WS Arts, Issue 8

No. 8

Winston Salem's Online News Daily

camelcitydispatch.com

Monticello Park Publishing

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Contributors: Chad Nance- Editorial Stacy Hope Jones - Editorial

WS Arts Magazine is published monthly by Monitcello Park Publishing. Any reproduction or duplication of any part thereof must be done with the written permission of the Publisher. All information included herein is correct to the best of our knowledge as of the publication date. Corrections should be forwarded to the Publisher at the address above.

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WS ARTS MAGAZINE

IN THIS ISSUE 14.

16.

24.

06

08

UNC-SA News

Cover Story

26.

12 Art News

14 Art News

UNCSA IS NINTH IN THE NATION FOR GRADUATION RATES

Milton Rhodes: Commitment Personified

PAPER LANTERN THEATRE COMPANY PRESENTS PULITZER PRIZE WINNER DONALD MARGULIES’ TIME STANDS STILL AT THE TRIAD STAGE UPSTAGE CABARET

BORN FROM THE HAND: THE DEFINITIVE ERA

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24

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Featured Artist

Exploring the Muse: A Conversation with Artist Amy Funderburk

30 SECCA News

SECCA Seeking Volunteers for Exciting Docent Program

Short Story

Two Extraordinary Youths

Art News

PAPER LANTERN THEATRE COMPANY PRESENTS PULITZER PRIZE WINNER DONALD MARGULIES’ TIME STANDS STILL AT THE TRIAD STAGE UPSTAGE CABARET

Cigar & Spirits

The Fernando Leon Family Reserve: The Return of the Simple Life

| UNC-SA News

UNCSA IS NINTH IN THE NATION FOR GRADUATION RATES Higher education trade publication analyzes government data for small public colleges

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he University of North Carolina School of the Arts (UNCSA) is among the country's top small public colleges for graduation rates, according to the Chronicle of Higher Education. In its analysis of U.S. Department of Education data, the publication ranked UNCSA ninth among small four-year colleges, with a graduation rate of 66.5 percent.

The list, published in late August, ranked the percentage of first-time, full-time degree-seeking students who entered in the Fall of 2009 and graduated within six years.

"It is great to be recognized for what we do so well," said Interim Chancellor James Moeser. "Not only do our students graduate, they leave UNCSA prepared to excel in the arts. They are landing jobs, being accepted into top graduate programs, and giving back to their communities in ways that only creative individuals can."

Moeser pointed to examples of recent graduates' success: Shane Rathburn, a saxophonist who graduated with a Bachelor of Music this past spring from the School of Music, won this year's Rosen-Schaffel Young and Emerging Artist Competition at Appalachian Summer Festival and is now enrolled as a graduate student at the Jacobs School of Music at the University of Indiana.

Vera Herbert, a 2011 graduate of the Film School, was a writer and script coordinator for MTV's Awkward in

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2012, and her television script Blink was optioned by the CW network.

Ryan Wineinger is assistant art director for Walt Disney Imagineering. He graduated from the School of Design and Production in 2009.

School of Dance 2008 graduate Jackson Sarver has performed with Ballet Metropolitan in Columbus, Ohio, for eight years, and founded his own photography business.

2007 School of Drama graduate Billy Magnussen received a Tony nomination for his supporting actor role in Vanya and Sonia and Masha and Spike, and has signed on to appear in the movie version of INTO THE WOODS, alongside Meryl Streep and Johnny Depp.

"These are only a handful of examples," Moeser said.

"There are hundreds more."

UNCSA is the only school in North Carolina to be included on the list of small colleges. Topping the list was the U.S. Coast Guard Academy with 83.3 percent.

The Chronicle of Higher Education, based in Washington, D.C., is the top destination for news, advice, and jobs for people in academe. The print edition is published weekly during the academic year and has a total readership of more than 315,000. Online, the Chronicle is published every weekday and is seen by more than 1.9 million unique viewers.

WS ARTS MAGAZINE

Ryan Wineinger

Shane Rathburn pictured in middle

Vera Herbert

Jackson Sarver

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Billy Magnussen

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| Cover Story

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n September 30, 2013 Milton Rhodes will retire from his position as the President of the Arts Council of WinstonSalem & Forsyth County. His career began in 1971 and has seen the arts not become a noble and thoughtful pass time for the upper middle class of Winston-Salem but, rather, grow into an integral component of our identity to the outside world.

industry influenced Winston-Salem in a fundamental way during the 20th Century, there has been no single individual whose vision for the City has so impacted our daily lives as Rhodes’ has. From downtown development to infrastructure improvements such as Creative Corridors which began as a $250,000 Arts Council grant from National Endowment for the Art's for Bridges Project, his impact on Winston-Salem’s present and future cannot be overstated.

Following the collapse of a manufacturing based local economy, Rhodes’ vision was instrumental in shepherding the arts forward in our city. Winston-Salem’s ongoing transition into a knowledge-based economy has pivoted off of and, at times, been supported completely by the city’s community of artists, patrons, and visionaries such as Rhodes.

When the history of the last 50 years of Winston-Salem is written, Rhodes will take a place next to citizens like Katherine and RJ Reynolds and James Gordon Hanes. While those titans of

Milton Rhodes grew up in North Charleston, South Carolina.

After he graduated from Wofford College in Spartanburg, he Rhodes enrolled at New York University where he received the Masters of Fine Arts degree in Theatre Management. At NYU, Rhodes served an internship with the Winston-Salem Symphony in the city where his wife Mattie, a flutist, had attended the University of North Carolina School of the Arts.

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Following a stint in the US Army’s Finance Corps, Rhodes took the reins

of the Arts Council of Winston-Salem in 1971 at the age of 26. While many men and women of his generation were still trying to figure out who they were and what they wanted to do, Milton was already developing his skills as a manager and fundraiser.

He points to 1973 and the success of the Carolina Street Scene events as a moment when the first glimmer of a bright future for the Winston-Salem arts community could be seen. “The Carolina Street Scene, Superblock, and these other street festivals drew huge numbers of people into those downtown areas”, Rhodes told WS Arts/CCD. Those events also began to solidify the relationship between the Arts Council and the University of North Carolina School of the Arts with Design & Production students assisting those early street festivals in a technical capacity.

