The 24th Annual Wesleyan Artist Market — Up Close and Personal

Springtime in Peachtree Corners and surrounding neighborhoods is synonymous with a visit to the Wesleyan Artist Market (WAM). What better way to find treasures for our spaces than in person, discovering pieces that speak to us while connecting with the artists who share the vision behind their work?

After COVID cancelled 2020 and then going virtual in 2021, WAM is thrilled to be back on campus this year. The market runs Friday, April 29, 10 a.m. to 7 p.m., and Saturday, April 30, 10 a.m. to 3 p.m. Admission and parking are free for this family-friendly event.

Browse an array of acrylics, oils, mixed media, watercolors, sculptures, jewelry, pottery, glass and more while enjoying gourmet coffee and treats, all available for purchase.

Participating artists undergo a rigorous selection process, so WAM brings you the best. This year, 80 professionals were selected out of over 100 applicants. Also featured will be the works of 14 talented students.

Prices range from a few dollars to thousands of dollars. There is truly something for everyone. A percentage of every sale goes to support the Wesleyan School fine arts program.

To preview participating artists and for more information, visit artistmarket.wesleyanschool. org.

By Patrizia Winsper

Spotlight on Three Artists

Elizabeth Ables

Left, Elizabeth Ables

Above, Elizabeth Ables makes pottery at Spruill Center for the Arts in Dunwoody.

Stand by your mania to make

Nashville native Elizabeth Ables had classmates with star parents like Tammy Wynette, George Jones, Rony Millsap and Ray Stevens. As a teenager she caught Amy Grant performances at local bookstores before moving to Atlanta. Peachtree Corners has been her home for 28 years.

With a Communications and Sociology degree from Vanderbilt and an Education degree from Brenau, Ables has taught at Wesleyan for 15 years. She considers herself more of a creator than an artist, having dabbled in many different media over the years, from fiber arts, fashion design (particularly children’s heirloom clothing) and quilting to painting with watercolors and acrylics.

Ables developed an affinity for ceramics while guiding students through the toil and joy of turning globs of clarified dirt into something serviceable. “I’ve always been drawn to beautiful, functional art. I used to entertain a lot and wanted unique pieces, so I started creating my own. It feeds your soul when you create something that didn’t exist before,” Ables said. Art imitates life

A sense of peace and tranquility emanate from her work. Ables finds inspiration in nature, gravitating towards layering glazes in blends of blues and greens — colors that evoke the ocean. She never tires of experimenting to get just the right blue, having long admired the striking hue of Martha Stewart’s Araucana chicken eggs, as well as robin egg blue.

Even her textures are inspired by the natural world. When creating surfaces on her vessels, Ables replicates tree bark and other things found in the environment.

A full-time teacher and busy mother, Ables creates her pottery at Spruill Center for the Arts

where she also takes weekly classes, squeezing in workshops whenever she can. At Spruill, a community of artists support and uplift one another.

“I do what inspires me at the moment,” Ables explained. “On a cold winter night, I made a cable knit cardigan sweater-type surface on a vase. It looked like a slouchy sweater because that’s how I was feeling when I made it — I wanted something warm and cozy.”

Led by what inspires her, she leans into her feelings and allows art to become an escape. “I create things that I want to see, that make me happy,” Ables said.

The science behind the art

Making pottery requires equal parts patience and skill. An understanding of the chemical processes taking place in the kiln is fundamental. Still, one never knows exactly what color patterns will emerge. A multitude of factors can impact the final look of a piece.

Glaze mixing recipes abound in the world of ceramics. The same glaze blend can produce a turquoise, red or golden hue depending on the weather, the speed at which the piece is transferred from the kiln to a container filled with combustible material and heat variations within.

“When it’s hot outside, it doesn’t cool off as quickly whereas in the winter, it cools off very quickly, giving it a shock,” Ables said. Dealing with glazes is very scientific. “You’re mixing chemical compounds and minerals — magnesium, iron oxide. [One must think:] What’s going to happen when they’re heated to 2000°F?”

