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Spring 2024 Layout by First Lastname Cimpos ne id moluptis quis aut qui ra doluptur?

Highland Youth Garden Words by Taylor Dorrell Photography by Taylor Dorrell Layout by First Lastname

“

t only took my son maybe a day or two of going for the kids who live in the neighborhood. What to their youth program, and he was in love with was once an empty lot when Murphy started gardening," longtime Hilltop resident Kayla Davis has transformed into a multi-plot facility with a told me. Before attending Highland Youth Garden's building, greenhouse, and various crops that only Summer program, her seven-year-old, Kaiden, a connoisseur of gardens could appreciate fully. By had little desire or interest in what many children the time Murphy passed away in 2020, the Highland consider one of the most unappetizing pieces of the Youth Garden was a staple in the community. five main food groups: fruits and vegetables. But “ So, it's actually pretty after collectively producing these foods in the garden, the greens transcended their negative appropriate to have the Highland reputation and became a means of enriching and Youth Garden where it is because expanding the existence of all those involved. The much of that land in that area was organization installed a garden bed in the Davis' backyard, where Kaiden now grows his own food. private farmland.” "That excitement is wonderful for any youth, especially when they feel like they've grown it as a But now, the neighborhood is a food desert, lacking team, and they're able to bear witness to it growing any grocery stores within a mile radius. "We actually from a seed to now something that's able to be prefer the term food apartheid," Shelly Casto, the picked," Kayla told me. executive director of Highland Youth Garden, told me. "Because that makes clear that it's not a natural After two Hilltop recreation centers closed their circumstance; it is actually a societal choice." doors in 2009, founder Peggy Murphy banded with local educators and community members to While primarily focused on youth education, the grow food and teach children about gardening on a garden also produces more than 4,000 pounds nearby vacant plot of land. "We started with a dollar of food annually. While that doesn't put a dent in and a prayer," Murphy said of those early days. the food access shortage, it's at least an attempt Over the next decade, the garden expanded, adding to spur the necessary changes, Casto says. "We structures, inviting members to the team, and are encouraging people to take matters into partnering with nearby schools and youth centers their own hands by helping them build backyard to provide an empowering educational experience gardens, learning how to grow their own food,

Get involved in a variety of ways. From educational programming, gardening, creating art, behind-the-scenes planning & support, or simply sending a donation – there is a way for you to contribute. highlandyouthgarden.org/ get-involved

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n keeping with true Hyde Park Prime Steakhouse tradition, they’ve transcended their elegance in an extravagant fashion, with a one million dollar remodeled space that adds an extra dimension to your dining experience. While the iconic steaks and exceptional service remain a staple, Hyde Park has undergone an incredible transformation with the addition of a stylish, new wine room. This room boasts a glowing onyx bar, and best of all, the addition of live entertainment. Local musicians have been handpicked by none other than Louis Tsamous of Jazz Arts Group Columbus to play for guests every weekend. Your Friday and Saturday nights out in the Short North can be more opulent than ever. Starting at 5:00pm, unwind with your favorite drink, all the while being serenaded by live piano music. Or, maybe you’re planning a later dinner – starting at 8:00pm, the room comes alive with contemporary melodies, creating a cozy atmosphere that even extends out to the heated patio overlooking High Street. For those seeking a quieter, more intimate dining experience, Hyde Park has preserved their traditional dining room, too, where you can savor the classic ambiance that guests have known and loved for years. Hyde Park Prime Steakhouse’s newest addition brightens the Downtown’s arts and music scene and creates unforgettable memories, establishing itself as a staple and one of the premiere venues in Downtown Columbus. ♦

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Most of us know ALS as Lou Gehrig’s disease, but it stands for Amyotrophic Lateral Sclerosis. breathe.

• Feast on farm-to-table cuisine • Indulge in artisan cocktails, craft beer and wines • Enjoy creative Tableaux Vivants

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• Bid on artful auction items The theme for this stunning event is DaVinci’s Arty Night. Inspired by his masterpieces and Italy’s famed cities and cuisine, guests will enjoy a magical evening of mouthwatering farm-to-table cuisine, interactive entertainment, and auction items you’ll vie to take home.

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EDITOR I

was a child of the 80s in Columbus. My dad, an avid art enthusiast, lived in various parts of the city that were hamlets for those avoiding suburban growth. We would spend our summer nights watching Shakespeare plays at Schiller Park or walking through galleries during the monthly hops, and our days spent at The Book Loft or at The Coffee Table at the corner of Buttles and High. If you know, you know. Within the pages of this issue, we're showcasing Columbus' arts scene and highlighting just a few of the talented individuals who make it all possible. Although we could only feature a handful of stories, our city's creative vitality thrives due to the tireless work of all individuals who work with fervency and passion, whether in their basement darkrooms, recording studios, at the potter's wheel, or within grand museum galleries. We take this opportunity to honor their contributions and celebrate their impact on our behalf. Thank you!

Special thanks to Christopher Teed and the team at Hilton Columbus, who gave us access to photograph the cover story of Edwaard Liang at Stories on High.

P.S. Have a story idea for us? I’d love to hear about it ~ megan@614mediagroup.com @nostalgicallymegan

CONTENTS 14

Do-Good King Arts Complex

Arts Glass Act

Arts The Contemplative Art of Ikebana

Arts A Small Obsession

Arts Everything Old is New Again

History Wexner Film Center

Gallery Visit There's No Place Like Home

Spotlight CMOA: Five Columbus Artists

Cover Story Edwaard Liang

Libations The Bamboo Lounge Crew

Conversations Aubergine

Staycation Idyll Reserve

Shopping

Trevor Furbay

Correction from Issue 3: We mentioned that Chef Sebastian La Rocca has a Michelin star; however, he has been featured in the Michelin Guide and has been recognized by Michelin but currently does not hold a star.

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CONTRIBUTORS

Sarah Berenz is an art historian, curator, and writer based in Columbus, Ohio. She has worked internationally in museums and galleries for over a decade, specializing in design history and American contemporary art. She is currently Roy Lichtenstein Curatorial Fellow at the Columbus Museum of Art. Photo credit: Emma Parker.

Ellyn Briggs is a writer, reporter and researcher based in Columbus, Ohio. She is a graduate of American University and can be spotted walking her beagle pup, Tex, around the Short North when she's not working or playing women's tackle football with the Columbus Chaos.

Originally from New York, Jen Brown is a commercial, brand and lifestyle photographer. She is the owner of Flat 51, a photo studio and event space in Columbus. Jen also curates the German Village Makers Market. Find her at jenbrownphotos.com

Leonardo Carrizo is a multimedia photojournalist for an array of outlets. He also teaches at The Ohio State University. During the summers, Leonardo is a National Geographic Student Expeditions photography trip leader.

John M. Clark is a writer, author, tour guide, video producer & former magazine editor. His two books, Columbus Uncovered and German Village: Behind the Bricks, recount fascinating, yet little-known stories about the people and places that have made Central Ohio what it is today. He and his wife, Jan, operate German Village Tours.

Taylor Dorrell is a contributing writer, columnist, reporter, and freelance photographer based in Columbus, Ohio. His work has been published in Business Insider, VICE, Teen Vogue, Bloomberg Businessweek, and Jacobin Magazine.

Molly Hammond is a marketing and PR professional who is passionate about hospitality, restaurant & nonprofit spaces. She is an Ohio State University graduate and writes in her free time, covering some of Ohio’s coolest companies. When she’s not typing away on her laptop, she’s hosting dinner parties or sipping away on the city’s local brews.

Laura Hennigan is a Columbusbased freelance writer who believes there is nothing better than a welltold story. When she's not crafting content, you can find her exploring, tasting and researching as much local flavor as possible.

Based out of Columbus, Ohio, Canaan Lendell works at a design firm by day and develops recipes by night. When not testing experimental kombuchas you can find him plotting his next trip to Tokyo.

Tori Smith is an ADDY awardwinning graphic designer. After graduating from the University of Kentucky in 2o22, she moved to Columbus to work as a Creative Designer at (614) Media Group. She specializes in typography & layout, with experience in many mediums.

Born and raised in Columbus, Ohio, Bryce Patterson is a graphic designer with 5+ years of professional experience. Since the summer of 2021, he has been working at (614) Media Group as a Creative Designer.

Atlas Biro is a visual storyteller with experience in mediums spanning from print design to augmented reality. Currently working as a Creative Designer at (614) Media Group, their work covers communities ranging from blue collar America to the nation’s elite.

Priscilla Dwomoh is a multifaceted creative whose passion for art and fashion transcends a variety of mediums. Her expertise and experience in modeling, wardrobe styling, and photography adds great creative insight to her projects.

Sharon Weiss was born and reared in Columbus. She is the proud mother of two and grandmother of three. An art collector for fifty years, she is the owner of Sharon Weiss Gallery, 24 Lincoln Street Studios, and 12 Lincoln in the Short North. She is the creator of “Artful Living in Ohio” home tours.

Originally from Chicago, Jack McLaughlin relocated to Columbus in 2018 via Madison, Wisconsin, and has been covering everything from beekeepers to boba for (614) Magazine ever since. He currently serves as Editor-in-Chief.

Sav McKee has been writing for a decade, but she officially started her editing and writing career with (614) Media Group in the summer of 2023 after teaching English for the past 7 years.

