VIE Magazine October 2018

ARTISTS RULE THE WORLD VOICES of the PEOPLE

MY BROTHER’S KEEPER

TY HUNTER! BEYONCÉ’S STYLIST IS STYLIN’ and WHAT’S NEXT for the INSTAGRAM EVANGELIST

October 2018

ART & CULTURE ISSUE

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In this issue On the Cover

Prolific fashion stylist, designer, motivational speaker, and Instagram evangelist Ty Hunter is best known for being the stylist to megawatt star Beyoncé since 1999. But the well-spoken, inspirational icon is so much more than that. Check out the bold phototorial “My Brother’s Keeper” told through stylist and creative director DapperAfrika, photographer Julian White, and muse-meets-model Ty Hunter in this issue’s feature (page 28).

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PHOTOGRAPHER JAMIE BECK GREW UP WITH A CAMERA AROUND HER NECK, DREAMING OF CAPTURING THE WORLD THROUGH HER LENS IN NEW YORK CITY, BUT IT’S IN THE SOUTH OF FRANCE THAT ALL HER DREAMS ARE COMING TRUE.

FEATURE 28

106 Raven Roxanne Takes Flight

My Brother’s Keeper

112 The Narrativity of Steve Wagner

SARTORIAL 39 40 The Art of Darkness: Coach + Chelsea

Photo by Julian White

Champlain

Stylist & Creative Director: DapperAfrika

46 The Rebirth of an Icon: Gucci + Dapper Dan

Assistant stylist: Jay Deschamps Wardrobe: Ty Scott Label, Damascus Apparel, Hi on Life, Brav Divi

VOYAGER 125 126 Capital Cool: Washington, D.C., Travel Spotlight

52 Fall Fashion Edit: Boston Style Featuring J.McLaughlin

140 Lost in a Myth: Dive into Greek

62 Te amo, Ibiza: Julia Clancey Bespoke Designs

LE MONDE 147

VISUAL PERSPECTIVES 69

148 The Spirit of Greece: Raise a Glass to Metaxa

70 Homeward Bound: A Photographer’s

152 Spreading Sunshine: Huck & Lilly Music

78 Finding Joel Meyerowitz: A Snapshot

INTROSPECTIONS

Life in the Luberon of His Soul

88 HeART on His Sleeve: Kyle Krauskopf PUBLISHED BY

118 The Beauty of Imperfection: Art Is the Healer

96 A Real Life So Surreal: Lee Miller 102 Telling the Stories of Life: Paul Briggs

Culture at Lefkada

158 An Enlightened Affair: The Modern-Day Salon 162 We’re All Performers Now

AU REVOIR! 165

TheIdeaBoutique.com info@theideaboutique.com V I E MAGAZ INE . COM | 13

CREATIVE TEAM FOUNDER / EDITOR-IN-CHIEF LISA MARIE BURWELL Lisa@VIEmagazine.com

FOUNDER / PUBLISHER GERALD BURWELL Gerald@VIEmagazine.com

EDITORIAL MANAGING EDITOR JORDAN STAGGS Jordan@VIEmagazine.com

CHIEF COPY EDITOR MARGARET STEVENSON CONTRIBUTING WRITERS SALLIE W. BOYLES, MEL ANIE A. CISSONE, ANTHEA GERRIE, REBECCA HALL, SALLIE LEWIS LONGORIA, NEVIN MARTELL, TORI PHELPS, SUZANNE POLL AK, NICHOL AS S. RACHEOTES, L AURETTE RYAN, XENIA TALIOTIS

ART AND PHOTOGRAPHY ART DIRECTOR TRACEY THOMAS Tracey@VIEmagazine.com

GRAPHIC DESIGNERS OLIVIA PIERCE HANNAH VERMILLION LUCY YOUNG

CONTRIBUTING PHOTOGRAPHERS IWAN BA AN, JAMIE BECK, RON BLUNT, L ARRY BUSACCA, ELIZABETH ERVIN, JAMES JACKSON, MATT KNEZEVICH, REY LOPEZ, STEVEN T. MANGUM, ARI MARCOPOULOS, JEFFREY MARTIN, JOEL MEYEROWITZ, LEE MILLER, GREG POWERS, ROMONA ROBBINS, BRETT RUSSELL, DAVID E. SCHERMAN, TONY TREE, KOSTAS VASSIS, JULIAN WHITE, DAWN C. WHITT Y, BRIE WILLIAMS, GETT Y IMAGES, SHUTTERSTOCK

ADVERTISING, SALES, AND MARKETING DIGITAL MARKETING DIRECTOR MEGHN HILL BRANCH OFFICE MANAGER – IRELAND SHARON DUANE ASSISTANT TO THE EDITOR-IN-CHIEF ABIGAIL RYAN BRAND AMBASSADOR LISA MARIE BURWELL Lisa@VIEmagazine.com

DISTRIBUTION MANAGER TIM DUTROW DISTRIBUTION COORDINATOR SHANNON QUINL AN

VIE is a registered trademark. All contents herein are Copyright © 2008–2018 Cornerstone Marketing and Advertising, Incorporated (Publisher). All rights reserved. No part of this periodical may be reproduced without written permission from the Publisher. VIE is a lifestyle magazine and is published twelve times annually on a monthly schedule. The opinions herein are not necessarily those of the Publisher. The Publisher and its advertisers will not be held responsible for any errors found in this publication. The Publisher is not liable for the accuracy of statements made by its advertisers. Ads that appear in this publication are not intended as offers where prohibited by state law. The Publisher is not responsible for photography or artwork submitted by freelance or outside contributors. The Publisher reserves the right to publish any letter addressed to the editor or the Publisher. VIE is a paid publication. Subscription rates: Printed magazine – One-year $29.95; Two-year $54.95. Subscriptions can be purchased online at www.VIEmagazine.com.

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Editor’s Note

ART IS THE TEACHER AND THE PREACHER

T

his issue is bursting at the seams with creative and provocative substance—so much so that I feel my thoughts and words will fall short of what the amazing content deserves. We have curated thought-provoking stories of art muses, fashion gurus, and the cultural mores of our day in this Art & Culture Issue. Fashion, art, music, and photography are always great communicators, reflecting the topics of the day. If you watch and listen to these indicators, you can learn so much more about the current state of our culture than by following agenda-skewed news programming.

No longer are the teachers and the preachers locked solely within the confines of learning institutions or religious sanctuaries. They have been liberated by technology and social marketing platforms, making the world both smaller and bigger; smaller in that the once-remote places have become more readily accessible physically and electronically; bigger in that the world stage has been populated by new voices that would otherwise never have been heard.

Lately there seems to be a wave of isolationism swelling around the world; isolationism is antithetical to liberation and acceptance, which are inherent parts of creativity.

This philosophy is born from a supposed logic of social and financial mindfulness, but it is also rooted in exclusion and self-importance. And when the world is stripped of acceptance and modesty, humanity quickly descends a slippery slope toward incivility and separatism. This is one of the very reasons why this issue is so important—there is much to be learned through the tolerance and humility of art and creativity.

Immediately following the horrific assault on our nation at Ground Zero, famed New York City–based photographer Joel Meyerowitz skillfully captured and chronicled the painful images of the devastating destruction up close. The effect of the gruesome experience was life changing for Joel, and he now pursues a simpler way of life in Siena, Italy. “Finding Joel Meyerowitz” by Anthea Gerrie is an unforgettably visual and mesmerizing read.

The presence of social marketing channels like Facebook, Instagram, and others during the past decade has challenged individuals and businesses alike to master these platforms to cultivate brand identities. These platforms have become enormously powerful communication mediums. While scrolling through Instagram recently, my attention was caught by the Instagram account of New York City– based artist Vin Servillon. Scrolling deep into his treasure trove of paintings that feature women with elegantly elongated necks and overly exaggerated facial expressions made me smile. Vin’s ability to paint deep expressions in a surreal and hauntingly beautiful style echoes the expertise of an Expressionist master. He opens up about personal struggles with mental health and how life as an artist was the catalyst in the healing process. Please read the curiously beautiful account “The Beauty of Imperfection” by Tori Phelps.

VIE editor-in-chief Lisa Burwell Photo by Romona Robbins

Gracing this issue’s cover is Beyoncé’s famed stylist, Ty Hunter—one the most loving, rad, and talented people I have ever known. Ty is a beautiful man, both inside and out. His inspirational Instagram messages (@tytryone) are bold, truthful, inspirational, godly, and filled with wisdom beyond his years. After seventeen years as Queen Bey’s stylist, he has amassed a sizeable following, traveled the world, and dressed the best of the best. We are honored to have Ty on the cover for so many reasons—one being his message and platform for good. Please read this issue’s feature story, “My Brother’s Keeper,” cowritten by our managing editor Jordan Staggs and me.

As time goes by and the world evolves at an everincreasing pace, there are so many things that feel different, yet there is one that will never change— people will always have a need for other people.

Having love for our fellow humankind is still all that matters!

To Life!

—Lisa Marie Founder/Editor-In-Chief V I E MAGAZ INE . COM | 17

The Creatives

We collaborate with talented photographers, writers, and other creatives on a regular basis, and we’re continually inspired by how they pour their hearts and souls into their crafts. Follow these creatives on social media and don’t forget to check out our account, @viemagazine.

FOR THIS ISSUE, WE ASKED THE CREATIVES: ART, MUSIC, PERFORMANCE, AND FASHION ARE IMPORTANT PARTS OF CULTURES AROUND THE GLOBE. WHY DO YOU THINK THESE THINGS ARE VITAL TO SOCIETY?

ART, MUSIC, PERFORMANCE, AND FASHION ARE THE ENERGIES OF THE SOUL SEEPING OUT, BREAKING FREE, AND COMING TO LIFE IN THE WORLD. NEVIN MARTELL

Writer, “Capital Cool” @nevinmartell

Growing up, listening to Casey Kasem’s “American Top 40” (and later “Casey’s Top 40”) was my Sunday morning ritual. No matter what else was going on, I tried to stay tuned in for the entire countdown. It was part escapism, part selfexploration. The songs I heard and the bands I discovered opened my eyes to new places and ideas while helping me achieve a deeper understanding of the emotions I was grappling with for the first time as a teen. Like so many other kids, I’m not sure I would have made it through high school without music to comfort and guide me. I still turn to it when I want to celebrate or need solace. Without music, life would be meaningless. Its import cannot be overstated.

CHELSEA CHAMPLAIN

Artist, “The Art of Darkness” @chelseachamplain

Within the definition of art, it mentions the emotional power it holds. I feel that as humans, we are always looking for things to connect and relate to. Art brings us together and places us all on the same level when we view it or make it. It holds the power to express ourselves and identify with our own feelings and those of others without a word having to be spoken.

LAURETTE RYAN

Writer, “Telling the Stories of Life” LauretteRyan.com

Art, music, performance, and fashion are at society’s essence; these are the languages of the soul. These expressions of the human condition are unique touchstones, representative of the time, place, and psyche of the individuals abiding in that particular culture and timeline. People as individuals and as a community want to be seen, understood, and, if not validated, at least heard.

The arts are the energies of the soul seeping out, breaking free, and coming to life in the world.

PAUL BRIGGS Artist, “Telling the Stories of Life” pbcbstudios.tumblr.com

The arts are vital because they give us a way to empathize with one another.

It’s also a way for me to remember and cherish what I love most about life.

Illustration by Paul Briggs

V I E MAGAZ INE . COM | 21

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La conversation

LISTEN UP WE LOVE TO COMMUNICATE AND INTERACT WITH OUR READERS! AND WE LOVE IT EVEN MORE WHEN THEY PROUDLY SHARE THEIR STORIES AND POSE WITH VIE FOR A CLOSE-UP! THAT’S WHAT IT’S ALL ABOUT: SHARING, LOVING, AND BUILDING RELATIONSHIPS. WE THANK YOU ALL SO MUCH AND WE APPRECIATE YOU!

@Abigail Ryan Let’s escape to the beach! I am so excited to share my very first published piece featured in VIE magazine’s September 2018 Home & Garden Issue. Learn more about photographer Gray Malin and be sure to get your copy! @bungalowhomeandlife “I can’t read, but I the pics!”

@dtotty_interior_design How do you know when you’ve just read a great lifestyle and home decor magazine? When you feel like you have just traveled halfway around the world and never left your cozy chair. We couldn’t be more honored to have a little of our design world as a part of this beautiful Home & Garden Issue of @viemagazine!

@hales_kate Always down to disco! #latergram #dgxvie #dgalysbeach

@Camera and Flask #TBT to shooting the cover images for VIE magazine’s 2018 Culinary Issue. It was such a pleasure to work with The Couples Kitchen and the entire VIE team on this shoot. To walk into a store and see my work on the cover of a magazine this beautiful was the fulfillment of a dream.

LET’S TALK! Send VIE your comments and photos on our social media channels or by emailing us at info@viemagazine.com. We’d love to hear your thoughts. They could end up in the next La conversation!

@asaheltags My favorite mag to read! #voyager @viemagazine

@jack.gardner.photographer A beautiful arched entryway to the formal dining room with wide plank reclaimed wood floors. Interiors design by @sugarbeachinteriors. Check out this beautiful home in the new Home & Garden Issue of @viemagazine.

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V I E MAGAZ INE . COM | 25

MY BROTHER’S KEEPER

I

By LISA BURWELL and JORDAN STAGGS Photography by JULIAN WHITE Creative Direction by DAPPERAFRIKA

n recent years, it seems as though we are living in a homogenous world where people dress and act the same. That could be one reason that haute couture and outrageous street style are earning appreciation when presented in larger-than-life fashion shows around the globe, on musical stages, and in glossy magazines.

Fashion broadens our horizons because what we are looking at is art. To have the opportunity to showcase a legendary stylist and a team of like-minded creatives is a privilege—and something that doesn’t come along very often. Choreographed by creative director DapperAfrika and captured by photographer Julian White, this magnificent shoot took place in stylist-to-the-stars Ty Hunter’s NYC backyard. Welcome to the visual world of “My Brother’s Keeper,” where the message is all about love for one another, collaboration, freedom of expression, and some major badassery!

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O

riginally hailing from Texas, Ty has been Beyoncé’s stylist since 1999. He is also a motivational speaker whose sphere of influence is multifaceted, with his Instagram platform acting as a modern-day evangelist spreading the gospel of goodness every day through his account, @tytryone. His model-worthy good looks and personal style shine alongside DapperAfrika in this phototorial featuring wardrobe creations by Ty Scott Label, Damascus Apparel, Hi on Life, and Brav Divi.

Ty Hunter Keeps It Real – The Backstory A young man’s unlikely foray into the fashion scene nearly twenty years ago changed his life. Who could have predicted that a career in the medical field would lead to globe-trotting with style queen Beyoncé?

Ty Hunter was enjoying life in Austin, Texas, with a steady job building artificial heart valves, until he learned that a close friend had a heart problem.

When that knowledge caused Ty to realize he would always associate his handiwork with something sad and negative in his life, it was time to reevaluate his priorities. He relocated to Houston and applied his creative talents working as a visual window designer for mall retailers. That was how he serendipitously met Beyoncé and Solange Knowles’s mother, Tina Knowles Lawson. “She became my other mother and a friend and told me she would find me a way out of there one day, and she did,” says Ty. Tina spied a raw talent within him that led to the young man working as fashion stylist for the Destiny’s Child “Survivor” video and for the Grammys all within his first few weeks on the job. An avid clotheshorse who won the best-dressed award in high school, Ty was destined to work in fashion. He also credits his father for taking him to see a Diana Ross concert.

“That sparked my love of fashion,” Ty says. “It’s a blessing to have your passion as your career.”

Ty Hunter, who has styled superstar Beyoncé since 1999, took on the role of model and muse in this photo shoot styled and directed

by DapperAfrika.

V I E MAGAZ INE . COM | 29

W

hen asked what it’s like to work with Beyoncé, Ty humbly muses about the blessing to grow with the iconic talent and to have been afforded the opportunity to live an unimaginable life. And what an exhilarating career it has been working with this megawatt icon. He worked very closely with Destiny’s Child and later Beyoncé when she launched her solo career, and her influence as a style icon reflects his vision to create a powerful, fierce leading lady whom women of all walks of life can look up to. The sheer quantity of events, magazine and album cover shoots, red carpets, and concerts is head-spinning. Many people may know of Ty from seeing him follow behind Beyoncé at high-profile events, ensuring her garments were always picture perfect. No matter how unobtrusive Ty may be, it would be hard for anyone not to notice such a good-looking man with an incredible sense of style all his own. At forty-six years of age, he is now a case of the stylist that is styling, as he walks into new chapters of his career. After so many years on the road, he’s taking time to focus his energy and passion into his own projects, though he is still there for his clients anytime they need him. “I think my favorite part of what I do is to see a smile on

my clients’ faces,” he admits. “I believe that the ultimate goal of the stylist is to make sure the client is confident, comfortable, and prepared.”

!!!!

NOT ALL HUSTLE IS LOUD. SOMETIMES HUSTLE IS JUST YOU, ALL ALONE, GRINDING, WHILE NO ONE HEARS A SOUND.

