Fall 2017

free

fall 2017

The Love in Local Art

tatiana Camice

storytelling through melaninated faces

the story of mia a work in progress

keeping up

with sunny gravely WAMRev - Weatherspoon Art Museum/Revolution Mill

/wearegreensboro online issues

issuu.com/wearegreensboro

ISSUE: 26 EDITORIAL Managing director /editor

Tony Bates | wearegreensboro@gmail.com creative director

Arthur Bates Jr. | abates@wearegreensboro.com Non-profit coordinator

Veronica Bates | vlb@wearegreensboro.com

ADVERTISING advertising manager

John Graham | jgraham@wearegreensboro.com

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Reproduction in whole or in part without the written permission of We Are Greensboro is strictly forbidden. The greatest care has been taken to ensure the accuracy of information in this magazine at the time of going to press, but we accept no responsibility for omissions, errors, products, services, information or statements made by contributing editors or advertisers. We Are Greensboro reserves the right to deny advertising or any other type of submission that does not meet our standards.

AWARENESS

Fight like A Girl!

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Small Talk By way of a disclaimer, it is important to understand that it would take volumes to note all of the artists who call the Gate City home. Please think of this small glimpse as a way of opening a few eyes to the limitless artistic talent that Greensboro has to offer and a request to consider these few words a key, knowing that once the door has been opened, a new and exciting world awaits.

Also, art comes in many forms and while upcoming issues we will serve to explore other media such as pottery, sculpture, metal and wood-working in addition to poetry, music and dance and the wonderful galleries and venues giving local art a voice, THIS issue focuses solely on painting. Still, the points made here could apply equally well to ANY form of art.

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The Love in Local Art

eep it local! This has been our mantra since day one.

So naturally, it hurts our hearts to see people decorate their homes with artwork (using the term VERY loosely) from Target or Walmart or any big box or chain store for that matter. Not only do most of these meaningless, mass-produced posters only pose as artwork, they offer next to nothing by way of supporting local artists and galleries and precious little to enhance our local economy.

Perhaps it’s easier than one might imagine to overlook the benefits to the city and the enormous amount of outstanding locally produced artwork available in Greensboro. However, with so many talented artists, amazing galleries and exciting events promoting local art right here in our own back yard, the ignorance of availability and obliviousness to the benefits of owning it seem highly unlikely. Not to dwell on what are ultimately hollow reasons, we won’t delve too deeply into what has been. Instead, we will focus on the why, the where and the how to go about correcting these oversights and begin finding the love in the local art of Greensboro.

Many would argue that beauty is all around us, and they would be right, yet so much of what we see every day is beyond our control and at its essence, meaningless. Oh, it might be informative or serve some other functional purpose, but from road signs and telephone poles to window frames and door jambs many of the sights we are exposed to offer little if anything at all in the way of visual stimulation; this is a prime reason art should matter. Whether it’s the visual representation of the beauty we find in that special place, the artistic recreation of the timeless smile of a loved one or even a mutual abstract vision, shared between the artist and the viewer, the options we choose to enhance the spaces we CAN control should be more than simple wall covering. Good art, real art, honest art elicits emotions; it tells a story, it holds a place of its own in our hearts, it has meaning. Not to mention that when the artist tells a story, quite often their emotions reflect our feelings as well.

Part of the issue at hand is the difficulty of mass producing significance. Buying cheap imitations from a retail chain and presenting them as art is akin to doing the same

Tony

for a movie poster. They may make your heart flutter for a moment, but do they really have “meaning”? Buying original art or even limited run giclées that speak to us personally not only ensures a unique perspective when displayed, it means that every time we glance at those works, the emotions they’ve evoked return.

Moreover, knowing that the chances of meeting the artist rise exponentially because they live in our community, or even if they don’t, having the artist’s story and vision explained by someone who truly comprehends and appreciates the artist is significant. Understanding that a deeper level exists and that these works and their accompanying emotions can, and often do, last a lifetime is priceless.

There are other reasons too, one in particular that we speak of often and certainly applies here; shopping local helps support our community. The fact that a higher percentage of the money spent on locally produced art stays in the community as opposed to that of works produced elsewhere, would hopefully offer an additional incentive to any discerning patron, the same holding true for where it’s purchased as well. Like the artists who create it, art purchased through local galleries returns a greater percentage per dollar than outside big-box or chain stores. Collecting the works of various artists close to home not only helps ensure the artists themselves can survive to continue creating and helps local galleries remain solvent so they can continue exhibiting, the higher percentage returned to the community means that more funds will be available for necessary projects right here at home.

Reasons abound; and while we wouldn’t mind if they did, we are not suggesting that anyone purchase every single decoration they own from a local source; a “must-have” piece could very well be found in Marshall’s or Macy’s. We are merely suggesting that everyone consider investing in some form of local art, continuing to do so as your collection grows.

With so many unique and gifted artists creating in such diverse and distinctive styles, it would be impossible NOT to find something that speaks to you, something with meaning.

After all, what could be better than filling your home (or office) with beauty, with emotion, with love?

invest in greensboro • keep it local

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GREENSBORO SCIENCE CENTER AQUARIUM MUSEUM ZOO

4301 Lawndale Dr • (336) 288-3769 greensboroscience.org

The Story of Mia

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2400 16th St • 336. 373.3272 greensborosportsplex.com

Keeping Up With Sunny

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Contents

Tatiana Camice - Storytelling 14

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Lessons From

Leigh17

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The Story of Mia

Keeping Up With Sunny

Perfect Portraiture

The unscripted and ongoing life of Minerva Walser, as told through her painting.

Keeping up with artist Sunny Gravely is no easy task... Thankfully she checks in every now and again.

His love of portaiture rekindled, the next question for artist Lawrence Heyda is who will be the next subject?

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World of Art

Tatiana Camice - Storytelling

Lessons From Leigh

There are more to most galleries than showing art. Here are two in particular that are expanding the world of art in the community of Greensboro.

Through her expressive paintings of melaninated faces, Tatiana Camice tells her compelling story and that of those around her.