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DO-GOOD - SPRING 2024

Do Gooding: Connecting Columbus to the Cultural Expressions of African Americans

Words by Molly Hammond Photography by Jen Brown Layout by Bryce Patterson

s a testament to the legacy of Dr. Martin Luther King Jr. and his vision of equality and justice, the King Arts Complex (KAC) in Columbus, Ohio, was founded in the early eighties with a vision to build a center where Dr. King’s legacy and all that he stood for would be taught, preserved and celebrated. Originally named the King Center, the KAC has been the oldest continuously running Black arts and culture organization in central Ohio for over 37 years, fulfilling its mission of connecting the community through the arts.

With a focus on equity, access, diversity, and inclusion, The King Arts Complex plays a vital role in shaping the cultural landscape of Columbus. With over 90% of its programs offered free of charge, the complex gives back to the community by hosting various events throughout the year. From the Heritage Music Festival, which attracts thousands of attendees each summer, to the First Tuesday Tea, a monthly lunch forum for seniors to engage in art and socialize, KAC fosters connections and provides opportunities for community members to come together.

Led by Executive Director and CEO Demetries J. Neely, the KAC has remained committed to the original vision, offering a wide range of programs and events that highlight the achievements and experiences of the Black community. By eliminating barriers, such as admission fees and accessibility, KAC ensures that all community members can engage with the arts and experience their transformative qualities.

The intentionality KAC showcases is apparent in all aspects of operations through events like Juneteenth, MLK Day Open House, and art exhibitions. The programs actively promote diversity and provide a platform for underrepresented voices.

DO-GOOD - SPRING 2024

“We take pride in providing access to marginalized groups, such as artists with disabilities and children of adults in recovery,” said Neely. “By offering rehearsal spaces, art studios, and employment opportunities, we create a supportive environment where everyone can thrive.”

With a small yet mighty team of eleven employees, Neely explains that everyone who works there does not see the position as a job. “We see it as our duty to come in the door every day and serve. All of us understand that we sit under the gaze of Dr. King.”

“We see it as our duty to come in the door every day and serve. All of us understand that we sit under the gaze of Dr. King.”

Neely explains that pride is visible not only to the public but also to young kids. At the heart of the KAC’s mission is its youth education program, “where dreams come alive.” Through partnerships with schools and other youth organizations, KAC offers STEAM education and cultural programming to students of all ages, from preschool to high school. The programs help bridge the gap for students from underserved areas, providing academic and creative enrichment in a supportive, safe space. With expert instructors like bankers, literary artists, and technology professionals, all programs are taught by qualified individuals who extensively understand the subject. KAC’s youth education program has been heavily recognized as best-in-class by Parent’s Magazine and is a place where kids are taught under previous “King Kids.” Many “King Kids” come back after their successful endeavors to teach other “King Kids” just like them.

Looking ahead, King Arts Complex has futuristic plans for its new initiatives. Thanks to a grant from Google, KAC will update all displays with animated and VR storytelling. These advancements will help expand storytelling experiences and further engage with the community through the arts. With its rich history, vibrant programs, and unwavering commitment to the community, KAC has become a cherished institution in Columbus and across the country. As it looks to the future, the complex will continue to inspire, educate, and uplift, ensuring that the transformative power of the arts remains accessible to all. If you would like to donate to the King Arts Complex, visit kingartscomplex.com/donate

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ARTS - SPRING 2024

Photograph courtesy of Yi Yang

G L A SACST Words by Ellyn Briggs Photography Courtesy of Franklin Park Conservatory and Botanical Gardens Layout by Atlas Biro

hen one thinks of Columbus, Ohio, two words likely come to mind: college football. But for the more artistically inclined, another activity may reign supreme: glassblowing.

This assessment was most definitely a correct one. That first exhibit in 2003, titled Chihuly at the Conservatory, saw record-breaking attendance, leading Franklin Park to permanently acquire the most featured arrangements. Today, the Conservatory boasts 18 Chihuly installations throughout its biomes, the world's most extensive private collection of its kind. The glass sculptures are regularly rotated to ensure visual interest for repeat visitors, of which there are many.

Since premier glassblower Dale Chihuly first brought his large-scale sculptures to sit on display at downtown's Franklin Park Conservatory and Botanical Gardens more than two decades ago, the capital city has become a sort of mecca for the medium — which entails inflating molten glass into unique shapes via a blowpipe.

So many, in fact, that the Conservatory decided to invest in the art form even further. In 2009, a hot shop — the formal name for a glassblowing studio — was temporarily added to the Franklin Park grounds, bringing an educational component into the fold. Patrons could observe glassblowers at work and even take classes themselves. Like the Chihuly exhibits, the hot shop proved so popular that it eventually became permanent.

The Conservatory initially bid for a Chihuly exhibition because it believed including art would bolster its mission of “being a place where the community gathers,” said Dee Ashworth, Associate Director of Visitor Experience. She added that Chihuly's “vibrant, organic style” fit seamlessly with the horticulture already at the center of its offerings.

ARTS - SPRING 2024

What all started as a nice-to-have novelty is now “an integral part” of what the Franklin Park Conservatory and Botanical Gardens does, said Ashworth. And the local art scene has benefited dramatically because of it. The Conservatory's hot shop is a popular destination for glassblowers coming out of Ohio State or the Columbus College of Art and Design, offering a place to practice their craft with a captive audience and showcase their finished work. Residency at Franklin Park also provides these artists with a steady income, which Ashworth noted can be a rarity in the industry, especially for those with more niche forms like glassblowing. But it's not just a young person's game. Ashworth said the Conservatory's hot shop currently employs as many “almost retired” folks as it does recent college grads. Fortunately, those interested in learning from these artists from all walks of life have ample opportunities. Live demonstrations happen from 11:00 am - 2:00 pm on weekdays and from 12:00– 3:00 pm on weekends beginning in early April and running through the end of the year. (The hot shop is outdoors and remains closed during winter.) Several one-off classes are also offered during these months, usually Wednesday through Saturday evenings.

These classes, which can now accommodate up to 16 people thanks to another significant investment in the hot shop by Franklin Park in 2023, often have seasonal ties. The most popular course by far, Ashworth said, is the glass pumpkin offering, available Aug. 1 - Oct. 31 each year. But no matter the subject, students' feedback is always of a similar sentiment: awe. “Whether the hot shop is hosting a corporate outing, a schoolaged class, or a night out among family and friends, everyone ends up being totally amazed by the unique process — and having a lot of fun,” Ashworth explained. Some even have so much fun that they go on to take the hot shop's six-week introduction to glassblowing class, where participants learn the fundamental skills necessary to gather molten glass from the furnace and form it into blown shapes. Ashworth is hopeful that the hot shop's newly increased capacity will allow for more of this kind of matriculation moving forward. “2023 was a pivotal year for us,” she said, “and we're excited to be able to create additional meaningful programming in the future.”

The Franklin Park Conservatory is located at 1777 E Broad St, Columbus, OH 43203

ARTS - SPRING 2024

THE CONTEMPLATIVE ART OF IKEBANA Words by John M. Clark Photography by Priscilla Dwomoh Layout by Tori Smith

n English, the Japanese term, “ikebana” translates roughly to “making flowers come alive.” That’s exactly what Joe Rotella does.

departments. Outside of work, Rotella immerses himself in his true passion. To this day, he’s not sure if his love for ikebana started with one of his 10 or 12 visits to Japan as an employee of Bell Labs or if the spark was lit by a visit to Franklin Park Conservatory almost 30 years ago.

By day, the 59-year-old Upper Arlington resident markets software for human resources

“…the Japanese teach that the ‘goal’ of creating ikebana should not be attaining a higher and higher degree. Instead, you should be patient and enjoy the beauty of what you’re creating.”

“It probably was a little of both,” he said. “But the Franklin Park ikebana exhibit certainly set me on the path to wanting to know more. I was so captivated by these very graceful arrangements that I asked if I could go through again.” Not only was he allowed, but several of the women who had designed the flower displays walked with Rotella, getting this outsider’s view on the various styles of ikebana that they had recreated. The women sensed that Rotella’s interest was not fleeting. And by the end of their walk, these teachers of the ancient art had welcomed him into their world. He’s been learning – and teaching – ever since.

Whereas the typical American floral arrangement might consist of a dozen or more flowers, often of several varieties and colors, most ikebana will have as few as three, or even one, stem. In the ohara school, practitioners follow guidelines for measurements and angles, to evoke certain feelings, while creating a balanced design that reflects the style of the school. The difference between an inch or two of space between these natural elements can fill the displays with tension or create a very peaceful scene. “All day long, I get bombarded by emails,” Rotella said. “Then, after work, I switch to my craft. It’s all tactile – rough or smooth … the smell … the shape … the color. It just lifts me up. It’s something I don’t get in my digital, ‘work’ world.”

“In the sixth century, Japanese Buddhists began making these exquisite floral designs as offerings, or “kuge,” to honor the Buddha and the souls of the dead,” Rotella explained. “Gradually, different schools of thought, or styles of ikebana, began emerging, and the arrangements found their way into people’s homes – often in alcoves that were built especially for displaying them.”

And he’ll go to great lengths to obtain the materials he finds best-suited for his arrangements. “My partner isn’t into the same craft. But he indulges me. When I stop the car alongside a railroad track to pick up a particular leaf, or flower, or even a weed, I can always count on him to watch out for snakes.”