A glaze can be pink in its liquid form as it’s being painted onto a bowl and come out of the kiln royal blue — that’s what happens when it gets fired. One can imagine the look of disbelief on students’ faces when Ables explains this dramatic change in color will occur because the glazes undergo a chemical process. “You have to trust me,” she tells them.

Playing with fire

Ables explores different techniques. Raku is a Japanese firing process consisting of removing pottery from the kiln when it’s red hot at 1800°F and placing it into containers with combustible materials. When the materials ignite, the containers are closed, producing an intense reduction atmosphere (the oxygen is removed) which impacts the colors and finishes in glazes and clay bodies. “That’s how you get the brown and blackness. It can also bring out color depending upon the glazes used,” Ables said.

Horsehair can be applied to the surface of pieces when they are removed from the kiln to create markings. “The carbon in the hair sizzles and makes black streaks. It’s a totally organic process. You never know exactly what you’re going to get,” Ables explained. The same can be done with feathers and sawdust.

The Obvara firing process, which originated in Eastern Europe during the Middle Ages, involves a bisqued pot being heated to 1650°F and removed from the heat. The pot is then dipped into a fermented yeast mixture before being dunked in water to rapidly cool the piece.

What’s your clay body type?

Ables generally uses standard white clay in the classroom because it’s not too messy, but there are many different options available to ceramicists. Speckled clay bodies have a natural textural component — they look like sand. Ables likes to create a water-colored interior and use a clear glaze on the outside of her vessels made with this clay, highlighting its earthy beauty.

“Spruill stocks eight different clay bodies. I’ve purchased some from Davens Ceramic Center in Chamblee. My favorites are the gray speck, the chocolate brown and raku clay which is less likely to shatter. Lizella red clay is mined in Georgia,” she said.

Creating custom colored clay is also an option, albeit very time-consuming. By kneading powders into white porcelain clay, Ables made 10 clay body colors.

Embrace the imperfections

Shocking clay bodies inevitably comes with a 10% fail rate, sure to disappoint artists who put so much time and love into their work. Still, Ables turns kiln accidents into a learning opportunity for youngsters.

“As in life, sometimes things happen,” she said. “We have to learn to fail and move on. We get the chance to make it again. The fear of failure and risk is crippling. I share with them times I’ve failed with breakage or cracks.”

“We’re not perfect and God created us just the way we are. If you want perfect, go get something that’s commercially created, where they have a form and crank out thousands of them. Make something that’s more personal, that has your fingerprints on it, your uniqueness. That’s what makes it art,” Ables smiled. WAM

A longtime participating artist, Ables has seen the market grow into an incredible showcase for artistic endeavors. Having former students exhibit is especially rewarding.

“The opportunity to be back together this year is exciting. Being surrounded by so much creative beauty, it’s like a springtime party that gets you enthusiastic about life,” Ables exclaimed. ■

Top, Raku fired vessels using horsehair to make black designs. Middle row, A raku fired cross. The glaze on the outside shrinks at a different rate than the clay body creating “cracks” which get stained by the fire. A dish made with the Obvara firing technique. Last row, Bowl made with speckled clay. A dish made with custom colored clay bodies.

A heart for art

Kristie Onorato has enjoyed painting for as long as she can remember, but she kept it on the backburner for several seasons of life. Originally from Cleveland, Atlanta has been her home for 20 years. Her move to Peachtree Corners four years ago came with the added perk of a four-minute commute to work.

Onorato has been teaching art since 1992. She’s been at Wesleyan for 11 years. Despite being a busy single mom to two teenage daughters, she’s been able to devote more meaningful time to her artwork over the last six years.

An undergraduate degree in Art Education from Ohio State emphasized Art History, Criticism and Aesthetics. To refine her artistic skills, Onorato took evening classes at the Cleveland Institute of Art and local studios. Visiting museums and ateliers in Europe provided further enrichment.

Onorato holds a master’s degree in Administration with a Visual Arts focus from Parsons School of Design in New York. Her formation and experience enhance her lessons. She gifted her paintings to friends and family for many years before she ever considered selling her work.

