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ARTS AND CRAFTS ISSUE:

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October 2016 Vol. 20 No. 2

THE OLDEST AND MOST READ ARTS & CULTURE MAGAZINE IN WNC

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Alistair MacRae Cello CONCERT SPONSOR

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Just blocks from Downtown Waynesville is one of Western North Carolina’s most celebrated theatre companies. HART Theatre showcases the area’s finest talent in a year-round schedule of plays and musicals. If you haven’t discovered HART, you have missed one of the gems of the mountains. Reserve your tickets today. HART Theatre is here to entertain you!

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 3

ART From the Heart of The Blue Ridge

October 29 - 30, 2016 10 am - 5 pm 41 BLUE RIDGE ARTISTS FULL DETAILS AT

WeavervilleArtSafari.com 4 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

CONTENTS 15

ON OUR COVER

Volume 20, NO. 2

OCTOBER 2016

“Barn on Rose Hill Rd”

Sahar Fakhoury captures her many travels in Art

6 9 10 12 14 7 8 13 16 17

Third annual ‘Of Time and the River’ Mary Decker — Lifetime to create a painting Jane Molinelli believes her paintings offer space for dialogue Karen Keil Brown — In her words about the Artist’s Life Weaverville Art Safari rides again this October

Matt Tommey’s beautiful unique grapevine baskets

18 27 28 33 35 19 20 22 23 24 26

ASO’s ‘Key of EEEEEEEE’ spooky fun classical music

sic, Food and more!

www.rapidrivermagazine.com Online NOW

Book Previews Waynesville: Haywood County Art Tour Black Mountain: Ann Whisenant’s simple yet beautiful way to art

Comics

32

Asheville Chamber Music Series

Drinks and Dining

Greg Vineyard

AmiciMusic presents a program of great music for cello and

Art Classes October Artist: “Meditazioni” at AGA, works of Ruth Ilg 69th Annual Craft Fair of the Southern Highlands

Publisher/Layout and Design/Editor: Dennis Ray Poetry Editor: Carol Pearce Bjorlie CONTACT US: Rapid River’s Arts and Culture Magazine is a monthly publication in WNC. Mail: 85 N. Main St. Canton NC 28716 Email: Info@rapidrivermagazine.com Phone: (828) 646-0071

Sahar Fakhoury

Website updated Daily Check out: Film Reviews, Upcoming Festivals, Mu-

piano

Philosophy with Bill Walz

Spinning Discs / Music

Poetry

NEXT MONTH

COLUMNS/ DEPARTMENTS

FEATURES

“Artist at Work” (detail) oil on canvas, 24 x 24 inches

15

Our Special River Arts Studio Stroll Issue

We will be focusing on the talent, shops and arts in the RAD. Nov. 1 2016

Distribution: Dennis Ray/Rick Hills Marketing: Dennis Ray/Rick Hills

All Materials contained herein are owned and copyrighted ©

by Rapid River Arts and Culture Magazine and the individual contributors unless otherwise stated. Opinions expressed in this magazine do not necessarily reflect the opinions of ADVERTISING SALES: Rapid River Arts and Culture Magazine or the advertisers Downtown Asheville and other areas — herein.

Dennis Ray (828) 712-4752 • (828) 646-0071 © ‘Rapid River Arts and Culture Magazine’ Dining Guide, Hendersonville, Waynesville — October 2016, Vol. 20, No. 2 Rick Hills (828) 452-0228 rick@rapidrivermagazine.com

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 5

ART SHOW

Painting by John Mac Kah

Painting by John Mac Kah

Premier landscape painters of WNC hold 3rd annual benefit art show

By Staff Reports

Artists, RiverLink and Zealandia Holding Company Celebrate the French Broad River Asheville’s premier landscape painters celebrate the French Broad River’s rise from polluted obscurity to the defining element of the South’s most exciting city at Of Time and the River: the Third Annual Art Show and Gala to Benefit RiverLink.

The gala event will be held at the mysterious Zealandia castle, the historic 1908 Tudor Revival mansion on Beaucatcher Mountain overlooking the city of Asheville.

The event grew out of a shared joy that binds artists, activists, river enthusiasts and entrepreneurs in connecting people to the French Broad River.

John Mac Kah, painter and the show’s curator, ascribes the show’s success to the partnership between RiverLink and the contributing artists.

“This organization is great to work with,” he notes. “They continue to achieve positive results for the river.”

RiverLink promotes the environmental and economic vitality of the French Broad River’s watershed by providing public access to the river through conservation and recreation easements, by reclaiming contaminated land for public use, through greenway development, by creating overnight camping sites, through adaptive reuse of historic structures, by educating the public and students about the importance of the river and by empowering

2,800 volunteers annually.

Anyone living in or traveling to Asheville is impacted by their work. Empty a generation ago, now the French Broad River is host to hundreds of paddlers, anglers and tubers on a daily basis.

Mirrored by parks on its left bank, the French Broad and its greenway curl through the city like a jade necklace.

Likewise, the region’s artists enjoy what RiverLink offers them. Christine Enochs, a contributing oil painter, frequents the many launch sites nurtured by RiverLink.

“I’ve been paddling the river for years and always enjoy seeing it from the water itself, immersed in its dynamic power,” says Enochs.

“Painting it is a joy and a challenge, and I am happy to share my work for the river’s continuing health and vitality.”

The shared purpose of participating artists is bringing engagement with the river through their work. Most complete their work en plein air, remaining at riverside locations while painting and avoiding the use of photographs. Attendees in 2014 and 2015 appreciated not only the spirit of the event but the years’ collections of newly created artwork, which boasted a variety of approach and technique. There were sumptuous botanical renderings of local flora and moody renderings of abandoned riverside buildings in walnut ink brewed by the artists.

At this year’s event there will be a large map indicating the locations where the artists painted

6 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

their works of art along the river’s 218-mile run that straddles North Carolina and Tennessee.

This year’s gala event also features the music of renowned composer and cellist Ron Clearfield, who has recorded with Paul McCartney and Steve Martin. Clearfield brings a modern sensibility to his classical training and is known for his soulful compositions.

Whole Foods is graciously providing food, while Sierra Nevada Brewery is donating beer. 5 Walnut Wine Bar is supplying wine.

Zealandia, the gala’s venue, was built by Philip Henry in 1889 and is on the National Register of Historic Places. It boasts a grand staircase and oak woodwork, with ample room for paintings by this year’s 18 artists spread over two stories. Tickets for the event went on sale September 21 at riverlink.org.

IF YOU GO

Third annual ‘Of Time and the River’ – a benefit art show Friday, Oct. 21, 6-9pm Zealandia castle on Beaucatcher Mountain, Asheville To benefit Riverlink Contact: John Mac Kah, show curator, (828) 225-5000 jmackah@gmail.com Dave Russell, Riverlink: (828) 252-8474, ext. 11 dave@riverlink.org

FINE CRAFT

The many values of grapevine What is Grapevine?

Wild grapevine really is a plant that vines.

Though it has no major trunk, it can have many stems and grow to impressive heights.

Unfortunately, it can grow so quickly that it can completely take over bushes and trees in a forest or along a roadside.

The vine itself has a thick, woody bark which makes for some great texture for weaving.

Features of Grapevine: Due to the thick and woody bark, larger parts of grapevine have lots of texture. The wild grapevine itself grows up along existing vegetation by sending out narrow vines which coil around plants’ branches and foliage to help support the vine. These tendrils appear in curls shooting out from the main parts of the grapevine. I love how these fit into the baskets because they extend out beyond the vine and are great interest points.

by Matt Tommey

growing along roadsides or along fences. You will not have a difficult time finding grapevine near you, so likely it will be a great, free resource to harvest and weave!

Weaving with Grapevine: Over the years, I have utilized a random weave technique. It is a great way to get cool shapes using a variety of materials, including grapevine. The random weave has no discernible pattern making the pieces truly one of a kind. The tendrils in grapevine also add cool details to the baskets as they protrude from the baskets themselves. Grapevine baskets are also well complemented by copper wire and branches mixed in along with the weaving.

IF YOU GO

Check out more about Matt Tommey’s beautiful unique grapevine baskets at www.MattTommey.com

Where to Find Grapevine: Grapevine runs rampant in deciduous forest throughout the South. You will find grapevine in most forests you visit if you’re in the Southeast, as will you find it

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 7

FINE ART WITH GREG VINEYARD

Thoughts on copyright Authenticity is a gift

Feeding the Body and Soul!