Make no mistake. FTD is not likely to deliver an ikebana arrangement to your door. In fact, many of the designs are so fragile they must be created in the exact locations they are meant to occupy. There are more than 3,000 schools, or styles, of Ikebana today. Ikenobo is the oldest and has a classical look. Sogestu is the most modern. It emphasizes selfexpression and is often more sculptural. Rotella was captivated from the beginning by a very natural presentation characterized by the ohara school, which seeks to create a feeling of peace and serenity through elements found in nature – typically arranged, asymmetrically, in larger, shallow vases.

Yes, a small branch, moss or even a weed can be just as important to an ohara arrangement as a flower. Why place a leaf with a dry, brown spot in the middle of a green patch of moss? “You might imagine that a deer has walked through the scene, trampling the grass. It’s all part of nature. And it’s beautiful.”

ARTS - SPRING 2024

Over the past 30 years of study, Rotella has risen to the level of Third Term Master – among the highest degrees of ikebana knowledge and craft among Central Ohioans. “But it can still be frustrating for me at times, as a Westerner,” he said. “I want to attain the greatest level I can. But the Japanese teach that the ‘goal’ of creating ikebana should not be attaining a higher and higher degree. Instead, you should be patient and enjoy the beauty of what you’re creating.”

unnecessary noise.” Talking to one another while the teacher demonstrates is prohibited. Whispering is kept to a minimum. As a sign of respect, I am referred to as ‘sensei’ (teacher), just as I address my instructors.” As a practitioner of his craft, Rotella holds a deep appreciation for its origin. “It all goes back to those Buddhist offerings and wanting to ‘give’ the best that you can,” he said. “We look at every flower and examine it to see if it’s the right one for a particular arrangement,” he said. “We look at which way to place it so that it looks its best – so that it looks natural. We respect the elements we work with. After all, they gave their lives for the art we create.”

These days, Rotella enjoys teaching ikebana – in private homes, at the Columbus Museum of Art, at conventions, for Asian American Community Services – wherever those who love the craft gather to learn. And it’s not just the arrangements they immerse themselves in. “This ancient Japanese art,” he said, “is also about respect. I encourage my students to bring small towels with them to class to lay their scissors on, so they don’t create

If you’re interested in learning more, contact Joe at JoeR@createNcraft.com Photoshoot location: Yokoso Center (1175 Old Henderson Rd.)

ARTS - SPRING 2024

Words by Laura Hennigan Photography by Michael Hogan Layout by Bryce Patterson

s a child, Michael Hogan had hoped to pursue a career in architecture, but math was never a strong suit. Years later, he has found a hobby that allows him to live out his professional dreams, albeit in a slightly smaller format. "I've always had a strong interest in architecture and design, and I gravitate towards many different styles," Hogan shares. "Designing miniatures allows me to pursue that passion and have a creative outlet."

their real-life counterpart, with one foot in actuality equaling one inch in miniature. Every detail, from an impossibly small tray of decorated cookies to lamps that turn on and off to the tailored window treatments, is meticulous and precise. "My goal is to make it look as realistic as possible, not like a dollhouse. I want someone to look at a room and completely believe that it's real," says Hogan. He says that bringing a vision to fruition generally takes almost a year. "I start by deciding on a room's size, design, and style and then place the order with my box builder, Tony Jones, who lives in Tennessee. In the months while the room box is being built, I am commissioning and collecting the pieces I want to include." For inspiration, he peruses websites like Arhaus, Ethan Allen, Restoration Hardware, Ikea, dollhouse auction sites, eBay, and Etsy.

Hogan is referring to the phenomenon of dollhouse miniatures, where incredibly detailed, realistic scenes are created with tiny museum-quality pieces crafted by artisans from around the world. These aren't your grandmother's Victorian dollhouses, with ancient wallpaper and plywood floors, but rather intricate and thoughtfully planned rooms that rival those found in Architectural Digest. Hogan wasn't familiar with miniatures until 2016, when he won an online auction for a dollhouse. "My original plan was just to refurbish the dollhouse for fun, but when I received it, it had all this beautiful artisan furniture," he says. "I started doing research about the pieces and discovered that many of the items were handmade and very valuable. I didn't know anything about miniatures as a hobby at that point, and I was amazed to discover that there were miniaturists who had been creating rooms for years. So it turned into the perfect opportunity for me to begin designing my own rooms."

Hogan also works with artisans from across the globe to acquire custom miniatures such as a replica of the Degas statue" Little Dancer" made of iron by Neil Carter and Chesterfield sofas crafted with genuine leather by Gail Steffey.

“It's incredible that there are miniature artisans all over the world who make these items by hand.” Many of them have a particular specialty. I use someone in California for all my windows, someone in Spain for metal and iron pieces, and all the lighting comes from England," says Hogan. He readily admits that this is an expensive hobby and that amassing the miniatures costs thousands of dollars.

The den in Hogan's Columbus home serves as a staging area for over two dozen different rooms and dollhouses, each with its own distinct style, from a modern New York brownstone to an expansive Spanish complex. Each display is full of petite pieces, including furniture, plates, vases, and artwork, that have been created in exact scale to

To stay on top of costs, Hogan organizes each project just as an interior designer would, with a budget and spreadsheets. "It's absolutely an investment."

A lot of people don't even realize that this hobby exists at this level. But over the past few years, it has started getting a lot of national press and attracting a whole new audience. It's really fun because interest and popularity have been resurgent, and people are very interested in it. Many older folks involved with this hobby are now passing it on, and the younger generation is picking up where they left off."

Hogan's Instagram account @dollhouse_miniature_ interiors has nearly 37,000 followers, and his work has been featured by the Today Show, Wall Street Journal, Katie Couric Media, and House Beautiful. This year, he plans to learn more about opportunities to showcase his designs in museums and exhibits so the public can enjoy the dollhouse miniature creations in person. He is also exploring having an artist's agent represent his work. "

To follow Michael Hogan’s work, find him on Instagram at @dollhouse_miniature_interiors. You can inquire about custom projects at dollhouseminiatureinteriors@gmail.com.

Be it your dream wedding, an anniversary, or a corporate gathering, Jorgensen Farms is the place to celebrate meaningful moments in life. We look forward to seeing you on the farm soon.

Photo: Brad Feinknopf

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ARTS - SPRING 2024

Joshua Schottenstein in his pottery studio

E VE RYT H I N G O L D I S

New Again Words by Sharon Weiss Photography by Leonardo Carrizo Layout by Atlas Biro

hio's pottery tradition lives on through the talented hands of Joshua Schottenstein, who has emerged as a prominent figure in Columbus's modern art pottery scene. Josh garnered a deep admiration for the art of ceramics by watching his mother expertly craft creations from clay. Later, during his time in Western Massachusetts, he uncovered his own talent for molding and shaping clay into beautiful ceramic pieces. He speaks highly of these early days of learning and observation.

In a recent conversation, I had the opportunity to explore Josh's love for ceramics and his future aspirations. With a beaming smile, he expressed how the clay guides his creative process and how he shares a profound respect with it. He spoke of the all-encompassing nature of working with pottery, stating,

“ It's the complete immersion that draws me to it - a multi-sensory experience that centers around touch, encouraging me to truly feel out the clay.” In his current studio, Josh's creativity thrives as he constantly explores new shapes and glazes. During my visit, I was privileged to witness the unveiling of his latest creation - a new glaze - as he allowed me to take a glimpse inside a scorching kiln. What a treat! In March, Josh has big plans to launch Adamah Ceramics, a unique ceramic gallery and teaching studio located in the Short North. Collaborating with local and national ceramicists, Josh is eagerly embarking on a new chapter of his career that promises to be full of excitement and growth. As a fellow Short North business owner, I couldn’t be more thrilled!

You can find Adamah Ceramics at 641 N High St. and you can follow Joshua at @joshua.schottenstein

BEYOND THE SCREEN:

ARTS - SPRING 2024

Exploring the

Cultural Tapestry

of Wexner Film Center

Words by Taylor Dorrell Photography by Taylor Dorrell Layout by Atlas Biro

he theater in the Wexner Center for the Arts is a modest one. The seating is fixed-back, the screen size is standard, popcorn has only recently been introduced as an edible accommodation, and the space, located beneath a set of stairs and a declining hallway, feels almost hidden beneath the sprawling postmodern building. And yet it’s in its very lack of glamor, snack options, and reclining chairs that makes the Wex’s film program notable. As local theaters compete to provide cushioned reclining seats, deafoning surround sound, and “4-D” features, the Wex is busy conversing with different archives about showing rare classics on 70mm film; while other theaters struggle to secure enough ticket sales off the newest blockbuster animation, the Wex is planning panel discussions with the upcoming generation of filmmakers from South America. The conventional venue of the Wex promises something exclusive and unmatched in Columbus and the state of Ohio, something more than a movie theater or a gallery’s film program. I went to the Wex not long ago to see the classic 1957 Italian film, Nights of Cabiria, a drama about the tragically optimistic sex worker, Giulietta Masina, who finds herself robbed of what little she had. The film is one of the most praised of the 20th century and it’s also one that anyone can stream online—it’s located snugly in the great collection of movies-you-should-know, the Criterion Collection.