In person, Ty is a man of few words and has a quiet demeanor.

But when he enters a room, his presence can’t be denied; his willowy stature and chiseled face with kind eyes framed by gorgeous dreads will beg your gaze. Aside from maintaining a stable of clients, Ty recently took creative lead on collaborations with bespoke clothing lines such as athleisure wear by Reflex exclusively for Foot Locker; a limited collection for GREEDILOUS that is planned to debut in Paris; his With Passion collection for ServedFresh; and designs for EXO Eyewear. Ty is also a partner with SMF Global Consultants, which manages the brand and style for high-profile clientele, and he is working on a book deal. Clearly, the sky is the limit for this fashion icon!

Ty’s very popular Instagram feed (@tytryone), which he maintains religiously, has over 324,000 fans. His account is filled with inspirational quotes that range from his own wisdom, life lessons, and daily musings to biblical and motivational anecdotes and stories galore. “Social media can be such a dark place,” he says, “and I like to bring a light to the platform with yellow quotes on Instagram with lots of exclamation points!!!!” His voice is refreshing, and many people are spiritually fed by his messages on positivity, forgiveness, motivation, confidence, and love. When we asked him what advice he’d like to give to our readers about navigating this thing called life, Ty said, “Be confident and stay humble. You can always learn from every situation; stay present.”

It’s encouraging to see someone using his enormous sphere of influence to proselytize good news and encourage others.

That’s what Ty’s photo shoot with DapperAfrika and Julian White was all about.

Making Magic The fates came together on a regular day in New York City as three brothers joined forces for what started as a casual photo shoot and became something more.

“DapperAfrika—I met him quite a few years ago,” says Ty. “I’ve always admired his use of different fabrics, prints, and colors. He had this great concept, and we decided to shoot in my backyard. The ‘Brother’s Keeper’ concept showed how two stylists—rather two men of color—can come together to promote positivity and brotherhood.”

30 | O C T OBE R 2018

Opposite: Ty Hunter assists BeyoncĂŠ as she walks the red carpet with husband Jay-Z at the 2015 Met Gala.

Photo by Larry Busacca/ Getty Images V I E MAGAZ INE . COM | 31

!!!!

D

CANCEL YOUR PITY PARTY. PULL YOURSELF TOGETHER AND TAKE TOTAL OWNERSHIP OF EVERYTHING IN YOUR LIFE. YOU CAN DO THIS!

apperAfrika has been in the style game for decades, working with celebrity clients including Erykah Badu. He is also a singer-songwriter who started out in the entertainment industry as an extra in music videos. DapperAfrika says he and Ty have a friendship and a mutual respect as stylists that transcend the fashion industry and trends. “I’ve been saying it for a minute, and it feels good to have people you can call on just for energy,” DapperAfrika explains. “I consider Ty an energy friend. I wanted to honor him with a shoot on location at his home, and we made magic impromptu.”

Along with assistant stylist Jay Deschamps, DapperAfrika enlisted twenty-four-year-old fashion photographer Julian White for the shoot, whom he has worked with before and says he considers “a great student with a wonderful gift as a photographer.”

Drawing on the bold prints and bright colors of the wardrobe by Ty Scott Label, Damascus Apparel, Hi on Life, and Brav Divi, DapperAfrika and Ty took on the storytelling of the shoot with lots of movement and emotion.

Julian says, “DapperAfrika is one of my favorite stylists to work with because you really never know what to expect. ‘The magic happens on set,’ he says.

32 | O C T OBE R 2018

In other words, live in the moment. We just put our minds together, and that’s how ‘My Brother’s Keeper’ came to be.”

The stars seemed to align that day in Ty’s backyard, and they are still moving into place for the trio, it seems.

DapperAfrika, who spent eleven years living on the streets, is now documenting that time and his passion for styling and bringing artists together through a coffee-table book. “I created as I survived, mainly through art and creative direction, styling shoots that

I have collected for this moment. I’m telling my story as a survivor,” he says of the project, for which he is currently raising funds. “Fashion, music, and art are gifts, and we must make sure we are prepared for when it’s time to pay attention to those with the gift.”

Like Ty, DapperAfrika especially believes in lifting up and showcasing fellow African American artists and other people of color. “The industry over all sucks, with too many of the wrong leaders. I just focus on my influence, and it’s working, but I wish we had stronger help to bring real African inspiration to the forefront. Maybe one day we won’t have to stay stuck in a

Playing not only stylist and director but also model alongside Ty in the “I Am My Brother’s Keeper” photo story, DapperAfrika channels his creative energy and passion for shining the spotlight on African culture and design.

V I E MAGAZ INE . COM | 33

Western perspective, and all worlds will adapt, but not for now.” Those interested in DapperAfrika’s upcoming book can find more information or donate through his Instagram, @dapperafrika.

Julian, meanwhile, is working on honing his craft and is excited for things to come. With New York Fashion Week coming up, there’s no doubt you’ll be seeing more of his work very soon. His use of color and creative lighting make Julian’s work pop, and to his peers who are learning in the field, he says, “Take your time learning and mastering light; it is key to every photographer’s eye. Research! If you’re wondering what camera you should get, YouTube has been my best friend. I’m constantly looking at reviews, sample photos, and videos of cameras, lenses, and lighting to see what works best for me.” In true artist fashion, Julian admits his job is his passion, and he will continue to push forward. “Photography is a beautiful career that puts endless smiles on people’s faces. It is what you make of it. As long as it’s something you want to do, nothing will stop you.”

From creating iconic looks for celebrity clients to producing photo shoots, writing books, and spreading words of encouragement, it’s a good bet that these brothers, prolific artists, and beautiful souls will continue to make waves in the fashion industry for years to come.

Follow @tytryone, @dapperafrika, and @julianwhitephoto on Instagram to see more of their work and get inspired!

34 | O C T OBE R 2018

!!!!

DON'T SACRIFICE BEING VALUABLE JUST TO BE VISIBLE.

MUSES: Ty Hunter and DapperAfrika WARDROBE: Ty Scott Label, Damascus Apparel, Hi on Life, Brav Divi STYLIST & CREATIVE DIRECTOR: DapperAfrika ASSISTANT STYLIST: Jay Deschamps

On his continued career evolution, Ty says, “Success is when you get to live your passion—doing what feeds your soul every day. I see myself continuously building my empire and motivating and touching as many lives as possible.”

Through collaboration and encouragement of others, Ty, DapperAfrika, Julian, and other creatives in their fields to support each other, genuinely becoming their brothers’ keepers.

V I E MAGAZ INE . COM | 35

Sartorial

Visit TalulaChristian.com or follow her on Instagram @talulachristianart to see more.

Sartorial STRIKE A POSE

Artist Talula Christian’s Antoinette collection is growing! This lighthearted portrait of the beloved Golden Girls is just one in a series of what Christian calls “a representation of society’s obsession with the idea of celebrity and living a life of overindulgence. In a world of instant fame, I wanted to feature entertainers that I feel really deserve the word celebrity. The paintings are large, fun, and bold statements that I hope also honor the trailblazing and formidable people depicted in them.”

V I E MAGAZ INE . COM | 39

Sartorial

ᄈAᄸKNᄐᅁS COACH + CHELSEA CHAMPLAIN

AND THE WILD, STYLED WEST

By J O R D A N S TA G G S P h o tograp hy c o urte sy o f C O A C H

T H E R E A R E R U N WAY S H O W S , A N D T H E N T H E R E A R E R U N WAY P R O D U C T I O N S T H AT E V O K E M A S T E R F U L LY A R T I S T I C S T R O K E S O F G E N I U S T H AT WILL BE REMEMBERED.

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Creative director Stuart Vevers set the stage at New York Fashion Week’s Fall 2018 shows with his Coach 1941 runway presentation as guests were taken on a journey into the woods and through the dark ethereal beauty of the American West.

As the lights dimmed and crackling TV screens set the spine-tingling tone of the show, models began their jaunt through a makeshift forest with fallen leaves and evening fog that immediately transported viewers into the chill of an autumn evening. The fall collection reflected this dark side of style, with a nod to Western fashion: big florals, bandana patterns, tassels, studs, and braids, and, of course, signature leather pieces that included bags, shoes, and jackets. Many of those pieces took the Gothic West theme to the next level with custom artwork by Colorado native Chelsea Champlain, who has been painting on vintage bags—many of them Coach brand—for the past few years and sharing them on her social media networks.

We caught up with Champlain to discuss her roots, the art of darkness, and her Coach collab for this year’s Art & Culture Issue!

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VIE: Have you always wanted to be an artist for a living?

Chelsea Champlain:

When I was younger, I wanted to work on motorcycles. My dad rides motorcycles and was usually in the garage fixing them up. I look up to him a lot. So, naturally, that’s what I wanted to do. My mother was always incredibly artistic, so you could say that it’s in my blood. I didn’t truly get my start until I was eighteen.

I was working in a tattoo studio as a body piercing artist. It was there that I met some very talented artists who started showing me the way and I started to develop my skills on a more professional level.

VIE:

How would you describe your personal style, in both the artistic sense and the fashion sense?

CC:

A lot of my inspiration is pulled from the darker side of western. I’m from Colorado. I like combining elements of delicate macabre with a hint of elegance.

It flows into my style, too.

VIE:

When did you begin painting on vintage bags and other items and selling them?

CC:

It was about two years ago when I painted my first bag. I had painted many other things, but none of them took off—not like the bags, at least. It all started one night when my best friend and I had a few drinks. We decided we were dissatisfied with life. I don’t think we knew what that meant or what we were going to do, for that matter. I had just been in a rut and feeling a little down.

I had quit my job as a tattooist and had no real outlet for art anymore. Art has always given me a sense of self-worth. Without it, I feel lost.

As it turns out, we were still serious the next day. My friend does embroidery, and I paint. So, we just kind of did our thing. I painted some bags and posted pictures on social media. I knew I had something because they were all selling fast. Before I knew it, my inbox had quite a few requests.

42 | O C T OBE R 2018

ᄤisten.

Listen tၡ your guၶ. ᄥisten to your heart.

If you ၱee ခ door, knoc၄.

VIE: What do you think drew you to work on Coach items in particular? VIE: What was the process like to create art for CC: I have to go back and give the credit to my friend Kaila. She gave me my

first Coach bag.

She is probably one of the best saleswomen they never knew they had. Also, Coach’s vintage collection is amazing—all around quality and style.

VIE:

How did you get connected with Stuart Vevers for the Fall 2018 Coach collection?

CC:

Fate. I think the whole story is one of fate. We should just call this “A Series of Fortunate Events.” My friend made me go into the Coach store with her because I had never been in one. An employee saw my bag, which I had painted, and stopped me so she could show everyone. She asked if I had an Instagram; I did not at the time. She said I really should try to contact Coach.

The next day I thought to myself, “What is the worst that can happen? He’s probably not even going to see it anyway.” So I gave Stuart a tag here and there, and, of course, he sees it! I received a message about a week later.

the new fall collection and how did it feel to see it come to life on the runway?

CC:

I designed a few things on paper, but they didn’t have the right feel. Stuart wanted a real and authentic feel, so I actually ended up hand painting a lot of the bags that went down the runway, along with some shoes and a couple of leather jackets. The process of painting on a bag is very different from paper—every bag is uniquely shaped. The hardware and straps are all in different places. I take that into account when I design a layout. The bag inspires the artwork, and the artwork is meant for that exact bag. It wouldn’t flow correctly on any other bag.

That’s why they are so special.

VIE:

Do you have a favorite piece from the collection?

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CC:

It’s hard to say. I really love all of the men’s bags. They featured the Bonnie Cashin bag on the runway and that’s probably my favorite!

VIE: What advice would you give to artists who

are trying to make their mark in the world?

CC:

Listen. Listen to your gut. Listen to your heart. If you see a door, knock. As much as fate played a role in this collaboration, I had to take those steps. I had to learn to grow and move forward, even when I wanted to give up. I think my husband has heard me say at least a handful of times that I just wanted to quit everything that involved art. It was a struggle.

So never stop. Each day is a new one to take the horse by the reins.

Visit Champlain’s Instagram @chelseachamplain to see more projects and Coach.com to view or purchase the brand’s latest collections.

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THE REBIRTH OF AN ICON

GUCCI + DA P P E R DA N IS HARLEM’S NEW DREAM TEAM

P H OTO G R A P H Y B Y A R I M A R C O P O U LO S

Tracksuits. Sneakers. Gold chains. Bomber jackets. The iconic styles of late-1980s and early-1990s hip-hop are back in a big way in New York’s Harlem neighborhood.

This is in part thanks to Gucci’s collaboration to open a new atelier with legendary designer Daniel Day—better known as Dapper Dan—earlier this year.

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T

he collaboration came after controversy sprang up online following Gucci’s Fall 2017 runway presentation during which it unveiled an “homage” to Dapper Dan’s 1989 leather-and-mink bomber jacket designed for Olympic runner Diane Dixon. This tribute spurred countless comments from Dapper Dan fans across the internet, urging Gucci to “cut the check” for the designer’s work. And Gucci’s response was to take things one step farther—creative director Alessandro Michele and the other execs at the fashion giant gave Dapper Dan his own store just blocks from his original 1980s 125th Street shop.

48 | O C T OBE R 2018

THE USE OF LEATHER AND OTHER FABRICS WITH LUXURY BRAND LOGOS SUCH AS CHANEL, LOUIS VUITTON, AND GUCCI BECAME PART OF HIS SIGNATURE STYLE. Dapper Dan was known as the go-to luxury designer for Harlem’s hip-hop and gangster scenes, even going as far as incorporating hidden pockets and Kevlar in his designs to accommodate his clients’ lifestyles. The use of leather and other fabrics with luxury brand logos such as Chanel, Louis Vuitton, and Gucci became part of his signature style, and Dapper Dan has said they weren’t knock-offs, they were “knockups.” Mike Tyson, Salt-N-Pepa, LL Cool J, and Floyd Mayweather, Jr., topped his client list.

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DAPPER DAN’S GUCCI ATELIER CATERS TO VIP APPOINTMENTS FOR CUSTOM PIECES, BUT FANS CAN SNAG HIS PRE-FALL 2018 CAPSULE COLLECTION.

T

oday, Dapper Dan’s Gucci atelier caters to VIP appointments for custom pieces, but fans can snag his pre-fall 2018 capsule collection, which Gucci says, “mixes the House and the Harlem designer’s styles.” A colorful array of tracksuits, logo backpacks, shoes, scarves, jewelry, and other accessories is shown off by a group of young Harlemites who embody the renaissance of the Dapper Dan archive.

Something tells us this is just the beginning for Alessandro Michele’s fashion brand and Harlem’s man of style.

Visit Gucci.com and click “Stories” to find out more about the Gucci Dapper Dan atelier, capsule collection, and more.

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a unique shopping experience on

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Boston Style FALL FASHION EDIT

FEATURING J.MCL AUGHLIN

Photography courtesy of J.McLaughlin 52 | O C T OBE R 2018

1

Game-Day Ready

Laney Jacket, $498; Odeera Sweater, $288; Lexi Jean, $165

2

Belt It!

Ruby reversable belt, $98

Dear Journal,

Fall is here! The crisp fall leaves have started to drop and they’re rustling around on the sidewalks and cobbled streets of Boston. Beacon Hill and Back Bay look as beautiful as ever. Charles Street is abuzz with shoppers, already bundled in cashmere scarves and leather riding boots to combat the brisk winds off the Charles River. It hasn’t stopped anyone from sailing yet.

I found the perfect jacket for Sunday’s game— oh-so soft brown leather that will look great with jeans and a sweater or even a dress. I think next

xo, J.

weekend we might take a trip to the Cape.

Stroll On By

3

On her: Bartleby Sunglasses, $120; Skyler Wrap, $238; Darcy Dress, $205; Kat Kitten Heels, $198 On him: Westend Shirt, $125; Leland Pant, $198

flower s. h es fr s, u eo g or g r fo is l va ou R g I absolutely love visitin s— om oss bl t cu y l h es fr t ou ab g in There is something so warm to my soul. they bring such joy and peace V I E MAGAZ INE . COM | 53

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Barbara’s Book Club Picks BARBARA MCLAUGHLIN’S BOOKSHELF IS AN EVER-EVOLVING PLATFORM FOR GREAT READS. CHECK OUT SOME OF HER RECENT FAVORITES! FLORIDA | by Lauren Groff This universally acclaimed book by the New York Times bestselling author of Fates and Furies is a collection of stories that brings the reader into a physical world that is at once domestic and wild—a place where the hazards of the natural world lie waiting to pounce, yet the greatest threats and mysteries are still of an emotional, psychological nature.

THE BANKER’S WIFE | by Cristina Alger The Banker’s Wife is both a high-stakes thriller and an inside look at the personal lives in the intriguing world of finance, introducing Cristina Alger as a powerful new voice in the genre. A graduate of Harvard College and NYU Law School, she worked as a financial analyst and a corporate attorney before becoming a writer.