Stroll includes a food drive at all the River Arts Studios for Manna FoodBank

By Greg Vineyard

Copyright a new toy line while working at Company law is comA, then illegally took the unproduced idea plex, more when he left, and launched it at competing than one Company B. person can The digital age has added an interestfully expand ing twist: everything’s grabbable, yet the upon in one very same devices and softwares used little column, to share imagery also provide a record of and without a our postings by date and time, and hence law degree. could be used to prove when someone However, it else swipes them. With millions of witdoes come nesses. The very technology that has up a lot in the allowed an increase in theft might actually art world, and eventually redeem itself as an enforcer. there’s always Theft and copyright also come up freroom for a quently in the area of pop-culture “fan art.” bit of musing Technically, any usage of someone else’s “Ideation” 2016, illustration by Greg Vineyard upon authenintellectual property is a no-no. Very often, ticity, even by however, art that is an homage to a celebrilaypersons. ty, film, band or other popular phenomenon We’ve all seen it: artwork that blatantly rips-off doesn’t result in a cease-and-desist order. Sometimes someone else’s hard work. It’s even come to light that the subjects even exclaim praise; they know good PR certain major retail chains have stolen imagery, illebuzz when they see it. But try putting a non-original gally creating products for sale. So it’s not just some work on 10,000 t-shirts and then see what happens. artists taking the easy way out by copying, but also Much of copyright law has to do with infringement, companies’ dishonest product developers and art and another large portion has to do with financial gain directors who add to the problem. Several years ago by someone who never had the right to do so. I work in an interview I was told that part of the job included mostly in original, one-panel illustrations that focus going to China on “research trips” to steal ideas we on specific concepts or made up characters, but on could use here in America. Needless to say, the inter- rare occasions I have created fan art. What’s key is view ended right then. to present my own take on things, both conceptually Are artists inspired by everything around them? and visually. Hobbes as a grown up superhero. John Absolutely. The past, the present, and all ideas about Crichton and Aeryn Sun floating amidst symbolism our future and the universe serve as creative food. from a favorite episode. My art doesn’t look like the We’re in one giant, overlapping, three-dimensional characters or the photography or the DVD or the film mesh, where we’re all living in and creating a collecposter art that may have inspired me. The goal isn’t to tive experience. It’s easy to exclaim “there’s nothing present a mimicry, it’s to create a clever expression. new” and simply stop at the point of admiration, Everyone should support each other in the effort copying another’s hard-wrought work. With so much to prevent art theft. Some artists flat-out cheat. Many instant connection, easy research, and transparency consumers look the other way as they buy illegal now, one can discover and enjoy unique creations as products. well as stumble across unfortunate copyright violaThere is a basic concept one can keep in mind to tions. stay on the right side of, well, everything: BE ORIGIAt the most basic level, we own the rights to our NAL IN THOUGHT AND STYLE. Authentic creativity own image, and in our intellectual property. Technical- is one of the greatest assets artists have. And it is ly, I don’t even have to put a copyright symbol on my one of the greatest gifts artists give to the world. artwork to own it. I also have the right to determine by agreement who can use my art. There are always exceptions; for example, when one works for a comGreg Vineyard is a marketingpany, the obligations around creation are different. communications professional, and an artist and writer living in Asheville. ZaPOW Many years ago there was a huge lawsuit between Gallery carries his illustrations, prints and two large toy makers because a designer developed cards. www.gregvineyardillustration.com

8 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

FEATURE ARTIST

Detail of painting by Mary Decker

Detail of painting by Mary Decker

Detail of painting by Mary Decker

Mary E. Decker — Every painting takes a lifetime

By Mary Decker

Artists are always being asked: How long did that take to make?

As a watercolor artist I am frequently asked, How long did it take to paint that? It may take a couple hours, a couple days, a couple weeks, or even longer to paint a painting. But how long it took to create it is a different story.

I paint from my own photographs. I go on outings and take maybe a couple hundred photos. Usually, there’s at least one usable photo from an outing, sometimes not. I’ll compose a painting from my photos, maybe cropping a photo, maybe combining several photos. I’ll print out the photos then sketch the painting on paper. I’ll select the colors that I’ll use.

And then, maybe I’ll be ready to start painting. I’ve been making art as long as I can remember. Early works were pencil/graphite drawings. As my drawing skills improved, I advanced to pen & ink. Later I moved on to oils, acrylics, magic markers, whatever I could get my hands on to express my creative side. I learned how to use various mediums.

I learned the color wheel; about complementary colors; how complementary colors made grays; how grays made from the colors in the painting blend effortlessly with the subject matter.

And, no, I never use black and white to make gray (unless it’s a black and white painting).

I found through years of experience how watercolors react and how I can accomplish various effects with them. Because of my years of experience with watercolors, my painting speed has increased.

So, when someone asks, “How long did it take to paint that?” I don’t tell them how many hours/ days/weeks I actually spent painting, because that’s only a small part of the whole experience.

It takes a Lifetime to create a painting.

IF YOU GO

Mary Decker Visit my website at www. chartreusemoose.com

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 9

310 ART Studio in the RAD Jane Molinelli — Believing in art Jane Molinelli believes her paintings offer the needed space for dialogue with those who appreciate art

work that is both gentle and bold,

dramatic and compelling, and always expressive.

Her vibrant paintings are

colorful, abstract and sometimes even textural.

Molinelli has been an exhibiting

artist at 310 ART for several years.

Now, a new resident artist at 310 ART in River Arts District, Molinelli has set up a workspace and new larger exhibition area that is filled with color and delight. Creating both large scale pieces and small works for intimate viewing, you can find her working on Wednesdays, and

RV

By Staff Reports

other days too throughout the year.

Her work adds a new expressive dimension to a diverse and high quality collection of art in the gallery.

Molinelli prefers the term expressive to describe her work rather than abstract.

“A painting is a notation of energy, whether found in an emotion, a reaction to a situation, or in the breath of nature. It is the sum of the artist’s approach to channeling this energy that creates a cohesive work,” she says. She likens her work to poetry, “Except, my work utilizes line, mark, and color to communicate with the viewer in an inner language without words.”

People often ask her how she begins a non-representational

Jane Molinelli painting without a subject as a starting point. She tells them she usually starts by making marks in graphite or charcoal, not so much to establish a composition, but rather to energize the surface.

“It’s like tuning into a frequency, and from there one thing leads ‘Molinelli’ continued pg. 29 RV RV

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pg.

11 RV

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10 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

River Arts District

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Riverview Station Asheville

To place an ad on these ‘RAD’ pages please call Dennis Ray at (828) 646-0071

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 11

Shop, Eat, Explore. . . Everyday, All Year Round

“Going Home” (detail) oil 48x36

Karen Keil Brown

“Bursting Sky” (detail) oil 48x30

Changes in the Asheville art community I have been an artist, (painter) for over 40 years.

Originally from NJ, raised in Asheville, I have a BA in fine art from UNCA and I have seen a lot of changes in the Asheville art scene throughout the years.

I remember a sleepy downtown with stores like Iveys, Bon Marche and the Sears building off of Cox Ave. I never thought about going into the River area, known now as the River Arts District, and the Art Museum was next to the old Pack Place Plaza Movie Theatre, in the basement.

There were only a few art galleries downtown.

Fast forward 15 years. The Art community has grown with the same pace as Asheville.

In the beginning I have been creating art since I was seven years old. My grandfather, a fashion designer and painter, would give us colored pencils and paper to keep us busy. I loved it. My older brother and sister have artistic talents as well, but my passion for art gave me a different career direction.

the following 10 years I was an art teacher in the school system. When our youngest daughter went off to college, I went into real estate — go figure, but I kept painting.

Often I was asked if my painting was a hobby?

During one of the River Arts District Strolls I came upon an artist in the Ware House studios (River Link) who was leaving her space. I immediately called the landlord and signed a contract the next day. I was ready to turn my art passion (hobby) into a business. I started marketing, expanding my representation and painting on a regular basis. I was fulfilling my life long dream.

I stayed at that location for a few years until I moved to the Pink Dog Creative on Depot Street where I now share my studio with another artist.

There I enjoy the open studio concept where I meet people from all over the world.

I love being apart of the Asheville art community. The RADA is a great family of artists.

We collaborate on art shows, marketing and socializing, which can be the best part. We help each other with connections to clients and other artists nationwide.

Locally, I am also showing my work in an art gallery cooperative downtown, Asheville Gallery of Art, and in Woolworth Walk.

My work is represented by Taupe Gallery, Shuptrine Fine Art. I am involved with the Downtown Gallery Association, who organize the First Friday Art Walk and I am a board member of the ASHEVILLE AREA ARTS COUNCIL.

After receiving my Art degree from UNCA Fresh out of college with my new art degree I started showing my paintings in a small gallery on Lexington Ave “Gallery 66.” I had an opportunity to work for a small advertising company that gave me some graphic experience, with hand drawn ads for Tops for Shoes and other local businesses. I laid the ad copy using wax.

If only I had my apple computer.

My husband I have raised three lovely artist Changes in my Painting Style daughters. Keeping my art passion alive was a I have sold my art work in galleries in the challenge. I would paint my commissions in the south and NYC, but Asheville is the best place kitchen between dinner and diaper changes. In 12 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

By Karen Brown

for me. I have been painting mountain misty landscapes and local terrain for many years for local clients and tourists who embrace our wonderful environment.

Change and development is good for any artist. I take art workshops and classes each year at the Arts Student League in NYC. I recently have been inspired and energized by the experiences in the city. I have been using that influence in my current cityscape paintings.

My color palette is brighter with dripping paint, blocked out spaces and vibrant color to create abstract composition. It takes more time than my ethereal mountain landscapes, using small brushes to fill out each square, but I have enjoyed the process and change of pace.

My Influences are JMW Turner, with his big dramatic skies. I love the bold colors of Van Gogh and the muted blending of Monet. I been told my new work has a feeling of a Klimt.

I have come along way since my first acrylic paint set in the 6th grade. The journey is part of the fun and success. I do manage to make a profit each year, but I am blessed to have my husband constantly support me as I continue to explore my passion for art and other adventures of life.

Have a creative day, and enjoy the possibilities!

Karen Keil Brown Ethereal Landscapes www.karenkbrown.com Pink Dog Creative, 348 Depot St Asheville NC 28802 kcaabrown@gmail.com IF YOU GO

ART CLASSES

ART CLASSES ARROWHEAD GALLERY

Hand and or Wheel Clay Classes Weds. 1-3pm, $115 members $125 non-members for 4 classes (need not be consecutive).

Fine Art with Lorelle 1st and 2nd Tuesdays of each month $35 members $45 non-members for two classes (need not be consecutive).

Free Sunday Painters Second Sunday of each month from 2-4pm.

Brushes N Brew Thurs. Oct. 13, $35 members - $45 non-members/ class. Includes all supplies.