With the ever increasing accessibility of movies at home has also come the decreased demand for movies in person. No theater in Central Ohio would dare screen with such ambition and devotion the collected works of director Federico Fellini. What profit-motive would a struggling local theater have to screen a dozen-film retrospective of a 20th century Italian director? Imagine the rent that would be lost to the relatively empty theaters seating a couple of dozen film buffs enjoying the quintessential masterpieces of Italian cinema. More recently, I found myself in the projector room at the Wex chatting with the head of the Wexner Center's film/video department, Dave Filipi, who is, although perceptive to the many struggles facing the contemporary film industry, tragically optimistic. “I think it's vitally important that people are able to come to a place like the Wexner Center where we're taking everything incredibly seriously in terms of the presentation,” Filipi told me.

“ It's not about the commercials, trailers, popcorn, and candy— although we do have popcorn now—it's a serious art form and you have to be serious about the way that you present it.”

ARTS - SPRING 2024

that I just so happened to project the Orson Welles documentary F is for Fake the night before on a bed sheet. He was unimpressed. “I am a firm believer that the cinema is an art form and the only way that you're truly experiencing cinema as an art form is the way it's supposed to be, the way it was intended, to see it in a theater on a big screen with other audience members,” he explained with one hand on the film projector—the Wex’s film projectors boast the capability of spinning three film sizes (16mm, 35mm, and 70mm) and secure them a friendly relationship with a number of grand film archives. Memory is not a static or reliable feat. In fact, memory is more often a faint and blurry thing. I thought I’d watched at least two Fellini films at the Wex’s Fellini Retrospective, but, as it happens, I’d only seen one. The others I’d watched in the heat of the pandemic on the Criterion Channel, bundled cozily at home with cereal and multiple bathroom breaks—I know because of the time-logs on my ratings of the films archived on the increasinglypopular movie app, letterboxd. The shrinking of screens coincides with our increased usage of them. The cultural theorist Walter Benjamin observed that the reproduced work of art is becoming “to an ever-increasing extent the reproduction of a work of art designed for reproducibility.” (Italics added.) A new industry of restoring film to 4K digital copies has developed and inverted the medium of film into something hyper-real, transforming memory itself. Filipi, skeptical of the hyper-intensive restoration yet supportive in principle (the Wex hosts residents who restore films), told me about someone who restored an Orson Welles film so clearly that it exposed highways that lined what was originally a believable medieval battle. Cinema has always been entangled in the technological, social, and economic trends of the time and the present is no exception. Today, as film becomes outmoded, the outmoded is developing a new aura.

Filipi is a Midwesterner—although he never considered Ohio a part of the Midwest until moving to Columbus in the mid-1990s (“I didn't think of it as farm country, which obviously it very much is,” he said in a tone that was almost apologetic). A Minnesotan from birth, he attended college in his home state then Wisconsin for film and media studies. “It's such a different world now,” Filipi said—we were speaking about the state of moviegoing now. “When I was in college, there was barely cable TV, there wasn't anything like Turner Classic Movies or the Criterion Channel and so if a movie theater was doing a Buster Keaton Retrospective or a Kurosawa Retrospective, it was urgent that you went there and that you saw these movies while they're being shown because you never knew when you'd get another chance to see them.” Like many film buffs of the 2020s, Filipi is a purist. He is a believer in the experience of sitting down on standard, sometimes uncomfortable, theater seats to experience a projected movie on a physical, sometimes scarred, screen. “Fellini didn't make any of those films thinking that they're going to show on a 40-inch TV where people are pausing and talking and going to get a drink,” he told me. I responded

Despite the challenges that technology and monopolies pose in cinema, of which the funders of art centers sometimes contribute to, there nonetheless remains an unrelenting passion from artists, filmmakers, and connoisseurs. Cinema is, after all, a cultural commodity, and the Wex is both a monument to and reverse image of a society which capital is seen as the moral aim of the economic process. The place is suspended between the Ohio State University, of which it is a part of, and the lucrative contemporary art industry and the finance capital of which its name-sake testifies.

state-funding, and donations, the Wex exists outside of standardized binaries of museums and theaters as a unique cultural hub that challenges the current spectrum of commercial cinema, giving new filmmakers a platform for growth and the iconic filmmakers of the past century a space to be re-discovered by Columbus movie-goers. “That's just part of our DNA,” Filipi explained. “We think it's important to show the newest films that are causing buzz or filmmakers that are on the cutting edge of the field right now, but also it's important to show the films from the past that influence the films that are being made today.” If there is to be a mass resurgence and re-centering of cinema-going in our local culture, which is within reason (as confirmed by the American cultural critic Fredric Jameson who wrote that film festivals “might indeed once again qualify for an aura of a new type,”), it will find legs in the modest theater at the Wex.

What is the Wexner Center for the Arts after all? It’s not a commercial movie theater, it has no art collection, no obvious marks of a place of commerce. It is, as they attest, a "multidisciplinary, international laboratory for the exploration and advancement of contemporary art." With grants,

ARTS - SPRING 2024

There's

No Place

Like Home

Words by Taylor Dorrell Photography by Taylor Dorrell Layout by Atlas Biro

arrived at 1 East Gay Street to find James McDevitt-Strednet, the director of No Place Gallery, a canine, and two other humans talking about having James for a studio visit in New York City. The canine and two humans live in Brooklyn, but they were driving from their Midwestern homeland of Indiana and planned to stop by to see the gallery and chat about a potential show in the summer. As it happens, No Place Gallery has become a magnet for up-and-coming bi-coastal (NYC and LA) artists who hail from the Midwest. The massive influx of regional talent flocks to the coastal capital centers of the country and returns solely for the familial ties and infrequent annual holidays. James, however, is working to change that. Proficient in bringing in talent and fostering artists locally, he can be found at any opening at the Wexner Center for the Arts, the Beeler Gallery at CCAD, or various galleries on the coasts, shaking hands with curators, collectors, and artists. With little institutional assistance and almost no financial backing, he is creating an artistic base for artists to show their work in the country's warm center.

No Place Gallery began as a shared studio space for James and a group of CCAD students in a large space on the South Side around 2011. Formerly a mechanic's garage, the front of the building eventually became a gallery space for artists and local musicians. By 2015, almost all of the original group had moved to LA while James was here working at the Wexner Center for the Arts. There, he learned the ins and outs of the art industry and the legality of the art of taking discarded materials—the overflow of thrown-out drywall, wood, and other materials from Wex shows were trucked over to No Place to build up their gallery. I looked as James was flipping through the promotional posters archived from the old location, explaining how the south side spot was built on the trickle-down materials and knowledge from the well-funded Wexner Center. “From there, I thought, what if next time I'm in New York, I just pick up a bunch of work and bring it here and show it and see what happens?”

SEASON 2023 - SECTION

ARTS - SPRING 2024

The city's young creatives gather to see the work, chat with friends, and plan the rest of the evening while art collectors and local luminaries scope potential works to purchase. Standing beside James, I looked him straight in the eye and told him he was absolutely mad. Well, I didn't use those exact words. In reality, I asked, “How do you feel standing here in Columbus since you didn't move to New York?” But James understood the implication. He'd just had a conversation on this very topic, as he often does. “A curator at our recent opening told me: ‘You can't go because your story, the way you market and sell, the way you talk about work, and your program is so baked into the narrative of how this place exists.’” I, too, understood the implication. Most Midwestern artists live an anxious life, constantly feeling forced to jump into the meat grinder that is NYC and LA, hoping to come out of the other side as a famous and financially independent creative. But then there are those who stay. The current location, nestled centrally on Gay Street downtown, has become an integral cultural center on opening nights. The city's young creatives gather to see the work, chat with friends, and plan the rest of the evening while art collectors and local luminaries scope potential works to purchase. James and I were standing in the gallery among pieces from the current show, Material Mythologies, a group show featuring artists from across the country and some from Columbus, while he explained how the location could exist in such an expensive real estate market. Such a central storefront property might typically cost north of

$5k a month, but thanks to his years of work in the community, an unlikely contributor stepped up. “I considered moving to New York and LA, and I had one foot out the door at the end of 2020, but then there was a developer here that said, hey, I'm revitalizing the downtown scene; what are your thoughts on shopping for a new space?” Thanks to a developer seeing the need for funding local culture, the space was offered to James at a highly discounted rate and allowed for the gallery that was once built from the scraps of the Wex located in an old mechanics garage to move into one of the most sought after locations in the city. “I reached out to a lot of clients and said we could really use the support right now; I've got to see this thing through. And now here we are two years later, doing it.” He pointed out that not many developers or other new money in the city are thinking about cultural capital; “They're not aware of things like this that just need a little push.”

in the late 19th and early 20th century, providing unique cultural hubs in the Midwest before Main Street and Hollywood won out. Late nineteenthcentury novelists set their honest stories in small Midwestern towns, and painters in the 1930s, like Grant Wood and Thomas Hart Benton, idealized Midwestern life. Today, with climate change sinking the coasts and threatening fresh water supplies, more are looking to move inland, and it just so happens that the fastest-growing city in the Midwestern Great Lakes region is Columbus. “I wish I were elsewhere,” James told me, “I love being elsewhere, and that's why I travel so often and do studio visits and go to shows and other cities. But I do like being here because this is the salt of the Midwest, you know?” The title of No Place Gallery, a title that could be seen as critical of the region, in fact comes from a sign that hung above their old location. It read: “There's no place like home.”