More than mere words, it is the lessons from the life of leigh Rodenbough that have proven invaluable.

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A Life By Design

On The Cover - WAMRev

Images

Her talent and perseverance have combined to help Agnes PrestonBrame design her life on her own terms. We, are the beneficiaries.

This unique and interesting exhibition at the WAMRev only begins to explore the exiting potential of this new collaboration at Revolution Mill.

We spent Mill Day 2017 at Revolution Mill, and we had a BLAST! Here are a few of the friends we met there.

SENTRY SECURITY CORPORATE • COMMERCIAL • RESIDENTIAL

PROTECTION YOU CAN COUNT ON GREENSBORO, NC • GOLDSBORO, NC

336.302.2421

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Mia with her work “High Noon” - Curtesty of Minerva Walser

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The Story of Mia

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er art is quite literally her life. As she considers each work a part of her soul, each finished canvas becomes a piece of the puzzle that tells the story of…her. Yet, even after painting for more than twenty years, we still find ourselves meeting Minerva Walser mid story.

One of six siblings from a humble, traditionally conservative and religious environment, Mia, as she prefers to be called, was raised in Taiwan by “a remarkable single father” after losing her mother when she was only four. It was during that same year that she saw her older sister drawing and became fascinated by “the possibilities of what one could do on a blank paper”. From that point forward, Mia longed for a way to express her creativity without, as she puts it “getting myself in trouble with my family”. Between school and helping her father in the family business, there was little time for outside activities. Still, her father bent a few rules and allowed Mia the opportunity to take art classes once a week.

Believing it would be an environment that “encouraged me to create and express myself freely”, Mia became discouraged with the rigidity, and lack of freedom of expression, leaving the program after only two months when it became apparent she would only be allowed to draw still-life subjects of little interest. It has always been part of Mia’s nature to express herself. Through her remaining years in Taiwan, even though she would draw and paint on “pretty much every blank paper I could get her hands on”, she’d yet to begin to take her art seriously, choosing instead to keep her painting private. Her teenage years saw Mia begin to pour that same creativity into writing, eventually being published in student magazines and later in newspapers, explaining that “For a time I had earned myself a decent allowance with my writing”.

Feeling stifled and longing for a more liberal environment where she could “live like everybody else”, Mia left home at 18, but soon realized that being like “everybody” was suffocating as well. At 21 she met an Engineer, marrying him a year later. Relocating to his home country of Austria, Mia looked forward to her new life in a more liberating culture that encouraged “individualism and independence and embraced free thought and expression”. But Mia soon became disheartened in Austria as well as she struggled with the culture and language barrier of a society that seemed intent on keeping outsiders at bay, never truly allowing them to matriculate.

Completely isolated socially and frustrated at being emotionally and financially dependent upon her husband, combined with no longer being able to satisfy herself through her writing (“If I would have written in Chinese who else could have read it? Not even my own children!”), Mia re-

Tony Bates

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turned to her once dormant passion. With her innate need to express herself only serving to amplify her discomfort in Austria, Mia explains that, “Losing my stage, my voice… my identity, is a large part of what drove me back to paint”. Hiatus over, when Mia began to paint again, she dived in with fervor, ultimately committing herself to paint at least 4 full hours each day. If she missed any time on one day, she had to make it up the following day (she missed far fewer hours after she had to paint twenty hours in one day just to catch up), continuing this regimen for 5 years between 1999 and 2005.

Mia’s reasons for painting were deeply personal.

She painted to escape her isolated reality and to hold onto her “fading identity”. She painted so her “children (now two young men attending NC State) could have a glimpse of me if I died young”. Losing her mother when she was young, she was afraid that they too might lose her, never truly knowing who she was. Perhaps the most important reason Mia paints is for herself; for “self-realization and selfimprovement, learning to be patient, to be disciplined and to be focused”.

Painting is not what I do for a living; it is what I love to do

Mia believes that “creativity is a commitment… a choice”, as we must “choose” to express ourselves. Still, recognizing that the financial needs of day-to-day life would interfere with her ability to paint unencumbered, she parlayed her investments into a comfortable financial independence, which has freed her to paint as she wishes for the sheer joy of it with “no rules and no compromise”. All of which is even more amazing considering that even though the requests for shows and commissioned pieces come regularly, Mia does not sell her work, opting instead to keep her collection in tact until her story is finished and ready to be told.

In speaking with Mia, I initially found it hard to comprehend an artist, whose work would most definitely sell quickly, refusing to part with her art. Mia described how she continues to miss the only three pieces she ever sold (years ago), still feeling as though part of her heart has gone with them. But it wasn’t until she explained how she viewed her art that I began to understand. Where many artists see an object or a person, a landscape or any number of other “subjects” to represent in their works, Mia paints her emotions, her thoughts and her own experiences. Where most utilize their art as a means of income (albeit reluctantly in some cases), Mia does not. (Continued on pg. 25)

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rom her days teaching at NC A&T State University, to her current community involvement, gallery (co) ownership and of course her artwork, we’ve had Sunny Gravely on our radar for quite some time; but it hasn’t always been easy. With an abundance of talent, effervescent personality and seemingly endless energy reserves, it appears that the only one who can truly keep up with Sunny Gravely is Sunny herself.

With her business partners Darlene McClinton and Watricia Shuler, LaTasha “Sunny” Gravely is one of the owners of The Artist Bloc, a fine arts gallery, coffeehouse and retail art supply store here in Greensboro.

When we last spoke, Sunny was in full gallery ownership mode. Having recently opened “TAB”, as it is affectionately referred to; she’d opted to put her artwork on hold for a moment, choosing instead to focus her efforts with those of her partners to ensure the gallery was on solid ground first. Now, the better part of three years later, while still expanding, TAB has become firmly rooted in the community and while, as Director of Art Education and Director of the TAB Gallery, she still has plenty to occupy her time, Sunny Gravely has switched gears once again returning to her art with renewed fervor and determination.