Bookworm

4

Sondra Linen Jacket, $248; Lois Shirt, $178; Jaycie Patchwork Jean, $168; Dillon Loafer, $268 54 | O C T OBE R 2018

VISIT OUR INSTAGRAM @JMCL AUGHLINNY AND THE HASHTAGS #BMCLBOOKSHELF AND #THEJMCLIFE TO SEE MORE PICKS!

Let’s Escape

5

Chiara Acetate Sunglasses, $138; Claudia Scarf, $98; Zoe Tote, $498

Seaworthy

6

On her: Mini Jaipur Scarf, $178; Burke Jacket, $248; Skip Sweater, $248; Lexi Jean, $165

Dear Journal,

Girls weekend getaway is here!

I followed my heart to Nantucket and, as usual, it was like walking into a dream. The island was calm today as we browsed the shops and enjoyed savory lobster rolls at Cru, with the best French fries I’ve ever had—they have just the right crispiness.

We watched the gulls while we ate and I mused that perhaps today I’m happier than a bird with a French fry. I was glad I brought my new wool coat with me.

Cru Oyster Bar is a Nantucket must-go. I always order the same thing every time we visit, but it’s so good!

Thursday night I’m having drinks with Ellis.

xo, J.

Can’t wait!

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7

Girl Talk

Left: Bedford Top, $178; Merced Skirt, $168; Tessie Booties, $298 Right: Elodie Blouse, $168; Naomi Skirt, $198; Mila Heels, $198; Annie Tote, $368

Dear Journal,

8

Finding the people who inspire you is priceless!

Nora and Elodie are more like sisters than coworkers. We closed on a big piece of business today and then went for a long lunch to celebrate. Cheers!

Thursday night, I’m having drinks with Ellis.

xo, J.

Can’t wait!

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Work It

Check Yourself

Arlette Turtleneck, $145; Petra Skirt, $178; Sienna Clutch, $138; Mila Heels, $198

9

Sienna Handbag, $368; Reed Scarf, $88; Dillon Loafer, $268; Sienna Clutch, $138; Tessie Booties, $298

10

Day to Night

On him: Carnegie Shirt, $135; Taylor Pant, $155 On her: Ellis Blazer, $288; Arlette Turtleneck, $145; Ruby Reversible Belt, $98; Becca Legging, $178; Mila Heels, $198

Off the Cuff

11

Bale Coral Bracelet, $128; Nadia Bracelet, $128; Kalina Bracelet, $128

Dear Journal,

Date-night drinks after a long day are most welcome. Ellis and I caught up over cocktails and then took a walk through the Public Garden. He ordered an old-fashioned and it was one of the best I’ve ever tasted! There’s a new lecture series at the Gardner Museum that we’re going to check out this weekend. It should be really fascinating and the setting really can’t be beat.

Back soon!

Walk this Way

12

Chiara Sunglasses, $138; Diaz Dress, $208; Kat Kitten Heels, $198

xo, J.

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Old-Fashioned with a Charleston Flavor

! e it or av f y m e ar 4 3 ow R at s r e Oyst

BY SUZANNE POLLAK 2 1/2 OUNCES bourbon or rye whiskey 1/4 OUNCE simple syrup or a slice of a sugar cube 2 DASHES Angostura bitters 1 DASH peach bitters ½ Put all the above in a glass filled with ice. ½ Stir till glass sweats, about 35 seconds. ½ Strain into another glass and add one or two big ice cubes. ½ Cut a slice of orange peel (or peach slice) and squeeze onto drink. ½ Add one Luxardo cherry.

Cheers!

Squad Goals

13

Left: Tanner Jacket, $498; Sonny Dress, $228 Right: Elodie Blouse, $158; Watson Jean, $178

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The Family Business It was family values that helped launch J.McLaughlin as brothers Kevin and Jay opened their first shop in Manhattan’s Upper East Side. Their success also attests to vision and impeccable timing. In 1977, thirty years before Brooklyn’s current renaissance, Jay was buying and renovating old Park Slope brownstones—the proceeds of which bankrolled the birth of the brand. The first J.McLaughlin was a well-bred kind of place with a welcoming, fadedpaint, cozy-chair feel. Both New York born and educated, the brothers sensed that their formula for imbuing old-school style with fresh relevance would translate into retail triumph.

J.MCLAUGHLIN CELEBRATES ITS CONTINUED SUCCESS AS A CLASSIC AMERICAN CLOTHIER AND ONE OF THE COUNTRY’S LAST GREAT FIRST-NAME-BASIS RETAILERS.

Left and below left: The original J.McLaughlin flagship store in New York’s Upper East Side on Madison Avenue Below right: Cofounder Kevin McLaughlin, CEO Mary Ellen Coyne, and VIE founder/editor-inchief Lisa Burwell

Since then, the J.McLaughlin lifestyle has embodied sophistication and class from New England to Naples and beyond. With over one hundred stores and a thriving e-commerce business, J.McLaughlin celebrates its continued success as a classic American clothier and one of the country’s last great first-name-basis retailers. The J.Mclaughlin life is strolling cobbled streets, shopping bags in hand; laughing as the spray of the sea hits you on the bow of a boat; savoring a bottle of wine while snuggled up in your favorite sweater with a good book; passing on good sense—both for life and fashion—to your family.

The team at J.McLaughlin is like family, and each member invites you to experience what the #JMcLife is all about this season.

An Afternoon in the City VIE had the honor of attending J.McLaughlin’s Fall 2018 preview at its illustrious New York flagship store on Madison Avenue on June 27.

Local Northwest Florida readers can find their J.McLaughlin store at 495 Grand Boulevard, Suite 107, at Grand Boulevard Town Center in Miramar Beach.

Visit JMcLaughlin.com, find a store near you, follow the brand on social media @jmclaughlinny, and check out the hashtag #thejmclife to become part of the J.McLaughlin family!

V I E MAGAZ INE . COM | 59

THE

RETREAT D E C E M B E R 6 – 8 , 2 0 1 8 | W A T E R CO L O R , F L O R I D A

ENVISION.PLAN.GROW. GROWING YOUR VISION NEVER FELT SO REFRESHING We’ve all heard that our WHY is what matters the most when it comes to our work, whether we are in the private or public sector. What we don’t often talk about is the burnout that can come when your WHY drives you to perform at a high level of excellence at all times. Eventually, it gets harder and harder to develop new ideas or to execute impactful initiatives.

The purpose of The Refresh Retreat is to bring business women of faith together to strategically position themselves for success while also taking time to relax. It’s a Retreat that is just as much about gaining new information as it is about enjoying life through self-care.

FOR MORE INFORMATION OR TO PURCHASE TICKETS TheRefreshConference.com | (334) 305-0304 precious@bfcmanagement.com

2018 SPEAKER LINEUP PRECIOUS FREEMAN Convention Host & Founder of BFC Management

LISA BURWELL

Photo courtesy of St. Joe Club & Resorts

Founder/Publisher of The Idea Boutique & VIE Magazine

TRETTA BUSH Managerial Accountant & Author

J.W. CARPENTER, JD Executive Director of Birmingham Education Foundation

LATOYA LEE, MS Founder of Precision Grant Writing & Consulting Services

YULUNDA TYRE, PHD, LPC, NCC Author & Owner of Reignite Counselor, Coach & Consultation Service

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On Bibi: Gloria sequin jumpsuit and turban in matte pink by Julia Clancey, Pantheress sunglasses in white gold

by Anna-Karin Karlsson

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Te amo,

IBIZA Walking in Paradise

The whimsical retro fantasyland of the Paradiso Ibiza Art Hotel plays the perfect role as the backdrop for designer Julia Clancey’s bespoke headwear, jumpsuits, kaftans, jewelry, and more in this dramatic phototorial captured by Brett Russell in the blazing summer of 2018.

Stylist and Jewelry: Liz Mendez Vintage Makeup: Jo Mackay Hair: Nicola Day Nails: CJ Beauty Ibiza Models: Carla Guetta and Bibi Van der Mark

J U L I A C L A N C E Y. C O M V I E MAGAZ INE . COM | 63

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On Carla: Bespoke Carmen Miranda– inspired turban and ChaChaCha flamenco gown; Left: Resort sequin and crystal bathing suit and sequin turban

On Bibi: Club Tropicana pleated kaftan and matching head scarf 64 | O C T OBE R 2018

On Bibi: Neon Pink Polka jumpsuit and turban; Right: Luxe jumpsuit in emerald and Madame Butterfly reversible turban with removeable earrings

On Carla: Luxe sequin kaftan and matching Alice headband V I E MAGAZ INE . COM | 65

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On Carla: Gloria sequin jumpsuit and turban in green by Julia Clancey; sunglasses by AnnaKarin Karlsson 66 | O C T OBE R 2018

A

BOHEME

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It is matured 14 years in bourbon heritage barrels and then finished in new American oak barrels from Kelvin Cooperage in Kentucky.

The resulting whisky combines the smooth, fruit-filled complexity of Speyside with the bold vanilla punch and caramel richness of Kentucky.

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GLENFIDDICH SINGLE MALT SCOTCH WHISKY, 43% ALC./VOL. ©2018 IMPORTED BY WILLIAM GRANT & SONS. NEW YORK, NY.

Visual Perspectives See more work at ArtbyAndySki.com, and visit NanbuNoodleBar to learn more about the new hot spot!

Photo by Steven T. Mangum

Visual Perspectives EYE OF THE BEHOLDER

At the end of March, former VIE cover artist Andy Saczynski relocated his Grayton Beach, Florida, gallery. He’s still in the Shops of Grayton, but he’s expanded his space and renamed it Saczynski Gallery. While his work fills most of the walls, he will occasionally showcase other local artists. Over the past several months, Saczynski has primarily focused his attention on assemblage fish and masks as well as cubist-style paintings. He has also created a few large-scale commissioned projects, including this fifteen-by-six-foot “wall sculpture” octopus for the new Nanbu noodle bar, opening soon in the Shops of Grayton. These massive projects ignited something in him, giving him the desire to continue exploring larger-than-life art.

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Visual Perspectives

HOMEWARD A Photographer’s Life in the Luberon

By Sallie Lew is Longoria Photography by Jamie Beck

70 | O C T OBE R 2018

When Jamie Beck was just thirteen years old, she received a life-changing gift. Looking through the viewfinder of her mother’s Honeywell Pentax 35mm Spotmatic camera, the young teen saw her future. In the frame, she could see beyond her life in North Texas to a new existence in New York City, a place where her dreams were a click away.

t was pure magic,” she said. “Finally, everything I dreamed, I could see through this little box.”

After moving to New York and studying fashion photography at the Fashion Institute of Technology, Beck began her career assisting professional photographers and photo editors before working in-house for a fashion design company. Later, she freelanced for smaller magazines and independent designers.

In 2009, Beck launched her Tumblr site, From Me To You, as a way to show her archived film photos. This popular platform turned into Ann Street Studio, a blog named for the street in Manhattan where Beck and her creative partner, Kevin Burg, shared their workspace. The blog was widely followed, but it wasn’t until 2011 that the couple’s lives changed dramatically. That year, Beck and Burg cocreated the cinemagraph. Described as “living moments,” this art form uses still images incorporated with a flicker of motion to express visually compelling stories.

“It was one of those once-in-a-lifetime moments where you become forever changed,” says Beck. One year later, she and Burg got married while continuing to experience escalating professional success. Though they were shooting top models, collaborating with leading brands, and traveling to luxurious international destinations, Beck felt a gripping instinct to slow down and savor the journey. “It goes so fast, and we worked so hard that we never stopped to say, ‘Hey, who are we, and what are we, and what do we want?” she admits.

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Visual Perspectives

he impetus to make a change occurred after an ominous flight overseas in 2016. “I was on a plane that I thought was going to crash, and the first thought I had was, ‘Great, now I’ll never know what it’s like to live in France,’” Beck recalls.

On that flight, she made a promise that if the plane landed

safely, she would follow through on her dream. One month later, it became a reality.

While Paris was the obvious choice to live in, for its classic heritage and artistic culture, Beck settled instead on a pocket of Provence called the Luberon, where she and Burg live in an old Roman town known for its large Saturday market, local pottery, and historic sundials.

“Living here has been the greatest gift,” Beck says.

“It is a real community, and I love being the weird American girl that’s part of it.” While the goal was to live overseas for one year, it has now been more than two, and the couple has no plans to leave.

“Happiness is too valuable to us, so we are still here, just figuring it out one day at a time.”

The apartment the couple rents was once part of a seventeenth-century mansion. Though small, the historic design and intriguing details are inspirational. Beck especially enjoys the French doors that overlook the garden and the royal-blue-and-white wedding crest frescoed on the bedroom ceiling. On the mantle over the fireplace, candles burn next to collected objets and Beck’s journals, which are filled with recipes and pressed flowers. Best of all is the ethereal golden light that moves across the apartment throughout the day, marking the passage of time.

In both miles and mentality, life in the Luberon is a world away from the frenzied streets of New York. Unlike Manhattan, the lifestyle there is not pretentious, nor is it motivated by money. Instead, life is marked by organic interactions, gratitude for Mother Nature, a commitment to hard work, and simple, everyday celebrations—all qualities that resonate in Beck’s French photographs.

In her popular self-portrait series, Beck turns the lens on herself, carefully peeling away the layers of her American life to unveil a truer sense of identity.

“Part of my journey moving to France was trying to break down who I had become during my life in New York,” she says. Along the way, she has revealed a spiritual, poetic inner-self in communion with her deepest desires and emotions.

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In addition to her romantic self-portraits, Beck has also created a portfolio of masterful still lifes that explore nature’s many forms, from the seeds of a melon to the curved back of a snail’s shell. Much like her self-portraits, these photographs are laced with symbolism.

Unlike her large-scale commercial assignments in New York, here Beck takes pleasure in making one photograph at a time, a process that can take four to five hours to style and shoot and an additional hour or two to edit. “I’m not shooting Karlie Kloss on the rooftops of Paris anymore, but I am still happy making photographs and discovering a new expression of life,” she says.

Since she moved to France, Beck’s still lifes and self-portraits have captured the imaginations of her roughly 200,000 Instagram followers. Through the social platform, fans can live vicariously through Beck’s day-to-day adventures and artistic processes.

“Happiness is too valuable to us, so we are still here, just figuring it out one day at a time.”

They can listen to French music at the Saturday market and smell the aromas of cheese, baked bread, and fresh produce. On early golden mornings, they can watch as she forages for flowers or stumbles serendipitously upon snails and bugs to use as props and characters in her photos. They can look on and marvel as she constructs the scene using museum wax, pins, and flower frogs.

Beck’s photographs are styled with scrupulous attention to detail, from the volume of a bloom to the shadow of a leaf and the oily highlight of a sun-ripened plum. Her craft is not in taking pictures, but in making them. Countless decisions are made to create a harmony of light, a symphony of shadow, and a final image with striking authenticity.

Regardless of the subject matter, Beck’s art has a way of making people stop and look. There is a feeling conveyed that life is not in the past or the future, but in the trembling beauty of the present—a lesson Beck has learned since moving to France.

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74 | O C T OBE R 2018

love going on long walks in the country,” she says. “It’s pure magic to me to stop at a field of wildflowers. If you stand there long enough, you begin to see it totally come to life; a whole micro-universe is happening that most people never notice. I want to show people that.” Be it the sweet juiciness of a summer peach, the fading light of a bygone day, or a butterfly that winged its way through her apartment window, Beck is interested in capturing the precious pulse of everyday existence. “I was so disconnected from that and the seasons in New York that I feel like a child again, rediscovering the magic of nature.”

As a young girl growing up in Texas, Beck spent most her childhood with her grandmother. Together, they picked flowering honeysuckle or caught caterpillars and watched them turn to butterflies. They rolled lemons under their feet for fresh lemonade and tended to the vegetable garden before making dinner.

“It was never-ending discovery,” Beck remembers.

Her craft is not in taking pictures, but in making them.

Today, the artist’s Luberon lifestyle is a reminder of those youthful moments. From her rustic Provence kitchen, she cooks every day with ingredients from the garden or local farmers. With time, she has mastered the art of a soft-egg omelet, the craft of homemade pasta, and the spongy texture of a French madeleine. As in her photographs, Beck’s dishes are made with intention and detail.

From the kitchen to the studio, Provence’s cycle of seasons is a constant inspiration to the photographer.

“The autumn is spectacular,” she shares. “The harvest, the tractors pulling buckets of grapes through town, the community feasts when all the comfort food comes back, like roast chicken and potatoes. The sky turns blue with fog, and the earth is lit on fire, the tourists are gone, and it’s just perfect.”

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Visual Perspectives Although Beck left New York with the fear that her career might be forever changed, it didn’t happen negatively. By sharing her journey with her growing Instagram community, she has inspired others to follow their passion, to take risks, to savor life’s fleeting beauty, and to create with intention. In the process, her work has grown richer and deeply resonant, and brands have taken note. This year, Beck collaborated with local lifestyle brand Luxe Provence on a handful of limited-edition clothing items. Throughout the design process, she drew inspiration from the region’s rustic beauty and earthy versatility, as evidenced through striped country linens and woven French tapestries. Her first dress, named Marianne for the French goddess of liberty, sold out within hours.