Kids Art Classes with Jake Moury.

1st Saturday of each month from 10noon, 4 classes $50 or $15/class.

Mono-printing Class Oct 8 Greeting Card Making Oct 24 Precious Metal Silver Clay Studio Oct 27 Copper and Brass Jewelry Making Oct 29 All Classes held at Arrowhead Gallery and Studios, Arrowhead Gallery and Studios 78C Catawba Ave. Old Fort. For more information go to www.arrowheadart.org VIRGINIA PENDERGRASS Artist INTRODUCTION TO OIL PAINTING One-day workshops October 14, November 4 Trackside Studios, 375 Depot Street in the River Arts District, Asheville. $110. Pre-registration required.

(828) 577-0264, or www.virginiapendergrass.com for further details.

310 ART AT RIVERVIEW STATION Marvelous Mondays with Lorelle and Nadine Beginner and Up! Open art studios Mondays with instructor to guide you - start and continue year round in our Monday classes, 9:3012:30pm and 1-4pm. Come the dates that work for you!

See 310art.com for schedule and sign up. Beginners welcomed!

Workshops:

Waxagrams (photography and encaustic), Oct 1 & 2 Amazing Scratchboard, Oct 8th Oil Stick Painting, Oct 15th, Special guest Paul deMarrais Encaustic Sculpture, Oct 18-20 and Papermaking Oct 17, Special Guest Michelle Belto Demystifying Watercolor, experimental techniques, Oct 29 Portrait Drawing, Nov 5 Painting with Beer, Nov 10 Art Classes for adults at 310 ART, 191 Lyman Street, #310, Asheville, NC 28801 www.310art.com gallery@310art. com (828)776-2716 Adult classes, beginner and up, most materials provided. Register online or at the studio.

THREE DAY PAINTING WORKSHOP Demos, discussion and at easel instruction with JOHN MAC KAH at Addison Farms Vineyard atop mountain ridge with views of early fall. All levels welcome. Fee: $350.

Visit www.johnmackah.com for details. Call: (828) 225-5000

ART CLASSES: Want to list your classes coming in November? $25 includes 50 words INTERESTED? Call (828) 646-0071 • info@rapidrivermagazine.com Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 13

WEAVERVILLE ART SAFARI

Glass-work by Michael Hatch

Pottery wall tiles by Steven Forbes deSoule

Mixed media by Leo Monahan

Weaverville Art Safari rides again this October 29 & 30 While the Western North Carolina mountains are known for vibrant fall foliage, Weaverville adds its own kind of color to the season with the bi-annual Weaverville Art Safari.

Held October 29 and 30 from 10-5pm the free Weaverville Art Safari is a chance to experience the creativity that’s part of Asheville’s renowned art scene. Rated one of the top Studio Art Tours in Asheville, this fall’s tour showcases 41 artists.

New changes for the fall event includes more artists showcasing their works in downtown Weaverville. Those looking to go off the beaten path can still visit artists’ studios in North Buncombe County using the event’s free map and guide.

The event is so popular many visitors return seasonally. “We love it when we hear our attendees say they come to our area just for the Art Safari,” says Cindy Ireland, event board president and owner of Roundhouse Studios.

Many participating artists create exclusive collections for the Art Safari while others host special sales.

“It’s a wonderful opportunity to meet and

converse with acclaimed artists, and discover more about the process that goes into each piece,” says Steven Forbes-deSoule, a participating artist and creator of raku pottery.

The event is self-guided with a relaxed pace encouraging guests to linger and explore.

“The Art Safari is akin to a treasure hunt,” says Leah Baker, a participating artist and founder of Luminosa Lighting. “Every stop reveals something new and provides a glimpse into the artist’s daily life. Every studio is unique and different, so each place provides a different thrill.”

All artists sell pieces from their collections during the Art Safari, and many also give away door prizes. This year’s event boasts artists who specialize in 2D painting, photography, fine art, ceramics, pottery, metals, jewelry, fiber art, glass, woodworking, mixed media and sculpture.

Basically, something for everyone.

Guests looking to plan their visits can pick up Weaverville Art Safari brochures containing maps and artist information at greater Ashevillearea galleries, the Asheville Visitors Center, restaurants and shops beginning in October.

ARTS AND CULTURE NOTE:

Brochures will also be distributed from an Art Safari information booth located on Main Street in Weaverville on October 29 and 30.

A downloadable brochure with map and full details about participating artists is also available at www.weavervilleartsafari.com. If you would like to be kept up to date on Art Safari activities be sure to register for e-mail updates.

The Weaverville Art Safari is staged twice each year, the first full weekend in May and the last full weekend in October, by a group of WNC artists whose studios are located in and around the communities of Weaverville and Barnardsville. The first Weaverville Art Safari was organized in the spring of 2001 with the goal of attracting visitors to this vibrant art community on the northern outskirts of Asheville. Since then thousands of people from all over the country have returned over and over each spring and fall to enjoy the shopping opportunities and the ambience.

For more information on the Weaverville Art Safari and participating artists, visit www. weavervilleartsafari.com.

IF YOU GO

ARTS STRENGTHEN THE ECONOMY The US Bureau of Economic Analysis reports that the arts and culture sector represents 3.25 percent of the nation’s GDP — a larger share of the economy than tourism and agriculture. The nonprofit arts industry alone generates $135 billion in economic activity annually (spending by organizations and their audiences) that supports 4.1 million jobs and generates $22.3 billion in government revenue. (Source US Bureau of Economic Analysis)

14 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

COVER ARTIST

“Afternoon Challenge” (detail) oil on canvas 24 x 24 inches.

Sahar Fakhoury captures life in travels Cover Artist Sahar Fakhoury, an Asheville resident for the past 26 years, works in oil paint, watercolor, mixed media and clay. Her recent works are inspired by people she encounters on the streets at home in Asheville, or while traveling.

“My attention is attracted by human figures,” says Fakhoury. “My impressions of their bodies in motion, perhaps doing daily chores, or their expressions while standing still waiting or watching, are incorporated into my compositions.”

Other subjects of Fakhoury’s art work are still life and landscapes. Fakhoury graduated from the University of North Carolina at Asheville, where she earned her BFA degree. Professional memberships include The Portrait Society of America, Oil Painters of America, and Asheville Urban Landscape Project. Her art work has been shown in galleries in several states as well as abroad, in juried shows, and group and solo shows. Many of her works reside in private and corporate collections internationally.

“Bouncing Baskets 2,” 16 x 20 in oil painting by Sahar Fakhoury

Locally, Sahar Fakhoury’s art is on display at the Asheville Gallery of Art in downtown Asheville, and at Trackside Studios at 375 Depot St. in the River Arts District. To contact Fakhoury, email saharafakhoury@gmail.com or visit her website www.sahar-art.com.

70 Main Street • Clyde, NC 28721

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 15

it is V

Asheville’s Longest Established Fine Art Gallery with 31 Regional Artists

Asheville Gallery of Art 's October Artist

‘Dance of the Hours,’ by Ruth Ilg

‘Passages,’ by Ruth Ilg

‘Toccata & Fugue in D Minor,’ by Ruth Ilg

‘Meditazioni’ the inspiring work of Ruth Ilg Ruth Ilg is known for her vibrant acrylic abstract paintings, delicate watercolor botanicals, miniature oil landscapes and for her innovative encaustic work.

Ilg states, “On this meditative journey of color, form and texture, I experimented with transforming elusive moments into visual expressions. I encourage viewers to regard my personal meditations as an invitation to give a voice to their own momenti elusivi.”

A native of Germany, Ilg is an award-winning artist, photographer, and trilingual poet. She has

studied with renowned artists in Europe and in the US, resulting in a continuing strong desire to work within a wide spectrum of techniques, styles, media, and themes. Ilg has won numerous awards for her creative work, which can be found in private and corporate collections around the world.

The artist resides and works at Biltmore Lake, NC, and at Lake Constance, Germany.

Regionally, she shows her work at the Asheville Gallery of Art and at the Miya Gallery in Weaverville.

Ilg’s work and that of the other 30 gallery members will be on display and for sale through the month during regular hours, Monday - Saturday, 11am-6pm and Sunday 1-4pm. “Meditazioni” runs from October 1-31 at the Asheville Gallery of Art. The public is cordially invited to a reception on Friday, October 7, from 5-8pm. The gallery is located at 82 Patton Avenue in Asheville, across from Pritchard Park.

Asheville Gallery of Art’s October show, “Meditazioni,” will feature new work by Ruth Ilg. IF YOU GO

“Although the inspiration for my work comes from many different sources, I am especially drawn to nature, music, poetry, and the world of dreams and emotions. Through the exploration of color, form and texture—whether representational or abstract—I hope to create a visual dialogue between the image and the viewer, and thereby building a bridge for universal communication and understanding.”

— Ruth IIg 16 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

FINE CRAFT EVENT

69th Craft Fair of the Southern Highlands Oct 20-23 Returns with a Legacy of Innovation and Beauty

neoteric techniques.

