforms starting January 24; Garner and Stuart will also perform the album in two concerts at Emory University and the University of Georgia on January 24 and January 26, respectively.