So many styles, so little time

As many artists do, Onorato has gone through phases over the years, working in pastels, watercolor, ink and oils. She works mostly with acrylics on canvas now because they dry faster and don’t emit fumes. Experiments with mixed media combine printmaking, her own torn-up artwork collages, glass, broken pottery, sand and different inks, “just to see what can happen.”

Onorato is keen to try new ideas and is continually developing. While some have fully formed a personal style, Onorato can’t imagine committing to any one approach. “I like to play and have fun,” she explained.

The sky is limitless

Inspired from above by both her faith and natural wonders like a breathtaking sky after a

storm, she said that sunsets, flowers and people are among her favorite subjects. “How I paint them changes. My work continues to evolve. I won’t get stuck in my ways, but will gladly revisit and tweak old pieces endlessly.”

Impassioned by interior design, ideas that catch her eye in magazines, while visiting showhouses or browsing online are integrated in her works.

A self-professed lifelong

Top left, Kristie Onorato – Wesleyan Art Teacher and Painter. RIght, Springtime bunny Above, White flowers Opposite page: Top four, The Seascape Series by Kristie Onorato will be available at The Wesleyan Artist Market. Bottom left, at an artist’s retreat at Donna Downey’s studio outside Charlotte Right, Encaustic on board

learner and educator, Onorato is grounded in her spirituality. “My faith in God informs everything I do. Everyone is created in God’s image, so we’re all creators of some sort. Whether I’m creating images on a canvas, an environment in my home or classroom, or a meal for my family, being in touch with my creativity feeds my soul. Nurturing our creative gifts is a way to show gratitude for them,” she said.

Onorato produces groups of similar paintings, or series. Squirting paint directly on the canvas and using palette knives, she creates pieces that vary in size from small, to 16x20 inches, to 3-foot by 3-foot squares. “It’s fun doing big,” she said.

Floating frames are her preference for the smaller ones. Larger paintings are on deep canvases that don’t necessarily require framing.

Liquitex, Golden and Atelier Free Flow are some of her favorite paints. “I like to try different looks — it’s more about the effect you can get than the brand,” Onorato explained. She sources canvases conveniently from Dick Blick, though she had them shipped from wherever she could find them online during pandemic shutdowns.

Time flies in the art studio

A light-filled room with easyto-clean floors on the main level of her home is where Onorato paints for hours as the rest of the world seemingly melts away. The home studio allows her to come and go freely. “I set aside days to paint. Once I’m on a roll, I don’t like to stop,” she said. “Everything else tends to fall apart because I’m so into it.”

Completed paintings are stored in her spacious classroom so they’re readily transferable to the WAM.

WAM

Onorato works on commissions and participates in Wesleyan’s annual Artist Market. “I enjoy meeting artists from all over,” she said. “It’s exciting to learn about their artwork and the different shows they attend. I get to see friends and former students. It’s like being part of a big celebration or hosting a party.” ■

Artists and their materials are travel partners

According to Barnard, there’s an interplay between painter and materials. Sometimes the materials tell you what they want to be. Barnard uses archival quality products so her pieces will last. Oils are her first choice, but she switches between acrylics, mixed media, watercolors and pastels, pushing herself in different directions.

“Oils are buttery — fun to mix and layer. You can push and move them,” Barnard said. “Pastels are home — drawing was my first love. Mixed media is fun — I use unexpected elements like stucco finish, limewash, charcoals, layers of acrylic and move them around, spraying with water. A piece emerges from this flow of dance and discovery.”

The subject of her paintbrush is the deep truth that connects us

Drawn to beauty, Barnard finds companionship with God in nature. Her spirituality sprang from an inner quiet. Whether painting people, animals, flowers or landscapes, she listens to her subjects tapping into their unutterable

If you could say it in words, there’d be no reason to paint – Edward Hopper

Jennifer Barnard was born in Charleston, West Virginia, grew up in Decatur, Alabama and has lived in Georgia for 36 years. Her three sons attended Wesleyan. She has since moved from Peachtree Corners to a farm in Cherokee county.

Drawing is how Barnard has always processed the world. As a child, her profound silence worried her mother. “I was born an observer, always watching. I didn’t talk,” Barnard shared.

When she was 13, her grandfather passed away. “I didn’t have words to express my emotions, but I remember drawing his face. It made me feel close to him,” Barnard recounted.