She had to take a leap of faith

While always cognizant of the world around her, Sunny’s paintings didn’t always reflect what she was feeling inside. She spent time honing her craft, during which she was creating along what she had been taught was the right path; painting for the masses and what the status quo intimated it was interested in buying. “It was more about the financial end… the money, and painting what I believed would sell, rather than what I was feeling”, she told me, “Landscapes and portraits mostly, the work became mundane and unfulfilling. It was more generic and less about the message”. Sunny needed something “deeper”; something that spoke to her soul, something that would resonate her passion. She was evolving both as an artist and as a person and change was coming.

Sunny realized that she could no longer paint what were ultimately lifeless subjects devoid of feeling.

To be fulfilled as an artist, she had to paint what she felt and have the confidence to believe that the feelings she transferred to her canvases would instill the enthusiasm in others that they had in her. She had to take a leap of faith; faith in herself and faith that others would under-

stand, appreciate and of course buy her works.

Reinventing her art, Sunny now paints from the heart and the future has never looked so …sunny. Normally painting what she considers “contemporary art”; Sunny uses her bushes and canvas to “reflect on this time in history using figures reminiscent of folk art”. Instead of still life and conventional portraits, Sunny creates snapshots of the world around her. Instead of painting for strictly commercial reasons, she creates what she feels, what touches her, hoping others are being touched the same way.

Make no mistake; it’s still about the money, but now it’s only to a degree. Even with her investments and businesses, Sunny is a professional artist and professionals make money plying their craft. The difference now is that Sunny truly believes in and loves what she is creating. It has become much less a job and much more a passion; and it’s working, the response has been fantastic.

To Sunny the positive feedback and the love she’s been getting from those exposed to her art is still somewhat surprising and even a bit overwhelming at times. As she explains, “When you create something from your heart, that moment you realize that others out there feel the same way, it’s ...it’s amazing”. Due to the abstract nature of some of her pieces, she feels that even if they don’t see the literal image right away, more often than not people feel the raw emotion of the piece, and that’s gratifying in itself.,

Since her artistic metamorphosis, Sunny has been very, very busy. She’s combined her love of travel with her passion for art into an “art tour” which has proved as popular with collectors as it is fulfilling for her.

Having already completed solo shows, festivals, popup shows and private parties (collectors only) here in Greensboro as well as in California, Martha’s Vineyard, Atlanta, Washington, DC and Chapel Hill in addition to her work currently on exhibit at Greensboro’s Piedmont Triad International Airport, Sunny has four shows already booked for next year, with little indication things will slow down in the least. All told, it’s pretty obvious that the leap Sunny took will keep her aloft for quite some time. Between her work at TAB, as they continue to gain momentum, her efforts in the community as the needs continue to present themselves and her expanding art tour, it was difficult enough to keep up with Sunny. Now, with plans to “meet new people, do even more shows and take her tour overseas”, keeping up with Sunny may truly prove all but impossible, but that won’t stop us from trying•

See more of Sunny’s work at The Artist Bloc 1020 W Gate City Blvd, Greensboro, NC 27403 orVisit her online at www.sgravelyoriginals.com 08

Sunny

Keeping Up With Tony Bates

Images: Right: Sunny Gravely at the “Founders Show”, currently on display at The Artists Bloc Above: “Lifted” by Sunny Gravely (an homage to Sandra Bland) 09

Lawrence Heyda Perfect Portraiture

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ou know Lawrence Heyda and you didn’t even know it. Have you ever wonder who made those wonderful little pewter fantasy and old-west figurines, or the artist commissioned to create a bronze bust for an official presidential library or the realistic likenesses in a quality wax museum? Well, now you know. Far from your average artist, it takes considerable artistic talent and ingenuity and the confidence to wield them in order to produce the works he has created. Over the course of our conversations, we’ve discussed his background, his passion for art, the strange twists his career has taken so far and what the future may hold for an artist who is not only capable of crossing genres, but has already mastered them.

Beginning his college studies about as far away from the art world as one can get, Lawrence started off at the University of Illinois with a dual major in mechanical and electrical engineering. Working a summer job as a student engineer at McDonnell Aircraft, he was part of the team building the Gemini Space Capsule. However, midway through college he switched majors and graduated with a BA in English. But as soon as he graduated the art muse started pulling him and he returned to campus the following fall to earn another degree, this time in painting with a minor in Sculpture. With his

Tony Bates

second degree in hand, he began working for wax museums in California, creating full figure likenesses of such renowned celebrities as Johnny Cash, George C. Scott, Ali McGraw and many others. After attracting the attention of the sports world, he was commissioned to sculpt busts of twenty-four famous athletes. The years that followed saw Lawrence continue sculpting famous figures from Joe DiMaggo to Pope John Paul II with a host of celebrities in between. As his reputation spread, he began creating figurines for companies like Gartlan USA and The Franklin Mint. In 1990 Lawrence was commissioned to create a bronze bust of President Ronald Reagan. The bust is still displayed at the Reagan Presidential Library to this day, where former First Lady, Nancy Reagan, once proclaimed it as “the best likeness of her husband she had ever seen”.

More recently Lawrence completed a crucifix for Ebenezer Lutheran Church. Inspired by a small hand-carved version given to his wife, Karen as a child; the process took almost three months to complete. The seven-foot tall fiberglass figure had to be carved in clay before the molding process could be completed and the stature could be painted and attached to the Black Locust cross (the locally sourced Black Locus wood is known for its beauty, durability and resistance to the elements).

If three months to complete a statue sounds like a lot of time, then the effort put into painting “Descent from the Cross” (again for Ebenezer Lutheran Church) is mind-boggling. Having been commissioned in January 2016 to replicate Rogier van der Weyden’s 86.6 x 103.1 inch masterpiece to the exact size, Lawrence had to first construct a place from which to work as his sculpture studio was too small and much too dusty to serve his needs. A 12’ x 12’ shed was constructed in front of his shop, after which he built a special rig to mount the canvas on that could be raised and lowered as needed. He then wrapped the canvas around four vertical seven-foot rollers that were spread apart in a square configuration roughly twofeet apart. Next to this arrangement for the canvas he built another set of rollers to stretch a full size photograph of the painting. Since the canvas was 8 1/2 feet wide and seven- feet high, this roller setup allowed him to condense the painting surface he was working with to a width of two- feet by seven- feet tall, allowing him to position the photo of the original right next to the canvas for any section he was working on. It took over two months to build the studio and the roller rig, meaning the actual painting didn’t begin until mid-March, 2016 and wasn’t completed until February 2017.