In 1985 Rhodes resigned from the Arts Council to become president and CEO of the American Council for the Arts, which is now a part of Americans for the Arts the nation's leading WS ARTS MAGAZINE

nonprofit organization advancing arts in America. While at Americans for the Arts, Rhodes began their "Arts Advocacy Day". This has become the leading opportunity for more than 600 arts organizations and individuals to meet Congressional leaders to raise issues of national concern related to arts and culture. Mr. Rhodes also helped establish The Nancy Hanks Lecture on Arts and Public Policy, a leading national forum for arts policy intended to stimulate dialogue on policy and social issues affecting the arts. Rhodes soon became known for his ability to raise funds. As General Manager of the Spoleto Festival in Charleston, SC, he raised $12 million in 18 months to save the financially starved organization and continue to sustain one of the most critically acclaimed arts festivals in the world.

All of Rhodes’ work has not been in the arts. He has worked with nonprofit operations that educate children, provide medical care and enhance the wellbeing of citizens around the world.

He held positions with Outward Bound WSARTSMAG.COM

USA and the Northern Westchester Hospital Center Foundation in Kisco, NY, and has served on numerous boards of directors, including: The Independent Sector, a leadership forum for more than 600 charities around the world; National Center for Non-Profit Boards, Washington, DC; Give Five Campaign, New York; Brevard Music Center, Brevard, NC; Forsyth Futures; Winston-Salem Tourism Development Authority; Downtown Winston-Salem Partnership; University of North Carolina School of the Arts Board of Visitors; and Diggs Gallery, WinstonSalem State University.

Rhodes returned to the Arts Council in October of 2004. By that time Winston-Salem had been hemorrhaging manufacturing jobs for over a decade and the Great Recession was just a few years down the road.

Since then the Arts Council has been a major engine behind economic redevelopment efforts in WinstonSalem.

In the 21st Century everyone knows what “branding” is. From our personal profiles on social networking all the way to state governments and political candidates, “branding” is on the mind of everyone. We all try to figure out how to navigate this Century in an over-saturated media market where there are no lines drawn between “local” and “global”. Winston-Salem now brands itself as “The City of Arts and Innovation”. Many point out that attracting new tech-based industries will require making Winston-Salem as “livable” as possible.

Part of Rhodes mission has been to insure that the local lifestyle provides open access to cutting edge fine arts and entertainment.

Companies and employees of high quality have taken notice and want to put up a shingle here.

Unlike many mid-sized cities struggling to make their way in the new economy, Winston-Salem already has a proud legacy in the performing arts. “I feel like every year you have to justify your existence.” Rhodes said. “You have to PAGE 9

build off of what you have done.” Beyond simply attracting corporations in hopes of job creation, the arts in WinstonSalem also bring in revenue. An Americans for the Arts study recently found that the average arts and cultural event attendee in Forsyth County spends $26.64 in eventrelated spending above and beyond the cost of their event ticket. A more detailed breakdown in the study found that $9.47 of the $26.64 is spent on meals before or after the event. Based on this data, the City of Winston-Salem could expect that if 138,000 new audience members are added to the Downtown Theater District, a total of $1,306,860 new dollars would be spent annually in local downtown restaurants. Additionally, the study finds that $6.35 of the $26.64 is spent on clothing, accessories, gifts and souvenirs. This data would suggest that based on 138,000 additional new tickets sold in a year, the city could expect $876,300 additional new dollars to be spent annually in downtown retail shops.

We can thank Milton Rhodes for working hand in hand with other community leaders and putting the infrastructure in place to realize those outcomes.

Rhodes seems to keep projects on the table which not only address current concerns and visions, but also work years out in planning and project development. “Winston is unique. Only 50 other cities nationwide have a United Arts Fund,” he notes. Rhodes points to the infrastructure for the arts that exists in Winston-Salem as one of the major assets for job creation in the knowledge-based economy that is developing in the Wake Forest Innovation Quarter and more broadly through our city’s universities and medical facilities.

One example of Rhodes’ far sighted approach is the recent announcement of the SmART Initiative Downtown WinstonSalem Theatre District Visionary Conceptual Plan. This plan recommends future downtown development which would cluster a number of arts and cultural venues along a Spruce Street “spine” and around an iconic park that would serve as an attractive center city gathering place. This initiative about the future development and Rhodes current work with the Creative Corridors Coalition is indicative of a broad based approach of Rhodes’ management style.

Proposals of an arts “campus” would include a new 500700 seat theatre that would replace the aging Arts Council Theatre on Coliseum Drive, a National Black Theatre Hall of Fame, renovations to Stevens Center and expansion of the lobby and auxiliary areas, a new Central Library on the site of the current Winston Square Park, and a new downtown park across the street between Spruce and Poplar. Estimate of the total cost of the several projects is almost $80 million, not including the cost of real estate, infrastructure, fundraising and other expenses.

His legacy will not simply be one of aesthetics and organization, but also one of economic development. Rhodes will retire having completed the Renovation of Sawtooth Center and AC Delco building into Milton Rhodes Center for the Arts and Hanesbrands Theatre. He executed a $27 million comprehensive campaign to finance renovations and increase the annual fund to $3 million. He doubled the size of AC grants to local arts organizations from just under $1 million to approximately $2 million. He assisted in the development and promotion of local dance programs and presentations by making Festival Ballet of Winston-Salem a funded partner and funding programs and presentations

by Alben Elved, Terpsicorps,and Helen Simoneau. Rhodes also established the Hispanic Arts Initiative as a funded partner for outreach to Hispanic artists and audiences.

These are just a few of his achievements.

Going forward Rhodes indicated that, as always, funding would remain a major challenge for the Arts Council.

“Sustainable funding is the major challenge,” Rhodes said. He told WS Arts/CCD that he doesn’t like to rely on fundraising, but public/private partnerships are more sustainable and reliable in the long run. “That requires meshing the needs of the donors with the needs of the artists and the community.”

That is Milton Rhodes in a nutshell….bringing together artists and our community through innovative thinking.