Additionally, Beck is at work on her first book about her life as a photographer and hopes to begin selling her photographs outside of private collections in limited editions.

Looking back, she believes her craft has guided her evolution and growth over the years. “In a way,

the camera provided me my greatest freedom in life,” she says. Photography freed her from Texas and New York before she was beckoned by the Luberon, where she thrives today in a newfound type of freedom.

Over the course of Beck’s career, she has worked with countless cameras, yet her mother’s Honeywell Pentax 35mm Spotmatic still travels with her.

Picking it up as she did years ago, perhaps she sees the future anew. In the wake of her artistic rebirth, she and her husband await the birth of their first child, who is due on Christmas Eve. No doubt, life in the Luberon will change once again, with untold creativity and photographs to come.

Visit AnnStreetStudio.com to see more.

Sallie Lewis Longoria is a Texas-based freelance writer.

She has a master’s degree in writing from Johns Hopkins University and is currently at work on her first novel.

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Visual Perspectives

finding

JOEL

MEYEROWITZ

A Snapshot of His Soul by anthea gerrie photography by joel meyerowitz

For a New York street photographer who spent most of a fraught year capturing the horrors of Ground Zero, happiness now means the serenity and simplicity of life in the Tuscan landscape.

“I find myself less interested in going out on the street now because, frankly, I’ve worked on it for fifty years,” says Joel Meyerowitz, whose apocalyptic images of the detritus of 9/11 have been shown in 150 exhibitions around the world.

The base of the North Tower, looking east toward the Woolworth Building from Ground Zero in New York City, 2001 © Joel Meyerowitz

Speaking in the peace of his home in the countryside near Siena, he recalls it was a brief escape to Italy that saved his sanity during the most grueling assignment of his career, and it led to a profound appreciation of life in the slow lane.

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had been going to Tuscany for about six years prior to 9/11—my wife, Maggie Barrett, and I founded a workshop here for writing and photography,” he explains. “In 2001, we were commissioned to do a book on Tuscany. It was put aside by the events of 9/11, but we did go back for a brief period in January of 2002, and it was such an antidote to the pain and chaos and noise of Ground Zero.

“What we found was a real earthy, nourishing quality to life, even though the rest of the world was being challenged by terrorism. Here in Tuscany, they were still doing the same things they had done for two thousand years—tending the fields, managing their livestock, growing vegetables. It gave us a sense of continuity, a feeling there is goodness in the world.”

It’s the same sense you get from the lyrical Technicolor landscapes Meyerowitz photographed fifty years ago when he first flirted with the slow life, but for which he is far less well-known than his gritty, world-famous black-and-white shots of the mean streets of Paris and New York. Now all have been brought together in an exquisite art book the photographer has written about his life and career, Where I Find Myself.

Top: Smoke rising in sunlight at the wreckage of Ground Zero, New York City, 2001 © Joel Meyerowitz Bottom: New York City streets, 1975 © Joel Meyerowitz Opposite: New York City street view of the Empire State Building and model, 1978 © Joel Meyerowitz

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It was in Europe that the eighty-year-old who grew up in the East Bronx first sprang out of the monochrome which for “serious” photographers was once de rigueur. He was seduced by the vision of elegant women laughing beside the Paris subway in their ice-cream-colored frocks, the red awnings of a sidewalk cafe, and the play of a green plant against its terra-cotta pot in Malaga where he and his first wife lived with gypsies for six months. He made these images in 1967, five years after breaking free from his advertising career and deciding to get out on the street to capture moments that compelled him.

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Darrell, Provincetown, Massachusetts, 1983 © Joel Meyerowitz Opposite: Florida, 1978 © Joel Meyerowitz 82 | O C T OBE R 2018

he went on to document florida’s pools and palms, new york luncheonettes, and other facets of american life that demand to be seen in the glorious color that is an intrinsic component of their dna.

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s he moved toward recording America and Europe in full spectrum, Meyerowitz became a pioneer of color printing in his darkroom and teaching others. It was Cape Cod in particular that taught him to speak the slower, more meditative language of the view-camera he adopted when he brought his family there in the summer of 1977.

“I learned that I had another photographic personality, one that was more contemplative—the jazzman making riffs on the street yielded to a slower, more classical way of seeing,” he says of his Massachusetts coastal landscapes. He went on to document Florida’s pools and palms, New York luncheonettes, and other facets of American life that demand to be seen in the glorious color that is an intrinsic component of their DNA. But the Cape was never far away; he met Maggie, his second wife, on a return trip there in 1990 while cycling through familiar territory and reflecting on his life: “Long marriage over, kids grown, feeling good, and making new work I was interested in.”

The light was beautiful, he recalls, when the elfin writer appeared like a vision in his sightline, rather than his viewfinder. “On the other side of the road, heading out into the sunset, was a slender backlit figure with close-cropped short blond hair ringed with light like a glowing dandelion,” says the artist, whose prose is as poetic as his photography. That evening, he saw her again, jumped off his bike, and walked her to her rented cabin, where they shared their life stories for almost two hours. “We have continued that conversation across the intervening twenty-seven years. It has sustained us and become our life story.”

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“on the other side of the road, heading out into the sunset, was a slender backlit figure with close-cropped short blond hair ringed with light like a glowing dandelion.”

Four years ago, after dipping in and out of this most beautiful of Italian regions several times a year, the couple made Tuscany their permanent home. “We come back to New York once a year to see our children, or they come here, and we’re both flourishing,” Meyerowitz says with a smile.

Since Italy a became a permanent refuge, Meyerowitz has taken great pleasure in giving himself the time to observe the beauty of the slow life. So slow, in fact, that he’s currently capturing objects which don’t move at all. “I am more content to sit and handle inanimate objects,” he says of the moving still lifes of rusty cans and other ephemera he comes across on the farm. He thanks the intense heat of his new

home for giving him the chance to discover this unexpected new source material.

“In a blistering summer when you could not go outside in the middle of the day, we were in this wonderful cool farmhouse where I had a studio with a skylight in the roof,” he explains. “I started pushing objects around to see if their quality, their spirit, could be drawn out of them—they are things of interest rather than objects of beauty.” It’s a preoccupation that comes with age, he thinks. “Maybe there’s a reason older artists often make paintings about the seasons or skulls; history has shown us all things come to an end. However ripe and juicy they are, they all desiccate, dry up, and blow away.”

Tuscany, Italy, 2002 © Joel Meyerowitz Opposite: Maggie and Joel, Provincetown, Massachusetts, 1990 © Joel Meyerowitz V I E MAGAZ INE . COM | 85

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eyerowitz doesn’t miss the street; he wants to make clear: “I’ve trusted my instincts, which are to be awakened from within. It may be said that I’m taking a last long look; soaking up the beauty of everyday nature, the change of the seasons, my relationship to these objects, and ways of making them dance for me.”

“it may be said that i’m taking a last long look; soaking up the beauty of everyday nature, the change of the seasons, my relationship to these objects, and ways of making them dance for me.”

Joel Meyerowitz: Where I Find Myself is published

by Laurence King. Visit LaurenceKing.com to learn more or purchase a copy, or visit JoelMeyerowitz.com to see more of his work.

Joel Meyerowitz

Anthea Gerrie is based in the UK but travels the world in search of stories. Her special interests are architecture and design, culture, food, and drink, as well as the best places to visit in the world’s great playgrounds.

She is a regular contributor to the Daily Mail, the Independent, and Blueprint.

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Visual Perspectives

Artist Kyle Krauskopf Photo by Matt Knezevich

K Y L E K R A U S K O P F L I K E S T O J O K E T H AT H E C A M E O U T O F T H E W O M B A N D S O M E O N E H A N D E D H I M A C R AY O N . T H AT ’ S H O W L O N G H E ’ S K N O W N H E WA N T E D T O B E A N A R T I S T. Growing up in Peru, Indiana—the Circus Capital of the World—with parents who both worked in the finance industry, Krauskopf was the child who was usually drawing in class instead of listening. “I have always felt older than I am,” he admits. “I remember being in about the third grade and thinking, ‘This is stupid. I already know this.’ I was that kid. And so I was always drawing.”

His parents felt he needed to focus more on schoolwork and stop getting into trouble until the time for standardized tests came around—and their son aced them. “My dad went out and bought me a set of colored pencils after that,” Krauskopf laughs.

He went on to pursue art at Ball State University in Muncie, Indiana, and credits one of his professors there, John Gee, with making an impact on his desire to stick with art no matter what. “I never gave up pursuing it because I can’t, really,” Krauskopf says. “Gee was one of those professors who’s of the mind to weed out the people who aren’t serious about art in the first three weeks of class, so his assignments were insanely difficult. He would really tear you apart if he saw you weren’t working. And he would touch people’s drawings—he had these long, bony fingers—and one day he came around to look at my work, and I just asked him not to touch it, and he stopped and looked at me, and then just nodded and moved on. I guess I passed his test.”

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“ I C A L L I T VV— F O R ‘V I S UA L VO MI T.’ N OW, T HE PAI N T I N GS F E E D O F F ONE OV E RW HE L MI NG E MOT I O N AT A T IME , S O T HAT ’ S T HE B AS I S O F T H E C E NT R AL PART O F E AC H O NE , A N D T H E N T H E ST U FF T H AT RA D I AT ES O U T F R O M I T AR E R E L EVANT P I C T URES AND WO R DS AND O B J E CTS .”

Breaking the stereotype of art school students who go on to do anything but art, Krauskopf says that it seems like now that he’s reached his thirties and is still pursuing a professional art career, people take him more seriously.

After graduation, he made some big moves both physically and in his art career, first heading to Seattle and later to many other places as he backpacked across Europe with a good friend. It was during that six-month journey that he realized he wasn’t cut out for the nomadic lifestyle. He needed a space to create and began feeling antsy about not doing his work. Having little in the way of creative supplies and workspace, Krauskopf took to his sketchbook to vent his frustrations about

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life on the road. “We had just been floating around for about two months, and I guess I felt a little like I was wasting my life.” The result: “I stumbled upon this style of drawing out of frustration; it’s like an exploding menagerie of things all coming from the center of the page,” he explains. “I call it VV—for ‘Visual Vomit.’ Now, the paintings feed off one overwhelming emotion at a time, so that’s the basis of the central part of each one, and then the stuff that radiates out from it are relevant pictures and words and objects.” So far, the VV series has produced twenty-seven watercolor and mixed-media paintings with the subject matter as wide-ranging as Krauskopf ’s inner monologue to his favorite movies.

Many of Krauskopf ’s paintings include pop culture references from films, books, comics, and music. He has a steady flow of characters that he often paints in various iterations, many of them popular superheroes, including Captain America, Superman, Spider-Man, the Guardians of the Galaxy, and more.

Krauskopf explains that those characters and others have always been role models for him. “A lot of people I look up to are completely fictional,” he says.

Above: VV XVI Limitless

wooden animal every day for a year. And it really taught me about commitment—it showed me that I would put a commitment I make to myself ahead of most other things. At the end of it, I had never seen anything like the collection I made.” The finished product is a wall of small wooden animals that Krauskopf says changed his life since it proved his dedication to his craft. It’s not for sale, but he says he would be willing to make more for clients who want their own.

Left: VV XIX Always Below: 365 Days of Wood

After spending almost five years in Seattle and building his audience as well as his confidence, Krauskopf recently made a move back to Indiana. “Most of the things I’ve gotten from Seattle have been little notches on my belt. I was born in a town

“To me, I feel if you require more of yourself than what’s normally expected of a ‘real’ person, then maybe you can reach that higher level. If I can strive to have the courage of Captain America or the ingenuity of Tony Stark, and if I can achieve even half of what they’re capable of, that’s still remarkable.”

That mind-set has undoubtedly led Krauskopf to some impressive achievements. His most significant project to date, which came to life about a year after his move to Seattle, is called 365 Days of Wood, an homage to his love and talent for carpentry. “When I moved to Seattle, I left my car in Indiana. My best friend was coming to visit me for New Year’s, and he decided just to drive my car, so I gave him one stipulation: he had to bring my scroll saw with him.”

Krauskopf grew up around woodworking, as his dad was always doing projects around the house that he would help with, and he has three uncles who are carpenters, so it was “in his blood” even though they never specifically taught him anything. With his scroll saw safely in Seattle, Krauskopf decided to make something for a New Year’s Eve party. “It was the Year of the Ram, so I made a bunch of little wooden rams as party favors. Everyone laughed, but they loved them, so I decided to make a different

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“ E V E RYON E ’S L I F E I S GO I NG TO B E H ARD, BUT T HI N K AB O U T WH AT CO U L D HAPPE N IF YO U’ RE F OLLOWI NG YO U R PASS I O N S . PU S H YO URSE L F, U S E YO U R T I ME WI S E LY, AND HAV E N O RE GR E TS I N T H E E ND.”

and opening an independent movie theater in the city. “I thought building a movie theater sounds awesome—how many chances do you get to do that?” he shares.

The superartist also has several other projects up his sleeve. His next VV series promises to be unlike any other, as Krauskopf plans to work with individuals that are “warriors,” as he calls them: those who have gone through hardships and come out on the other side stronger than ever. “The idea is to do a portrait of the person, and then I want to create a VV of their experiences and how they want to look—we don’t have to tell anyone what they mean exactly, but I want the subjects to look at this piece of themselves and think, ‘Wow, I am a warrior.’ Then I’d like to take the whole body, show it in each person’s home city, and then at the end, they can each keep their portrait.”

Krauskopf has also teamed up with twelve female artists in the Virago Art Collective, a global artist group collaborating to spotlight some of the world’s most influential women. Each of those twelve Virago artists will choose a woman for Krauskopf to paint a portrait of, and then he will ship the portrait to the artist who chose that subject so they can finish the work however they see fit. Similar to the VV series, Krauskopf says the hope is to show all twelve paintings in the cities where the Virago artists live, including London, Toronto, Chicago, Seattle, and New Orleans.

Above: VV XI Resilience Opposite: VV XV Laugh Hard, Run Fast, Be Kind

of eleven thousand people, and I had a studio in Pike Place—I never dreamed that would be something I would do,” he says. “I used to attend gallery shows and be in awe of how people do it, and doing it myself has kind of demystified the process. Nothing has been easy, but it’s a good battle. I think if I had it any easier, I wouldn’t feel as proud of it as I do.”

Krauskopf ’s move to Indianapolis comes with a new adventure in addition to his expanding art career. He plans to help a group of his friends who are building

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The Virago Art Collective international art collaboration has largely been made possible thanks to connections Krauskopf made on Instagram, a social media platform that he never thought would have such a big influence on his career.

“When Instagram first came out, I thought, ‘Why the hell would I just post pictures of me and my food and my friends? Who would want to see that?’ So I decided that I had one rule when I got an account: I would only post about art. That led to following a bunch of artists on Instagram, and it became this whole online art community for me. Every time I saw someone doing a cool art project, I just tried to connect with them and tell them how much I liked their stuff. It’s a great place to connect and get inspired by people who are doing good work.”

Instagram has also become a platform for Krauskopf to share inspiration and wisdom through the art of words along with his creations. He often writes affirmations for others, letting them know they are valued, telling stories of goodness, and thanking people who have made a difference in his life. “I am

a very empathetic person, and I don’t know how many times I’ve felt grateful about things that have happened to me, even if they were negative, because it meant I could help someone else down the line,” he explains.

For the artist who claims that a No. 2 pencil has been his most trusted advisor, his advice to others is simple: “I guess the prevailing message I have would be to think about all of the decisions that are possible for your life; don’t just follow the cookie-cutter steps. Everyone’s life is going to be hard, but think about what could happen if you’re following your passions. Push yourself, use your time wisely, and have no regrets in the end.”

Visit Kyle Krauskopf on Instagram @kylekrauskopf to see more of his work, make a purchase, or request a commission.

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Visual Perspectives

A Real Life So Surreal

BY ANTHEA GERRIE

Lee Miller in steel helmet specially designed for using a camera, Normandy, France 1944 Photographer Unknown © The Penrose Collection, England 2015. All rights reserved. leemiller.co.uk Opposite: Lee Miller in Hitler’s bathtub, Hitler’s apartment, Munich, Germany 1945

By Lee Miller with David E. Scherman © Lee Miller Archives, England 2015. All rights reserved. leemiller.co.uk

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To the world, she was the model who became Man Ray’s muse before getting behind the camera and unexpectedly proving to be one of the greatest war photographers of her generation. But there was a dark side to the American artist who thumbed her nose at Hitler by crashing his Munich pad, dirtying his carpets with Dachau dust, and impudently climbing into his bathtub to try and scrub away the horror of the concentration camps she had just witnessed. Fruitlessly, as it happened, because the devastating effect of capturing what her son describes as “distressing images he can never unsee” turned Lee Miller into the opposite of a nurturing mother.

“We disliked each other intensely, and there was utter hostility between us for most of her life after I was born,” Antony Penrose frankly confides minutes after we sit

down together at Farleys, the farmhouse deep in the southern English county of Sussex where he grew up.