Completing works on such a scale is aided by Lawrence’s engineering acumen, but it would be impossible without his artistic skill, yet there’s even more. It requires fervor, an enthusiasm, or as Lawrence puts it, “When I began painting ‘Descent from the Cross’, I had not painted for twenty years. This work completely reawakened my love of oils and realistic rendering and revived a deep feeling, a passion for portraiture that has always been there. With his zest for painting re-kindled, Lawrence has begun concentrating on portraits, family portraits in particular; or more specifically “grand portraits of families in the style of the large canvases by John Singer Sargent, Sir Joshua Reynolds and Sir Thomas Lawrence. These artists brought to life all the members of the families they portrayed, even to the pets sitting at their feet.

They painted them in grand settings, often with draping velvets or noble columns or charming gardens in the background. The paintings captured the personalities of each individual with love and tenderness, and through the skill of the artist one could easily perceive the dynamics between the members within the closeness of the family unit. These paintings became a permanent treasure and a legacy for those families and inspired the generations that followed them”. Painting, sculpting, or perhaps something else entirely, whatever it is there are many people who can’t wait to see what Lawrence Heyda creates next• Those who would like to have an enduring record of their family painted in oils can contact Lawrence to arrange for a grand portrait they will cherish forever. Please email or call him, he would love to discuss your ideas.

larryeda@nc.rr.com. 919-793-4542.

All images courtesy of Lawrence Heyda Images:-This Page Top: Lawrence works on some of the intricate details of “Descent From The Cross” Middle-Left: The “scroll rig” used on “Descent from The Crosss” Middle-Right: President Ronald Reagan has his picture taken in an eight camera photo rig, designed and built by Lawrence to aid in his bust.

Bottom- Left: The bust of President Ronald Reagan on display in the Reagan Presidential Library Images:-Opposite Page Left: “Descent From The Cross” Located at Ebenezer Lutheran Church, Greensboro NC Right: Fiberglass Crucifix - Also Located at Ebenezer Lutheran Church

Bottom- Center: “The Hearalded Griffen Clock” Bottom- Right: “Batman Begins” bronze sculpture 11

If art is the treasure, galleries and museums are the X’s on the map. Yet, while the uninitiated may see them as mere wall-space, believing them to be simple layovers between the artist’s studio and the buyer’s home, in reality, galleries and museums are so much more. Yes, they display artist’s works, but the better galleries and museums also offer an atmosphere conducive to learning about art. They expose us to and help us understand the various media artists use to express themselves, all while servings as a medium in which the patron and the artist can exchange thoughts and ideas. With as many types of galleries and museums as there are forms of art, they are diverse, necessary and welcome gateways to the world of art just as the learned owners, managers and docents are the guides that help us navigate that domain. In our next issue, we will be exploring more of the galleries and art museums in Greensboro. However, in this issue devoted to the idea of “local art”, we wanted to introduce a few galleries we believe have gone above and beyond the common (mis)conceptions associated with galleries and offer a bit more insight into what just a couple of local galleries are bringing to the community.

WORLD OF ART an introduction

Tony Bates

Tyler, White, O’Brien Gallery

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Ambleside Gallery

Tyler, White, O’Brien Gallery

hen Kathy O’Brien bought the Tyler, White Gallery in 2010, she had already been working there for 6 years. The purchase completed, she was free to mold it into her vision, adding her name and special touch to what is now the Tyler, White, O’Brien Gallery. Located on State Street in a quaint two-story house with a bright chic interior, the gallery is home to the works of 40 artists in a variety of media including oil, acrylic, watercolor, pastel, mixed media, pottery, sculpture and glass. Representing international and national artists, Kathy informed me that they also represent such talented local artists as “mixed media artist Lauren Worth, oil painter Addren Doss, watercolor artist Carol Moates, oil painter Judy Meyler and sculptor Frank Holder, in addition to a wonderful selection of handcrafted jewelry from around the world brought in monthly by Lonnie Blumenthal of ‘Adorned

by Lonnie’”. Kathy O’Brien is the heart and soul of the gallery, tirelessly embracing a very hands-on approach to both, the artists she represents and the patrons who seek her insight. Holding 6 artist receptions throughout the year, Kathy explains that “every show is accompanied by ‘artist talks’ and our popular ‘lunch & learn’ demos with the featured artist for that particular month”, adding, “We are also delighted to offer painting workshops for artists”.

The artists and the particular works Kathy selects for the gallery offer a wonderfully eclectic mixture of media

and styles, and that alone would make Tyler, White, O’Brien Gallery a must-stop for everyone in search of art; but, what truly sets them apart is Kathy’s (and by extension, the gallery’s) dedication to the community. Earlier this month, on September 6th they were part of Cone Health's Garden & Art Party where Cone unveiled new parts of the garden & offices at the Cone Health Cancer Center at Wesley Long Hospital. “I was happy to volunteer to talk about the artists on display”, Kathy tells me, “and help patrons underwrite the 15 new pieces of art that will hang in the Tanger Center. Tours of the Healing Gardens, Doris S. Tanger Center for Patient & Family Support, Alight Progam Suite and The Jean Harrelson Cancer Research Center we offered as well. But it doesn’t stop there, throughout the year the gallery partners with different charities including The Alight Foundation, CRAYONS MATTER founded

by Courtaney & Brad Fields, Red Dog Animal Farm Network, and in the past The ARC of Greensboro. They also sell honor cards for the Salvation Army and Family Services of the Piedmont. Spend just a few moments getting to know Kathy and her gallery and you will find her passion for art contagious and her seemingly inexhaustible energy and commitment to the community inspiring. Have a closer look at all that they bring to Greensboro and you too will understand why Tyler, White, O’Brien Gallery is so much more than... Well, just so much more.