The show features ceramic arts in a dynamic variety with demonstrations from members, such as Larry Allen and his black stoneware pottery with sgraffito designs. Also in collaboration production of innovation with educational components for and beauty. the event will be daily features from both the Asheville Quilt Guild and Filling both the WNC Fiber/Handweavers Guild. concourse and arena Amy Goldstein-Rice Stained Glass by Greg Magruder Walt Cottingham Calligraphy, corn shuck and cloth levels of the venue, dolls will be on display in their full craftspeople who are & Crafts in Gatlinburg, TN. process at the Fair too. masters in their media will In the industry of craft, the Guild celebrates Mountain musicians perform live on the arena be exhibiting. the emergence and rise of artists as they master stage starting Friday. Since the first Fair, the The variety of craft that will be on display their skill and execution in a medium. Known music of the area has been woven into the fabric ranges from contemporary to traditional in for representing quality creatives from Maryland of the Craft Fair experience. From old time to works of clay, wood, metal, glass, fiber, natural to Alabama, the following are some of the bluegrass, this tradition is kept alive today. materials, paper, leather, mixed media and talent who had come for the July 2016 event As an avenue to provide a regional jewelry. and hopefully will be back for the Oct. event as marketplaces for mountain craftspeople, the After a curation process of two juries, nearly well: Tina Curry of Knoxville, TN a ceramicist Fairs have since evolved to a popular epicenter 200 makers from the Southern Highland Craft incorporating memories of whimsy and humor of craft in the country.

Guild will carry on the legacy of these Fairs. into raku-fired sculptures, John Hollifield of Both July and October hold seasonal editions of Hayesville wields bamboo into limited edition the exposition as this extraordinary marketplace fly-rods with custom-engraved reel seats and 69th Annual Craft Fair of the Southern offers visitors a unique opportunity to connect IF ferrules, Erica Bailey of Asheville, a metalsmith with artisans adept in their craft.

YOU Highlands GO with architectural intention capturing natural US Cellular Center, 87 Haywood Street Downtown Asheville provides a robust elements in jewelry, Amy Brandenburg also of Downtown Asheville, October 20 – 23, experience for visitors, as the growing spectacular Thurs - Sat, 10-6pm + Sun, 10-5pm General is representative of the creativity that flows in WNC. Asheville molds precious metal clays into oneof-a-kind adornments for modern heirlooms, Admission, $8 + Children under 12 free The US Cellular Center is a shift in landscape for and Mark Gardner of Saluda turns trees into www.craftguild.org (828) 298-7928 this event as it was incepted under canvas tents in contemporary and functional wood forms with 1948 on grassy lawns of Arrowmont School of Arts

In its 69th year, the Craft Fair of the Southern Highlands returns to downtown Asheville for a

Asheville Gallery of Art Mary E. Decker pg.

11 RN

pg.

21 6

pg.

25 MS

Asheville Gallery of Art • 82 Patton Avenue, Downtown Chartreuse Moose Fine Art • chartreusemoose.com

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 17

More of what Makes Asheville Special: Dining • Shopping • Galleries • Music

D ow n tow n A s h ev i l l e

Frightfully Delightful “In the Key of EEEEEEEEEEE!” The Asheville Symphony’s October concert—“In the Key of EEEEEEEEEEE!”—

rattling bones of a skeleton, in the form of a xylophone, and features two works a devilish bow perfect for the playing a deHalloween season: Sainttuned solo violin.

Saëns’ Danse Macabre, The musical and Schmitt’s La Tragédie tone poem, de Salomé. based on Henri The evening concludes Cazalis’ poem with the symphony’s own of the same concertmaster Jason name, depicts Alistair MacRae cello and Jason Posnock violin the legend Posnock and guest cellist Alistair MacRae that arose in performing Brahms’ Europe during Concerto for Violin and Cello. The program the Middle Ages: at midnight on Halloween night Death comes to cemeteries to play his violin and begins with Saint-Saëns’ Danse Macabre, or rouse skeletons from their sleep to dance until “Dance of Death.” daybreak.

This waltz from beyond the grave includes the Drug and alcohol addiction is painful.

Finding the right treatment doesn’t have to be.

In another musical fright, French composer Florent Schmitt’s La Tragédie de Salomé presents a wildly lush score to one of the Bible’s most tragic stories—Salome’s insistence on the beheading of John the Baptist. An ‘unsung opera,’ Schmitt’s piece teems with aural imagery that still shocks the ear today. The concert’s finale is decidedly more harmonious as two friends collaborate with the ASO, performing music of Johannes Brahms. The ASO’s own concertmaster Jason Posnock and Alistair MacRae join forces on Brahms’ Concerto for Violin and Cello, a brilliant interplay between the duet partners against the warmth and depth of Brahms’ romantic-era orchestration.

“It is a particular pleasure to feature one of our own wonderful musicians in the soloist role for this concert,” says Daniel Meyer, ASO Music Director. “Jason Posnock has had such an ‘EEEEEEEEE’ continued on next pg

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Advertise with Rapid River Magazine

Free Web Links & Ad Design Call (828) 646-0071

18 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

Downtown Asheville — Dining • Shopping • Galleries • Music ACMS presents the Aspen String Trio Nov. 11 The program will include: Bach: After more than 20 Goldberg Variations, BWV 988 years of friendship and (Transcription: Dmitry Sitkovetsky) music-making, Aspen Strauss: Variations on a Bavarian Folk String Trio members David SongBeethoven: String Trio in G major, Perry, Victoria Chiang and Op 9, #1 Michael Mermagen are The concert will be held at the Unitarian an ensemble with magical Universalist Congregation of Asheville, synergy. located at the corner of Edwin Place These three world-class and Charlotte Street. Sold-out houses instrumentalists each have and standing ovations characterize the a long-time association as performances of the renowned Aspen artist-faculty with the Aspen String Trio.

Music Festival; combined Michael Mermagen, David Perry and Victoria Chiang they have performed across the globe in the world’s most Tickets: $38 each. To purchase tickets or for prestigious venues.

IF YOU more info: www.AshevilleChamberMusic.org “The Aspen String Trio will bring a unique program GO or call Nathan Shirley at (828) 575-7427 or including Bach’s Goldberg Variations,” says ACMS support@AshevilleChamberMusic.org Co-President, Valerie Poullette Altman. “As a special The Asheville Chamber Music Series (ACMS) will event this season, the Trio will conduct a master class present the Aspen String Trio in concert on Friday, Nov. for student groups during their visit to Asheville,” she added.

11, 8pm.

‘EEEEEEEEE’ continued important influence on the quality and musicianship of the Asheville Symphony since he joined our ranks as leader of the violins, and I know our audience will enjoy the opportunity to hear his artistry in the Brahms piece in partnership with his good friend, cellist Alistair MacRae.” Jason Posnock has been concertmaster with the Asheville Symphony since 2007. He has performed regularly with the Philadelphia Orchestra and the

Pittsburgh Symphony Orchestra. Alistair MacRae is principal cello of the Princeton Symphony Orchestra.

His eclectic collaborations include Paul Taylor Dance Company, the Westminster Choir, tap dancer Savion Glover, and the rock band The Scorpions.

www.SusanMPhippsDesigns.com 4 Biltmore Avenue 21 828.277.1272

Tickets: $22-62, depending on seating section (reduced youth pricing is available).

More Info: (828) 254-7046 Saturday, Oct. 22, 8pm. Thomas Wolfe Auditorium under the direction of ASO Music Director Daniel Meyer IF YOU GO

Go

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 19

Drinks&Dining Guide

Too many people just eat to consume calories. Try dining for a change.

—John Walters

pg.

26 WB

20 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

Drinks&Dining Guide 100% NC local restaurant opens in Asheville Opening of the Iron Hen may be this falls most talked

about place to eat.

Asheville being a city that values economic responsibility and the support of local farmers and businesses, the owners of the Iron Hen are extremely excited to join the Asheville Collard Green Egg Rolls community.

Iron Hen’s new their mission to location is at 309 connect the food College St., in they serve, to the downtown Asheville farm it came from, on the ground level and to the people of the new Hilton at their tables. They Garden Inn. favor organic and They serve North Carolina southern cuisines grown foods, with gluten free and they pride and vegan options themselves in being as well. responsible both Started in locally and globally, Greensboro, NC, by recycling, they are an Owner reducing waste, operated coffee and insuring all shop, café, and disposable products catering company are eco sound. who serve organic, Blueberry Pancakes They also favor fair trade coffee, and connect with local, seasonal, local farmers.

Food brought in and sustainable food daily. It is

To Place an ad in our Dining Section please call Rick Hills at (828) 452-0228

Saturday, October 29, 2016 DUKE ELLINGTON TRIBUTE featuring jazz vocalist

Wendy Jones

Breakfast Tacos from local resources supports local farmers and businesses and locally produced foods help maintain and create jobs within the community.

Local food is fresher because it is seasonal — the distance from farm to table is shorter, resulting in a better, fresher product.

Iron Hen 309 College St., in downtown Asheville on the ground level of the new Hilton Garden Inn. Hours of operation are Monday - Friday 6-2pm and 5-10pm, and Saturday and Sunday 7am 10pm. They also have a rooftop bar called “Pillar” that gives a beautiful view of the mountains.

IF YOU GO

7:15pm Reserve at

828-452-6000

Jazz + Dinner $36.99

Richard Shulman, piano Zack Page, bass | Rick Dilling, drums

20 Church Street, Waynesville, NC www.classicwineseller.com LIVE Music Each Friday & Saturday Paid in part by Haywood County Tourism www.visitncsmokies.com

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 21

CONCERT SERIES

AmiciMusic plays the ‘French Connection’ AmiciMusic presents a

program of great music for cello and piano that

Paris 20th

was all composed in at the turn of the

century, showcasing the

City of Light’s central

position in the artistic world during this critical time of

evolution and change.

Paris was the home of many of the most important creative minds in music, art and literature during the early 1900s as music veered towards atonality and art towards abstraction.

This AmiciMusic concert features the music of Debussy, Stravinsky and Franck, all very different in style, but connected by the fact that they were all composed in Paris.

From Franck’s passionate Romanticism to Debussy’s atmospheric Impressionism and finally to Stravinsky’s primitivism and his later anachronistic Neo-Classisicm, this program reveals the wide differences in idioms that coexisted together.