Winston-Salem attorney Greg Scott served as General Chairman for the SmART Initative and said of the project, “The report represents the best thinking of some 85 committee members on how to get the most leverage from tax dollars and projects that already are being contemplated.

There is nothing here set in stone. We are talking about at least a 10-year timeline and lots of decisions makers and organizations who will be involved. But one thing we all agreed on that clustering arts activities and creating a distinct, vibrant theatre district can spur economic activity downtown, create jobs, raise tax revenues, and be a substantial boost to our arts community and the quality of life of our residents.”

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Kilpatrick Townsend LLP is a proud sponsor of the arts in Winston-Salem www.kilpatricktownsend.com WSARTSMAG.COM

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| Art News

PAPER LANTERN THEATRE COMPANY PRESENTS PULITZER PRIZE WINNER DONALD MARGULIES’ TIME STANDS STILL AT THE TRIAD STAGE UPSTAGE CABARET Directed by John Gulley Featuring: Amy da Luz, Ben Baker, Lee Spencer and Carolyn Laws Performances run Thursday, October 10 through Sunday, October 13 Hanesbrands Theatre in Winston Salem, NC.

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aper Lantern Theatre Company will return to Winston Salem this season with the regional premiere of Pulitzer Prize winning playwright Donald Margulies’ Time Stands Still, opening October 10. Time Stands Still, directed by John Gulley, was nominated for a Tony for Best New Play in 2011.

Time Stands Still follows a longtime couple and journalistic team as they return to New York after a long and and harrowing stint in the war-torn Middle East. Photojournalist Sarah (Amy da Luz), and foreign correspondent James (Ben Baker) attempt to negotiate a more ordinary life, far from the adrenaline inducing danger of a battleground. Yet the comforts of a quiet domestic life—the simple pleasures and small compromises—can become a battleground of their own.

Complicating Sarah and James’ return to domestic life is the appearance of Sarah’s friend mentor and editor Richard (Lee Spencer) and his new, much younger, and “very hot” girlfriend, Mandy (Carolyn Laws).

“Time Stands Still is very much about the choices and compromises we all make”, Margulies says, “in love, in work, and, particular to this play, in war. Ethical struggles touch on all aspects of life.” As is common with Margulies’ writing, he carefully constructs these themes within biting dialogue amongst smart and witty characters. “There's a lot of humor in Time Stands Still that leavens its intensity. Audiences laugh in recognition of truths large and small,” Margulies says.

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Opens Thursday, October10 thru October 13 Thursday, Friday & Saturday at 8:00 PM & Sunday at 2:00 PM $23.50 / 21.50 Senior and Student  Hanesbrands Theatre 209 N. Spruce Street | Winston Salem, NC Box Office: (336)747-1414 | www.paperlanterntheatre.com Donald Margulies' plays include Brooklyn Boy, Dinner with Friends, Sight Unseen, Collected Stories, The Loman Family Picnic, God Of Vengeance, The Model Apartment, What's Wrong with this Picture?, and Found a Peanut.

He has won a Lucille Lortel Award, an American Theatre Critics Award, two Los Angeles Drama Critics Awards, two OBIE Awards, two Dramatists Guild Hull-Warriner Awards, five Drama Desk Award nominations, two Pulitzer Prize nominations and one Pulitzer Prize. His works have been performed on and off Broadway; at major theatres across the United States including South Coast Repertory, Manhattan Theatre Club, Primary Stages, Actors Theatre of Louisville, Long Wharf Theatre, Williamstown Theatre Festival, Old Globe Theatre, La Jolla Playhouse and Joseph Papp's New York Shakespeare Festival; and in Paris, London, Rome, Madrid, Tel Aviv, Amsterdam, Copenhagen, Sydney, Berlin, Vienna and many other cities around the world. Mr. Margulies has received grants from the National Endowment for the Arts, The New York Foundation for the Arts, and the John Simon Guggenheim Memorial Foundation. In 2005 he was honored by the American Academy of Arts and Letters with an Award in Literature and by the National Foundation for Jewish Culture with its Cultural Achievement Award, and was the recipient of the 2000 Sidney Kingsley Award for Outstanding Achievement in the Theatre by a playwright. Mr. Margulies is an alumnus of New Dramatists and serves on the council of The Dramatists Guild of America. He is an adjunct professor of English and Theatre Studies at Yale University.

Paper Lantern Theatre Company enters its sixth season as the new resident theatre company of the Triad Stage UpStage Cabaret and is thrilled to be remounting shows in Winston Salem at the Hanesbrands Theatre. With a hard earned reputation for top quality professional theatre in the Triad, Paper Lantern has set a precedent for producing Triad premiers of contemporary works by today’s hottest, award-winning playwrights. Last year’s productions of Aliens by Annie Baker and This Wide Night by Chloe Moss were both regional premieres. Next Fall by Geoffrey Nauffts was hailed by CVNC as “…a haunting performance that will transform and transport you… [you] will realize you have had a truly authentic theatre experience, and you will be grateful.” The Company’s inaugural production of Sarah Ruhl’s Dead Man’s Cell Phone was “…a delight from beginning to end,” according to the Winston-Salem Journal. Deborah Zoe Lauffer’s End Days was “…dramatically hilarious,” said YES Weekly. Collaborating with dozens of professional theatre artists across the region and working in partnership with Triad Stage, Paper Lantern Theatre Company remains dedicated to producing work that pushes audiences and artists to grow through Creation, Collaboration and Risk. The Company will continue its sixth season in February with Gruesome Playground Injuries by Rajiv Joseph and A Little Potatoe and Hard to Peel by David Harrell, also in the Triad Stage UpStage Cabaret.

Email: info@paperlanterntheatre.com. Web Site: www.paperlanterntheatre.com WSARTSMAG.COM

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| Art News

BORN FROM THE HAND: THE DEFINITIVE ERA

Bryant Holsenbeck (member since 1979) created this recycled bird

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iedmont Craftsmen will usher in the celebration of their 50th Anniversary with “Born From the Hand: The Definitive Era,” a show of works by Exhibiting Members who juried in to the guild during its first quarter century. The show will be held in the Womble Carlyle Gallery of the Milton Rhodes Center for the Arts in downtown Winston-Salem. The opening reception will be on Friday, October 18 from 5:30-7pm and the show will run through November 30, 2013.