In addition to their art, Tyler, White, Obrien Gallery also provides art consulting, hanging and delivery services. Whether you are an avid art collector, first time purchaser, or artist, Tyler White O'Brien Gallery offers something for everyone!

The next Lunch & Learn is on Oct 5th from 11:30am-1pm. Call the gallery today to sign up or simply drop by during gallery hours.

A special note from Kathy O’Brien For our next big fundraiser we will partner for the 9th year with The Alight Foundation on October 5th, 5:30-8:30pm featuring Cheyenne Trunnell and Introducing a brand new artist Molly Courcelle. These two artists have created a collaborative piece of art valued at $1200 which will be raffled off. Tickets for the raffle will be $20 and tickets to the event the night of October 5th will be $30. All admission and raffle money will be donated to The Alight Foundation along with a percentage of all painting sales throughout the whole month of October. The Alight Foundation helps women that are locally diagnosed with breast cancer find the resources they need. (continued on Pg. 22)

Kathy (right) & artist Connie Winters set-up for an oil painting workshop Tyler, White, O’Brien

A sampling of Sherry McAdams work at Tyler, White, O’Brien

Kathy O’Brien at the entrance to her gallery

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Tatiana Camice Storytelling Through Melaninated Faces Jasmine Nehilla

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arly mornings before work and all weekend long, visual artist and illustrator Tatiana Camice is energetically conceiving her latest project. Self-described as “just an artist trying to share a piece of myself with you,” Tatiana Camice’s art is sprinkled in several places catching collector’s eyes digitally and physically. Her Josephine Baker banana skirt watercolor was included in the April Ujamaa box—a subscription box created to support “multiple black owned businesses with one purchase.” She’s the artistic hand behind the handpainted couture Paradise Collection of Fayetteville, NC’s Spring Break Watches (SPGBK)—only 10 limited edition units were released and they sold out in less than 24 hours. And she is the illustrator behind our beautifully curated “Selfishness: The How-To to Selflessness” self-care article in our Spring issue.

A coastal Carolina mermaid (and UNCG alumna), Tatiana is enjoying her land legs in New York constructing art that participates in an important conversation for the culture. Featuring melaninated faces, her art defers us from the unwieldy “angry black woman” trope. You know, that sassy “Sapphire” archetype that relishes in the idea that black women are aggressively loud, ratchet and confrontational—the one that media loves to replicate—think Cookie from Empire, Tyler Perry’s Mabel “Madea” Simmons, Tommie (and many others) of the Love and Hip Hop franchise, and the scenes that present the highest ratings of Bad Girls Club. While the angry black woman character in entertainment is commonly paired with comedic moments, the hilarity dissipates when this illustration is what shapes the perception of women of color or causes women to suppress their personality in fear of the label. First lady Michelle Obama even mentioned in her position as the first African American First Lady she found herself the new topic of discussions—”conversations sometimes rooted in the fears and misperceptions of others. Was I too loud, or too angry, or too emasculating? [...] I thought, let me live my life out loud so that people can then see and then judge for themselves. And that is what I want young people to do. Just live your life,” she said.

Using several mediums—oil, acrylic and watercolor—Tatiana Camice illustrates women of color majestically living their lives out loud. With each watercolor piece she develops, the ink creeps into the fibers of the paper in just the right spots—like a scrapbook entry imprinting moments imperatively captured. Her portfolio encompasses friends, women mediating, self-care exemplified, portraits celebrating natural beauty—”my work is centered around accepting femininity, self-love, and appreciation of women of color.”

“Representation is so vital, because media doesn’t present young girls with relatable characters—characters that look like them,” Tatiana explained.

Instead, when they do see themselves, it’s in trite presentations—the hypersexual fetishized video vixen, the excessively loud Sapphire or the modern day mammy. This has a direct correlation with our youth’s self-esteem and self-love. “We’re more complex than that,” Tatiana intensely expressed to me over the phone. (continued on Pg. 21)

“Found” - Oil on canvas by Tatiana Camice 14

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The Village at Golden Gate (Golden Gate and Cornwallis Drives)

2268 Golden Gate Dr. • 336.450.2102 2256 Golden Gate Dr. airfunpark.com

336.279.8118

Carriage House 2274 Golden Gate Dr. 336. 545.3003 • linneasboutique.com

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Antiques & Home Decor

2214 Golden Gate Dr. • 336.373.6200

2270 Golden Gate Dr. 336.617.4664 meltkitchenandbar.com

Vera’s Threads 2274 Golden Gate Dr. • 336.545.3003 linneasboutique.com

Reprinted from Fall 2014

Leigh

Lessons from Tony Bates

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very once in a great while someone enters our lives and makes an everlasting impact. While their sage advice and words of wisdom are invaluable, more often than not, it is their actions that speak the loudest and reach the farthest. I have been blessed with my family, and have met and become friends with many others, who have helped shape my life; and I certainly cherish them all. Still, it is the lessons from a then 88-year-old man that have most decidedly transformed my ideas about life’s fulfillment and the possibilities that surround us all. I first met Leigh Rodenbough two years ago and in that short time, my outlook on life has been changed forever.

Living a life that by any standard would be considered full and rich with loved ones and experiences, Leigh spoke at length of the promise of life and the opportunities it holds if we just allow ourselves to be open to it. Leigh also spoke of entitlement; not in the sense of the word that we hear on political shows now and again, but of the fact that we are all entitled, we all have the right, to pursue our interests and follow our dreams. Already a navy veteran, an attorney, avid boating enthusiast and “part-time” artist among his many interests; it was his dream of devoting his full attention to the art he loved that led Leigh in his mid-seventies -- yes, I said his mid-seventies -- to retire from the practice of law and begin painting full time. Leigh spent the next fifteen years doing what he loved, alternating between his two favorite media, oils and pastels, in creating his breathtaking art.