The performers for the concert are cellist Franklin Keel and pianist/Artistic Director Daniel Weiser. Keel is well-known to Asheville audiences, having grown up in the area before going to Eastman School of Music. Since his return, he co-founded the Opal String Quartet, became Associate Principal Cellist in the Asheville Symphony and is a featured member of several area musical groups who

perform in a variety of styles, such as Sirius B, the Absurdist Gypsy Folk Funk Punk band that has been one of Asheville’s most beloved bands for years.

Dr. Weiser, the founder of AmiciMusic in 2011, has performed in over 20 countries around the world, including Israel, Egypt, Thailand, Pakistan and France.

He was also the 1996 US Artistic Franklin Keel Ambassador of Music and has taught at Dartmouth College, UNCA and Johns Hopkins University. AmiciMusic aims to break down barriers between performers and audience through short, informative talks before each piece and by establishing an informal, relaxed atmosphere at each program. Their mission is to perform in intimate venues and non-traditional spaces and to make great chamber music accessible to all ages and generations. AmiciMusic has performed nearly 200 concerts in the region in private homes, libraries, Assisted Living homes, restaurants, schools, Churches, town halls, bars, Synagogues and more. Visit their website for more info www.amicimusic.org.

Five different venues for THE FRENCH CONNECTION:

Thursday, Oct. 13, 7:30pm — White Horse Black Mountain at 105 Montreat Rd in Black Mountain. $20 at the door or $15 in advance (828) 669-0816 www.whitehorseblackmountain.com.

Friday, Oct. 14, 7pm — Isis Restaurant and Music Hall at 743 Haywood Rd in West Asheville. $20. (828)-575-2737 www.isisasheville.com Saturday, Oct. 15, 3pm — All Soul’s Episcopal Cathedral in Biltmore Village. $20 or $10 for Church members. 18 and under are free. www.amicimusic.org.

Saturday, Oct. 15, 7pm —Unitarian Universalist Fellowship of Hendersonville at 2021 Kanuga Rd. Suggested donation $15.

Sunday, Oct. 16, 2pm — House Concert at 19 Cats Whisker Court in Biltmore Lake. Concert will feature wines and food in a home atmosphere. $35 www. amicimusic.org. Or call Dan at (802) 3690856 or via email at daniel@amicimusic. org.

22 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

Political Dharma “We need enlightenment, not just individually but collectively, to save the planet. We need to awaken ourselves. We need to practice mindfulness if we want to have a future, if we want to save ourselves and the planet.”

— Thich Nhat Hanh Dharma is a Sanskrit word; its root word, dham, means “to uphold” or “to support,” and In Buddhism that which is being upheld or supported is the balance and order of nature and the universe. The word dharma as it applies in Buddhism refers both to this cosmic harmony and to the teachings of Buddhism, the purposes of which are to reveal and uphold that which is the natural order, or “original nature,” sometimes referred to as the “Way.” These are all phrases one sees frequently in Buddhist teachings and make Buddhism very much a cosmology, even a quasi-scientific inquiry into existence. It is also a psychology based in the principle that human emotional suffering is caused by a person being out of harmony with their original nature — to the consequence of living in ignorance (another oft-seen word in the Buddhist canon) of the truth of who they are — and this ignorance leads to suffering.

As it is a psychology, it approaches the problem of human suffering in a very medical fashion, following proper diagnosis there is a treatment plan to restore health. In this model psychological health means equanimity, harmony, balance, and well-being, as well as expanding capacities for insight. Meditation, mindfulness and applied compassion for self and others are the medicine. Health is full human potential realized in enlightenment – not as something gained, but rather, as what is revealed as already within us.

As it is a profoundly insightful psychology, Buddhism can also be seen as a political philosophy – pointing to how collectives of humans cause suffering by lacking in harmony and compassion, functioning in ignorance of the natural balance and conscious interdependence that would be the hallmark of healthy and peaceful communities. This disharmony arises as groups of individuals identify themselves as more important and correct in their world-view than others who are seen as incorrect, wrong, even dangerous. Competition is the result, friendly or hostile, dominating much of human interaction at both the individual and collective level. This then is clearly the realm of politics. The more different in form, style and beliefs, the more competitive a group is with those of a different identity group, the more likely the politics will be hostile even escalating into violence, sometimes war.Another problem arises out of seeing the non-human world as separate from and inferior to the human realm, valued only in relationship

PHILOSOPHY WITH BILL WALZ

By Bill Walz

to its immediate benefit to humans. The entire interdependent system that is the universe; the non-human world is viewed in categories of one flowing system of energy out of which all usefulness or threat and our attention goes creation unfolds. Dharma teaches us we are to these two categories while a very big third not a person in the universe; rather we are the category, that which is viewed as neither a universe happening as a person, just like the valuable resource nor dangerous threat, goes universe happens as a tree or a cow, a river or a mostly ignored. The whole of the natural world planet — all happening within the universe in its is largely overlooked by the average modern unfolding. No person, cow, tree, river or planet human as just the background to their day-tohappens in isolation. Every atom and every form day life, once again, with some particular aspect made of atoms is connected in an unfolding of noticed only if it rises to the level of pleasant or the evolution of the Universe, and each form is in unpleasant as determined by a person’s set of a relationship of connection and interdependence conditioned judgments. Gravely consequential with all forms. This is the Way. It is dharma. ignorance of the systemic wholeness of nature The Universe evolves as a perfectly balanced leads humans to see the natural world as system. This, however, is not how people separate objects existing with particular value, experience themselves, their identity groups, challenge or irrelevance. The result is human their nations, or for that matter, trees, squirrels, activity tearing apart this systemic wholeness, cows, rivers, or the planet. throwing ecosystems out of balance, threatening The conventional way is to experience all these the ability to thrive of all elements of that system, as separate phenomena that can be picked including, eventually, humanity. through and valued or devalued in relationship So, in these expanding circles of identification, to their perceived value to me and my relevant alienation, or indifference human affairs gets collective “us.” Buddhism teaches this is conducted. Those that are of “my” or “our” circle ignorance and it will lead to suffering. The history of identification, we give value. Those whom are of humanity certainly stands as evidence of this perceived as “other” and threatening are treated truth. with hostility; those whom are of neither positive Bringing this out of the cosmological and back nor negative category are used, abused or to the political, the dharma teaches us we must ignored. This is the state of human conduct and completely respect each circle of identification on evolution currently. It is the state of our politics this planet if we are to have a peaceful and safe and it is not in harmony with Dharma. planet or nation or community. But this is not the Dharma is the truth of the way things are, way things are. We individually and collectively and this truth is all that exists in the universe are held too tightly by what Buddhism refers to is in a relationship of interconnectedness and as “egoic delusion,” the delusion of separateness interdependence – nothing arises or exists in and with it the tendency to value me and mine, isolation from the whole and its constituent while devaluing or even holding in hostility that systems. For humans this natural order manifests which is not in my egoic circle. This is the karma in expanding circles of identification where the of conflict and suffering. To alter this karma, we first circle is personal (within ourselves) the must look to dharma. We must realize universal tensions and tears between our dominant egoic respect for the truth of our interconnectedness self and our underlying fundamental natural ‘Walz’ continued on pg. 34 being. The next circle is interpersonal, and here we fall out of harmony because we mistake as our highest priority the maintenance of the importance of “me.”

Even family members who love each other very much do great harm as they joust with each other for their own perceived importance and “rightness.” This, of course, requires that we diminish others’s importance and make them wrong. This same dynamic applies then to groups of individuals identified politically or religiously or ethnically or any number of ways we segregate into shared identity groupings. So too, it is with nations and regions of humanity.

So too, it is with humanity and the non-human animal world and with nature as a whole. We fail to recognize we are all in this life together and every person, every animal, every ecosystem are all intertwined in destiny. Ultimately, the dharma teaches us there is one interconnected, Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 23

ALBUM MUSIC REVIEWS

Spinning Discs

Cass McCombs delivers 8th disc of heartache As always there is more music to cover than I can possible fit into print, so check out Rapidrivermagazine.com for

more on line reviews and such.

Cass McCombs ‘Mangy Love’ Anti Records On his eighth full length album Cass McCombs doesn’t shy away from the bitter pills of heartache, romance gone wrong and foolish choices made over and again.

Rather he embraces them, knowing the best (but never the easiest) way to welcome the good times is to endure the tough ones.

His best songs, and Mangy Love is his strongest collection yet, are microcosms of love and hurt, four to six minutes vignettes whose deft arrangements and precise wordplay pack a world of punch. He’s not afraid to tackle the big issues of our nation, and while the tense state of race relations, a widening income gap, unending wars, and ignorance as a matter of cultural pride don’t exactly make for easy listening in the skilled hands of McCombs and producer Rob Schnapf, the music is so beautifully drawn out you might almost lose sight of the heavy work involved. Almost, because McCombs is far too talented a songwriter to let you get away so easily. Right off the bat the opening notes of “Bum, Bum, Bum” kick off with a slow burn of electric guitars, each hovering over the other, while McCombs speculates as to “how long this river of blood congeals?”

Even when he lightens things up, as in the Caribbean bounce of “Run, Sister, Run” the understood notion is that whatever happiness

she’s enjoying will not last.

Even the horn driven “Laughter Is the Best Medicine”is self mocking; if you really believe that time worn cliche then McCombs has a bridge or two you might want to buy. Those three songs might set the peripheral tone for Mangy Love but its centerpiece is the magisterial “It” a pulsing guitar/ keyboard declaration that screams mid 1970’s Pink Floyd.

“It is not wealth/to have more than others, it is not peace/when others are in pain” he reminds us (and himself) over and again, as if the realization of his own success might be too much to bear.