Piedmont Craftsmen was founded in Winston-Salem in 1963 by a group of craft artists and craft collectors hoping to build audiences and appreciation for quality craftsmanship.

For the last fifty years, the guild’s exhibiting membership has included many nationally recognized artisans. This show will include craft artists working in clay, fiber, glass, metal, jewelry, printmaking and wood. More than 50 artists will have pieces in the show, including founding members Mary Goslen (printmaking) and Tom Suomalainen (clay), and glass artists Jon Littleton and Kate Vogel who have work in the White House Craft Collection. Each piece will PAGE 14

be accompanied by a short statement by the artist on their relationship with Piedmont Craftsmen over the years.

Over the past half century, hundreds of thousands of art collectors have looked to Piedmont Craftsmen’s Gallery, annual Fair and many exhibitions for a wide variety of handmade work in a wide range of media, styles and price ranges. Quality craftsmanship and excellent design have always been the hallmarks of Piedmont Craftsmen.

The guild showcases some of America’s most talented contemporary fine craft artists, who are juried in to the guild through a rigorous 2 part application process. Exhibiting Members include craft artists working in clay, wood, glass, fibers, leather, metal, photography, printmaking, and mixed media creating one-of-a-kind works that enhance the quality of everyday life with their functional and aesthetic qualities.

Piedmont Craftsmen’s year-long 50th anniversary celebration will officially begin with the Fair, held November 16 and 17 at the Benton Convention Center in downtown Winston-Salem, North Carolina.

For more information about the Piedmont Craftsmen Fair or membership in Piedmont Craftsmen, call (336)725-1516.

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Clay sculpture by Loretta Kaufman (member since 1988)

Pendant by metalsmith Ben Dyer (member since 1987)

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| Featured Artist

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my Funderburk is currently exhibiting works in oil and photography, as well as wish drawings made from special charcoal and ash, at Inter_Section Gallery and Art Space in Winston-Salem, NC. New Works by Amy Funderburk: Exploring Above, Beyond, and Below opened on Friday, August 2, and a second reception was held during Winston-Salem's monthly Gallery Hop on Friday September 6, 2013 from 7:00 to 10:00 PM. The show runs through the 28th of September.

Owned by artist Kate Magruder Lambeth, Inter_section Gallery is located at 629 North Trade Street, in the DADA Arts District, between 6th and 7th Streets. An intersection of art forms and ideas, Inter_Section is what happens when a multidisciplinary space, multi-use studio intersect with performance art, installations and events.

Funderburk’s husband, photographer James C. Williams, recently had a solo show of his infrared black and white photographs and digital night photography at Inter_section.

Williams recently sat down with his wife for a conversation about her new work she is currently exhibiting, as well as her future artistic plans, influences, and the sources of her inspiration.

Exploring the Muse: A Conversation with Artist

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JCW: Amy, you are showing at Inter_section Gallery now. What do you feel is special or inspirational about the space? I liked the size of the gallery…

JCW: So when we travel, what do you look for – what inspires you in the locations? Why do you go to the places you go to -- what gives you these ideas when we travel?

AF: I like the size of the space as well.

JCW: …and the location – the fact that that lots of people are going there.

AF: Right, it’s really amazing what’s happening on Trade Street these days.

I really appreciate how Kate inspires you to crosspollinate between disciplines, so I think she helps to inspire artists to think outside the box of what they normally do.

She’s really embracing installation and performance art. From a personal standpoint, since the way the Ceiling Boss paintings would be installed was really important to me in order to fulfill my vision, I really appreciate that she was willing for me to hang them from and parallel to the ceiling in that space, and that she made provisions for the installation to happen. Also, I love how the pumpkin colored wall in the gallery really pops the sunrise colors of my Loch Ness suite of photographs.

JCW: Tell us why you were so inspired to hang those paintings from the ceiling -- what made you them in that way?

want to hang

AF: The Ceiling Bosses are based on actual traditional wooden carved ceiling boss designs from a particular church in England – Saint Andrews South Tawton Church in Dartmoor, which is in Devonshire. Visitors to that church would look up to see the ceiling bosses, so I really wanted people to have the same sensation when viewing those paintings as they would when seeing the actual ceiling boss designs on site, to give them a full experience of what it’s like to be in that particular place. The beams in the paintings behind my bosses are from my reference photographs of the actual church ceiling beams, so when

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multiple bosses are hung in the future, the grid formed by the beams will become even more evident.

AF: I guess I’ve always had a fascination for sacred sites, whether it be the pyramids of Egpyt when I was younger, or now, places like the holy wells of Ireland, England and Scotland, which are particular sources of inspiration for me. I find inspiration at Neolithic sites such as stone circles, Celtic sites, and places that in the grand scheme of things are more “modern,” like Saint Andrews South Tawton Church, which was enlarged and rebuilt in the late 1400’s.

Whether people developed a preexisting natural site, or they took landscape elements and utilized them in a certain way to mark a space as a sacred site, I find both examples of landscape manipulation for the purpose of spiritual expression very inspirational and fascinating. A natural site may have been venerated for a long time, such as a natural spring or well that was visited throughout the ages. People then built structures around it, and decorated it with iconography, like the statuary you might find at the holy wells of Ireland; visitors then and now decorate it in a different sense as they come with tokens to represent the healing that they want from these wells. Or ancient peoples would take elements from nature, both small and large stones, maybe moving particular stones for hundreds of miles in some cases to get to a special location. There are all kinds of studies and theories about how people may have moved the stones to create Stonehenge, for example. All the paintings of sacred sites in my series, Images From the Otherworld, are based on my actual impressions or extraordinary experiences there. These are spaces that are set aside from the mundane world, and I find that very inspiring.

My yoga practice is a source of inspiration for me as

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"I find inspiration at Neolithic sites such as stone circles, Celtic sites, and places that in the grand scheme of things are more “modern,” like Saint Andrews South Tawton Church, which was enlarged and rebuilt in the late 1400’s."