James McDevitt-Strednet, whose interest was once reserved for his own painting practice, which he's largely abandoned in favor of producing No Place Gallery, believes in the future of the Midwest and Columbus. Regionalism once thrived

No Place is a contemporary gallery located 1 E Gay St, Columbus, OH 43215, @no_place_gallery

ARTS - SPRING 2024

he Columbus Museum of Art routinely displays the exceptional talents of the artists that call this city home. It gives us, as visitors, an impressive introduction to many of Columbus’ creatives, past and present. Avantgarde contemporary pieces, meticulous classical works, intriguing installations, bold abstract expressionist pieces, and profound photo realism all reflect the diversity and creativity Columbus has always strived to foster. Sarah Berenz, the Roy Lichtenstein Curatorial Fellow at the Columbus Museum of Art, shares a few of the pieces currently on display.

FIVE COLUMBUS ARTISTS Past & Present Dorothy Gill Barnes

(1927-2020)

Artist Dorothy Gill Barnes was an innovator in basketry and weaving, working primarily with fiber and wood. Her practice involved sustainably harvesting natural materials, primarily from around her neighborhood. Barnes’ work can be found in collections across the U.S., including the Renwick Gallery of the Smithsonian American Art Museum, D.C.; the Museum of Arts and Design, N.Y.C.; and the Columbus Museum of Art, Columbus, OH. *Dorothy Gill Barnes’ Pine Bark Pair (CMA Collection) is included in the exhibition Woven Histories: Textiles ad Modern Abstraction, organized by the National Gallery of Art, Washington

Barbara Chavous, Jazz Totem #2, Jazz Totem #11, and Jazz Totem #4, 1979, Painted wood, metal, and rope. Collection of the Columbus Museum of Art.

Barbara Chavous

(1936-2008)

A significant contributor to Columbus’ Black art scene, artist Barbara Chavous mentored many other artists in the city during her lifetime. She was inspired by Native American totem poles at the American Museum of Natural History in New York City, later creating “totem” sculptures. These works were designed to connect earthly life with that of the sky. *Three of Barbara Chavous’ Jazz Sculptures are on view now at CMA in the Upper-Level Walter Wing

Dorothy Gill Barnes, Pine Bark Pair [large], 1998, Pine and reed. Collection of the Columbus Museum of Art.

Omar Shaheed

Omar Shaheed, Lady in the Window, Date unknown, Limestone. Collection of the Columbus Museum of Art.

Clare Rojas, Emmanuelle (The Lord is Among Us), 2023, Patinated bronze. Collection of the Columbus Museum of Art.

(b. 1946)

Artist Omar Shaheed’s stone sculptures portray the many experiences of being human. Limestone, a fickle and unforgiving material, presents challenges during the sculpting process and is the artist’s preferred medium. *The Columbus Museum of Art has two sculptures by Shaheed in its collection.

Ann Hamilton, reflection 12:35, 1999-2001, Iris print on Arches™ watercolor paper. Collection of the Columbus Museum of Art.

Ann Hamilton (b. 1956)

Internationally recognized artist Ann Hamilton works across multimedia, creating installations, performances, and public projects. Hamilton builds small- and large-scale environments with recurring forms like text, cloth, animals, and people. Hamilton is from Lima, Ohio, and is a Professor Emeritus at Ohio State University. *Ann Hamilton’s toothpick suit (on loan) is on view now at CMA in the Upper-Level Walter Wing

Clare Rojas (b. 1976)

Multidisciplinary artist Clare Rojas creates work that intricately connects to storytelling. Rojas’ various forms of expression include painting, sculpture, installation, and music, all of which incorporate reduction or a paring down of form to examine the tension of balance. The Columbus Museum of Art recently added Rojas’ bronze sculpture of a calla lily entitled Emmanuelle (The Lord is Among Us) (2023), to its collection.

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Reimagining Your Home Kitchen Kraft has been blending modern technology with traditional craftsmanship for the past three decades, leaving an indelible mark on the homes, and lives, they’ve touched By Sav McKee Photography courtesy of Kitchen Kraft Layout by Tori Smith In the 1990s, a surge in kitchen remodeling swept through as homeowners sought to replace dated laminate countertops and vibrant formica cabinetry with more contemporary options, like granite and light oak. This renovation process though, even for the minor of changes, proved to be quite cumbersome, with interior design businesses sometimes taking months to produce hand-drawn designs and establish pricing and a construction plan.

While their name suggests a focus on kitchens, Kitchen Kraft is adept at remodeling bathrooms, mudrooms, powder rooms, and even specialize in whole floor remodeling, which encompasses 75% of their renovations. Their comprehensive approach, aligned with client expectations and goals, consistently exceeds expectations. The initial step in ensuring a superior remodeling experience is a free, in-home Design Consultation, where the designer and client meet to discuss goals, expectations, timeframes, and budget. They’re one of the only companies that provide this step of the process for no cost.

Then, in 1995, duo Chris Spade and Jim Deen entered the scene with their business concept, Kitchen Kraft, revolutionizing the interior design industry by adopting Computer-Aided Design (CAD) programs before most designers and renovators in Columbus thought to do so. They were able to streamline the design process in just a couple of hours for their clients, while other businesses were still taking months at a time.

The subsequent Design Phase involves utilizing their skilled, in-house engineer, who takes photographs and measurements for what they call a “discovery meeting.” This allows them to gather essential data to build accurate CAD plans that address clients’ remodeling needs.

Spade, co-owner of Kitchen Kraft, recalled, “We were pioneers in the 90s, and other companies were actually laughing at us for using CAD. They thought we were too young to know what we were doing – that our company would never work. But we knew that offering a more modern approach would make us successful.”

Moving forward, clients engage in the Selections Phase with a Kitchen Kraft expert designer, choosing premium materials from the exclusive remodeling showroom. With those selections, the designer then crafts a customized plan and presentation with design renderings to help provide the client with an idea of the envisioned space. This collaborative process between the client and designer ensures client satisfaction, allowing them to change any products or layouts if needed.

Nearly three decades later, Kitchen Kraft remains at the forefront of high-end home renovation, distinguished not only by their modern and efficient design process, but also by their client-centric philosophy that’s truly become the hallmark of their success here in central Ohio. Their commitment to excellence, and their clients, have earned them accolades such as “Best of House Design” in 2022 and 2023 by home improvement company, Houzz.

Lastly, a Construction Agreement, which includes payment schedules, project timelines, approved specifications, drawings, and required products, is then drafted and signed, ensuring a clear, streamlined planning process.

The deluxe showroom, specifically curated to meet diverse customers’ needs, reflects the varied tastes found in Columbus, and Kitchen Craft’s commitment to serving them all. Spade emphasized, “In Columbus, there’s a lot of different client tastes and expectations, and it’s important for our designers to be able to know and evaluate what their clients’ tastes are, and for us to be able to provide them what they want and need. Being able to perform work with a variety of preferences is a large part of our business.”

For homeowners seeking to transition from their 90s granite and oak aesthetics to the more timeless trends of 2024, Kitchen Kraft stands as the unrivaled choice in central Ohio, just as they have for decades. They’ll not only meet your expectations, but will exceed them, ensuring that every detail of your home, much like their own origin story, is artfully conceptualized, modern, and refined. To schedule a consultation, visit kitchenkraftinc.com or call them at (614) 389-9236.

It’s no wonder that Spade, Deen, and the Kitchen Kraft team have been successfully operating for almost 30 years – client testimonials commend the business for being reliable, extremely professional, accurately priced, and delivering quality craftsmanship. As one client attested, “Wonderful attention to detail. They took care of us from the very first consultation to the final walk through of our new kitchen.”

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“Remodeling can be taxing on a client,” Spade concluded, “but we’ve established trust, from A-Z. Not only do we do incredible work, but we do it efficiently, promising to always put our clients first.”

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Taking Big Bets How Iterhic Wealth’s unique approach to financial planning helps executives maximize their earnings and reach their goals By Jack McLaughlin Photography by Jen Brown Layout by Tori Smith Quarter one is the time where many corporate executives receive payment in bigger lumps, often as vesting stock grants or bonuses based on the previous year’s company performance. But while those big payouts may be based on looking back, Iterhic Wealth founder Matt Terwilliger makes it a habit to keep looking forward.

a 3-pronged approach to implementing a family’s financial plan. “Internally we organize our planning strategies into three main buckets. We call it DBF Planning. The ‘D’ stands for Do Dailies, and these are the regular things we must do to keep the lights on and meet long term goals like retirement. We must contribute to your 401k, we must to pay your mortgage, etc.”

“So many executives have a lifestyle they’ve achieved, and they get into a habit of paying off what they’ve already spent with their bonuses,” Terwilliger said. “It’s this constant hamster wheel of keeping up, and we’re trying to get people off of it.”

Terwilliger goes on to explain, “The ‘B’ stands for Big Bets. These are the variables—vesting stock which varies greatly in value depending on how the stock is doing at any one time, performance bonuses, etc. It’s very important we understand what the executive compensation package looks like, and very important that we treat the variable components as variable. This helps us position these lumps as things to accelerate short or long term goals rather than critical to maintaining status quo.”

Iterhic Wealth, with Terwilliger at the helm, is uniquely qualified to assist executives and other lumpy earners in maximizing their income, while looking ahead toward long-term goals. According to Terwilliger, most corporate executives don’t have the time or capacity to plan their cash flow for the year and integrate irregular and sometimes unpredictable bonuses and stock vesting amounts—let alone to overlay that on top of their short and long term goals.