His works are moving, often evoking considerable emotion, yet it was our conversations and his outlook on life that I found most inspirational. When I asked Leigh what made him decide to become an artist at a time in his life when most people are content to sit on the front porch, his response was, “why not? I have the desire and most importantly, the authority, so the better question is… why wouldn’t I?” While we shared many conversations running the full spectrum of topics from

current events and history to race relations, religion and of course fine art in every form, sooner or later, in his extremely eloquent manner, the dialogue always returned to one central theme, his mantra if you will…”It’s never too late to follow your dreams”. Leigh was very ardent in this belief and made a point during many of our talks to give examples of how true an idea it really is; although none carried more weight than his actions. Leigh’s impact is such that when I think I may be too old to return to school for additional classes or take on a new business venture or hobby, I think of him and realize his mantra is true. Likewise, when someone says they are too old or too set in their ways to start a new career or even to simply learn something new, my first instinct is to tell them about Leigh Rodenbough, quickly making him an inspiration to them as well.

Leigh Rodenbough departed on September 21st of this year at the age of ninety, leaving his loving family, adoring friends, a legion of admirers and fans and an amazing body of work. I feel truly honored to have known and learned from him and I miss my friend already. But while our time together was way too brief, the lessons from Leigh will last long past his moment here and mine as well, as I pass them on to others. I only hope that in turn they will heed the message and pay his favor forward, realizing for themselves and sharing with others, what Leigh has already proven... it’s never too late. Thank you once again Leigh! • In a final act of generosity, Leigh established a trust under his will that may be used to assist financially strapped aspiring artists. The works of Leigh Rodenbough can be viewed and purchased at Ambleside Gallery 528 S. Elm Street Greensboro, NC 27406. Stop by the gallery or call 336.275.9844 for additional information.

Details about Leigh’s extraordinary life as well as photographs of a number of his stunning works can be found in his book Timeless Reflections, also available at Ambleside Gallery.

Leigh Rodenbough at Uptown Artworks

Our original article about Leigh entitled Ageless Inspiration is available online in our August/ September 2014 issue at www.issuu.com/wearegreensboro/docs/aug-sept2014.

Please take a few moments to learn more about Leigh, you will certainly be glad you did.

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Reprinted from Fall 2014

s s e e DD

Agnes Preston-Brame

A Life By

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n n g g ii

Tony Bates

F

or many of us life has a habit of getting in the way. for a newly graduated artist, even a talented one with a degree.

We start off with an interest or desire that we’d Shows and exhibitions were barely paying the bills while polike to follow when one thing then another comes tential jobs only cared about how fast she could type. No one, along, diverting us from our path. Of course we it seemed, was interested in a BFA, especially one in painting. may eventually return to it later in life or even find Where many others would have become deterred, Agnes stayed new interests to pursue; but quite often that only the course and continued her search for a job that would allow happens after long periods of… well, life. If we are her to use her creativity and artistic skills. Seeing an ad for able to return, that’s wonderful, but “textile designers” Agnes put together a portfolio and went in the end, how many of us take an to the company’s office, only to discover their address was a interest we have as a child and use it thirty story building full of textile firms. Portfolio in hand, to fuel a passion that lasts a lifetime? she started on the top floor and had secured a design assistants Artist/Designer Agnes Preston-Brame position before ever reaching the firm she had set out to visit. has done just that. By staying true to Six months later she was heading the department. After a few herself while developing the ability to additional classes in textile design, Agnes left the firm to start adjust and adapt, Agnes has not just her own freelance design company, going on to create fabric maintained a presence in the world of collections for some of the best known companies in the home art and design, she has excelled there. furnishing industry. Refusing to rest on her laurels, Agnes

Born in Budapest, Hungary expanded her interests and skills to include interior design, and a student of art from the age of garnering well deserved respect and building success in that six, Agnes, like many teens thought field as well. she knew it all. Form, style and other Seizing an opportunity artistic elements were second nature to enjoy a change of pace, Agnes to her; after all, she had been raised relocated to Greensboro with her admiring and studying the great husband Gary Brame. Here, she works that surrounded her. However, continued to paint and actually visiting her mother in Canada, Agnes increased the number of her took a trip to New York and upon art exhibitions, all while mainseeing the works displayed in the taining her design company, many museums and galleries there, Metamorphosis Design LLC. began to realize how much more the Seven years ago, understanding world had to offer and just how centhe similarities in their loves of sored her life had been. Yearning to art, and antiques, and seeing the reach her full potential and realizing chance to pursue that additional that it could never truly be develpassion together, Agnes and oped under the scrutiny of the (then Gary purchased Jules Antiques communist) Hungarian government, and Fine Art, quickly turnwhile still in her teens Agnes made ing it into one of the city’s premiere antique shops. However, the difficult decision to defect to the demand for her design stills never waned, and at the urging of U.S. and follow her creative passion. her clients, Agnes refocused her attention and began taking on Her decision was made even more new clients, continuing to this day to design the interiors of challenging with the knowledge that some of the finest homes in, Chapel Hill, Raleigh, Greensboro, she would be leaving behind the Pennsylvania and NY. world that she’d known and could ex- In an age when we tell ourselves and our children to pect little if any help from her family. “follow your dreams” yet many of us are forced to comproShe would quite literally be starting mise, it’s truly refreshing to meet and experience someone out alone and with nothing. who has taken on life on her own terms. When I asked Agnes

After spending a short time in Montreal Canada what, out of all of her experiences and accomplishments, she studying painting and drawing at the Art Institute of Sir is most proud of she quickly replied that while she is certainly George Williams University, Agnes moved to New York, pleased and fulfilled by her body of work , it was and still is initially living at the YWCA in Manhattan. Wasting no time, her “ability to adapt…to change and survive without giving Agnes joined the Art Students League and immediately began up her artistry” that gives her the most satisfaction. As to a classes in painting and print making while learning English life that continues to be well lived, driven by a love of art and and getting acclimated to the “American way of life”. From one where she has always managed to stay the course Agnes there, things really started moving quickly. A few months into Preston-Brame designed this one to perfection• her training at the league, Agnes received a scholarship to attend classes at their Woodstock, NY studios. The very next New works by Agnes Preston-Brame will be featured during the year she received a full scholarship to the State University of month of October at Ambleside Gallery. Meet Agnes and see her new NY at New Paltz, where she graduated Summa cum Laude additions at the artists reception on Friday Qct. 6th from 5-9pm. with a Fine Art degree in painting.