Except for an art class in middle school, Barnard didn’t take lessons. Nor did art figure into her college prep track. Yet she gravitated towards sketching, advancing on her own. “If it’s there, it never goes away,” Barnard declared of her innate talent.

Her professional trajectory led to a master’s degree in Teaching the Hearing Impaired. After several years she also taught as a substitute at Wesleyan. When her boys were more independent, about 15 years ago, Barnard announced, “It’s my turn now,” to her spouse. She loved being a mother but was ready to nurture her talents.

As the boys got older, time increased. Now an empty nester, she can paint all day.

Today, her husband is her biggest fan. Barnard credits him with being supportive and occasionally allowing her to steal away with one of her paintings hanging in his office to sell it at an art show.

Every artist was first an amateur – Ralph Waldo Emerson

Carving out time to take classes in watercolor, pastels, colored pencils, color theory, portraiture, oils, and mixed media, as well as to paint, Barnard built her own curriculum. “I took 10 master level faux finishing classes which introduced me to materials like Venetian plaster, AquaStone and limewash,” Barnard said.

Barnard studied at Spruill Center of Arts in Dunwoody, Scottsdale Arts School in Arizona, Quinlan in Gainesville, The Booth Museum in Cartersville and sundry artists’ workshops.

“I seek those whose work I admire in magazines and, lately, on Instagram. Art is something you can never learn enough about. I’m continually growing and exper-

Top, Artist Jennifer Bernard Above, Big Bertha 36x40 oil on wrapped canvas

essence. Barnard considers it her job to express this emotional connection as purely as possible.

A family history of breeding horses and her fondness for them make barns a special theme for her. She paints them with oils in a more traditional “modern impressionist” style. The subjects of her mixed media pieces, drippier and more abstract, tend to be figures — ballerinas, females, angels.

Barnard feels grateful to share her art. “What’s genuine in me connects to what is genuine in others. That deep truth is what makes community. It’s so important in this day and time to find what is genuine within ourselves,” Barnard said.

Plein-air painting renews my ‘art spirit’ – Bonnie Paruch

“I love painting en plein air. On location at Lake Lanier, in my backyard, on the coast, wherever. I’ll find places and either paint or do a study that later becomes a piece,” she said

“Paintings can be a combination of what I see in my mind and what’s in front of me. A quilt barn road goes through Pennsylvania, Virginia, North Carolina and Tennessee. A map shows all these barns with quilts painted on their sides. I started driving to those and photographing them on road

trips,” Barnard continued. “Some, I’ll stay and paint on the spot.” When you always make your meaning perfectly plain you end up boring people – Edgar Degas

The gap between what she sees and how the observer views her work is invaluable to Barnard. Rather than “explain” too much, she allows onlookers to finish it with their imaginations. “The artist’s unique insight gives art its

vitality and an energy that unites people,” she remarked.

Art is born of the observation and investigation of nature – Cicero

Ever on the lookout to capture beauty, Barnard has been known to drive to a location, open the back of her car and start painting. The backwaters of her hometown brim with lily pads and attract migrating birds. She was lured there last year, stopping on a road in the middle of the water to render the scene

“Last month I went to Jekyll Island to paint with a friend for three days,” Barnard said.

During COVID, with shows canceled, Barnard took some online classes. She found color study helpful. “You take one color of paint, mix it with others, making a chart of each color,” she said. Barnard completed eight such pages with 30 color squares on each.

Now when in the field, she reaches for those charts to find the exact colors she’s studying and makes note of them. Back in the studio, she refers to her notes to paint with greater accuracy. “The colors in a photograph are never the same as what you see outside,” Barnard explained.

Multiple works in progress

A barn loft under construction will soon be the site of Barnard’s art studio. The space will allow gathering with other artists to paint and hold classes. Currently, she paints in a bonus room on the second floor of her home.

“I’ll have four paintings going at the same time on different easels around my studio. Oils take long to dry so I do those in the morning. Then I flip to progress some mixed media pieces because they dry faster,” she said. “I can go for four hours straight, moving from one painting to another.”