Mangy Love is the sort of record that demands careful listening. There’s so much going on that’s easy to miss, layered textures and lyrical ellipsis that aren’t readily apparent.

It’s also a record that deserves such attention, and offers rewards aplenty to the listener willing to give it the time in needs. **** Angel Olson ‘My Woman’ Jagjaguwar Records At their best the songs of Angel Olsen’s are equal parts intense and intimate, a series of moments that rarely grab your immediate attention but are marvels of enticement, slow burns that build and build in ways that are both beguiling and unexpected. Much

By James Cassara

like her creative breakthrough Burn Your Fire For No Witness, her newest, which follows by two years, revels in its complex austerity, understated gems of poignancy and potency. My Woman is a dexterous hire wire act, balancing the confessional of “Never Be Mine” with the sing along rockborderline-hostility of “Shut Up Kiss Me.” Roughly speaking side one tends towards the intense and more briskly paced while side two leans toward relaxed confession; but Olsen (as both artist and producer) is smart enough to toss in a wringer or two.

The electronica opener “Intern” sets a tone that is found nowhere else on the album while the eight minute “Sister” is as musically adventurous as anything she’s yet recorded. Not all of My Woman fits ideally. While the range of material here is startling-and give evidence to the forceful nature of Olsen’s songwriting- it does make for a less than unified entity, a collage of songs that almost seem pulled from various stage of her evolution. That sense of disconnect keeps My Woman from being the next leap I was hoping Olsen would make, but while it doesn’t compel me as much as did its predecessor there’s no denying that Angel Olsen, recently relocated to our own Asheville, is poised to take the musical world by storm.

Those who have yet to sample her albums are well advised to do so. ***1/2

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24 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

MUSIC INTERVIEW WITH JAMES CASSARA

The Unique sound of Sarah McQuaid defies description

By James Cassara

second album (I Won’t Go Home ’Til Morning) just after my mother died, so that one hearkens more back to the American folk music she loved.

And on The Plum Tree and the Rose there are a lot of songs inspired by places I visited after I moved to England: “Hardwick’s Lofty Towers,” “Kenilworth,” “In Derby Cathedral.”

In describing the artistry of Sarah McQuaid the term

soundscape comes readily to mind,

– if somewhat ambiguous – word for something that by its own nature defies description. a fitting

Good music is meticulously constructed while remaining remarkably buoyant, engaging with echoes that are both otherworldly yet grounded in the good earth. There are open spaces that beg for the listener to fill, and tight corners that invite genuine curiosity.

If that sounds pretentious, then the fault is mine, as the music itself is remarkably direct and accessible. It is also impossible to pigeonhole, and while music is a recurrent part of my daily routine I cannot think of another artist who sounds quite like Sarah McQuaid.

Much of that distinctive flavor is her voice, expressed in one publication as “Honey poured into wine,” (I think there’s a bit more malt whiskey in the mix) coupled with the depth of her songwriting and the eclectic nature of her stage performance, replete with off the cuff betweensong banter and “stories from the road.”

None of that would be sufficient were McQuaid not possessed with oodles of talent. Her guitar is an extension of her persona, as much a vehicle and an instrument.

That gypsy-like existence is reflected in her music; a rich tapestry sewn of Latino jazz, Appalachian folk by way of the British Isles, and whatever else she has absorbed along the road. The diversity of textures contained within her latest album, Walking Into White (2015), is nothing less than surreal.

Born in Madrid (to a Spanish father and an American mother), raised in Chicago and now living in rural England, McQuaid was taught piano and guitar by her folk-singing mother.

She was also a distant cousin to the acclaimed singer/songwriter/storyteller Gamble Rogers; meeting him, and seeing a real live musician up close, had a profound impact on the young McQuaid. By the age of 12 she embarked on tours of the US and Canada with the Chicago

Sarah McQuaid — Photo by Phil Nicholls Children’s Choir, and at 18 traveled to France for a year to study philosophy at the University of Strasbourg. In 1994 McQuaid moved to Ireland, where she spent 13 years working as a music journalist and magazine editor. It wasn’t until 1997 that she released her first record (When Two Lovers Meet) and nearly a full decade more before launching her solo career full time.

In 2008 McQuaid moved to England, playing such major festivals as Sidmouth and Trowbridge, and devoting herself to recording and touring. Walking into White is her fourth solo album, even while the ever restless McQuaid explores other musical possibilities.

Rapid River Magazine: I’d like you to talk a bit about your upbringing. I know the bare bones of what looks from the outside in to be a pretty glamorous path, but I’d love for you to expand on it. How did the peripatetic nature of things affect your music?

Sarah McQuaid: I think it’s in the nature of all creative artists, musicians or otherwise, to pick up influences and ideas wherever they travel. I’ve been very lucky in that I’ve been able to live, study and work in so many different cities, countries and continents, and the music I’ve made has reflected that. My first album was recorded when I was living in Ireland, and consequently it consists almost entirely of traditional Irish music, whereas I made the

RRM: Did you listen to the same sort of music as your classmates and contemporaries? I’m not sure during which decade you attended middle and high school, the year’s when most of us are developing our artistic tastes, but one of the things I find most interesting about your music is how little you wear those tastes on your sleeve. I can certainly detect some slight influences, but if you grew up digging grunge rock or new age I sure can’t hear it.

SM: I was in high school in the early 1980s and I can remember the day a friend of mine came up behind me and put the headphones of her Sony Walkman on my head with Jean-Michel Jarre’s “Oxygene” playing. On cassette! And I was blown away because it wasn’t like anything I’d ever heard before. I also remember being glued to Friday Night Videos back in the pre-MTV days, getting really excited about the latest video by Tina Turner or whoever. But I also used to haunt secondhand record stores and bring home LPs by anyone from Joni Mitchell to The Captain and Tennille to obscure folk and blues albums.

I’ve still got all of them. As regards to grunge rock and new age, I do remember the first time I heard Nirvana at a friend’s house, and while I was never enough of a fan to buy their albums or go to their shows, I did recognize the power and originality in what they were doing straight away. It might not have been my cup of tea, but I knew it was seriously good. And while I was never into new age music as such, I did buy a lot of the Windham Hill Records albums by guitarists like Michael Hedges, Alex de Grassi and Willy Ackerman. That’s what got me started with using alternative tunings for guitar. I guess I’ve always had wildly eclectic tastes in music, and I still do.

RRM: I have a musician friend just a few years younger than I who could not care less about classic rock, which seems ‘McQuaid’ continued on pg. 31

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 25

POETRY/OPINION

All who wonder are not lost When am I lost?

When I am outdoors. When I hear or make music with my cello. I am also often lost in words.

I am in awe when clouds descend. I walk through them.

Sunset on the lake in Minnesota?

I sit in the canoe and marvel as water reflects sky. The lake is orange, or it becomes a blue plate around noon. Sometimes the plate has a meringue of clouds on it.

I am lost in Brahms: listening or performing. His third symphony takes me away.

Next, but never least, I am lost in the sound of words. The idea for this column came from an MFA professor of mine at Hamline University in St. Paul, MN. He once told a tale about his first grade teacher. His mother went to a parent teacher meeting. His teacher told his mother that “Jimmy’s mind wonders.”

Absolutely! He’s a poet, for Pete’s sake!

I include a poem by a friend of mine from Minnesota. He lives in a 19th century farm house surrounded by woods and fields. He is a gifted wood worker and former Episcopal priest.

Nature and music are represent in these words to wonder over.Be careful. You may get lost.

From Gary Snyder Earth Prayers from around the world Ah to be alive on a mid-September morn fording a stream barefoot, pants rolled upholding boots, pack on, sunshine, ice in the shallows, northern rockies.Rustle

By Carol Bjorlie — “The Poet behind the cello”

and shimmer of ice creek waters stones turn underfoot, small and hard on toes cold nose dripping singing inside creek music, heart music smell of sun on gravel.

I pledge allegiance. I pledge allegiance to the soil of Turtle Island one eco-systemin diversity under the sun — With joyful interpenetration for all.

And a word from Mary (Oliver, of course) from Swan ‘Trying to be Thoughtful in the First Brights of Dawn’

I am thinking, or trying to think, about all the imponderables for which we have no answers, yet endless interest all the range of our lives, and it’s good for the head no doubt to undertake such meditation; Mystery, after all, is God’s other name, and deserves our considerations surely, But, but — excuse me now, please; it’s morning, heavenly bright,and my irrepressible heart begs me to hurry oninto the next exquisite moment.

From my friend, Charles Preble, from his book, The Ruffed Grouse ‘Evensong’

After the psalms have been chanted and the scriptures read; after the prayers have been offered, the candles put out and the doors closed, I sit alone while dusk’s light wanes. In that liminal space, as when the music ends and before the applause, what might seem an emptiness, an

absence, becomes a richness, an enfolding presence.The night is clear as the full moon rises.

From poet, Bill Holm, also a Minnesotan, we get this prose preface to his book, Chain Letter of the Soul.

For it is life we want. We want the world, the whole beautiful world alive - and we alive in it. That is the actual god we longfor and seek, yet we have already found it, if we open our senses, our whole bodies, thus our souls. That is why I have written and intend to continue until someone among you takes up the happy work of keeping the chain letter of the soul moving along into whatever future will come.

From a collection of poems from Minnesota poets, there is Mixed Voices.

This poem is written by Lola Haskins.

“To Play Pianissimo”

Does not mean silence. The absence of moon in the day skyfor example. Does not mean barely to speak, the way a child’s whisper makes only warm air on his mother’s right ear. To play pianissimos to carry sweet words to the old woman in the last dark row who cannot hear anything else,and to lay them across her lap like a shawl.