“Like many alcoholics, Lee was unreliable; I never knew what to expect when I saw her at the weekend,” he explains. “We were enemies. She was never violent, but she could be humiliating, using words in a very damaging way. We fell out big time, much more often than we made up.”

It could have been a bleak childhood for the only child of Miller and British surrealist Roland Penrose had Antony not been brought up, like many upper-class British children, mainly by a loving nanny, with some unusual playmates as a child. He was befriended by Picasso, given a bespoke picture painted on the spot for him by Max Ernst, and even got to take another great surrealist, Joan Miró, to the zoo. “I had no idea they were famous; they were just friends who came to our house for the weekend and were more interested in small children than my mother was,” Antony shrugs.

Such was life at Farleys: the tranquil country house became a social scene for the many famous artists the Penroses knew from their Paris days. Picasso, whose son Claude was the same age as Antony, was particularly kind to the little boy, and Miller took a remarkable portrait of her three-year-old sitting on the artist’s knee when he visited their Sussex home in 1950.

But there was a dark side to the American artist who thumbed her nose at Hitler by crashing his Munich pad, dirtying his carpets with Dachau dust, and impudently climbing into his bathtub to try and scrub away the horror of the concentration camps she had just witnessed.

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f course, many of those guests came bearing gifts; as Penrose gives his confessional in the kitchen, I notice a hand-painted Picasso tile in the stove surround, and it’s not his only work hanging in the house. This unsung treasure trove of an eighteenth-century cottage, now dubbed “Home of the Surrealists,” is packed with paintings, sculptures, and decorative objects by all the family’s famous friends.

The generosity of the artists was reciprocated by their hosts, who were happy to please their guests with gifts from their collection, leaving their small son feeling quite disconcerted. “I’d find my favorite pictures

This page: Fireplace, (mural by Roland Penrose, 1950), Farley House, East Sussex, England Photo by Tony Tree Opposite: Picasso and Antony Penrose, Farleys House, Farley Farm, East Sussex, England 1950 Photo by Lee Miller © Courtesy Lee Miller Archives, England 2018.

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disappearing from the walls—but the visitors always left some of their own.” And the most exquisite artwork in the house is a permanent fixture: the inglenook fireplace in the dining room painted by Roland Penrose. It celebrates an ancient hill figure known as the Long Man of Wilmington, which is chalked into the nearby Sussex Downs.

Opening up the house for summer visits and holding a full-on Surrealist Picnic annually in the sculpture garden are some of the ways Antony finances the hefty task of managing the enormous Miller archives, made up of thousands of images he uncovered in the attic in the months after her death in 1977. The discovery not only switched his focus from photographer to full-time curator but also forced a total reappraisal of the mother he had considered a monster and gave him a key to understanding her behavior.

“I could not believe this hopeless drunk I grew up with was so brave, talented, and compassionate,” Antony admits as his first reaction when uncovering the hidden

works of a woman he now realizes was emotionally fragile since being raped at the age of seven. “None of us, including my father with whom I had a tearful moment, had realized how much she was carrying until we examined her life through her photographs, and suddenly it became very clear.

“Those of us who have studied those photographs closely can’t get them out of our minds,” he adds. “They come back and haunt us; it’s a form of post-traumatic stress, because they are so deeply, deeply affecting. I went to Dachau twice to try and get a better understanding of what she was looking at—the piles of dead bodies—but I could only get a little fraction of what she experienced and captured in her pictures.”

On top of the harrowing experience of being sexually abused as a child and later witnessing piles of bodies and firing squads in action, Miller was even more affected by the children she photographed in Vienna after peace was declared. Many of them were dying from a lack of medicines, which had been stolen by black marketers. “For her, it was like being hit in the face with a brick,” explains Antony. “She longed for a fairer and better world, and when at the end of the war it was not delivered, and there were still people causing children to die, it became the root of her depression.”

Miller took a remarkable portrait of her three-year-old sitting on the artist’s knee when he visited their Sussex home in 1950.

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hat is surprising is that, refusing to take medication and utterly distrustful of psychiatry, Miller literally cooked her way out of her depression. “It became more than a life belt to cling onto in a storm; it was a new pair of wings,” is how Antony puts it. “Lee was very generous-hearted and loved pleasing people, so she loved cooking.” Not that it improved family relations during the 1960s when her son would often turn the corner into the original brick-paved kitchen to the surreal sight of his mother dismembering a dead pig. “It was disastrous for me as a kid. Every time she was home, we’d have these complicated menus of ghastly delicacies she’d picked up wherever she’d happened to be, while I would be dreaming of poached eggs on toast.

“But it got her up and out of where she was. Her finest achievement was to create her own recovery with willpower alone. She didn’t give up drinking, but she got it totally under control.” And the surrealist guests, at least, were thrilled by the food. “The last thing they wanted when they visited was a standard roast and veg; they were after something witty!”

The story of the artist who Antony remembers as “appalled by motherhood” ended happily in the years before her death with an unexpected reconciliation engineered by Antony’s first wife, Suzanna, whom he met on a long trip abroad and brought home to live on the family estate. “She made a bridge between us after we had been so hostile toward each other most of our lives. The birth of my daughter, Ami, just beforehand was a great happiness to her.”

It seems fitting that Ami, who now works for the

“Her finest achievement was to create her own recovery with willpower alone. She didn’t give up drinking, but she got it totally under control.”

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Lee Miller Archives, has created her own tribute to the grandmother she hardly knew by creating a cookbook from recipes originally destined for an unpublished tome called Entertaining Freezers. If the name seems strange, remember it’s only what you’d expect from one of the original surrealists!

A new exhibition, Lee Miller and Surrealism in Britain, runs at the Hepworth gallery in Wakefield, Yorkshire, until October 7. Farleys House and Gallery is open Sundays from April through October. Visit FarleysHouseandGallery.co.uk to plan a trip.

Anthea Gerrie is based in the UK but travels the world in search of stories. Her special interests are architecture and design, culture, food, and drink, as well as the best places to visit in the world’s great playgrounds. She is a regular contributor to the Daily Mail, the Independent, and Blueprint.

This page: Self Portrait with sphinxes, Vogue Studio, London, England 1940 Photo by Lee Miller © Lee Miller Archives, England 2015. All rights reserved. leemiller.co.uk Opposite: Bathing feature, Vogue Studio, London, England 1941 Photo by Lee Miller © Lee Miller Archives, England 2018. All rights reserved. leemiller.co.uk

Visual Perspectives

Telling the Stories of

Life

BY LAURET TE RYAN

Storytelling connects people.

It relates us to our world and helps us understand our lives. The saying goes that a picture is worth a thousand words—but in the art of animation, it might take thousands of images to paint the story an artist wants to communicate.

Paul Briggs is one such storyteller.

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ART BY PAU L BR IGGS

As a director at Walt Disney Animation Studios, Briggs has credited work on fifteen animated feature films and five short films, including Big Hero 6, Frozen, Winnie the Pooh, Tangled, The Princess and the Frog, Bolt, Fraidy Cat, and Gnomeo and Juliet, to name a few. He was the cohead of story on the film Big Hero 6 (2014), and its depth of emotion and storytelling along with its stunning artwork shows just how powerful and rich an art form animation can be.

“Big Hero 6, while it’s a very fun, action-packed superhero film, deals with some very heavy themes of loss and grieving,” Briggs says. “I remember I took my family to a screening at the studio and after the screening, while walking to our car, my sixyear-old turned to me and said ‘Tadashi . . . died?’ I paused because I knew he was thinking about the death he had just witnessed in the film. So, I said, ‘Yes, Tadashi

died,’ and he turned and said, ‘But Tadashi was alive in Baymax.’ I told him, ‘That’s right, Baymax kept Tadashi’s spirit alive in him.’ And then my son said, ‘And Tadashi was alive in Hiro (Tadashi’s brother) and his friends too.’”

Briggs goes on to explain, “For him to grasp this concept that just because someone’s dead, it doesn’t mean they stop living on through us was extremely meaningful for me. I had lost my mother a year before, and in my personal journey of accepting grief and loss into my life, I realized that I had to keep her beautiful spirit and energy alive in me and my children.”

Briggs grew up in Texas but moved around a lot in the late 1980s. He lived in many places, from Boca Raton, Florida, to Lake Arrowhead, California. He attended art school at the Kansas City Art Institute in Missouri and in his junior year was accepted into an internship at Walt Disney Feature Animation Studios in Florida.

After that, he was hired on to help animate the film Mulan. Although Briggs has been in the animation industry for twenty-two years, he says he feels like he is still learning new things every day.

Our career paths can give us unique insights and epiphanies about life in general. When asked if he had gained any particular insights through his career, Briggs replies, “I tell stories every day, and I approach it by studying life. Nobody has all the answers, and we need to empathize with that. We’re all just trying to figure it out every day. The important thing is to live it meaningfully and fill it with love, humor, and compassion.”

“Nobody has all the answers, and we need to empathize with that. We’re all just trying to figure it out every day. The important thing is to live it meaningfully and fill it with love, humor, and compassion.”

Briggs is influenced by many art forms, including those of past and present artists doing sculpture, painting, ceramics, dance, and performance. In the field of animation, two giants stand out to him: Marc Davis and Vance Gerry.

“Marc Davis was one of Disney’s ‘Nine Old Men,’ the famed core animators of Disney animated films, and was revered for his knowledge and understanding of visual aesthetics,” Briggs explains. “Davis could draw anything; he was a master at drawing animals, and his design work and animation on Sleeping Beauty and One Hundred and One Dalmatians are genius. Not only did he do animation, but he also helped design many of the beloved Disneyland attractions and features such as Pirates of the Caribbean, the Haunted Mansion, and my favorite, the Enchanted Tiki Room!

Opposite: Briggs recommends sketching characters in action, thinking, and making decisions to bring out more personality and tell a story.

Below: A sketch of characters Elsa and Anna from Disney’s Frozen (2013)

“Vance Gerry was a story man on many classic animated films. His style was deceptively simple, but when you actually break it down, it’s deeply rich and meaningful. It’s all about characters in moments. I love his work so much, but I also never heard anyone speak ill of him. He was highly respected at the studio, and that’s something I strive for.”

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riggs continues with some valuable advice for would-be professional animators: “Don’t expect anything to be handed to you. You have to put in the hours studying and learning the fundamentals of strong storytelling before you can experiment and break the rules. If you’re telling stories with your drawings, then practice strong character storytelling moments in your drawings every day. Drawing is a muscle, and the more you exercise that muscle, the stronger it will get.

“Draw character—for example, don’t just draw an old lady sitting there, show me a drawing of an old lady walking out of her living complex and headed down to a protest to let the world know she still cares about what’s happening in it and is still willing to fight for it!

Opposite: A sketch of characters Hiro and Baymax comes to life in Disney’s Big Hero 6 (2014) Below: Character studies of costumed figure drawing using Alice and the March Hare from Disney’s Alice in Wonderland (1951)

“Show a character about to make or just after making a choice. Characters are all about choices. I always recommend that young artists sit with senior citizens and listen. Listen to the choices they’ve made in their lives and the reasons why. Those choices are what make great stories.”

As young children, we may all remember the first films, cartoons, and funny and scary movies we saw. Those images and memories become etched in our subconscious minds. Briggs recalls some of the first movies he remembers seeing as a child and the impact those stories still have on him today.

“Well, I’m not going to lie, I think the films that emotionally tore me apart when I was young had the biggest impact on me!” he admits. “I remember the film that

made me want to be a filmmaker. I was really young when I saw E.T. in the theater, and I remember laughing so hard and then just bawling my eyes out. It was so emotional, not only because I empathized with Elliot because I was going through a lot of similar things that he was, but also because E.T. was so real to me. I was so emotionally invested in him, and when he passed away in the film, I just couldn’t handle it.

I remember lying in my bed that night and thinking how powerful movies and storytelling are.

“I also remember watching Dumbo when I was young and loving it. The moment when Dumbo is separated from his mother really stayed with me. There’s a song called ‘Baby Mine’ written by Ned Washington that’s just beautiful, but the visuals are all these animal families together contrasted with Dumbo sharing a final embrace with his mother before they’re separated. It’s handled so delicately, but it’s such a heavy emotional moment—it’s one of my favorite moments in animation.”

“It was like I had found a secret, special book by wizards that they had written all of their spells in. I was floored by the drawings and the material in it.”

Briggs says he was constantly drawing and creating art as a child, but he does credit a specific book with influencing him to pursue animation as a career.

“When I was ten years old, I was in a bookstore and came across The Illusion of Life by Disney animators Ollie Johnston and Frank Thomas,” he says. “It was like I had found a secret, special book by wizards that they had written all of their spells in. I was floored by the drawings and the material in it. It was really expensive, and there was no way we could afford it, but my mother must have understood the look in my eyes because she bought it for me. I credit my

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mother for feeding my passion to become an artist and that book for introducing me to the path of becoming an animator.”

The animation industry is vast, but it does seem that the Disney company has been integral in bringing the art form to a level that people of all ages and all around the world can enjoy.

“Disney Animation is an amazing studio that creates films for everybody, but especially ones that families can enjoy together,” Briggs concludes. “That doesn’t mean we don’t shy away from deeply emotionally engaging stories. Like I said before, Dumbo deals with parent-child separation—even in the classics there were heavy themes. I think we tell stories in a way that are full of humor and entertainment but have a deep heart to them.”

Visit Briggs’s blog at PBCBStudios.tumblr.com to see more of his sketches.

Laurette Ryan is a professional in the health and wellness industry and has been a national fitness presenter for over thirty years. She is the author of four books on fitness, self-improvement, and life coaching. She is also the mother of four amazing children.

Visual Perspectives

R A V E N

R O X A N N E

TAIJEƕ FLIGH T B y To r i P h e l p s Photography by Elizab eth Er vin

INSIDE HER DELIGHTFULLY PAINT-SPL ATTERED CHARLESTON STUDIO, RAVEN ROXANNE SITS BESIDE AN IN-PROGRESS ADDITION TO HER POPUL AR BIRD SERIES WHILE DISCUSSING HER FIRST CHILDREN’S BOOK, BASED ON HER EQUALLY POPUL AR NEST SERIES. THE THEME IS TOUGH TO MISS. She confesses that birds have always intrigued her, probably because of her name. And, yes, Raven is her given name, not an artsy gimmick. She got it from her parents, Roxie and Chris Wilson, whose iconic The Zoo Gallery has represented American artists on Florida’s Emerald Coast for nearly forty years. Raven and her brother, Baxter, were practically raised in the gallery, where they were exposed to a diverse collection of works by day. By night, Raven watched her artist mom paint in the family’s home studio.

When art is the family business, there are two choices: rebel and become something “practical,” like an accountant, or grab a paintbrush and add your own color swatch to the family tree. Raven grabbed a brush.

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espite their experience in the art world, or perhaps because of it, her parents didn’t push their children to become artists. “There was no pressure at all,” she says. “When it became apparent that I was really interested, they almost tried to talk me out of it because they know how hard it is.”

But you can’t talk a bird out of flying.

Raven earned a BFA from Auburn University and then went to work for high-concept apparel brand Free People in Atlanta. While she was able to combine her love of art and retail, the siren song of her paints was too strong to resist.

Soon after moving with now-husband Thomas McCutchen to his hometown of Charleston, South Carolina, she spent six months rediscovering who she was in the studio. Raven the Artist made a comeback, though she didn’t catapult to fame and fortune overnight. Her first “show” was in a dentist’s 108 | O C T OBE R 2018

office. But interest in her work increased rapidly, and, just five years later, she’s a hotly collected artist.

The roots of her abstract and impressionist paintings can be traced to her mother, who never wanted Raven to be “too trained.” Good advice, Mom. As a result, Raven’s art has remained a pure expression of herself and the energy in her life. “I’m kind of a reactionary painter,” she smiles. “I make a mark and react to that mark.”

Some of those marks evolve into birds and nests. Other marks become femalecentric works that celebrate women as beautiful, powerful creatives. Seasons, too, influence what appears at the end of her brush; the Nest series is always a fall project, spring’s aura of rebirth prompts her to begin a fresh series, and summer usually revolves around girls with flowers.

Her calendar has been busier than usual lately—filled not only with painting but with completing her first children’s book, A Raven’s Nest. The idea was sparked when collectors of her Nest paintings recounted that the artwork had inspired their children to experiment with their own “nest” pictures. “It kept happening,” she says of the unexpected feedback. “It made me feel good that kids were drawn to this image I had created and got me thinking about making a kids’ book.”

The tale follows a raven’s nest-making journey. And because “nest” is synonymous with “home,” it was a given that it would be set at the beach, which is home for

“

THE NEST SERIES IS ALWAYS A FALL PROJECT, SPRING’S AURA OF REBIRTH PROMPTS HER TO BEGIN A FRESH SERIES, AND SUMMER USUALLY REVOLVES AROUND GIRLS WITH FLOWERS.