Ambleside Gallery

Although it was (and still is) a major hub in the 528 S Elm St, Greensboro, NC 27406 • (336) 275-9844 • jackAmerican art world, New York in the 70’s was a tough place son@amblesidearts.com • www. amblesidearts.com

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Tony Bates

On the Cover

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WAMRev - Weatherspoon Art Museum/Revolution Mill

t first, I must admit to being a bit…perplexed. Entering the new WAMRev Gallery to explore the exhibit I’d been assured was open, there appeared to be no art. Oh, the walls were covered in a wonderfully dynamic paint scheme, but no art was actually “hanging” on them. After Revolution Mill Campus Activation Strategist, Tahe Zalal explained that the design on the walls was the art; I took a moment to absorb the concept that had initially escaped me, at which time both, my understanding of and my appreciation for what the artist had accomplished increased dramatically. With the rising popularity of mural art, geometric wall designs and other big, bold, new and “unconventional” uses of wall space, it should come as no surprise that the first installation at the new WAMRev Gallery (Witherspoon Art Museum/Revolution Mill collaboration) at Revolution Mill is a large, edgy, geometric piece meant to highlight the space itself. In this instance, and accentuated by the wall design, the gallery becomes the art.

Best known for his “Space Monkey” character and the vivid geometric designs and murals he’s painted everywhere from cityscapes to the walls of such corporate innovators as Nike, Microsoft and Instagram, “Articulate” is the brain-child of Raleigh-based artist/ designer James Marshall (aka Dalek).

The space Dalek transformed is described on the Revolution Mill website as being “inspired by a

desire to both feature the angular geometries found throughout the historic mill building and set off the vibrant red that has been used as the signature color of its renovation. He created a composition in which interlocking and overlapping bands fit together to form an array of rectangles, diamonds, and bisected squares. His use of wall space emphasizes the height and depth of the gallery, while a cool palette of greens and blues contrast with, and give greater definition to, the hot red of the historic industrial duct work overhead”. Different? Yes; but in the most interesting way; being simultaneously exciting and soothing. The geometric shapes, linear patterns and bold use of color and tone can have the effect of clearing the mind to an almost hypnotic degree.

With future exhibitions already underway, both the Witherspoon Art Museum and Revolution Mill envision this installation as the first in a continuing collaboration “reflecting a shared commitment to presenting bold and imaginative exhibitions and reaching new audiences”. In upcoming issues we will take a closer look at Revolution Mill and in particular their commitment to the arts in Greensboro; but for now, it’s safe to say that WAMRev as well as all of the other intriguing and captivating artistic happenings at Revolution Mill, are welcome additions to a Gate City arts scene that is becoming more diverse and more exciting with every new creation•

...the gallery becomes the art

WAMRev Gallery at Revolution Mill

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1250 Revolution Mill Dr Suite 123, Greensboro, NC 27405 (336) 235-2393 • revolutionmillgreensboro.com/wamrev

(Tatiana - continued from pg. 15)

“Each woman I create tells a story and I challenge my In the interim, Tatiana is constructing her Queenparticipators to be stirred by the vulnerability that lives in her dom of melanin popping beauties, ironing out the kinks for eyes. Art is a journey,” and Tatiana has been traveling. After new products to accompany her current stock of mugs and attending her first art show as a featured artist in Pancakes & stationary, and is working with an author to illustrate a chilBooze New York—a “world famous pop-up art show” featur- dren’s book. With aspirations of pursuing art full time Tatiana ing tons of artists and yes, actual free pancakes and booze— is accepting commissions, free coffee, six million dollars, and she sold a set of original oil paintings and generated a buzz all the illustration opportunities she can get her hands on. among potential collectors. She went on to Los Angeles’ Pan- Keep up with updates via her newsletter and view more of cakes & Booze—and came back with a realization—”it’s a her work on social media @tatianacamice and on her website different vibe out there. I’m definitely an East Coast girl,” and tatianacamice.com• a goal: a solo show coming soon.

Photos of Tatiana by Lena Di Photography

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Ambleside owner, Jackson Mayshark (far -right) greets guests during First Friday activities

A demonstration by Guan Weixing at Ambleside Gallery

(World of Art - continued from pg. 13)

Ambleside Gallery

Admittedly, there is a special place in my heart for Ambleside Gallery. I could say it’s the understated sophistication normally found in the galleries of such well known art hubs as New York’s Chelsea and Soho or Pilsen, Oak Park and Evanston in Chicago, or even point to the overall presentation that draws the viewer in as they meander from painting to painting. Either of these reasons and more would probably suffice, but in truth they only add to the appeal for me. No, was two of the artists Ambleside Gallery has featured on several occasions that initially caught my attention; everything else has only kept it more focused.

Guan Weixing and Leigh Rodenbough are very different artists. One is from, and still lives in, China, while the other, unfortunately now deceased, was from the northeastern United States, ultimately calling the triad area home. While Guan Weixing exclusively uses watercolor to paint the expressive faces of the people most often found in his work, Leigh Rodenbough normally switched between pastels and oils in the landscapes and the beloved sea he preferred. Both artists put their hearts in their work, making it impossible not to feel the raw emotion they express.

The works of Mr.’s Rodenbough and Guan were only the catalyst that created my initial intrigue. Having spent many hours in the gallery admiring the host of works on display in the rotating monthly exhibitions, while discussing (and learning about) all manner of art related topics with its owner

Jackson Mayshark, I have come to truly appreciate Ambleside Gallery for the jewel that it is.

Renowned shows such as the 2015, 2017 and (future) 2019 American Watercolor Society’s Traveling Show, the NC Pastel Society’s Winter Show (every year for the past 8 years), the NC Watercolor Society Central Region Exhibition (again, for the past 8 years), in addition to solo and group shows featuring some of the region’s (and world’s) most talented artists (including Guan Weixing and Leigh Rodenbough) have established Ambleside as one of the region’s most sought after exhibition spaces.