Take up your chain letter of your soul. Write your wonder for the day

Carol Bjorlie

ARTS AND CULTURE NOTE: Advertise with Rapid River Magazine Free Web Links & Ad Design Call (828) 646-0071

ARTS HAVE SOCIAL IMPACT University of Pennsylvania researchers have demonstrated that a high concentration of the arts in a city leads to higher civic engagement, more social cohesion, higher child welfare, and lower poverty rates. A vibrant arts community ensures that young people are not left to be raised solely in a pop culture and tabloid marketplace.

26 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

(Source US Bureau of Economic Analysis)

BOOKS/WRITERS

Acclaimed author Ann Patchett returns Ann Patchett the acclaimed, bestselling author—winner of the PEN/Faulkner Award and the Orange Prize—tells the enthralling story of

how an unexpected romantic encounter irrevocably

changes two families’ lives.

One Sunday afternoon in Southern California, Bert Cousins shows up at Franny Keating’s christening party uninvited. Before evening falls, he has kissed Franny’s mother, Beverly—thus setting in motion the dissolution of their marriages and the joining of two families.

Spanning five decades, Commonwealth explores how this chance encounter reverberates through the lives of the four parents and six children involved. Spending summers together in Virginia, the Keating and Cousins children forge a lasting bond that is based on a shared disillusionment with their parents and the strange and genuine affection that grows up

between them.

When, in her 20s, Franny begins an affair with the legendary author Leon Posen and tells him about her family, the story of her siblings is no longer hers to control.

Their childhood becomes the basis for his wildly successful book, ultimately forcing them to come to terms with their losses, their guilt, and the deeply loyal connection they feel for one another.

Told with equal measures of humor and heartbreak, Commonwealth is a meditation on inspiration, interpretation, and the ownership of stories. It is a brilliant and tender tale of the far-reaching ties of love and responsibility that bind us together.

Patchett is the author of seven novels, The Patron Saint of Liars, Taft, The Magician’s Assistant, Bel

Canto, Run, State of Wonder, and Commonwealth. She was the editor of Best American Short Stories, 2006, and has written three books of nonfiction –Truth & Beauty, about her friendship with the writer Lucy Grealy, What Now? an expansion of her graduation address at Sarah Lawrence College, and This is the Story of a Happy Marriage, a collection of essays examining the theme of commitment.

Patchett lives in Nashville with her husband, Karl VanDevender, and their dog, Sparky.

IF YOU GO

Ann Patchett is joining Malaprop’s Bookstore for a reading at UNCA. Tickets on sale. Commonwealth the seventh work from the author Kirkus Reviews praises as “one of our finest writers” will “keep you on your toes” with its narrative, told in “lean and inviting prose.”

Event date: Tuesday, Oct. 11, 7pm $35

‘Stalking the Ripper’ author signs book STALKING JACK THE RIPPER A debut novel from Kerri Maniscalco, (the first YA acquisition on James Patterson’s JIMMY Patterson list) will keep readers up late into the night.

A hair-raising gothic thriller with a killer protagonist.

James Patterson says, “It’s the book I wish I wrote.”

In this spine-chilling gothic murder mystery set in gritty Victorian-era London, an intrepid society girl finds herself inescapably embroiled in the investigation of a ghastly serial killer known as Jack the Ripper.

A 17-year-old Audrey Rose Wadsworth was born a lord’s daughter, with a life of wealth and privilege stretched out before her. But between the social teas and silk dress fittings, she leads a forbidden secret life.

Against her stern father’s wishes and society’s

By Staff Reports

expectations, Audrey often slips away to her uncle’s laboratory to study the gruesome practice of forensic medicine. When her work on a string of savagely killed corpses drags Audrey into the investigation of a serial murderer, her search for answers brings her close to her own sheltered world.

The story’s shocking twists and turns, augmented with real, sinister period photos, will make this dazzling debut from author Kerri Maniscalco impossible to forget.

Stalking the Ripper is a book young and adult readers alike will love, and also has a strong “women in (forensic) science” angle as well.

IF YOU GO

OCTOBER

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We host numerous Readings & Book clubs, as well as Salons!

Visit www.malaprops.com

READINGS & BOOK SIGNINGS PAULETTE JILES presents 'NEWS OF THE WORLD' 10/03 - 7pm THOMAS MULLEN presents 'DARKTOWN' 10/06 - 7pm ANN PATCHETT presents 'COMMONWEALTH' **ticketed event** 10/11 - 7pm LIDIJA DIMKOVSKA presents 'A SPARE LIFE' 10/12 - 7pm MARTHA STRAWN presents 'ACROSS THE THRESHOLD OF INDIA' 10/18 - 7pm AMY CHERRIX presents 'ROAMING THE MOUNTAINS' 10/22 - 3pm BELLE BOGGS presents 'THE ART OF WAITING' 10/26 - 7pm WORKS IN TRANSLATION discusses VOICES FROM CHERNOBYL 10/27 - 7pm ANN HITE presents 'SLEEPING ABOVE CHAOS' 10/31 - 7:00pm More events visit us online!

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Kerri Maniscalco will be in Asheville on October 2 for an event at 3pm at Spellbound Children’s Bookshop. 640 Merrimon Ave Ste 204, Asheville, (828) 575-2266 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 27

We

e v o L

A Unique Mountain City Experience Dining • Shopping • Galleries • Festivals

Waynesville

Latest tour promises great art and crafts for buyers Haywood County Arts Council and the Haywood Art Studio Tour are thrilled to announce that studios are once again open this October starting Friday the 28 through Saturday the 29 from 105pm each day.

A reception will be held Friday October 7 from 6-9pm at the Haywood County Arts

Council.

The third annual Haywood Art Studio tour features the talents and skills of a county particularly rich in craft and artistic traditions.

Local residents are invited into the studios and creative spaces of artists across all media – encaustic, acrylic, ceramics, fiber, glass, jewelry and wood, to name a few – to learn, mingle, admire and delve into the process and passion that keeps these artists working.

This is a self guided, individually paced tour through downtown Waynesville and through the mountains and woods of Haywood county.

Studio locations are provided in brochures available for pick-up at the Haywood County Arts Council.

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‘Molinelli’ continued on pg. 25 to another.”

Conversely, she is also asked how she knows when a painting is done. “It’s a matter of a feeling of completion when the painting resolves itself into what it was meant to be. If I go too far, I know it’s my inner critic that is to blame. I’ve ruined many good paintings that way.”

Molinelli began her work in visual arts as a fiber artist, both in weaving and batik.

“While I have always been in love with color, the energy and rhythm that painting conveys continued to intrigue me.

“Dancing Away the Blues” graphite and acrylic on canvas 24x18 in.

“My Lost Garden” acrylic, graphite and pastell on canvas 36 x 36 in.

When I turned a work without a seeming subject to painting later could so profoundly speak to me.” in life, I found I She says she meets herself daily could translate when she paints. “The parallels to the texture of life are uncanny. The complexity of fiber and the relationships, the twists and turns, layering of colors the elation and disappointment, from my dye work even anger and grief that I to this medium.” experience when painting have She says she made me much more aware and found her “art sensitive.” Molinelli says she tribe” early, the doesn’t think about what people group of painters will see or not see in a painting as with whom she she works. Her one requirement most identifies. has been to remain open to the At a young age, creative. “My process seeks colors she began to that are satisfying, a line that is gravitate to the meaningful to the whole, and a contemporary composition that hangs together. section of any Yet, I hope my work will always art museum she provoke thought, convey a sense of visited. mystery, or speak of connection.

“The vitality, 310 Art immediacy, and IF YOU 191 Lyman Street, #310, depth of emotion GO Asheville. The gallery is touched me like opened Mon.- Sat., 11-5pm no other. Without and by appointment. www.310art. knowing it at com, jmolinelliart.com. Info (828) the time, I was captivated by how 776-2716, gallery@310art.com

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 29

MUSIC

Ryley Walker with Circult de Yeux at the Mothlight

songwriter/vocalist/ multi-instrumentalist looking new talent and Ryley Walker could new directions the term well be one.

“Wunderkind” is too Much like Beck readily tossed around, a (and to a far lesser convenient way to label degree Prince) an up and coming artist Walker has a nearly who might well defy easy Ryley Walker unfathomable ability categorization. photo by Tom Sheehan to create music out of some otherworldly There is nothing space, cutting, inherently wrong with that-after all disassembling, rearranging, and without promotion (even of the over- integrating disparate strands of the-top-variety) none of us could music into a unified and glorious find what is out there-but in fact few whole. He rarely relies on standard of those next great things manage pop instrumentation-his songs are to sustain a career. And while that’s replete with thunderous acoustic always been the case in our modern bass, shimmery autoharps, looping drum beats, and spare hints of world of immediate gratification and electric guitar-the end result of shortening attention spans it seems which creates moods that alternate truer than ever. Of course there are between brooding and exhilarating. exceptions, and the Chicago based with an industry hungrily

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Golden Sings That Have Been Sung, his third and newest album, is testament to this. Produced by Wilco multi-instrumentalist (and fellow Chicagoan) LeRoy Bach, Walker describes it as “very much born of the windy city, from the players to the subject matter.”

In a glowing NY Times review the songs were described as “Age-old tales, yet put together in his own exacting way, which makes them new.” I can only concur. Having received the album only days before my monthly deadline I’ll admit to not yet having had the time to fully digest and explore Golden Sings That Have Been Sung with the depth that is demands and deserves.

But after just a pair of listens I am struck by its complexity, adventurous tone, and radiance,

the rare sort of record that speaks equally to the cerebral and emotive aspects of our being. Which makes Walker’s appearance at The Mothlight a “must hear” for me and for anyone wanting to expand their musical horizon in ways that are engaging, evocative, and exhilarating. Try sampling a few tunes via his website at www. ryleywalker.com. I suspect one or two tracks will be sufficient to get you hooked.