According to Victoria’s Secret executive and Iterhic client Ishan Patel, finding an advisor who understands the complexities of executive compensation is an enormous asset, especially since stocks aren’t tied to a hard dollar amount.

“It is important to have an advisor who understands your company’s stock plan, as it is critical for planning to understand all the potential inflows and the potentials sizes, timing, and tax implications of any grants.” Said Jason Judd, executive at Safelite and Iterhic Wealth client. “Having an advisor to help with this allowed for both predictable (to the extent it can be) growth in my savings and the discipline to not spend most of the bonuses before actually earned.”

“My advisor is intimately familiar with how my employer's stock plan works, so I can rest easy knowing we will be well-prepared to make decisions for essential events, mainly since trading windows can be limited. With the help of my financial advisor, we created a model that showed us how our shortterm and long-term goals could be achieved and maintained over time. This model gave us more confidence in our financial future and allowed us to live in the present moment more fully,” Patel said.

To address the inherent complexity of lumpy earners and executives, Terwilliger has developed

From left: Sarah Sylvester, Executive at Victoria’s Secret; Iterhic founder and senior wealth advisor Matt Terwilliger; and Senior wealth associate at Iterhic Bethany Demassimo

Sarah Sylvester, Victoria’s Secret executive and Iterhic client echoed Patel’s sentiment. “Having an advisor who understands my compensation plan (probably better than I do) has helped us properly assess our income planning not only for the next few years but also for how that plays out for the long term. Sometimes the programs can be complicated or change and it’s such a relief to have a thought partner.” To tie it all up, Terwilliger explained what ‘F’ stands for. “F stands for Freedom Points. These are milestones or long term goals our clients set that grant them new freedom to live differently. When we can achieve Do Dailies with predictable income, and when big bets pay off, it’s awesome to see clients reach a freedom point. It’s my favorite part of this job.” To learn more, visit iterhicwealth.com

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Registered Representatives of Sanctuary Securities, Inc. and Investment Advisor Representatives of Sanctuary Advisors, LLC. Securities offered through Sanctuary Securities Inc., Member FINRA, SIPC. Advisory services offered through Sanctuary Advisors, LLC, an SEC Registered Investment Advisor. Iterhic Wealth Advisors is a DBA of Sanctuary Securities, Inc. and Sanctuary Advisors, LLC.

COVER STORY - SPRING 2024

Interview by CANAAN LENDELL

BALLET'S MAESTRO THE ARTISTIC ODYSSEY OF

EDWAARD LIANG Photography by LEONARDO CARRIZO Layout by TORI SMITH

met with Edwaard Liang late last July, deep in preparations for the 23/24 season. The BalletMet studios were bustling with dancers and students of all ages, darting in and out of lessons and rehearsals. We sat down to discuss his upcoming eleventh season and beyond as Artistic Director at BalletMet, though Edwaard has recently announced his acceptance of the position of Artistic Director at The Washington Ballet starting this Spring, so our conversation serves as a good retrospective on his numerous accomplishments and contributions during his tenure.

You’re going into your eleventh season with the BalletMet. How are you feeling?

As a non-profit company you run a bit differently. For example, your dancers aren’t under the hierarchical structure that’s common in dance. How does that aspect of BalletMet affect your growth and interactions with the community in ways that being a for-profit company wouldn’t allow you?

Last season was a lot about reflection and the past ten years. I’ve learned the importance, vitality, and absolute need for the arts. I’m very proud of the organization; we set really ambitious goals for the past ten years and were able to achieve them, and in getting to the ten year mark we’re starting to set new sights. Four years from now BalletMet is going to turn fifty and have their 50th anniversary, which is a huge milestone. Who do we want to be at fifty? It’s very exciting for me to - not necessarily reflect - but reflect as an exercise in what we’ve learned. I’m not very nostalgic about things; fortunately or unfortunately I always love to see what’s next: the next goal, the next season. What is our strategy, vision, and dream for our academy, company, dancers, and staff, and how can we continue to follow our mission and vision: to bring world-class dance to Columbus and beyond.

It’s wonderful, but it’s really a balance point. Forprofit companies are about the bottom line, and our mission and vision is really about the community. How do we serve the community, what does equity and belonging mean to our organization? To give you an example, we don’t charge our extras to participate in company performances. Activities like youth soccer teams have extra charges for this or that, participation fees. We have scholarships and programs like Discover Dance which offer free classes for young, aspiring students. So, the scope of our organization is very different from for-profit arts organizations or schools. By balance what I mean is both: how do we enrich and give to our community, and how are we good stewards of a business model that works. I cannot speak on forprofit organizations and how they view and balance out, or if they do, their mission and vision, but that is very important to us. Especially these past many years, what does our student body look like in terms of equity? With our board, with our teachers, with our stagers and choreographers - is there representation, and how do we present ourselves and reflect our community? Not only the company, but the academy as well. I’m not sure what the conversation is for the for-profit schools, because it’s a business. To answer your question about the company, I think that there are more pros to having a company that is non-ranked. In any sort of dance model you’re going to have your challenges, but I love the fact that the dancers in our company have equal opportunity. It means that we’re trying our best in an imbalanced industry to achieve balance. I remember Jiři Kylián at NDT, who I worked with in Europe; one of his dancers was complaining about pay, casting, and how much they danced. And NDT is a structure like ours where there are no rankings, so the dancer to Kylián was like, this is an unranked company. His answer was, “some are more equal than others” - a very political and clever way of saying that the dance structure, hierarchical or ensemble, still has nuances, whether it be pay scale, ability, or even artistry, which is subjective as well.

When you joined, one of your goals was to bring BalletMet to a position where it could participate in the larger dance conversation, on a more national and global level. Do you think that you’ve been able to accomplish that? Yes, that definitely was a box that we were very happy to check off. We were invited to perform in Dance USA, a national dance forum which brings together the leaders in dance in North America. We toured Montreal, we’ve increased our presence and branding - it kind of goes hand in hand with the growth of the organization’s budget as a whole. We’ve been able to essentially double our size, so that goes with a more national presence and having more of a scope of branding. Also, our executive director Sue Porter and I have participated with a lot of other artistic directors and arts non-profit leaders in benchmarking our effectiveness in serving the community, and conversations on how we can continue the message that we belong to the community. With ballet companies it’s even more evident because we have a huge education program that goes into our school districts. We have an academy that grows young artists and has participation with our community. Really face-to-face. Then the company is the performance aspect, and our ability to invite and retain national and international artists to come live in Columbus has also increased. I am really proud of what we have been able to accomplish.

COVER STORY - SPRING 2024

“There are so many actors and performers that don’t make a lot of money, but they have to do it. This is a calling; you can’t even understand what that relationship and connection is between the artist and audience when they become one.” There’s always going to be intensities, it’s very difficult to achieve something perfectly flat.

Once I was of age to work in NYC I worked at McDonald’s, TCBY; I also did deliveries for Chinese restaurants and high-end restaurants like Fiorello’s. This was before the Internet and cellphones, so I did deliveries to high-end donors of the School of American Ballet - I would deliver packages back when messengers were on full-throttle.

Of course, and looking at the business side there will be different structures. Most companies don’t have everyone equal; there’s a CFO, CEO, manager, director positions. One thing that I’ve continued to realize and learn is that we all feel most comfortable as label-making machines. We want to know where we stand as human beings, and I think that you can’t, in our psychology, we haven’t found equal - there’s just no such thing.

Having studied under a hierarchical structure, do you think those experiences have affected how you lead BalletMet? I’ve had both experiences because NDT was not ranked, it was an ensemble company. So, I’m sure it has affected me by helping me form the opinion that I like leading an unranked ballet company. But just to put that out there, I walked into this. I did not choose to make it non-ranked, BalletMet has always been unranked.

I want to jump back - it was interesting reading your biography that at 13 you went to New York City to study. Obviously it’s worked out for you - but when I was reflecting it seemed a bit anachronistic, sending quite young kids off to study these very demanding arts. Do you have any thoughts or reflections on your experience?

NDT was your first exposure to choreography, and that wasn’t super early in your career, so what prompted that transition?

I agree with you, though the whole industry has changed. When I was growing up, there weren’t five layers to getting a professional job, there wasn’t a second company, there wasn’t a pre-professional program. You were a student - either a highlevel student within the school, or you were an apprentice to the company - but you were already a company member that would get a full contract. And dancing for NYC Ballet there was a hierarchy - the principal, soloist, corps de ballet. But things have changed, and a lot of dancers don’t get into the company at 16 years old as I did and instead go through a second company. Their parents often want them to do a second company while they’re doing courses in college, and many don’t accept dancers younger than 18, so the industry has changed in that sense. That doesn’t mean that there aren’t company members that I have taken that are not quite 18 yet, you just have to get the right paperwork and supervision. But, for transparency, moving to New York was not only just a want and dream, but a necessity. Because of my personal life and family dynamics, let’s just put it that way.

Unfortunately, and in some ways fortunately, I was kind of tunnel-visioned. I was so concentrated on NYC Ballet, that until I opened my eyes and left the aegis of NYC to go to Hollywood did I open my horizons more outside of the ballet career track. But even going to NDT, I was on a dancer mentality and track until - it was a dare - I started with a pas de deux as my first work, and it was I guess successful to a certain point. A company in New York saw the pas de deux in video, and they asked if they could perform it and it just quickly took off. From what I’ve heard from a lot of my friends and colleagues, is that they have a specific dream and vision and desire to be a choreographer from early on, so I guess I was a late bloomerIt just wasn’t on your radarAt all!