”

her. Weaving in themes about the messiness of love, the book describes the objects Raven puts into her nest and how the colors of those objects represent different feelings. As an artist, she relies on color as a vehicle for expression and believes it is a concept that kids can easily understand. The idea, she explains, is to present young readers with color and texture as tools to build a safe, comfortable world for themselves.

With A Raven’s Nest, she’s not just adding “author” to her resume; she’s adding publishing mogul. The book will be one of the first three titles published

by Little Bit Lit, the company she cofounded with Molly Fienning and Jenny DiBenedetto. Upon discovering a shared desire to fill a distinct hole in the children’s literature market, the trio set about launching a publishing company for art-forward books that encompassed an emotional learning aspect and were beautiful enough to put on your coffee table. The vision resonated with a lot of people.

Their Kickstarter campaign raised an astounding $25,000, and Little Bit Lit was born.

Raven is hoping that this debut book is the first of many for her. In the meantime, she has plenty to keep her busy—like her current painting project, a coastal birds series she’s wanted to tackle for quite a while. Growing up in Destin, Florida, and now making her home in Charleston, Raven has spent most of her life near the sea, and the birds there are especially close to her heart.

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“

I HAVE AN INCREDIBLY SUPPORTIVE COMMUNIT Y OF ARTISTS AROUND ME. I ATTRIBUTE A LOT OF MY SUCCESS TO THEM. CHARLESTON SUPPORTS THE ARTS IN A GREAT WAY, AND IT HAS A BUZZ AND ROMANCE ABOUT IT THAT MAKE IT FEEL VERY ALIVE.

”

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Kitty Taylor, Broker, GRI, CRS, CIPS Catherine Ryland, Broker Associate “Grayton Girl Team” Selling Grayton and Beach Properties along 30A. Realtor of the Year 2017 for the Emerald Coast Association of Realtors Grayt

on 19 68

850.231.2886 | 850.585.5334 133 Defuniak Street, Grayton Beach, FL 32459 www.graytoncoastproperties.com

Painting and writing aren’t her only creative outlets. She also designs a line of lifestyle products including scarves, all-natural candles, and stationery that, unsurprisingly, all feature gorgeous patterns and luxe materials. Her connection to each item comes through as she describes the soul-soothing effect of a burning candle or the feel of a finely made notecard. But the scarves are, perhaps, most meaningful to her. Essentially a collection of wearable paintings, they are an homage to her mother, who wears beautiful scarves every day.

With ventures spanning visual art, lifestyle accessories, and books, the downto-earth artist has quietly carved out an impressive little empire over the last few years. Her talent, of course, is the driving force, but she’s quick to point out that she doesn’t do anything in a vacuum. “I have an incredibly supportive community of artists around me. I attribute a lot of my success to them,” she says. “Charleston supports the arts in a great way, and it has a buzz and romance about it that make it feel very alive.”

The people closest to Raven have played the most significant role in her success. Her husband not only encouraged her to become a full-time artist, but his company, Scoutside, provides the expertise for her website, which doubles as her primary sales channel. And then there are her mom and dad. Their passion for the arts and career-long dedication to supporting artists taught their daughter that the creative life was one worth pursuing. It seems to have had the same effect on her

brother, who now helps run The Zoo Gallery and is a gifted artist himself.

Growing up in the business, Raven was well aware that the commercial side of the art world wasn’t a cakewalk. But while she prepared for the worst, she has mostly experienced the best. “I knew that it was easy to be ripped off, easy to be copied, and easy for people not to appreciate my art as I might hope,” she says. “But I’ve been extremely lucky in the way people have been so kind and supportive of my work.”

A Raven’s Nest will be available this fall at LilBitLit.com and The Zoo Gallery in Grayton Beach and Miramar Beach, Florida. Learn more about Raven Roxanne at RavenRoxanne.com.

Tori Phelps has been a writer and editor for nearly twenty years. A publishing industry veteran and longtime VIE collaborator, Phelps lives with three kids, two cats, and one husband in Charleston, South Carolina.

Visual Perspectives

THE NARRATIVITY OF

STEVE WAGNER

By Melanie A. Cissone | Art by Steve Wagner

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“The evolution of a painting is born first of spontaneity,” says Northwest Florida local artist Steve Wagner.

“There are still rough marks at its culmination,” he continues, “but the end, I’ve thought, should feel like it’s on the edge of needing more.”

Conceding that he sometimes suffers at temptation’s hand, overworked paintings are a thing of the past for Wagner. Inspired by a new body of work, he acknowledges his former underappreciation for the intrinsic value of knowing when to put down the brushes. These days, he’s traded uncertainty for the innate. It’s taken hold like never before. “With my new series, the end feels natural to me, like the paintings are where they should be,” he says. With only the addition of protective coatings, the completion of a Wagner painting is now final.

What seventy-one-year-old artist can’t stop doing is painting. He’s surrendered his every waking moment to abstract expressionism, a new direction that he finds electrifying.

Wagner’s fit stature and muscular arms belie his years. An early riser, he works out at a local gym or swims in the pool at the home he shares with his wife of twentynine years in Santa Rosa Beach, Florida, along Scenic Highway 30-A. He’s at the easel in his light-saturated studio by eight o’clock each morning with the family dog, Clementine, a Cavalier King Charles Spaniel. Steve takes a break when “Clem,” as she’s called around the house, starts barking at around eleven o’clock.

Karen Wagner, Steve’s wife, is perennially among the top ten real estate agents along 30-A and is her husband’s primary patron. Only when asked, she offers tactful critiques. Having moved here from Atlanta, the couple will celebrate twenty years of 30-A living next year. Together, they have seen the peaks and valleys on this stretch of paradise.

In the fashion of a bygone era, Steve enjoys a near-daily afternoon game of pétanque, a competitive French game where players toss a steel boule (ball) to get it as close to the bouchon (target ball) as possible. The artist congregates with architects, businesspeople, realtors, and friends to play. He enjoys the comradery and the discourse, as it’s reminiscent of when the artists and thinkers of the 1940s, ’50s and ’60s—Léger, Miró, Braque, Chagall, Matisse, and Picasso, among others— ate, drank and slept at the Colombe d’Or and played boules at a nearby court in Saint-Paul de Vence in the South of France. In the same spirit of bon vivants, Wagner and his pétanque crew discuss politics, art, music, current events, and everything else under the warm seaside sun.

Wagner grew up in a creative household in Newnan, Georgia, a small town an hour’s drive southwest of Atlanta. His mother, grandfather, and great-grandfather were all artistically gifted. The aspiring graphic designer spent two years at the University of Georgia before transferring to Pratt Institute, an architecture, design, and fine arts school in Brooklyn, New York. The beat generation, art school, New York City—Wagner immersed himself in all of it, taking full advantage of the creative, academic, and social scenes, but returned to the South before finishing school. In 1970, he graduated from Auburn University with a BFA in visual design.

After college, Wagner spent nine months backpacking through Europe. Seeing the works of the ancients, old masters, impressionists, and modernists left an indelible mark on him. Upon his return to the States, he launched a career as a graphic designer in Atlanta.

Left: Walk in the Park, 48 x 60 inches Opposite: Neanderthal Ancestor, 48 x 60 inches

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I

t wasn’t until he was fifty years old that the artist began his intense self-study of oil painting and sculpture, and he’s run the gamut on technique and genre. His atelier walls are a testament to transition or, as he refers to it, “narrativity.” He’s prolific. In an exhibition of his “best of ” works, a prospective customer sees the full arc of Wagner’s style. It includes pointillist landscapes, nudes and other figurative oils, still lifes, sculpted marble busts, and cubist paintings, which are his current favorites—“The Embrace,” “Reading the iPad,” and “Morning Smoke.” Just beginning to consume the studio now are his large abstract works, the scale of which Wagner says is “right.”

“Narrativity” refers to a concept in the book Theseus: Vincent Desiderio on Art (2018). In it, Daniel Maidman, one of the masters of figure drawing in America, interviews Vincent Desiderio, a much sought-after modern realist painter, critic, teacher, and lecturer. They discuss art, philosophy, technique, and Desiderio’s Theseus paintings in advance of his January 2018 solo exhibit at the world-renowned Marlborough Gallery.

Desiderio says, “There are three kinds of narrative at work, at play in the artist’s mind when they’re making work. The first one is the dramatic narrative, and that’s simply the subject matter; that’s basically what people call narrative art. The second one is the story of the evolution of the technique, and that is the technical narrative. It’s really the movement of the painter’s mind through the course of the picture, arriving at its terminus, and in the terminus, the implication of everything that went into it is there, even though it’s not necessarily decipherable by everybody.”

Maidman reacts, “I call it the ghost of information,” and Desiderio says back to him, “It’s encoded in the work. It informs the painter at every step of the way.”

Top: Morning Smoke, 20 x 16 inches Bottom: Table Top, 12 x 16 inches Opposite: Ode Gauguin, 12 x 16 inches

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“But there’s a third kind of narrative,” Desiderio concludes, “which I call narrativity. And that is the presumed effect that the work will have within the narrative of the stream of history.” It’s heady reading, but Wagner devoured it, engineering its messages into his abstract expressionism.

Wagner debunks what he believes are mythical differences between formally trained artists and self-taught, inspired artists. He says, “When student artists are side-by-side in an atelier setting, they are observing and learning on their own. In a formal or academic setting, technical knowledge or ‘technical narrative,’ as Desiderio would say, is conveyed to art students.”

He goes on to affirm, “They both have to evolve, through discovery, from the structural to their uniqueness.” There is an unearthing of resonance that’s incumbent on an artist to realize that no school or peer can teach them how to make art that is uniquely theirs.

Avowing Wagner’s thinking, Desiderio said at a 2015 studio lecture in Costa Mesa, California, “How can people try to draw the kind of blood out of a stone which it takes these days…to make a painting viable; not just self-expression but a kind of viable force within culture?”

discovered 160 years ago. Wagner’s not part caveman, but with twinkling eyes, he riffs, “I love the idea that I have Neanderthal in me.” He asserts, “My Akashic record and my DNA tie me to a history that I didn’t know I had, a history that’s before anyone’s time.”

“For me, there’s a stream of consciousness having to do with the spirit world, which is how I connect. When I get into moving the paint on the canvas, something takes over.”

Armed with the vibrational pneuma of all that was, is, and will be, Wagner says, “I feel like I’ve gotten to a place where I can create meaningful art.” Pondering this good spot in life, he says, “But I can’t verbalize a painting while I’m painting it.” Short of a Jack Putter experience in the film Innerspace, truly intuiting the thinking behind what another person creates is a provocative challenge. It can be equally demanding for the artist to discern what his mental attitude and musings were when the brush, paint, and hand moved along the canvas.

Wagner asks, “So, how do you talk or write about that?”

Curiously, Wagner says, “For me, there’s a stream of consciousness having to do with the spirit world, which is how I connect. When I get into moving the paint on the canvas, something takes over. That something is loud and quiet at the same time. Both ultimately resonate with the viewer. It’s my own ‘ghost of information’ that’s transitioning me away from the typical and toward a different, inspired path. My influence now is the innate, from inside.”

Wagner, a Leo, reads his personalized Astrodienst horoscope daily and has had a reading of his Akashic record. From the Sanskrit word for “atmosphere,” Akashic records are, according to Wikipedia, “A compendium of all human events, thoughts, words, emotions, and intent ever to have occurred in the past, present, and future.” His Akashic reading, coupled with findings from a 23andMe DNA test, resulted in Wagner uncovering personal inspiration in his abstract expressionism series.

The painter’s genetic code derives, in part, from the Neander Valley in modern-day Germany, where the first bones of Neanderthal Man, the 200,000-yearold distant biological cousin to Homo sapiens, were

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M

ore than thirty years after his death, a fabled manuscript by twentieth-century painter Mark Rothko surfaced in warehouse storage. Reflecting on why his father never ushered his writings to publication, Christopher Rothko wrote in the introduction of The Artist’s Reality: Philosophies of Art (2006), “Like music, my father’s artwork seeks to express the inexpressible—we are far removed from the realm of words.

From their lack of identifiable figures or space to the lack of titles, my father’s paintings make clear that reference to things outside the painting itself is superfluous. The written word would only disrupt the experience of these paintings; it cannot enter their universe.”

Steve Wagner is a thoughtful, well-studied, and introspective artist.

He challenges himself daily by looking inward.

Rothko the younger also writes, “I think he kept the book to himself because he feared that by offering people the beginning of an answer, or the illusion of an answer, to his artwork, they would never find a more complete one, perhaps never even ask the necessary questions.”

This page: Leda, stone sculpture on display in Alys Beach, Florida Opposite: Artist Steve Wagner

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Wagner strives to elevate the collective artistic consciousness of Northwest Florida visitors and residents by calling on them to seek the inexpressible in art, to demand the exceptional, and to inquire. He encourages private studio visits and a curatorial interest in his work. Referencing a popular keepsake item bought by many tourists in the area, he throws down the gauntlet and says, “Buy original art and pearls.”

With intellectual curiosity as his mainstay, Steve Wagner is a thoughtful, well-studied, and introspective artist. He challenges himself daily by looking inward,

reawakening his calling at every brushstroke, and questioning his work. While gazing at his horoscope on interview day, he muses about his own imprimatur in the world beyond his studio as a Cheshire grin unfolds across his face. What did it say? “Harvest the fruits of effort that once seemed to be in vain.”

For private studio visits, call or text (850) 830-3495.

Visit SteveWagnerArt.com or Instagram @stevewagnerart to see more.

New York City transplant to the Emerald Coast Melanie Cissone has been a freelance writer for twenty years. A patron of the arts, she is inspired by beautiful architecture and design and loves learning about people’s backgrounds, especially over a dry Italian red wine.

Visual Perspectives

THE BEAUTY OF Becoming a successful artist requires equal parts talent, perseverance, and luck. Vin Servillon knows that better than most. His meteoric rise to fashion industry art darling came about despite active discouragement from his family, no formal art education, and, at times, a crippling battle with anxiety and depression.

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A

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IMPERFECTION

By T O R I P H E L P S

Art by V I N S E R V I L L O N

Talent, perseverance, and luck were all he had. But they were enough.

Born to a Japanese mother and Filipino father, Servillon learned early to hide his burgeoning interest in art from parents who saw no value in it. He still vividly recalls the first picture he created—a giraffe—using yellow and brown markers for the animal and lime green for the grass.

He proudly presented it to his mother, thinking she would display it in the house; instead, he later found it in the garbage. Decades later he still remembers that day because it taught him two lessons: to keep his art hidden and that his parents wouldn’t support any aspirations he had outside their traditionalist plans.

His father, a hard-charging businessman who lives in Asia, tried to mold his son into a younger version of himself. Trying to please him, Servillon attended business school and ended up working in advertising.

He summoned the courage to turn down a job working for his father, but still spent years chasing approval in careers that didn’t fulfill him.

From then on, Servillon stashed his work under his bed inside an old Monopoly game box. Making art was an instant escape from his difficult childhood, as worlds of his own creation opened up before his eyes. “Painting made me feel like those worlds weren’t so far away after all,” he says.

Then, one winter day, Servillon found himself staring out the window at bare trees casting shadows in the dim December light. Inspired, he picked up a pencil and started to sketch again. Exhilaration and peace washed over him like rain in the desert, and he knew

This page left: My Favorite Color Is Animalia, portrait of Giovanna Battaglia Engelbert This page right: Look by Schiaparelli Opposite: Looks by Marc Jacobs, Spring/Summer 2018 V I E MAGAZ INE . COM | 119

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LOOKING BACK, HE DOESN’T KNOW WHICH WAS SCARIER: LETTING HIS FIFTYTHREE INSTAGRAM FOLLOWERS SEE HIS ART OR DARING TO TAG MARC JACOBS IN THE POST. immediately that he badly needed a course correction for his life. He finally chose art. “It felt natural to me,” he says of the decision to launch a full-time painting career. “I was that kid again—the one who made the giraffe on his bedroom floor.”

Knowing it was the right thing to do, however, didn’t quiet his old demons. Plagued with doubts about whether he was any good and fairly sure no one would appreciate his aesthetic, Servillon fell back into a pattern of keeping his art hidden. It might have gone on that way indefinitely had he not attended a fall fashion show by powerhouse Marc Jacobs. His imagination stirred to life, Servillon went home and painted one of the looks he had seen on the runway. In a remarkable act of bravery, he posted it on Instagram.

Looking back, he doesn’t know which was scarier: letting his fifty-three Instagram followers see his art or daring to tag Marc Jacobs in the post.

When he checked the post several days later, he found that he had not only gained a lot of new followers but that both Marc Jacobs the designer and Marc Jacobs the brand had left heartening comments. The company also reposted his art to its Tumblr, Instagram, and Twitter accounts and, later, sent Servillon a little memento. He returned the favor by gifting the painting to the Marc Jacobs offices.

Fashion and brand influencers started following him in droves, including makeup icon Pat McGrath, who pushed him to paint more and to believe in his aesthetic. It was a surreal experience for someone who had never received positive reinforcement from the people closest to him, and he thrived on the responses.

Just like that, Servillon was in vogue with the tastemakers.