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well – not only do the poses themselves inspire me as positions of the body you wouldn’t normally find someone in, so there is a renewed interest in the figure for me when painting the body in poses that are new for me to paint, but also when I’m in Savasana, the final relaxation pose, I’m often thinking of ideas for paintings. Sometimes if I’ve had experiences on site but I yet wasn’t sure what to do with the input, the solution has come to me when I’m in Savasana.

components and interactive elements, such as way the I installed the Ceiling Boss paintings at Inter_section. I’m currently working on a pair of life sized standing stones from Bodmin Moor in Cornwall. You’ll recall when we were there that you had the same impression that I did, that the stones felt like a portal – so the name of the piece will be The Portal, and I’ll install them in such a way that people will be able to pass through the stones just as you and I did when we were actually in the space.

JCW: Going back to the pieces you have hanging from the ceiling, they are actually self- portraits. Tell us why you like to do self-portraits.

My early work used to be quite loose, and as I started to use more surreal subject matter, my style got progressively tighter, because I wanted my imagery to look believably real, so to speak – I wanted the viewer to feel as though they could experience the imagery for themselves.

My current direction is a natural offshoot of that intention, and the next logical step for me. Rather than it necessarily looking like you could pass through the stones because of the technique I’ve used to paint them, viewers will be able to actually pass physically between the stones to get a real sense of place. I want to blur the line between painting and installation with these ideas.

AF: I started doing self-portraits exclusively when I began the Images From the Otherworld series. I feel the more personal something becomes the more universal it becomes, and since these paintings are either based on experiences and impressions at these sacred sites, or derived from meditation imagery, they show a very personal journey.

From that standpoint, the self-portrait makes sense. I also hope to engage the viewer by using the same figure throughout the different paintings – my goal is to create a visual cohesion through the whole series, so that the viewer might best be able to put themselves in each situation and be able to experience the imagery in a personal way.

JCW: Amy, you’ve been known primarily as a figurative artist. Tell us where you are going, and what you are doing now with your art.

AF: Sometimes the figure is still prominent in my work, particularly in the imagery I derive from meditation, but sometimes it takes a supporting role to the landscape.

Often in the paintings of sacred sites, I use the figure as a subtle, surreal element to best personify the spirit of the land.

In future works, I want to use more installation

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JCW: Tell us about the origin of the charcoal for your drawings that are on exhibit at Inter_section.

AF: As I mentioned earlier, I want to utilize installation components to encourage more viewer interaction with my work. The very first piece I did along these lines was certainly a community effort.

In my solo show at Salem College last year, I installed The Wishing Tree with the help of my collaborative team. The bark and outer trunk components I used were from the 150+ year old tulip poplar in our backyard that survived for well over 20 years after a suffering a lightning strike before succumbing to the effects of the wound. Our friends at Freeman Wood Crafters constructed the base for me, then a team of fine people helped to glue bark around the edge of the plywood base, and I painted the top to make it look like the rings of a cut slice of a tree. From that base, with parts from the old tulip poplar and removable

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oak branches attached to a central trunk, we built a tree installation in the gallery. I was inspired by the trees that often accompany the holy wells in Ireland, England, and Scotland. In England they are called Wishing Trees.

People leave tokens for what they want healed – and the strips of cloth that people tie to the branches are called clooties, from the Gaelic word for cloth. We provided paper clooties for people to write down their wishes and tie them to the removable oak branches of this tree.

I had the intention from the start to burn the clootiefilled branches, because I did not feel the need to keep everyone’s wishes – I wanted to release them, so to speak. I respected people’s privacy if they folded or tied their wishes closed, but I felt compelled to photograph all the open wishes and catalog them into different categories. After I burned them, I realized I had charcoal and ash to use as an art medium, and the idea came to me to do drawings based on the top wish categories that I had cataloged. I took it a step further: that for each of the categories, I wanted to choose a location where I had felt that particular quality. For example, number one was Success. For that image, I chose the first time I ever climbed Glastonbury Tor in England, because it had been a real goal of mine the first time we went there to be able to climb the Tor. Also, the symbolism of a tower on top of the mountain is a universal symbol for success, so I’m also trying to choose imagery for these drawings that could also read as that wish quality to a viewer as well. I really enjoyed the conceptual nature of this series of drawings.

There will be more – there are four in the exhibit at Inter_ section now, Success, Peace, Healing, and Happiness – but there will be more to come. I felt like I was painting with wishes.

JCW: Most people know you as an oil painter. How long have you been a photographer?

AF: I’ve actually been doing photography since college.

It was my second love after painting. I started doing darkroom work in our basement in 1995 when one of my students gave me her old darkroom equipment. I did a lot of black and white silver gelatin prints as part of the landscape series that came from our three trips to Ireland.

I had not printed my own color work before, because, even though I had access to color enlargers in college, I stayed with black and white, so I’d never done my own color developing. Now that we have digital technology and software such as Photoshop, it makes it so much easier be able to do color work. However, I’d still kept my color photography for my own exclusive use as reference

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photographs for my paintings.

I’ve been on a quest for a few years now to work smarter not harder, and to figure out a way to get the same effect, but to be able to do it faster. I began to realize after our 2010 trip to England – why slavishly copy one of my color photographs if it’s already saying everything I want it to say? There were certain shots from that trip that I didn’t feel any need to add any surreal figurative elements into them, that they were symbolic in and of themselves. The first piece that comes to mind as an example was from our first stop on that trip, in Lyme Regis on the Jurassic Coast. Because of the cliffs that constantly erode to reveal fossils, I guess that’s how this rusty train track ended up on the beach – but it went nowhere, it just ran parallel to the beach. I thought, that’s symbolic in and of itself, I don’t need to paint any more elements into that to get it to say what I would want it to say. That inspired me to start showing my color photography for the first time in my solo show at Salem College last year. At Inter_section Gallery right now, I have photographs from our trip to Scotland last fall, in particular a suite of photographs from Loch Ness.

JCW: Explain your fascination with Loch Ness.