Do you have a specific interpretive mechanism for how you choreograph? Are you trying to draw out certain components already latent in the piece, or connect with the audience in a certain way? Is there any specific perspective that you consistently lend?

other extreme and have kept it. I don’t do a single step before I enter the studio: I choreograph on the dancers. I am confident that I can choreograph very quickly - I don’t have a fear of coming up with material. That does help in being able to enter the studio and just go. What helps inspire me is the music, though once in a while there will be a concept that spurs me on to look for music to fit the piece. For example, Airavata. I wanted to create a ballet where it was raining onstage, and I had to work around the production side of things and build it around that. But most of the time it is really about a piece of music that I have wanted to work with, or have stumbled upon, or that inspires me.

I didn’t really like my first couple of pieces because they felt, to me - actually my first piece not so much because I didn’t know what the hell I was doing *laughs* - but I was trying to put together and quantify my experience, and put a recipe to it, and I hated it. I really didn’t like the work because it felt contrived, too structured, too premeditated - it didn’t breathe, it didn’t have life. So I went to the

It sounds like you in a certain sense emphasize organicism, and maybe trying to adhere to the “truth” or intention of the ballet, but you primarily don’t want it to feel contrived.

to the lighting designer, costume designer - down to the audience. A memory and feeling you can’t quantify, that doesn’t disappear. I just saw this celebrity tweet about - I don’t know if I can say tweet, it’s X now - they said that as they’re getting older, what they really want to concentrate on is memories; they realize even more as they get older what you can’t take with you. All these material items are great, and people can spend money on themselves how they want, but these items you can’t take with you. While you are in this world what you do keep, and what stays with you, are experiences, and memories, and feelings.

Yea, I mean to the best that we can. I feel as if that will touch, move, and inspire me, the dancers, and ultimately the audience. That’s a great way to put it, just as organic as possible, so that it has breath and room to grow, because art and dance is such an ephemeral art that is constantly changing and moving. It is here and gone, but at the same time it forever affects the individuals that it touches, whether it be the people that are a part of it - the production, stage hands, dancers, choreographer,

COVER STORY - SPRING 2024

That’s really interesting because memories are in a sense never real - every recollection is a reconstruction - so it’s almost like a great performance is one that gives you the right pieces to reconstruct the perfect memory. It leaves you with an impression such that even if there were small mistakes or imperfections what you’re left with is the pure feeling of the performance.

- and it was the first time I had the budget or ability to bring in multimedia in terms of projection. Experimenting with projection to start the ballet - what if it looked like the dancers were walking out of the screen? It was a clunky first try of how it would look for a high-density projection. Now they have incredibly high-resolution projectors using photographs and computer analysis - they can reimagine having the building move in multiple directions - it was a first whack at that.

You could go down this rabbit hole of what we are, what sticks, y’know - this sounds a little dramatic, but as dancers, we’ve dedicated our lives to this art form. I truly believe in the power of this, not just as a career, but for a lot of the dancers and people in the arts and entertainment industry it’s a vocation - you have to do it. There are so many actors and performers that don’t make a lot of money, but they have to do it. This is a calling; you can’t even understand what that relationship and connection is between the artist and audience when they become one. To scale it down: whether you treat somebody good, bad or indifferent, people don’t remember the specific words or interactions you had, they remember the feeling that they walk away from the conversation with. That’s what stays with you, and guides how you will interact with this person or organization in the future - they’ve left an imprint. So that just gives you a sense of the power of emotion and feeling.

Sounds ambitious! It didn’t work very well *laughs*. But I just liked trying my hand at that, I learned a lot from my time at NDT on how to think outside of the box, and what does dance and ballet mean, and what are some of the confinements that classical ballet has that would be interesting to experiment with. Either breaking or keeping some of the components for a specific purpose. So actually in the opposite direction - there seems to be a tendency, not just in ballet, where classics and great works of art are almost like artifacts that we can’t really interact with. We recognize that at one time they were great achievements, and we admire their formal beauty or precision, but they don’t seem to hold a conversation with the audience like contemporary pieces. You just did Swan Lake for your 10th anniversary with the BalletMet, and I wonder what place performances like it have today?

To jump back to a more material discussion, you mentioned using rain onstage in Airavata. In Murmuration you had feathers cascade from the ceiling, and for Cedar Lake you did a very postmodern, interdisciplinary piece where you incorporated both Vivaldi and This Mortal Coil into the same performance. The emotions, connections, and themes we were talking about have always been present in performance arts but how do contemporary and more multimedia forms of dance allow you to communicate with the audience in ways that you might not have been able to with purely classical?

I didn’t come up with this, but great art, and especially classical ballet, is a distillation of the best of the best. Although they were successful in the 1900s, there are certain productions they have never been performed again because art, hopefully, evolves. There are different decisions on how to balance out what a full season looks like, and Swan Lake still captures the imagination of ballet goers across the board, from aficionados to first-time attendees. Another way of looking at it is as a production that continues to invite the audience to come back to the theatre. It’s an entry for the audience to experience dance and ballet, and then hopefully through the experience they will try mixed rep, Dracula, Romeo and Juliet, or Midsummer Night’s Dream. Then you go down the pipeline of different ballets that are not quite as culturally prevalent. But, at the same time, my

Wow, you’re bringing me back to Cedar Lake. That was my first experiment with non-traditional classical music, or even with vocals. My very first piece that I did was John Tavener, to orchestra and choir; and I didn’t know this, but I picked Princess Diana’s funeral march - Song for Athene. For Cedar Lake, I chose that because it was funded by the Walton family of Walmart - it was a Walmart heiress

“...what does our student body look like in terms of equity? With our board, with our teachers, with our stagers and choreographers - is there representation, and how do we present ourselves and reflect our community?” feeling and strategy is that you want to try to keep the good parts of the tradition and take away parts in line with how dance is changing. Example is, there’s only one intermission so I had to choose wisely what pieces of music and iconic sections I needed to keep, and what parts are more for pomp and circumstance that serve the largeness and scale but not the story, in a way that reflects how ballet is evolving. The audience is not used to sitting for a 4 act ballet; people need to be able to get back in the habit of sitting and paying attention long enough to enjoy a long evening of art.

here in Columbus can have an even more immersive experience in dance. There was in New York City a performance called Speak No More that was a huge hit. It’s a play, and you follow different characters throughout a house to experience the story. You can go back multiple times to follow different characters, so it’s a very immersive and interactive, site-specific play. How incredible would it be to experiment with that in dance - I love the idea of people experiencing dance in different capacities. Last question, what do you hope to see in dance and ballet in the coming decades?

On the idea of introducing people to ballet and ways of making it more accessible, I recently learned that BalletMet hosts sensory-sensitive performances. What are some of the ways that you’re working to make dance more accessible?

I still think that there is so much challenge, and my hope and dream is that on our side we continue to break the mold of what people perceive as ballet, to show that dance is both accessible and needed; it’s one of the major components of both communication and the human experience reflecting back the feeling of humanity. That’s what great art is all about to me. So I think that whatever sort of barriers people have, or how you said that it’s great to look at but it’s hard for it to interact - what does that mean, what are the areas that we need to change, and what are some of the sacred cows that we need to get rid of to evolve with our audience. The other point that I want and hope is that in all the arts, but especially dance, we continue the movement or conversation of representation, of equity: the power of representation and access. I don’t want this to just be a pendulum swing where it’s a temporary topic of conversation. I would love for our industry leaders to continue to learn how to be better, and be ok to look at what mistakes they’ve made and grow. That’s really my hope and dream, that this industry continues to gain momentum and isn’t afraid of moving forward. That we really do what we say we want to, which is to belong to this community. The community, city and people are the ones that fund non-profit organizations. It’s really important to keep that perspective.

There’s the sensory-friendly, which is part of what we call Mornings at the Ballet where we partner with our schools to bring students into the theatre. At the same time, we have senior dress rehearsals, which offer a discount to senior citizens - we try to hit a range of the scale. With Nutcracker we do a one-hour performance that we call My First Nutcracker. It’s for young kids and parents that don’t have the attention span to sit through a full performance, but it gives them that feeling and experience. I’m very proud of the sensory-friendly program where we work with different autism organizations - we call it soft performances - lights are different, the seating capacity is different, and how we introduce these children to characters that might be scary. The music and decibel level is different; there are no cannons in the battle scene. Before the performance starts we bring out the Rat King without the head. He puts it on, then takes it off again so they understand that these are actors and dancers, and that there’s nothing to be afraid of. They have the ability to walk up and down the aisles; they aren’t stuck in a seat, so it’s a much more organic experience where they aren’t confined. I’m still wanting to figure out how ballet

LIBATIONS - SPRING 2024

The BAMBOO LOUNGE CREW Recipe by Derek Reno, Beverage Director and General Manager of Echo Spirits Photography by Zach Wilke Layout by Atlas Biro

ounders of Echo Spirits, Joe Bidinger and Nikhil Sharoff, recently received the 2023 San Francisco World Spirits Competition results, where they were named double gold recipients for their Queen's Share Rum once again, taking home the top award after a unanimous decision by all ten judges. Their Straight Rye Whiskey took home silver, and their Spiced Rum took home bronze. When we asked Beverage Director & General Manager Derek Reno to share a recipe that would keep us warm and cozy through the doldrums of the winter and early spring months, he decided to transport us to a faraway land like Koh Lanta and the Maldives with this luxurious, South Pacific inspired cocktail - the Bamboo Lounge Crew.