The more feedback Servillon received, the more he painted. And the more he painted, the more he posted.

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Social media followers, art collectors, labels—they all wanted to be part of what he was building. To his amazement, the public seemed to “get” his unconventional take on people and objects, which highlights the beauty that lies outside of perfection.

“I can paint in the more realistic realm, and I have done so, but it just wasn’t me,” he says. “I’ve never really been attracted to the idea of perfection.”

This page above: In Full Bloom, portrait of Dakota Fanning wearing Gucci This page left: Women in Scarves Opposite: Look by Marc Jacobs, Fall/Winter 2016

The idea of perfection is such an anathema to him that Servillon even leaves accidental imperfections in his work, such as a shaky line or an ink bleed. And he intentionally adds “flaws” as symbols of characteristics he admires, like elongated necks on women to represent strength.

Women, painted with both power and delicacy, are frequent subjects for Servillon. It’s an expression of his love, respect, and admiration for them—not to mention it’s a subject he knows well. Growing up, he

was surrounded by women, and today his best friends are women. He also says that the strongest human beings he knows are his grandmother and mother, with whom he now shares a mutually supportive relationship. “Painting women has saved me from my own demons,” he says. “I’ve learned to be a better man by painting women.”

He’s learned to be a better painter, too. Servillon never went to art school and admits that most of the time he doesn’t know if he’s using what experts would call the

“right” brush for his work. He navigates strictly by emotion, mixing paint colors and choosing art tools instinctively. His technique, just like his style, isn’t for everyone, but he tries not to get caught up in the expectations of others anymore. When he needs a shot of resolve, he glances at a Rembrandt quote that’s hanging near his painting table: “Of course you will say that I ought to be practical and ought to try and paint the way they want me to paint. Well, I will tell you a secret.

I have tried, and I have tried very hard, but I can’t do it.

I just can’t do it! And that is why I am just a little crazy.”

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“

I’VE FOUND THE EVERYDAY PROCESS OF PAINTING AND CREATING TO BE VERY THERAPEUTIC. THE DETERMINATION TO KEEP CREATING HAS GOTTEN ME THROUGH A LOT OF REALLY BAD DAYS.

mental health issues prevents many people from receiving the life-changing assistance they need. He believes that driving societal change starts with dismantling the idea that people affected by mental health issues are weak or innately flawed and replacing that fable with the truth. One of those truths, Servillon has learned, is that naming the disorder can be liberating—and the first step to regaining power over it.

The quote not only confirms that following his muse on canvas is okay, but it also reminds him that sometimes great artists and not-so-great mental health go hand in hand.

Servillon is open about his struggle with severe panic attacks and depression. The panic attacks, which he describes as “drowning in an ocean of fear,” started years ago, very unexpectedly, and just kept coming.

After one scary attack while he was driving the 405 in California, he knew he needed to get help. It was a particularly daunting idea for him because mental health issues are taboo in Asian culture, and he worried about disappointing his parents. But he asked for help anyway.

Today, he has far more good days than bad, and he’s using that experience to encourage others to take action for their mental health. He knows it’s not as easy as telling someone to “get help,” though. Running into dismissive attitudes is common (he was told once to “snap out of it”), and the continued stigma surrounding 122 | O C T OBE R 2018

Looks by Prada, Fall/ Winter 2018 Above right: A Royal Wedding Salute

Part of going public with his story involves describing what it feels like to live with anxiety and depression as a way to help those who aren’t familiar with the conditions better understand their impact. Servillon says depression, for example, is about much more than being sad. For him, it’s an exhausting battle between the light and the dark. And perhaps worst of all for the vibrant CrossFit enthusiast, depression drains every

last bit of energy from his body. Fortunately, art is always there for him. “I’ve found the everyday process of painting and creating to be very therapeutic,” he says.

“The determination to keep creating has gotten me through a lot of really bad days.”

It’s no coincidence that rediscovering art dovetailed with Servillon becoming emotionally healthier. He even credits it with saving his life. He was admittedly in a dark place when he started painting again several years ago, and art provides him with a purpose for both his life and his career. One of his greatest joys is connecting with people from around the globe, many of whom comment that his work inspires them. The always-humble artist insists it’s hard to believe that he inspires anyone, and yet he values those messages deeply, confessing that they’re worth more than any amount of money to him.

He’d love to reach an even wider audience by forging new partnerships with fashion houses, a burgeoning trend that pairs an artist’s creativity with a brand’s

30Avenue

. Pier Park

vision. There’s plenty of time for the right collaboration to come along because Servillon plans to paint until he can no longer pick up a brush. His lifestyle might bring many others to their knees if they lived it—he forgets to eat when absorbed in his work and rarely gets a full night’s sleep thanks to the images floating through his mind—but it doesn’t bother him. “I don’t want it to change,” he insists. “I start my day with a cup of strong coffee and a big smile on my face as I sit in my New York City apartment to paint. I couldn’t ask for more.”

Visit VinServillon.com and follow Servillon on Instagram (@findvin) to learn more and see more of his work.

Tori Phelps has been a writer and editor for nearly twenty years. A publishing industry veteran and longtime VIE collaborator, Phelps lives with three kids, two cats, and one husband in Charleston, South Carolina.

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SEE THE WORLD

On June 25, the nation’s first permanent underwater sculpture exhibit, the Underwater Museum of Art (UMA), opened in the Gulf of Mexico off the coast of Grayton Beach State Park in Santa Rosa Beach, Florida. The UMA is the first presentation of the Cultural Arts Alliance of Walton County’s Art in Public Spaces program and was produced in collaboration with the South Walton Artificial Reef Association (SWARA). Seven sculptures became part of the inaugural UMA installation: Propeller in Motion by Marek Anthony, SelfPortrait by Justin Gaffrey, The Grayt Pineapple by Rachel Herring, JYC’s Dream by Kevin Reilly, SWARA Skull by Vince Tatum, Concrete Rope Reef Spheres by Evelyn Tickle, and Anamorphous Octopus by Allison Wickey. These works of art have since become marine habitats that are in an educational and exciting recreational area for divers.

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The United States Capitol and Ulysses S. Grant Memorial as seen from across the Capitol Reflecting Pool 126 | O C T OBE R 2018

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There’s Washington, and then there’s D.C. The former is the political hub everyone feels they already know, whether from the news or from the cascade of shows and movies that treat the city as a character—think Scandal or Wag the Dog. In this reality, the cradle of our democracy is a town focused on horse-trading and pork barreling on the Hill, power lunches with politicos, and international intrigue.

ut then there’s the District of Columbia, which stands far apart from those Hollywood stereotypes. Despite the symbolic allure of the myth, D.C. was not built on a swamp. Founded in 1790, the City of Magnificent Distances was designed by Pierre Charles L’Enfant. Using his hometown of Paris as a model, he crafted a grid of streets bisected by angled avenues, punctuated with traffic circles, and featuring the Capitol building as a centerpiece.

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L’Enfant’s layout endures to this day, serving as an apt metaphor for how to get the most out of your time in the city. Yes, you can make hard lefts and rights to reach places, but you’ll see a more interesting side if you veer off from a traffic circle at an odd angle. Itineraries that only include predictable stops such as the White House, the Washington Monument, and Ford’s Theater offer a lot of history but none of the contemporary color that makes D.C. such a vibrant modern proposition. Dig beyond the popularized (and polarized) political

façade to discover an urban wellspring rich with forward-thinking art, peerless museums, dining options spanning cultures and attitudes, and unique shopping opportunities that highlight regional specialties and talents.

Take the right approach, and you’ll leave feeling like you got a peek behind the curtain at a city within a city. Then, the next time you see D.C. on the big screen or a small one, you can say, “Hey, I know that place,” and you’ll really mean it.

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EAT The District’s dining scene has seen exponential growth over the past decade, so the city is now easily one of the best culinary destinations in the country. To energize for a day of sightseeing, head to Little Pearl, the little sister of chef Aaron Silverman’s Michelin two-star Pineapples & Pearls and award-winning Rose’s Luxury. Set on a corner of the Capitol Hill neighborhood in a Civil War–era carriage house, the chic cafe boasts invigorating coffee, flawless pastries, and dreamy sandwiches, such as one sporting crispity crunchity fried chicken lavished with fiery Yemeni hot sauce. (Return in the evening, and the concept transforms into a swish wine bar with small plates.) Another winning option is Pluma by Bluebird Bakery, just around the corner from Union Market in northeast D.C. Husbandwife bakers Tom Wellings and Camila Arango are masters of their trade, turning out seasonal galettes, pistachio-packed croissants, and sugar-dusted morning buns hiding layers of butter-rich pastry.

When midday rolls around, skip the power lunch spots where power brokers congregate and opt for the more creative fare. Located in the heart of the Shaw neighborhood abutting the convention center, Unconventional Diner turns out high-minded comfort food. Think chicken pot pie poppers, pappardelle with brisket and horseradish masquerading as a French dip sandwich, and coconut cream pie cradled by a crunchy feuilletine crust. Just a few blocks south at the northern tip of Chinatown, you’ll find Taco Bamba, the rock ’n’ roll-vibed taqueria from chef Victor Albisu. All the usual suspects are on the menu—al pastor, carne asada, tinga—but you should hone in on the nontraditional options. The intensely rich Maradonna is packed with smoked brisket and grilled sweetbreads, while the Royale with Cheese evokes a blue ribbon burger.

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RAMMY Award for Rising Culinary Star of the Year, and it’s easy to see why.

Situated at the heart of the buzzy Fourteenth Street corridor, his debut solo venture, Bresca, brims with an infectious sense of playfulness. A living wall at the back is dotted with fantastical plants, while fish sculptures jut out of another wall as though they’re swimming into the room. The food is equally enchanting.

Sea urchin balances on a tubular tangle of linguini fortified with truffle conserva, umami-rich beef entrecôte comes with a bevy of not-your-dad’s-steakhouse sides, and you can finish with Ferrero Rocher-style foie gras cake pops. Up in Columbia Heights, Ellē is another must-try. Chef Brad Deboy, a veteran of Blue Duck Tavern, is fixated on ferments and fanciful flavor combinations. To get a sense of his unique culinary vision, order the toast slathered with labneh and topped with grilled house-made kimchi or the maple-marinated feta dappled with dehydrated olives. These dishes may sound odd on paper, but they wow on the palate.

Above: The bar and dining room at Bresca invite guests to stop in and stay a while.

Photo by Rey Lopez, courtesy of Bresca Right: The retromeets-industrial vibe at Unconventional Diner reflects its upscale twist on classic dive food.

Photo courtesy of Unconventional Diner

Left: Succulent lacquered duck breast dish at Bresca Photo by Rey Lopez, courtesy of Bresca Below: Traditional and unique flavors abound at Taco Bamba in Chinatown.

Photo by Greg Powers, courtesy of Taco Bamba

A living wall at the back is dotted with fantastical plants, while fish sculptures jut out of another wall as though they’re swimming into the room.

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I AM

www.indigowatercolor.com

Left: The glass-walled passage at the Pavilions, a new 50,000-squarefoot expansion at the Glenstone Museum

Enlighten Most visitors keep their ranging to the National Mall because there is plenty of bang for your buck around the green stretch spanning the city’s center from east to west. The Washington Monument, Lincoln Memorial and Reflecting Pool, United States Capitol, Vietnam Veterans Memorial, Martin Luther King, Jr. Memorial, and many of the Smithsonian institutions (see sidebar) are all within walking distance. You can even see the so-called Money Factory by taking a tour of the Bureau of Engraving and Printing.

Photo by Iwan Baan, courtesy of the Glenstone

Trails loop around and crisscross the national park, passing through woodlands and vibrant swamplands.

However, tourists who stray from the fray will be richly rewarded. Theodore Roosevelt Island sits in the Potomac River directly between the Kennedy Center and Rosslyn, Virginia. Accessible by foot via a bridge arching across from the Virginia side, the eighty-eight-acre plot is a living monument to the twenty-sixth president’s legacy as a conservationist crusader. Trails loop around and crisscross the national park, passing through woodlands and vibrant swamplands and making it an excellent stop for hikers and outdoor enthusiasts (bikes are prohibited, but pets are allowed). At the center of the island stands a larger-than-life statue of its namesake ringed by his quotes on the importance of the great outdoors.

oldest is a Japanese white pine that is nearly four hundred years old. Once you’ve spent some time with the zen-inducing tiny topiary garden, wander the 446-acre complex, which has a wealth of plant life and is home to a family of bald eagles.

To spend more time becoming cultured in nature, check out the open-air National Bonsai and Penjing Museum at the U.S. National Arboretum, situated just off New York Avenue NE. The enthralling collection of more than sixty miniature trees features specimens from Japan, China, and North America. The

Don’t forget the Glenstone. Often overlooked, the modern art museum is just outside the city in Potomac, Maryland. It hosts regular gallery showings alongside stunning outdoor installations, which are set against the backdrop of the impeccably maintained park-like grounds.

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shop As a major metropolis, the District has all the national and international brands you would expect; however, there is plenty of Washington-centric shopping to be done. Union Market is to D.C. as Chelsea Market is to New York City. The centerpiece of the NoMa neighborhood offers visitors the chance to peruse more than thirty vendors under one roof. Looking to pick up a gift for a housewarming, baby shower, or birthday party? Stop at Salt & Sundry. The charming, immaculately curated boutique from trendsetting shopkeeper Amanda McClements has everything from darling onesies and specialty foods to barware and eye-catching jewelry. If you want to stock your pantry back home, go to Toli Moli’s Burmese Bodega, a vibrant micro-market brimming with Pan-Asian groceries and local goods.

Bazaar Spices also offers a globe-spanning array of seasonings, spices, rice, and flour.

When you’re tired of shopping, Union Market has plenty of seating inside and on its patio, so it’s easy to stop, chill out, and grab a bite. Taste the Chesapeake at Rappahannock Oyster Co., get your hands dirty with blue ribbon barbecue from Sloppy Mama’s, or perk up with an espresso at Peregrine.

To get a singular sense of the District’s makers and shakers, a pit stop at Dupont Circle’s Shop Made In DC is in order. Cofounder Stacey Price showcases the best and brightest, from empowering T-shirts by District of Clothing and Stitch & Rivet’s leather goods to snappy cards by Miks Letterpress and 8 Myles hot sauces. The cafe counter in the back promotes a rotating cast of local eateries and coffee roasters.

Head up Connecticut Avenue to Chevy Chase to visit Politics & Prose, one of the finest independent bookstores in the country. The thoughtfully stocked two-story shop carries a wide swathe of titles to satisfy bookworms of all interests and ages. Authors frequently stop in for readings, so check the online calendar to see who’s in town when you’re around.

Even if you miss an event, writers will usually leave behind a stack of autographed books, which make for lovely mementos or presents for lucky bibliophiles.

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Opposite left: Union Market is D.C.’s go-to spot for local shops and casual dining Photo by James Jackson, courtesy of Union Market Opposite right: Politics & Prose at Union Market is an independent bookstore offering a wide array of titles along with engaging author events.

The thoughtfully stocked two-story shop carries a wide swathe of titles to satisfy bookworms of all interests and ages.

Photo courtesy of Politics & Prose Left: Another Union Market favorite is Salt & Sundry, carrying on-trend home decor, dishware, jewelry and accessories, and more.

Photo by Jeffrey Martin, courtesy of Salt & Sundry

I AM

w w w. in dig o w a t e r c o l o r. c o m

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sleep Washington D.C., has no shortage of accommodation options, but you must choose wisely to get the right combination of location and luxury. The Melrose Georgetown is perched on the southeast point of the neighborhood, right on the edge of Foggy Bottom. This puts the art deco-inspired hotel within an easy walking distance of the riverfront, the Lincoln Memorial, and the Kennedy Center.

Walking into the lobby, guests find a library boasting more than a thousand literary classics, along with plenty of seating and cozy nooks in which to enjoy them, and the farm-to-table-focused Jardenea restaurant. Sleek rooms have a modernist edge and are well equipped for business travelers and breezy weekenders alike.

Set between Dupont Circle and the Fourteenth Street corridor, Mason & Rook’s centralized position is a boon for explorers, as are its complimentary bikes. The LEED-certified Kimpton property emphasizes self-care and relaxation. To that end, the well-appointed rooms each include a yoga mat, a sixty-five-inch television, and a big bathtub with the quote “Don’t grow up, it’s a trap” framed on the

Photo courtesy of Kimpton Mason & Rook Hotel

I AM

Indigo women are gifted souls on a clear mission to challenge themselves.

They are highly driven and creative.

They are confident and care deeply about others and the world around them.

Integrity, peace and harmony are their mantras.

They have a sense of adventure and a “can-do” attitude. Personal growth will be a life long endeavor.

Indigo women take care of themselves, their friends and their family.

They are all connected to a greater cause. They are not singular.

They want to be the best but will not step on others along the way.

Never a baddie but always a bad ass.