AF: It was really exciting for me to go to Loch Ness, because I feel like I grew up with it. My little brother would always check out library books about the Loch Ness Monster when we were young, so I feel like I’ve grown up with the idea of her – to me, she’s a wonderful metaphor. I’m glad there’s no scientific proof – in this day and age, it seems like there is proof for so very many things, so I think we need to hold onto that element of mystery wherever we can. For me, the Loch Ness Monster is one of the best embodiments of those unsolved mysteries. There are so many first hand eye witness accounts, you can’t really sweep those under the rug, I don’t think.

When we were there, what really struck me about the Loch were two things – every time you looked at the Loch, it looked different, whether it be that the time of day made the color of the water look different, or the way the light would strike it – the sunrises were extraordinary that we saw – it always looked different. To me, that was a metaphor for it’s all in how you look at something – that if you come back and look at something with a fresh eye or a new take on it the next day, you are going to see something in your life in a different way. The other thing is – everything looked like Nessie.

JCW: [Laughs]

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AF: It became a bit of a joke between us – because of course I went over there hoping to see her….

Ceiling Bosses, I’m really even more inspired to see what other parallels I can explore in the symbolism between the two cultures.

JCW: The water is constantly changing.

AF: The water is constantly changing – I won’t say it’s always constantly moving because it was really very still during one of those two sunrises that I photographed. I confess I did not see her beyond a shadow of a doubt, but every stick looks like Nessie, every little wave, every duck on the water – I found it very evocative. Because you go into it knowing there is a mystery surrounding the Loch that’s been built up over the years….

JCW: There’s an expectation.

AF: There’s an air of expectation, and for me that was very palpable and very powerful.

JCW: Is there a certain location that you’ve never been to, or one you want to go back to for more inspiration?

AF: There are a lot of places where we’ve been that I don’t feel like we’re finished with them yet. For example, even though we’ve been to Ireland three times, there are a lot of places there we haven’t explored yet. And I could keep going back to the West Penwith region in Cornwall, I just absolutely love it. It’s filled with the holy wells that are a great source of inspiration for me. It seems like everywhere we go, I always want to go back.

I have not yet been to France, and it’s an amazing thing for me to consider seeing the paintings in the museums of Paris, the holy well at Lourdes, or the Lascaux prehistoric cave paintings. Another place I’d really like to go is India.

As an avid yoga practitioner, I’m using more and more yoga poses in my paintings; for example, the Ceiling Boss paintings are also both yoga poses. I was really amazed at how those two particular designs from South Tawton church looked just like yoga poses – that particular Green Man looked exactly like the Lion’s Breath pranayama breathing technique, and that particular Sheela na Gig, which is a female fertility figure, looked just like Reclining Cobbler’s Pose. The Celts were a migratory people, and they actually did have Indo-European roots. On the surface, yoga poses and medieval English church carvings may seem like unrelated things, but after having done these

PAGE 22

JCW: Who have been your influences artistically?

AF: Artistically, my very earliest influence was Alice Neel.

Seeing a video of her working was what got me interested in doing figures in the first place. But as my style evolved away from that immediate, painterly sort of look, I’d have to say, particularly because of my subject matter, the Pre-Raphaelites – I love the Pre-Raphaelites. I think that Sir John Everett Millais is one of the greatest painters.

Even though Waterhouse was not officially in the PreRaphaelite Brotherhood, he’s usually associated with them – I think he’s an amazing painter as well. Vermeer and Caravaggio I would have to say are two painters whose techniques really inspire me. I love Caravaggio’s use of foreshortening, and I love his sense of drama from the high contrast lighting. With Vermeer, there is a cleanness to his work, and he gives you just want you need, and no more or no less. I’d really like to achieve that in my work.

JCW: Tell us what more there is to come from your studio – what’s on the easel and what’s coming out of the Amy Funderburk studio in the near future?

AF: I’m feeling called to work much larger, ultimately, such as on the standing stones that I described earlier. I’m excited right now that not only do I still use my home studio, but I needed a space to work on these larger pieces, so I now also have a downtown studio. The canvases wouldn’t even fit on my easel – I am painting them on the wall! One of my future pieces to further explore the Loch Ness mystery is to do a painted box with a wraparound scene of the Loch all around the box; the lid of the box will be the surface of the water, and then the viewer will be able to look inside the box to see what lives within the Loch. The name of the work will be She Dwells Within the Murky Depths. I have preparatory drawings for several upcoming 2D paintings; one of them will be quite large so that the viewer could feel as though he or she could walk into the scene. I’m also developing a new body of work called Hungry Ghosts, about my grief journey after the passing of several family members. n

WS ARTS MAGAZINE

Bio of Amy Funderburk Amy Funderburk is a professional artist with 25 years of experience, specializing in oils, pastels, and photography. Inspired by the ancient Celts, Funderburk merges surreal figurative elements into sacred landscapes to represent the presence of the divine in her current series, Images From the Otherworld. These visionary works are based on her extraordinary experiences at sacred sites in Ireland, the South of England, and Scotland. Content for certain paintings is derived from meditation during yoga poses. Funderburk’s goal is to inspire both physical and psychological healing with her imagery as she explores the role of art imagery, belief, and the power of positive thinking on the healing process.

Funderburk’s work has been exhibited widely across the US; she has also participated in group exhibits in both the Republic of Ireland and England. In 2007, three of Funderburk’s works traveled to the US Embassy in Estonia for a two year loan. Her various awards and honors include a full fellowship for an Artist's Residency at the Vermont Studio Center in April 2005, a Visual Artists' Fellowship for 2002 - 2003 from the North Carolina Arts Council, and an Emerging Artist Fellowship Grant from the Winston-Salem Forsyth County Arts Council in 1990. For more information about Funderburk and her work, please visit her website at www.AmyFunderburkArtist.com. You can learn more about Inter_section Gallery and Art Space by going to http://intersectiongallery.com/ .