WAM

Barnard has showcased her work at the Wesleyan Artist Market since 2008. “It’s a great place to find art. When they first started, an art company would come in. Now it’s a regional show. People come from all over the Southeast,” she said. “I love being able to explain what my inspiration was and tell people where I painted each piece.”

She finds the kind people at Wesleyan and the yummy snacks are part of what make the show fun. ■

Left, Calm and Present 24x30 Top row from left, Reach for it 24x30 mixed-media on wrapped canvas; Hummer’s Hover 6x8 oil on board Above, Morning Marsh 30x30 oil on wrapped canvas

Simpsonwood United Methodist Defines ‘Joyful Noise’ Through Many Genres

The church’s new director of music blends gospel, classical, jazz, show tunes and even “Baby Shark” into its worship experience

Acombination of passion, serendipity and an appreciation for the power of music to uplift the spirit brought David Francis to Simpsonwood United Methodist Church (UMC). The church had been without a Director of Music since the pandemic’s early days. Francis assumed the role in November 2021 with a key goal of revitalizing the choir.

With a star-struck, half-century career encompassing producing, composing, recording and performing, along with his vast network of musical contacts (he is artistic producer of the Roswell Music Club and Alpharetta Music Club), he is steadily uplifting the entire music program at Simpsonwood and aiming toward a whole new realm of artistry.

Interestingly, Francis’ career has come full circle. He last brought music to a church while in his twenties. Growing up in Memphis, Tennessee, he accompanied services for a very conservative, working-class Baptist church, but as an openly gay person, he wasn’t positively accepted. His experience at Simpsonwood is totally different.

“Our young co-pastors, husband and wife Rev. David and Rev. Susan Allen Grady, are kind, thoughtful and very progressive and open-minded people. I have great respect and admiration for them. This church also has a strong history of being mission-based and supporting worthy causes, and I like it when good intentions become good works,” Francis said.

Opening the boundaries of music

Good works — in terms of music — are now materializing at Simpsonwood in abundance. Francis intends to broaden musical boundaries by exposing congregants to selections that come from religious, classical, theatrical, gospel and other genres. And he encourages participation by both amateur and professional musicians of all ages from the broader community.

At the Easter morning service, worshipers will be treated to eight string players, an oboist and percussionists — two from the Wesleyan School in Peachtree Corners — accompanying the choir performing “Gabriel’s Oboe” and “On Earth As It Is In Heaven” from the film “The Mission,” as well as “And The Glory of the Lord” from Handel’s “Messiah.”

Plans are in the works for a late summer theatrical production of “Carnival of the Animals” by SaintSaens. It will feature instrumentalists and actors from the church,

the Atlanta Youth Symphony and the community. Kids will enjoy renditions of songs from Disney film favorites to the ever-popular “Baby Shark.”

Simpsonwood UMC is already gaining ground as a center for musical performance. On March 5, Simpsonwood hosted a piano competition for approximately 250 piano students. Taking advantage of its fine audio system and three quality grand pianos, the church hosted a two piano/four hand piano recital and will soon host a recital of young clarinet students.

Bringing joy through music

The excitement and energy that Francis is infusing into SImpsonwood’s music program says as much about his musical prowess as it does about his effervescent personality. And it is not going unnoticed.

Lindsey and John Evans are two of the choir’s newest members. They both sang in their high school choruses but had no interest in participating in the choir, although they joined Simpsonwood in 2011. Lindsey’s musical affinity (she dreamed of being a star on Broadway) resonated with Francis’ own musical fervor.

Opposite page, David Francis Above, Francis conducting choir rehearsal

“I’ve listened to a couple of his CDs, and it blows my mind that I even know this person. Yet, his strong purpose in building the choir here is not to have some sort of accolade; he just wants to bring joy to people through music,” said Lindsey.

“And there is no condemnation if you don’t hit the right note. It’s all very positive,” she continued. “It goes back to his whole basis for doing what he does, to bring joy and to have fun. Even if you only sang a little 30 years ago, you are welcome to give the choir a shot.”