While the artwork and various exhibitions may be the initial draws that bring most visitors in, this intimate and refined downtown gallery offers much more than classy wall space. Concerts, including classical piano recitals by Elena Martin, Brian Campanella and Gilliam Bailey, in addition to Moldovan Folk Music, Indian Classical Flute, Native American Bamboo Flute, Jazz Trios and Quartets, Solo Harp concert and master classes by Elizabeth Hainen (Principal Harp, Philadelphia Philharmonic Orchestra) as well as Chamber Music and the occasional student piano recital establish that the art it offers extends well beyond the visual range. Private events such as book and garden club discussions, poetry readings, book signings, art history lectures, even birthday parties, corporate receptions and their many fund raising events are evidence that the Ambleside is a very versatile and inviting space indeed•

The Tyler, White, O’Brien Gallery and the Ambleside Gallery are very different in their presentations of art. Yet both are vital and integral parts of the community that is Greensboro and necessary components in keeping us well within the world of art. We will discuss these and other local galleries and art museums at greater length in our next issue. Until then, please visit both of these galleries, create and engage in the local art discussion with your friends and family and by all means connect with us on any of our social media pages.

Tyler, White, O’Brien Gallery

307 State Street, Greensboro, NC 27408 Hours: Mon - Fri: 11AM - 5PM; Sat: 11AM - 4PM Sun: Closed 336-279-1124 • kathylovesart@aol.com www.tylerwhitegallery.com 22

Ambleside Gallery

528 S Elm St, Greensboro, NC 27406 Hours: Tues - Thurs & Sat: 11AM–6PM; Fri: 11AM–9PM Sun – Mon: Closed; (336) 275-9844 • jackson@amblesidearts.com www. amblesidearts.com

When was the last time you visited State Street? No, not just a quick drive through, but a nice relaxing look.

If it’s been a while (or if you’ve never been), then you have no idea what you’re really missing. The shopping, the dining, the spas, salons and yoga... things here are better than ever and keep evolving and growing. Here is where you find that wonderful spot right between the tried and familiar and the fresh and exciting. With new places opening all the time and the vibe here better than ever, isn’t it time you took...

a stroll down State

Street

501 State Street • 336.274.4533 • YamamoriLtd.com

500 State Street • 336.574.0100 pinkribbonchic.com

309 State St. • 336.230.2266 • Find Us On Facebook

414 State Street • 336.609.4207 • vidapourtea.com

Eclectic by Nature experience the magic & escape the ordinary

414 State Street • 336. 373.0733 • eclecticbynature.com

307 State St •279-1124 www.tylerwhitegallery.com

500 State Street • 336-274-2003 • pinkribbonchic.com

Footwear, Apparel & Accessories 507 State Street • 336.275.7645 • lillobella.com

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Mechelle’s Boutique Everything a girl could want!

227 South Elm St • 336.574.4496

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515 S. Elm St • 336.370.1050 areamod.com

(Mia- continued from pg. 07) “I hold on my paintings”, she told me, “so I can look back, knowing where I came from and where I am heading. They are my autobiography; they are the path that I take to reach the best of me, to be the one who can maintain the clarity of knowing who I am and what I want to be. I want to be that person who finds the serenity in her own being regardless her situation. My paintings are not the final product, I am, but I have not yet finished accomplishing it”. Meanwhile, she surrounds herself with her own beautiful works as she paints daily in her studio, keeping the vast majority of her completed pieces in storage.

Every piece of Mia’s work is a story expressed on canvass.

And because she is telling her own story, each holds a deeply personal value to her. For instance, one of the more eye-catching paintings in Mia’s studio depicts an outdoor scene with two blue birds. As Mia explained, the setting represents her backyard where “two Blue Jays return each spring, one always preceding the other by a few days”. To Mia, “one bird represents the past; the other represents the future while the time between their arrivals is the present”. She continues that, “spring (the time when they are actually in the process of arriving) symbolizes the present, a moment in time that is most tangible. It is the realest. The present is the only time that [one] can control. In that moment, when we are in the present, if we do our best, we should have no

regrets.”

“We will all eventually arrive at the end” Mia tells me, “but” she continues, “the journey is what is most fulfilling”, and journey she does. No longer content with “my liberation only reserved for the canvas”, just this past summer, Mia spent eight weeks driving across the country…alone; explaining that “I wanted more; I wanted to live freely, to live my life without barriers, without fear”. She spent a few nights with friends, but for the most part stayed in campsites, the rare hotel and even a few nights in her car at various highway rest areas. Dismissing safety concerns, she theorizes that “bad things can happen right outside your front door… inside your own house”, further describing how she met “all types of wonderful people” and had a “truly memorable experience“, that she will “never forget”.

By the very definition of the word, Mia is not a “professional” artist, not yet anyway. Instead, she considers herself more of a storyteller, one whose narrative extends beyond the events the word might imply. While many of her stories are based on experiences, others are the manifestation of “thoughts” and “questions” she has had or even “conversations with herself ”, that come together to form the fabric of her life.

“There is always a way to get what you want” says Mia, and what she wants is to keep telling her stories her way. “I feel humbled and extremely grateful to do what I love to do exactly the way I love to do it”. As her story continues to unfold, Mia is returning the definition of art to what it once was.

On her terms, it is much more than mere decoration; it is freedom and joy and the depiction of a life unscripted that is perhaps best exemplified in Mia’s mantra “Painting is not what I do for a living; it is what I love to do”. An autobiography painted with love will no doubt be nothing less than inspirational and certainly fascinating and we eagerly await the telling, but for now at least, the story of Mia will remain a work in progress• Images- Above: Left: “Now, My Spring is Here, Finally” by Mia Right: Mia at the entance to 205 Collective where she has her studio

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Mill Day 2017

Revolution Mill 27

Globally inspired food from chef Kristina fuller

photos - Todd Turner

Tuesday - 1/2 Price Wine BoTTles Wednesday - all drafT Beer $3 Thursday - $1 off sPecialTy cockTails. e atat c r a f t e d . c o m