Recipe

Ingredients

Add all ingredients minus the Spritz to a stirring glass and add ice. Stir thoroughly.

Makes 1 drink. •

1 oz. Echo Spirits Bourbon

Strain into a double Old Fashioned glass/vessel of choice over a large ice block.

•

.75 oz. Echo Spirits Queen's Share Rum

•

.25 oz. Bigallet China-China Liqueur

Spritz the essence atop and garnish accordingly.

•

.5 Rock Candy-Palm Sugar Syrup

•

1 dropper Tiki Bitters

•

Spirtzed w/Tropical Fruits Essences*

*The Bar at Echo Spirits uses extracts from Banana, Pineapple, Mango and Coconut in its atomized spritz. Feel free to experiment with yours!

Visit Echo Spirits at 985 W 6th Ave, Columbus, OH 43212 @echospirits

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CONVERSATIONS SECTION - SEASON- 2023 SPRING 2024

SPRING 2024 - CONVERSATIONS

Aubergine

An Evolution in Fine Dining

Words by Megan Smith Photography by Jen Brown Layout by Bryce Patterson

We sat at the Chef’s table for dinner. Chef Marja, with the most at-ease temperament I’ve ever seen as a chef, effortlessly created five courses fit for any 5-star Manhattan restaurant right before our eyes. As she worked, Sommelier Levi Dickey would arrive with our wine pairings, explaining each with actual knowledge of the subject without pretension or fussiness. Chef Gregory popped in and out, making sure guests at the bar and in the dining room were having an equally incredible experience as we were at the Chef’s table. Last but definitely not least, their chef-in-training, Kyle McKay, enthusiastically paid attention to every detail - jumping in to assist Chef Marja and the entire team. McKay, who met Gregory quite literally in passing on Grandview Avenue, had expressed a desire to work in a fine dining restaurant. Gregory, whose do-gooding spirit is palpable, immediately offered McKay a spot alongside him to learn.

Colin Gregory - Owner and Chef Marja Winkler - Exec Chef Rita Martinez - Exec Sous Levi Dickey - GM/Sommelier Kyle McKay - Chef in Training and co-creator of Aubergine’s program to give people with disabilities opportunities and training in fine dining

“

stablished over three decades ago by famed Chef Hubert Seifert, owner of Grandview's Spagio, Aubergine shifted business strategy when chef and sommelier Colin Gregory, who worked in Seifert's wine bar, purchased the fine dining establishment in 2019, right as the pandemic was about to get underway. Undeterred, Gregory found that changing the restaurant's reservation-only model to a fee-based one gave him and his team a new, intentional way of interacting with their clientele. Each dining experience is planned - with the customers asked to fill out a questionnaire of likes, dislikes, and dietary restrictions before they arrive — which helps guide Executive Chef Marja and her team to create the perfect meal.

As I sat back, belly full from an incredible meal, I sipped my dessert wine and watched as Chef Marja, Levi, and Chef Gregory cleaned and chatted with McKay. He would turn to me often, always with a note of praise for his Aubergine family. He said Chef Marja felt like his big sister and Levi, his brother. And Chef Gregory, a second dad and best friend. After just one meal at Aubergine, I knew each word he said to be true.

When I met Gregory and his team for the first time this winter, we parted ways at the end of the evening with hugs, just as any family member would do. And being at Aubergine is just that. It's a feeling of being with a close-knit family at home. Albeit, a family of really amazing culinary talent and sommelier skills and a home with some very rare and coveted artwork.

CONVERSATIONS - SPRING 2024

Spagio founder, Huber Seifert, has been a big influence in your culinary career. Can you share a bit more about that?

It’s a gorgeous day in Columbus, and you have a rare opportunity to be out of the restaurant exploring, eating, shopping, and making memories. Where would you go? What would you do?

I am extremely honored to be following in the footsteps of Chef Hubert. Chef's support has been essential to my continued success. He stops in to see us often and he has evolved from someone I aspired to be to someone I now consider family. I was gifted the knife set that Chef used when he won the culinary Olympics, as well as the knife he used during his Apprenticeship which for me was the best stamp of approval I could receive.

On a Sunny day off I can be found wandering around Clintonville or the Short North on the hunt for antiques, followed by brunch at ZenCha with friends. I can also be found hitting the trails at the Metro parks with my dog Jinx. Aside from food, what else are you passionate about?

You have been in the Columbus dining culture for decades. How have you seen it change over the course of time?

My first love is Art, I have been a ceramicist since I was 13 and find the most peace elbow-deep in clay. We have several of my best pieces on display here at Aubergine.

Though I am relatively new to Columbus's fine dining scene, I have noticed a shift in how people view the food they eat. I think that so often we only see food as calories to be consumed, and it has been amazing to be a part of the shift toward food being viewed not only as sustenance but as art.

Quick 10

Food is a connector. How do you see this essential element of our human connection as either cultivated or wasted in current culture?

What would others say is your greatest virtue? My positivity What item of clothing gets the most mileage in your wardrobe? My grandma shawls that I find while out antiquing

Coming from a big family, mealtimes have always been a time where we all sit down together and connect. Though we have all moved out and gone our separate ways we still gather to cook together, and share meals. Here at Aubergine, we are lucky enough to be able to cultivate that same sense of connection, by bringing together people and feeding them amazing food.

What feeds you creatively? Curiosity Favorite pizza topping? Banana peppers

What are you most proud of in your work up until now?

Taco topping? Pickled red onions

I would say that I am most proud of my dedication to the craft. I am completely self-taught, which has required hours upon hours of practice, trial and error. I am proud that even at times when I felt I could not succeed I pushed forward, and have now found myself as Executive Chef of one of the greatest restaurants in Columbus.

Ice cream topping? Reese's Three ingredients we should always have in our pantry? Sweet potatoes, lentils, hot sauce Fridge? Eggs, cream, miso paste Freezer? Frozen dumplings, fruit, ice cream

WINTER SEASON 20242023 - STAYCATION - SECTION

A Rural Idyll in Ohio Words by Megan Smith Photography by Levi Kelly, Shelby Brown, Josh Mund Layout by Bryce Patterson

STAYCATION - SPRING 2024

s the leaves changed and fell to the ground late last year, I, too, felt like I needed some grounding after a long stretch of work deadlines, endless errands, and life demands. A quick search online for a cabin close to home introduced me to Idyll Reserve. I texted my closest girlfriend group, and we set a date for an overnight stay. Just far enough away from home to leave the responsibilities behind, yet only a podcast-episodedrive to our destination (this is how I now chart distances for car rides these days). Idyll Reserve has, with massive intentionality, figured out the perfect marriage of nature and opulence. Pulling up to the Main House, I knew how Sleeping Beauty must have felt nestled comfortably in her wooded cottage, with this cabin being the perfect Mother Nature mash-up with attentive luxuries.

There are five cabins on the sprawling property, and it was hard to choose which to book. Each brings unique amenities like saunas, hot tubs, multiplebedroom suites, and outdoor dining experiences, although all promise (and deliver) luxury, comfort, and ultimate relaxation.

Our 24 hours at the Main House were jam-packed with an intense focus on R&R. The outdoor fireplace (wood provided), indoor fireplace, hot tub, scenic views, deep soak tub, cozy couches (warm blankets supplied in abundance for snuggling in), and the rotation of our favorite playlists on the whole-house sound system checked every bit of self-care indulgence off of our lists. Idyll Reserves’ partnership with Hygge Supply took the experience a step further, creating a unique experience of an eco-friendly Scandinavian retreat in the heart of Hocking Hills. Who would have guessed?

For culinary enthusiasts like my friends, the stateof-the-art kitchen was our gourmet playground for 24 hours. We cooked an elaborate dinner and breakfast, and each deemed we would need a kitchen just like this when we returned home. We had even brought our coffee equipment, but there was no need. We soon learned that every gadget, appliance, and cutlery found in a gourmet kitchen awaited us there.

Idyll Reserve is located at 25050 Purcell Rd, South Bloomingville, OH 43152 · Idyllreserve.com @idyllreserve

SHOPPING - SPRING 2024

Local Shopping Guide A

t 26, Trevor Furbay had an unshakable conviction in the transformative power of tailored clothing. This passion prompted him to purchase his first tailor shop, and now he has emerged as a revered haberdasher, steering three successful stores between Ohio and Michigan. The Trevor Furbay Bespoke storefront in Historic Dublin is a haven for ready-to-wear pieces and custom-tailored outfits for both men and women.

63 S High St, Dublin, OH 43017 | Open Tues-Sat trevorfurbay.com | 614.389.1188

Polo Ralph Lauren Women’s houndstooth tweed blazer $698

Ralph Lauren Men’s Iconic CableKnit Cashmere Sweater - Camel Melange

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Ann Mashburn Faye Flare cropped pant in black

Atelier Munro Merino Wool half zip knit sweater - Storm gray

Barbour Ashby Wax Jacket - Olive

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Faherty Women’s Sunwashed Cable Cardigan - Cream

W. Kleinberg Women’s Embossed Crocodile Belt - Cognac

Martin Dingman Cameron Sneakers

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