Lindsey Evans appreciates the positive impact of Simpsonwood’s musical focus. “The congregation is becoming more invested in the music program, even if they don’t sing,” she said. “People are staying after the service to hear David play before they leave. They just stand around in the sanctuary listening. It’s mesmerizing to watch him play. He plays the piano like no one I’ve ever seen. It’s intense. You just see and feel all of his emotions when he plays.”

Drawing in the community

Prior to the start of Sunday worship, Francis has instituted something he refers to as euphonious (pleasing to the ear) contemplation. It involves 15 minutes of music that differs week to week and is designed to appeal to a variety of tastes. Invited to perform so far have been several piano students, a flute player and an opera singer.

“It’s easy to get caught up into just the people who are already here, the church’s mission projects, and forget about the community,” Lindsey said. “David wants to draw people in from the community and let them experience Simpsonwood in some way, even if they don’t join the church.”

Simpsonwood offers two distinctly different Sunday worship services. The main sanctuary features the talented choir focusing on more traditional hymns, while in the gym, a modern service takes a contemporary approach supported with a five-piece band.

Simpsonwood’s co-pastors, the Gradys, are thrilled to have Francis as a “teammate.”

“The number of people participating in our sanctuary service is more than double what it was prior to Francis’ arrival. He has brought such energy and joy and enthusiasm to our worshipers,” said the Rev. Dave Grady. “He’s taking his long experience and has begun to weave in everything from 20th century music to classical music, and a little bit of Broadway.

“In my 20 years of ministry I’ve never had a choir director who will help out someone who wants to sing a song by writing a new arrangement to accentuate their individual voice,” Rev. Dave Grady added. “Anyone who wants to offer musical gifts can bring something to the table for the glory of God.”

Plans include initiating a youth choir and expanding the adult choir to 50 participants.

“It’s always good to find opportunities for people working in artistic endeavors. And churches can pick up the slack when schools reduce music and arts programs,” said Francis.

Bird’s eye view of Francis playing the piano in the sanctuary, photographed using a drone.

Offering a welcoming space

He aims to connect with music directors in local schools to see if they have ensembles that would like to perform in a non-judgmental, non-threatening environment, potentially transforming Simpsonwood into a safe and welcoming space for young people to nurture their skill and appreciation for music.

Relevance is another focus of Simpsonwood’s musical program. A recent Sunday service featured a piece for two pianos/four hands with Maurice Ravel’s “The Fairy Garden,” dedicated to the people and children of Ukraine.

“It’s very calming and impressionistic and ends with a glissando (sliding up and down on all the notes on the keyboard), which is so celebratory,” Francis said. “It’s like walking the path of the Ukrainians with the hope that they will reach that glissando without more pain and loss.”

Choir member Lori Perozzi has been in and out of the choir for the past 30 years. She grew up in a gospel singing family and has sung professionally. Locals may know her from gigs with the Mark Tucker Trio, a jazz ensemble at 45 South Café in Norcross. Tucker also plays in the contemporary service’s band.

“David has brought an excitement and music to our church that I haven’t experienced since I joined in 1988. He’s not afraid of doing anything music-wise and he is a blast to work with and so much fun,” Perozzi said. “He’s a very inspiring person both musically and personally. Plus, he’s a good recruiter.”

As in many churches, the high-quality music program at Simpsonwood is essential in binding worshipers together.

“Whether you can sing or not, when you have the congregation stand up and sing together there is unity. And for me, it’s a personal thing because my faith is expressed through music,” said Perozzi.

Francis concurs. “To me, music is the foundation of any religious service and always has been,” he said. “I feel it must be diverse, and come from different genres, and must be performed to the best of anyone’s ability. And it’s always better when it’s also entertaining.” ■

Sunday services info

Table Service at 8:45 a.m. in the Sanctuary is a short service with full communion. Traditional Worship is at 10:55 a.m. in the Sanctuary. Contemporary Worship with Kids Church is at 11:10 a.m. in the Family Life Center gym. The church also streams its Sunday worship service at 11:10 a.m. on the SUMC YouTube channel: simpsonwoodumc.org/sunday-worship-livestream Simpsonwood United Methodist Church is at 4500 Jones Bridge Circle in Peachtree Corners.