WSARTSMAG.COM

PAGE 23

| Short Story

Two Extraordinary Youths

by Stacy Hope Jones an excerpt from The Small Secrets of Ballyragget Forest

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WS ARTS MAGAZINE

W

faery

the glass, creating the wonderful kaleidoscope of crystals

creatures you say? Well,

on the window of mortals. Much of the time, this is mere

but of course. Where was

pastime, as they have to simply melt the ice breath that has

I…, let me introduce you to

built up inside of them overnight. At times however, this is a

a two of them.

faery smokescreen, sent up to shield an Earthbound’s view

ho

are

these

Frost is all blues and

violet, floating, and Mudfoot a bespeckled rusthaired green-eyed whiskered thing quenched in mud most of the time. She is air, moving, blown by events.

of mischief going on beyond the windowsill perhaps. Her wings are strong enough now that she is coming toward the end of her pre-hundred years (which of course, in faery land is any age that is before living one hundred years, which to them is very

Mudfoot is water, coursing yet pooling. He is blood, she

young mind you.) She could

is breath, and a melancholy beauty. Frost. She is long-

fly softly and quickly out

limbed, pensive. She is faery, so she may perch upon

of sight. But instead,

a flower petal if she chooses. More often, she chooses toads, cobwebs, spiders even. Her hands, smooth and blue, fold under her chin and fingers float dangling down.

Frost

decides

to just jump down,

Her eyes have heavy lids, also blue. Everything on Frost is blue, except for her eyes. They are the deepest, most radiant violet anyone has ever seen. Even in the magic world, this is a rarity, violet eyes, dark in a moment like nighttime clustering. In another, her eyes are as clear and purple as the peeled skin of a plucked new grape. The the young fairies love to make bonnets and hats from grapeskins, leaving their already jagged hair puckered and sweet with juicewine. For, as you will come to know my friends, mischief is a favorite pastime of the innocent...

Faery folk may travel just inside the folds of shadows you know. They can hide between, within, and behind shadows, so that the Earthbound shan’t see them. Frost descends from a rough pine faeryhouse window ledge where she has been ice breathing, and perhaps practicing a little spying. She is particularly skilled at the ability passed along her ancestral lineage, beginning with none other than Jack Q. Frost himself. Ice breathers are the little ones that flutter and click upon window panes, and blow a perfect snowflake lace breath of frozen air onto WSARTSMAG.COM

PAGE 25

none too gracefully, landing in a thicket of pansies below,

to perch off into flight perhaps. But no, what unfolds instead

alarming the sleeping honeybees.

from around his back in their brilliant glittery colors are the wet shines of orange, red, greens and teals, ebbed in thin

And then, there is Mudfoot. He is always grimacing, not

spines all along. Instead of shaking out wings to dry, bird-

stern, but muddled and persnickety. Mudfoot is the pride

like, as most faeries do if they are water nymphs and have

and joy of his mother. They have lived all their years in the

the great gift of swimming, Mudfoot unfurls two great fish

same moss-canopied tree trunk that juts out against the

fins from his upper back and they row back and forth, push-

creek bank, hanging black above the silted rippling water.

ing him effortlessly forward in the water, his grey-freckled arms crossed stoutly in front, his wet whiskers falling al-

“Breakfast Mudfoot!” his mother calls out, humming

most to his chest, swinging smoothly back and forth as he

brightly and stirring a thick goey porridge made of dew and

arcs across the water like a porpoise riding the waves.

honeysuckle drops, and one perfectly ripe indigo blueberry melon.

“Now Mudfoot, you must eat well this morning. You know

Hair still long and moved to a pale wheat color, from the gold

this will be a great long day and we must all hold vigil

of her youth, it swings long down her back between quickly

through the night as well.” Mudfoot’s mother, Ula, sets a

flitting silvery water nymph wings.

great walnut shell bowl in front of him and places her white and petite hand upon his great wide shoulder as she tells

“You come out of that creek for once while breakfast is still

him this.

hot!”

“We are all going to have work hard to prepare everything A bubble rises up through the water and pops at the surface,

just so for the funeral, and the passing into vigil. I know that

causing a mosquito to skitter off, its bent legs dangling,

Frost is very dear to you, and I think you are the best to stay

whizzing under the tree trunk house and up the bank toward

close with her today, and make sure she is kept nearby. The

the Faery village of Ballyragget. Brown tinted water parts,

day of her mother’s funeral is no day for her to run deeper

and slides off Mudfoot’s slowly emerging head. His hair is

into the forest to sulk alone. We are faery folk; we must be

thick, in short choppy clumps. It is the color of dried red mud.

a part of one another and all.”

His skin is pale, but glowing, a whitish yellow, and freckled with faint gray spots, and he is skillfully allowing himself

Mudfoot sighs, letting out a great heavy breath that bil-

to emerge perfectly still and straight up from the water. He

lowed his whiskers. “I will find her and watch over her today

is also in his pre-hundreds, quite near to Frost’s age as a

Mother. She has been staying out by the dark woods edge

matter of fact, but his youth is masked by two, long, sloping

since the withering. I’ll make sure that she comes before

shiny, wet whiskers sprouting each side of his mouth. His

sundown to the village center, before it is to begin.”

strong and wide shoulders are now emerging from the water, his eyelids fold open to reveal very round and big

He pushes the whiskers over each of his shoulders, picking

brilliant green eyes, filled with the light of lanterns glowing

up the bowl of porridge with both hands and letting it slide

in the midsummer nights. His eyes still have the glimmer

into his mouth. The sweet fragrance of honeysuckle and the

of youth that cannot be hidden. His green eyes offset the

rich blueberry juice intoxicates him momentarily, as it has

rather alarming presence of the whiskers, as these are not

been several days since he has come into the kitchen to eat.

particularly faery fixtures. One may indeed comment that

He has stayed outside and eaten from the fields and creek

never before has a faery has such whiskers, at least to

of late, mostly by himself or with his few friends, Darby and

these faeries memory, which serves for a very very long

Frost. You see, Mudfoot has the bloodline of an unlikely, but

time.

absolute love that occurred between a faery named Ula, and a catfish named Raleigh. And perhaps because of this,

“Bubblup,” a surprising slow bubbling sound from the water

he also has an unlikely and absolute love pouring through

as Mudfoot rises above the surface, waist-high now, ready

his watery veins, for a melancholy beauty named Frost.

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WS ARTS MAGAZINE

Custom designed

by Deborah Wishon Custom designed

by Deborah Wishon

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Please contact me through my email listed below.