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LIVE MUSIC ‘McQuaid’ continued from pg. 25 incomprehensible to me. For him it’s all about traditional Celtic and Gypsy Jazz.

SM: Yeah, I find it weird when people decide they’re into a particular genre and then don’t want to listen to anything else. I listen to all sorts of stuff. Three of my favorite albums are Led Zeppelin II, Rostropovich’s recording of the Bach cello suites, and Ella Fitzgerald Sings the Rodgers & Hart Song Book. Very different genres, but I love them all and listen to them constantly.

RRM: You’ve been living in England for most of your time as a professional musician.

How is that different than trying to launch a career from more conventional places such as Nashville or LA? Your largest potential audience is a thousand miles away. Obviously the flights are longer but aesthetically does it change things?

SM: Well, the biggest difference it made was that because in England we have free health care, good free education and a tax credits system that pays out a supplemental income to lowincome working people, I was actually able to take the risk of becoming a full time musician at a point in my life when I had two small children.

In the USA I couldn’t have done that. But here, I knew even if I made next to nothing – and I’m still making next to nothing – my kids would still be clothed and fed, be able to go to the doctor if they needed to, go to school and eventually get a university education if they wanted one. That could all change with the current government, of course. But it made a big difference, and meant I was able to jump straight into the world of touring without having to juggle a day job at the start.

And it meant that I had the option of touring in England, Ireland and Continental Europe as well as being able to get over to the USA for a longer tour once a year. So it’s been a huge advantage, I think.

RRM: Let’s focus on the making of Walking into White. By the time you recorded it you’d already developed a certain amount of following and acclaim. Was there a sense of raised expectations on your part?

SM: Well, yeah, and I was very conscious of wanting to do something different this time around, I’d never be happy making the same album over and over again. There were people who loved my earlier albums who didn’t like the

RRM: For those of us who’ve not yet seen a Sarah McQuaid show, what might we expect?

If you were slipping back in time to your music journalist years how would you write the playbill?

Sarah McQuaid, photo by Phil Nicholls

more lo-fi, rockier sound of Walking Into White, but by the same token it drew a bunch of new fans who absolutely raved about it – the vast majority of the reviews were wildly enthusiastic, and one magazine nominated it for Album of the Year. I think that with any kind of creative work there’s no point in trying to anticipate what other people will want to hear – you just have to please yourself and make the best album that you can make, and then if other people like it, too, that’s a bonus.

RRM: I assume you’re touring solo, or are there musicians in this country you can take along?

SM: I perform solo, but my manager/road manager/sound engineer Martin Stansbury is kind of a band member who operates from offstage. He comes with me on all my tours on both sides of the Atlantic and does a lot of stuff from the mixing desk end with various effects, looping, delays and so on that’s really essential to the songs. Plus he does all the driving and deals with all the logistics, scheduling, communicating with venues, setting up interviews and so on. I couldn’t do it without him.

RRM: Have you played this area before?

The White Horse in Black Mountain is a very casual and comfortable spot for musicians, one that they seem to enjoy performing at.

SM: I’ve never played in Black Mountain before, but I’ve played at the Mountain Spirit Coffeehouse in Asheville which is very nearby, and I’ve also played several times in both Deep Gap, NC and Jonesborough, TN, neither of which is all that far away. It’s a beautiful part of the world, driving through mountains always lifts my spirits. And I’ve heard great things about The White Horse from other musicians, so I’m really looking forward to gigging there.

SM: Because I’m a solo performer, I have to make an extra effort to keep things varied and interesting to the audience – I put a lot of time into putting together a set list that includes a lot of different styles, genres and tempos, cos I don’t want people to get bored! I also do a fair bit of chatting between songs – I’m always trying to build up a rapport with the audience and get them talking back to me. I’m already looking at my set list for this tour, and it’ll include material from all my solo albums as well as the Mama album I made with Zoë [Pollock, writer/performer of the 1991 hit single “Sunshine On A Rainy Day”] and some stuff I haven’t recorded yet including a couple of surprise covers.

RR: In closing would you mind listing a few of your songs you think our readers might want to sample on line? Ones that you think best exemplify your music?

SM: There are a bunch of live videos on YouTube that give a good flavor of what I do in concert – www.youtube.com/sarahmcquaid you’ll see recent live videos of “Yellowstone,” “Crow Coyote Buffalo,” “Sweetness & Pain/Leave It For Another Day” and “Jackdaws Rising” that I think are all worth checking out. And on sarahmcquaid.com/listen__buy/ you can listen on line to all my albums in their entirety.

RR: Anything else you would care to add?

Now is your chance.

Nope, I think you’ve about covered it! Thank you so much, James, it’s been lovely chatting with you.

Sarah McQuaid at The White Horse In Black Mountain on Saturday, Oct. 8.

Doors open at 7pm for this 8pm all ages show. Ryley Walker Sings Golden Songs at The Mothlight 105C Montreat Road , Black Mountain (828) 669-0816 www.website whitehorseblackmountain.com IF YOU GO

Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 31

HAPPY HALLOWEEN

SELPH ROAD STUDIOS: The Art of Tony Corbitt Jr.

To see more of Tony Tony Corbitt Jr’s work visit www.selphroadstudios.com or call (863) 899-6232

TICKETS ONLINE AT ASHEVILLETHEATRE.ORG OR CALL 828.254.1320

32 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

Artist Ann Whisenant does paintings plain and simple

By Staff Reports

Ann Whisenant was born, raised and educated in England and it was there she received her first training in art.

After college she took her love of painting with her to the US. After living in Huntsville Chicago and Memphis, she and her husband Dalton settled in Black Mountain 17 years ago where she immediately became a vital addition to the longstanding artist community.

In October 2000, The Paint Spot and Gift Gallery in Black Mountain, presented an exhibition of her works: Paintings Plain & Simple.

That pretty much describes Ann’s work in general. She paints in oils and watercolor; the oils are bold and Ann Whisenant — “Dye County vibrant in color while Dwelling,” oil the watercolors are clean, crisp and softer in tone.

Her works range from large geometric abstracts to simple, more realistic landscapes.

Whisenant is also an energetic supporter and

MR

MV

Ann Whisenant — “Hillside Village,” oil

organizer for the arts in Black Mountain. Her contributions include being a founding member of several cooperative galleries: TempARTary Gallery, the Sourwood Gallery and the Red House Studios and Gallery.

She has been serving as a board and committee member for the Swannanoa Valley Fine Art League since she arrived and also founded the Plein Air Painting program for Black Mountain Center for the Arts “Art in Bloom.”

An en plein air painter herself, she often works on location with minimum equipment ‘Whisenant’ continued on pg. 34

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BLACK MOUNTAIN /CONT. ‘Whisenant’ continued from pg. 33

Ann Whisenant (in her studio) display’s “Autumn Glory”

which enables her to go in search of paint-able subjects not always available to everyone. She enjoys being able to transpose the intricate patterns of nature into simple designs of color.

At 85 and recently widowed, Whisenant still paints and volunteers daily. You can view Whisenant’s paintings in her studio upstairs at the Red House Studio in Black Mountain during open

hours Tuesday through Saturday 11-5pm and Sunday 1-4pm. If you are fortunate to meet Ann, ask her to tell you about her very famous English great grandfather whose initials are CD. You may have read a story or two of his.

Red House Gallery in Black Mountain. (828) 669-0351 310 W. State St. Visit: www.svfalarts.org IF YOU GO

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Reconciliation for the harms we have inflicted, past and present, and to bring together in sincere communication those who have been in conflict through ignorance of our common source and destiny, is the only way to move toward a future of peace, harmony and happiness. As we engage politically with all levels of our interaction, including with the planet, our shared home with all life, we will do well to remember this dharma.

Thankfully, the evolution of human society has been unconsciously actualizing the need to expand the circle of “us” to include those who had been excluded, and so the ignorant boundaries of slavery, racism, sexism, and even to some extent,

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nationalism, have been dissolved or are in the process of dissolution as the human species moves closer to unity and harmony. Yet, so much more consciousness is needed if we are to fulfill the dharma of a harmonious planet in balance, health and peace. In the realm of politics, this means we must support and elevate leaders and policy makers who hold as a sacred mission the tearing down of false barriers and hierarchies.

We must support leaders who bring human communities together in wisdom and compassion and who support the necessity of holding to a sacred relationship with nature and all its inhabitants.

We must politically realize the dharma of wholeness, interconnectedness, compassion, respect and harmony as our guide and reject those who wish to perpetuate the destructive karma of separateness, hierarchies, exploitation, conflict and abuse.

We are one people, one planet, with one future. This is the dharma of politics. It is the Way – it is the only way.

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34 Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016

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COMICS

Ratchet and Spin

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By Jess and Russ Woods

Dragin

By Michael Cole

Corgi Tales

By Phil Hawkins

Our RAD Art Issue Coming November 2016

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Vol. 20, No. 2 — RAPID RIVER’S ARTS & CULTURE MAGAZINE — October 2016 35

A self-guided driving tour of 36 artists at 21 studios and creative centers in Haywood County, NC Livengood

Fowler

Studio tour show:

Friday October 28 & Saturday October 29, 10a - 5p.

October 7-30 at Haywood County Arts Council Gallery & Gifts, 86 N Main Street, Waynesville

Opening reception:

October 7, 6p-9p

Parmele

Haywood art Studio tour 2016

Burr siewart

Brochures:

OpenStudios Haywood

Haywood County Arts Council, or download from our Facebook page.