Phone: 336.653.8382 Email: donnallen2@me.com Website: DonnaAllenPhotography.com Sports Website: DonnaAllenPhoto.ifp3.com

49 Miller Street next to Whole Foods Winston-Salem 723.4022 Monday-Friday 10-6 Saturday 10-5

www.devajewelry.com

World Class Cigars, Pipes & Tobacco

301 Mill Street Winston Salem, NC 27103 336-448-2423

www.twincitycigars.com WSARTSMAG.COM

Open to the public.

Monday - Thursday 11:00 AM to 8:00 PM Friday - Saturday 11:00 AM to 10:00 PM Sunday 1:00 PM to 5:00 PM

PAGE 27

| Cigar & Spirits

The Fernando Leon Family Reserve: The Return of the Simple Life

F

By Ed Hanes

rom the simple and classy band to the only moderately veiny body, the Fernando Leon is a ready companion for those who enjoy a medium bodied smoke. After a clean punch from my round cutter, I pulled a cold draw to see what I was in for. Sweet tobacco‌.slight pepper on the draw‌.memories of fall afternoons in Monticello Park.

The draw seems free, promising clear pulls and rich smoke with every puff.

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WS ARTS MAGAZINE

The Fernando Leon Family Reserve lights easily when exposed to the cedar scrap flame (I only use the cedar scrap when I’m feeling fancy and a little nostalgic). The cigar produces an excellent amount of smoke as expected.

What is surprising is the disappearance of the loose draw experienced at lighting. The Fernando produces just the right amount of resistance. The flavor in the first 1/3 of the cigar is a sweet tobacco and a nice black pepper. The pepper is deeper and not quite as in your face as, say, a classic Pepin stick. The burn is even and measured, complemented by an overall construction that seems top shelf.

Into the second third the pepper becomes more pronounced and is the dominant flavor. Another surprise awaits the patient aficionado: a citrus element enters the profile and lingers on the finish. Moving into the second third the citrus element becomes much more pronounced emitting a fully mature grapefruit like sweetness. Have I mentioned that the ash still holds on like a sentinel on post? This point can’t be overstated: ash is cool because it….cools! Ash quells the inferno erupting within the stick and allows for a slower more eventful burn. Too hot and your mouth will pay with stinging bitterness of scorched tobacco. Too cool and that same tobacco turns to mush, making what should be a relaxing moment an Olympic prize fight: your torch against the under heated stick.

Coming down the home stretch the pepper asserts its

dominance in the flavor profile, vanquishing the citrus to a subtle but lingering reminder. As this cigar maintains excellent construction and refuses to burn hot, it can be smoked down to the tips of your fingers. Not finger licking but good nonetheless.

The Fernando Leon Family Reserve is a simple cigar anyone should enjoy. The flavor profile is fairly straight forward even with the interesting weaving of the citrus. The choice of citrus flavor…grapefruit…was the one element that raised an eyebrow for me. Interesting is good….unexpected can be exciting…but grapefruit? I say to each his own and creativity should be rewarded (even by the “bah humbug” crowd among us). Strength wise I would put this stick solidly in the medium category. I would recommend it to someone graduating from mild cigars and wanting to take the next step or even to a seasoned connoisseur who enjoys a medium smoke with good flavors. For its nice gray and white ash that held far into the experience, for its abundance of smoke produced, and for its daring (and controversial) use of a grapefruit citrus profile, we award the Fernando Leon the more than respectable 4 E.D.S ranking.

WS Arts Magazine has designed and implemented a ratings system where cigars receive an E.D.S (really...I didn't name the rating system after myself) of 1-5.

Each review explains, in easy to understand terms, why we chose that particular rating for a given cigar. Our ratings system is described as follows: 1 E.D.S - These are cigars of last resort. They are questionable even if only mowing the yard or planting a garden.

2 E.D.S - These cigars make tolerable companions while you wash your car.

They aren't looking for attention, nor should they!

3 E.D.S - These are pretty respectable cigars but may still fall short. We recommend them for the golf course, the back porch with one of your uninitiated friends, or for the after wedding party (for the husband of your best girlfriend who thinks he knows everything about cigars).

4 E.D.S - Now we’re talking. Enjoy these fine cigars after a delicious meal or with your favorite cocktail. Again, I prefer Fridays at Single Brothers (or my Cigar Room). Join me!

5 E.D.S - Respect your elders! These complex treats are true works of art.

They deserve Coltrane, good friends, and your favorite adult tasty treat. Only the best!

WSARTSMAG.COM

PAGE 29

| SECCA News

SECCA Seeking Volunteers for Exciting Docent Program

S

ECCA is looking for volunteers to train as docents for the fall exhibition Graphic Design: Now in Production, opening Oct. 26 and closing Feb. 23, 2014.

Docent training will be held weekly on Tuesdays from Sept. 17 through Oct. 29. Interested individuals can chose lunchtime (11:30 am - 1 pm) or evening (5:30 - 7 pm) training sessions. Sessions will be held at SECCA, located at 750 Marguerite Drive. Once trained, docents will be required to volunteer a minimum of two hours per week from Oct. 24 through Feb. 23.

SECCA’s Curator of Education Deborah Randolph said, “This is a landmark graphic design exhibition. It covers international graphic design work created since 2000. SECCA is the only art center in the Southeast to have the privilege of showing this exhibition. To make the visitor experience the best it can be, we’re looking for volunteers who are interested in design to be trained as docents and serve as gallery hosts.”

Today, design permeates our daily lives, influences our behavior and is defining the human experience as a strikingly visual one. Once the exclusive domain of skilled professionals, new tools, channels and software have emerged in the last decade to create opportunities for anyone to design, distribute and put their ideas on display. Visitors are invited to view Graphic Design: Now In Production, to explore design as it exists today—in a state of constant re-imagination.

Throughout the run of the exhibition, SECCA will host dynamic programming related to design for both professionals in the industry as well as the general public. To preview the exhibition, visit http://www.secca.org.

PAGE 30

WS ARTS MAGAZINE

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For sponsorship opportunity or more information: www.operationredsleigh.com or 333.625.9624

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“WSARTS”

Saturday September 21, 2013

9:00 am Old Salem Winston-Salem, NC

Professionally Timed 5K • 1 Mile Fun Run/Walk • Undy Costume Contest

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