The Indigo woman is a force to be reckoned with. www.indigowatercolor.com

Photo courtesy of Melrose Georgetown

#IAMINDIGO # A R E YO U I N D I G O #BEINDIGO

INDIGO OWNER CATHERINE WALEGA

CHECK OUT OUR WEBSITE! www.indigowatercolor.com

Photo courtesy of Melrose Georgetown Hotel

guests find a library boasting more than a thousand literary classics, along with plenty of seating and cozy nooks in which to enjoy them, and the farm-to-table-focused Jardenea restaurant. wall alongside it. To help you chill out further, there’s a complimentary wine hour from 5:00–6:00 p.m. in the lobby, a rooftop bar and pool, and creative comfort fare including plenty of plant-based options at Radiator restaurant.

For a high-end hospitality experience that adds an element of progressive social change, opt for the recently opened Eaton Workshop, a hybrid hotel and coworking members club just off Franklin Square. The forward-thinking project features a 136 | O C T OBE R 2018

radio station, a movie theater, a wellness center, a coffee shop and juice bar, and a restaurant presided over by Tim Ma, chef of the critically acclaimed Kyirisan.

Head to your room after all the engagement and entertainment and find a space that has all the funky boho vibes, plus a record player and some vinyl albums to soothe you to sleep (or to power the party into the wee hours).

No matter where you stay, think of your hotel as your home-away-from-home base where you can refresh and refuel before restarting your reconnaissance of this capital of cool.

Visit Washington.org to learn more and start planning your trip today!

Nevin Martell is a D.C.-based food, travel, and parenting writer who has been published by the Washington Post, the New York Times, Saveur, Men’s Journal, and Fortune. He is the author of eight books, including Red Truck Bakery Cookbook: Gold-Standard Recipes from America’s Favorite Rural Bakery, which will be published

by Clarkson Potter in October 2018. Find him on Twitter and Instagram @nevinmartell.

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Smithsonian Washingtonians are spoiled—and you deserve to be spoiled, too. All nineteen of the Smithsonian’s museums, galleries, gardens, and the zoo are free (some special exhibitions or events require admission) and they are open every day except Christmas.

This sprawling network of venerable institutions can seem just as imposing as it is inviting. If you’re only in town for a couple of days, here’s where you should go.

The latest addition to the Smithsonian system is the National Museum of African American History & Culture, so it’s in high demand. If you can, request timed tickets in advance, though you can always attempt to score same-day timed tickets through the museum’s website starting at 6:30 a.m. Once you’re

in, explore emotional and educational exhibits that dig deep into the diaspora, slavery, civil rights, the arts, foodways, and beyond. Farther down the National Mall, the National Museum of the American Indian is a riveting tribute to native peoples’ history, struggles, and culture. Bonus: its award-winning Mitsitam Native Foods Cafe features traditional dishes from throughout the Americas.

The Hirshhorn is one of the finest modern art museums on the planet, always hosting the buzziest installations on the cutting edge of the cutting edge. No matter when you go, be prepared to take a bevy of Instagram-worthy photos.

Equally engaging are the exhibits at the Renwick Gallery, right next to the White House. No Spectators: The Art of Burning Man, running through September 16 this year, dazzles the eyes and warps the mind with its epic imagery of the annual desert festival. It’s a stunning last stop for a tour of the Smithsonian institutions, leaving you feeling spoiled (and maybe a little tripped out).

Below: The Renwick Gallery’s No Spectators: The Art of Burning Man exhibit, running until September 16, 2018 in Washington, D.C. Photo by Ron Blunt, courtesy of Renwick Gallery

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An aerial view of the famous beach of Porto Katsiki on the Greek island of Lefkada in the Ionian Sea 140 | O C T OBE R 2018

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Greece is renowned for its history and myths of gods getting up to mischief with mortals. There are even psychological conditions with names that spring from Greek myths (narcissism and Oedipus and Electra complexes come to mind).

One thing is for sure: the myths and legends that abound are set in beautiful places across the mainland and islands of this southern European country nestled in the Mediterranean Sea, a gateway between East and West.

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ere I look briefly at one Greek character, the poet Sappho, and delve deeper into the beautiful Greek Ionian island of Lefkada, where she reputedly met her tragic death.

WHO WAS SAPPHO?

Below: A statue of the ancient lyric poet Sappho can be found in the Sappho Square in the city of Mytilene, Greece.

Born in approximately 630 BC on the Greek island of Lesbos, Sappho was raised in a society renowned for its literary excellence. Not much is known about her life except that she was the leader of a group who taught young women about art, poetry, and philosophy. During this time on the island, there were several such groups, and they often competed.

Sappho was regaled in antiquity as one of the great poets of her time; she was even referred to by some as the “tenth Muse.” Legend has it that because of her unrequited love for Phaon, the ferryman of Lesbos, Sappho threw herself off the Leucadian cliffs (Lefkada was formerly called Leucas) and drowned. It is worth noting here that while she was referred to as a “lesbian,” the term is likely an allencompassing one to describe individuals hailing from Lesbos. Her sexuality is still a topic of debate among modern scholars, but some believe that she had a daughter, Cleïs.

LEFKADA With over twelve hundred Greek islands to visit (admittedly, some of them are just uninhabited rocks), it’s good to get away from the huge tourist crowds and the islands that have reached saturation point to explore lesser-known ones.

Lefkada is one such place.

Located in the Ionian Sea off the west coast of mainland Greece, Lefkada is only 128 square miles, much of which is rough track taking visitors to hidden coves, mountain villages, and monasteries with magnificent views across the sea.

The Ionian Islands are covered in greenery thanks to heavy winter—and sometimes summer—rainfall. The beautiful green landscape gives way to tree-covered cliffs that descend to the blue sea. These white limestone cliffs, trademarks of Lefkada and neighboring islands such as Cephalonia and Zákynthos, create a breathtaking juxtaposition to the turquoise waters along the beaches. The coastal vistas rival those found on any Caribbean or Indian Ocean island.

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bridge. Despite being a lesser-known destination, tourists are never short of things to occupy their time here.

BEACHES One of the main beaches of the island is Porto Katsiki, which has been named one of the top ten beaches in Greece and the Mediterranean. When you experience the dramatic white cliffs, the sandy beach, and the turquoise waters, it’s easy to see why. It’s accessible by steps from the parking lot on the cliff and by water taxi from the small towns of Vasiliki and Nidri. Many private yachts can be seen anchored off the shores, where there are sun beds, umbrellas, bars, and a canteen.

For those who prefer quieter beaches, stop to take photographs at Porto Katsiki and then move on to Agiofili Beach, a little over a mile from the southern

When you experience the dramatic white cliffs, the sandy beach, and the turquoise waters, it’s easy to see why. harbor town of Vasiliki. You can walk there (but only if you’re hardy—especially in the heat of the summer) or take your car, but the best way to reach the beach is by boat; for about five euros, you can take a water taxi from Vasiliki. Agiofili is reputed to be one of the cleanest beaches on the island.

Above: A panoramic view of beautiful Lefkada and the sea as seen from the bridge above Porto Katsiki beach

MOUNTAIN VILLAGES When you’ve had enough beach time, a drive into the Stavrota Mountains on the island is well worth it for the views, not to mention the joy of coming across small churches here and there. The mountains peak at 3,878 feet, and as you drive, you’ll be afforded sweeping vistas across the valleys below and out across the Ionian Sea to surrounding islands such as Cephalonia and Ithaca.

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One of the most popular mountain villages to visit is Karya, famous for its exquisite embroidery and lace.

You’ll notice small shops selling these, as well as a cultural display in the small Folklore Museum. Karya is 1,640 feet above sea level, and it’s a favorite pastime to sit in the village square among the ancient plane trees and sip a frappé or eat lunch in one of the many tavernas. On a hot day, it’s great to wash your hands and cool yourself in the natural springs that flow into the village.

If you’re visiting the island in August, be sure to head to Karya on the eleventh of the month, when a traditional wedding is reenacted using handmade dresses from times past. It’s considerably cooler in the mountains due to their elevation, so be sure to bring a light sweater.

MONASTERY OF ST. NICHOLAS Perhaps one of my favorite things to do in Lefkada is to visit the Monastery of Saint Nicholas. Located near Porto Katsiki, it’s a working monastery that offers stunning views across the plains and out to sea. Three nuns live there: two sisters, who came in 2013, and one of the oldest nuns in Greece, who settled there a year later.

The place was a ruin before they arrived, and they have developed a place that can only be described as tranquil. You don’t have to be religious to enjoy your time here. The younger nuns speak perfectly good English and have delightful senses of humor; they are happy to sit and chat with visitors in the courtyard over homemade lemonade.

Public services are every Sunday morning from seven to ten, but visitors can tour the monastery anytime. There is also a shop that sells goods made by the nuns, such as homemade preserves and honey from their bees.

CAPE LEFKADAS Coming back to Lefkada’s link to Sappho the poet, the lighthouse at Cape Lefkadas on the southernmost tip of the island stands at a height of ninety-eight feet. It marks the place where Sappho is said to have leaped to her death when her lover rejected her.

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Built in 1913, the lighthouse and surrounding area are stunning and offer great views across the Ionian Sea. There’s also great diving to be had here (for professionals), with a depth of 131 feet and excellent visibility thanks to the clear waters. You’ll see plenty of lobsters when diving here, but note that due to strong currents, it’s not recommended for amateurs.

Whether attracted by the island’s mythical history or simply its stunning views and idyllic towns and beaches, there’s no doubt visitors will leave Lefkada with their own stories to tell.

Head to VisitGreece.gr to start planning your trip!

Rebecca Hall is an English language teacher turned travel writer and novelist. After life in the UK became too cold, she moved to sunny Greece and admits the slightly chaotic nature of it suits her very well. She writes for various online publications such as Weather2Travel, has contributed to guidebooks such as The Rough Guide to Greece, The Rough Guide to the Greek Islands, and The Rough Guide to Portugal, and maintains her travel blog, Life Beyond Borders, encouraging others to travel beyond the borders of geography and their minds. Her debut novel, Girl Gone Greek, was released at the height of the Greek debt crisis in 2015 with the aim to bring a positive view of the country; it has been written into a screenplay in the hope that it will be picked up for production.

Days spent at the beach in Lefkada are punctuated by hiking, exploring the quaint towns, and visiting the monasteries.

If You Go . . .

Fly to Aktion Airport, a small international airport on the mainland, and take a hired car or taxi to the island. Drives will take about forty-five minutes to an hour.

The Rock ’n’ Roll Suite at the Secret Boutique Hotel featuring furnishings

by House of Fabbrica Photo by Kostas Vassis

You can also travel to Lefkada by private transfer or taxi from Athens (approximately five hours). This is a great option if you have three or four passengers who can split the cost—roughly $81 each.

Stay in Sappho Boutique Suites in the southern harbor town of Vasiliki. The hotel offers eight boutique suites—four of them have their own private plunge pools—and a seventy-two-foot infinity waterfall pool with glass walls. With free private parking and a ten-minute stroll into Vasiliki to sample the gastronomic delights of the area, you’re well located here to explore the many beaches and Cape Lefkadas. SapphoBoutiqueSuites.com Located in Lefkada Town, the island’s capital, Secret Boutique Hotel is the perfect choice to be in the middle of shopping, dining, and culture. It is within

walking distance of the bustling main square of the town, where there are shops and tavernas aplenty. Secret Boutique offers five suites, each with its own unique style and concept. Also offering free parking, you’re well located here to explore the northern part of the island and even mainland Greece if you wish.

SecretBoutiqueHotel.gr

Le monde See No Spectators: The Art of Burning Man in its entirety at the Renwick Gallery through September 16, 2018. Read more about the museums of Washington, D.C., in our special travel spotlight in this issue!

Photo by Ron Blunt, courtesy of the Renwick Gallery

Le monde GOES ROUND AND ROUND

Cutting-edge artwork created at Burning Man, the annual desert gathering that is one of the most influential events in contemporary art and culture, took over the Renwick Gallery in Washington, D.C., this summer. Several artists debuted new works in the exhibition No Spectators: The Art of Burning Man, which explores the maker culture, ethos, principles, and creative spirit of Burning Man. The Renwick also expanded beyond its walls for the first time through an outdoor extension titled No Spectators: Beyond the Renwick, displaying sculptures throughout the surrounding neighborhood. Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, organized the exhibition in collaboration with the Burning Man Project.

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R AISE A GL ASS TO

THE SPIRIT OF GREECE

BY XEN IA TALI OTIS

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PH OTO GR APHY CO U RTESY O F H O USE O F M ETA X A

t’s late spring on the Greek island of Samos, and the sun is scorching the slopes of the mountain Karvounis. Vines claw out of the earth, breaking free from the inhospitable, stony soil, their gnarly branches holding up clusters of the yellow-green, small-berried muscat grapes that have made this tiny island in the North Aegean a worldfamous wine producer.

The floral, honeyed muscat is also a key ingredient in one of Greece’s most celebrated products— Metaxa. I remember Metaxa from childhood when my parents, who were never big drinkers, would produce the same dusty bottle from the back of the cupboard anytime they had guests. Back then, in the 1970s, Metaxa was a brandy; before that, it had been considered a cognac. Its labeling changed first after the French secured AOC status for the region in 1936 and second in 1987 when brandy was reclassified to exclude spirits that contained anything other than wine distillates. Since then, Metaxa has been, literally and metaphorically, in a class of its own.

“There is nothing like it,” says Yiannis Skoutas, who owns the little terraced vineyard on Samos where I found myself standing. “It’s unique, and it is integral to our national identity. You cannot come to Greece and not have Metaxa; it would be like visiting Athens and not seeing the Parthenon.”

Little has changed in Samos’s viticulture for centuries, and Skoutas cultivates his grapes just as his forebears did. “It is as it was in Metaxa’s day,” he says.

“It is very small-scale production and still done by hand. The vineyards are still all family owned; the only differences are that we use trucks instead of donkeys for transport and we now sell our grapes to the cooperative, which makes the wine here on the island and then sells it on.”

The Metaxa that Skoutas refers to is Spyros Metaxa, the merchant who created the sublime amber drink that has come to encapsulate the heart and soul of Greece.

Metaxa wanted to bring a new spirit into the world that wouldn’t burn the throat like a flamethrower but would entice with sweet intrigue. He wanted something as smooth and seductive as metáxi, which means “silk,” and worked on blending wine distillates with aromatic muscat, rose petals, and Mediterranean herbs until, in 1888, Metaxa was born.

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he first distillery was in Piraeus, but in 1968, all production was moved to the House of Metaxa in Athens, and that’s where I headed the day after my tour on Samos. There I met Constantinos Raptis, who has been Metaxa Master since 1992.

Raptis is the fifth person ever to hold the title. A qualified chemist, he is part master blender, part perfume maker, part enologist, and wholly Metaxa magician. He has created some of the most remarkable styles in the spirit’s history, including Metaxa 12 Stars, Metaxa Private Reserve, Metaxa Angels’ Treasure, and the precious Metaxa AEN, a limited collector’s edition made from two hundred of the oldest blends in the Metaxa cellar.

The Metaxa Master is also a master of discretion: only two people know what goes into the secret bouquet of herbs that makes Metaxa what it is, and he has no intention of adding a third. “It is not necessary to reveal this information,” Raptis says when I ask him to tell me how many botanicals are used. “The only ingredient we speak about is the May rose petals, and then only because the scent is so distinctive that we cannot conceal it.”

I followed Raptis into the cellars, walking past vast cobweb-covered casks until we reached four barrels bearing the names of the founder and his family—Spyros, Despina, Elias, and Alexandros. “These are our oldest barrels,” the master reveals.

“They are from the early days of Metaxa, from the Piraeus distillery, and they are filled with blends that have been maturing for decades.”

Raptis speaks only in general terms about how Metaxa is made: the wine distillates are aged in French Limousin oak casks, blended with the best muscat, and then mixed with the secret Metaxa bouquet.

I later got my chance to taste some of the varieties at the House of Metaxa. I started with the Star collection, where the number of stars indicates how many years the distillates have been aged. I sipped a 5 Star, a flowery blend full of jasmine and violets, then progressed to the fruitier 7 Star, and then on to the 12 Star, a Raptis creation. This last blend is candied and rich, with dark chocolate, honeyed figs, and dried orange. It’s as sensuous and soft as velvet.

Finally, I tried the Angels’ Treasure, a spirit so nuanced and sophisticated you need a fine palate to savor its full expression. I tasted an explosion of spices—cinnamon, nutmeg, and cloves—but Raptis encouraged me to concentrate and to reach for the fruits—plums, prunes and oranges—and the peppers, tobacco, oak, and coffee. It’s a sensation, but I knew I didn’t get the most out of it. For me, it was like listening to an orchestral symphony when you’ve previously only ever heard “Chopsticks”; you appreciate the whole but might struggle to pick out the components.

Creating something new “is an inspirational labor of love,” says Raptis.

It brings into play all his skills and combines artistry with alchemy and science with creativity. And each new Metaxa blend carries the past into the future. That, for the master, is the greatest reward of all.

Visit Metaxa.com to learn more or plan a visit to the House of Metaxa.

H OW TO S E RV E M E TA X A Metaxa is very versatile, so you can enjoy it in a variety of ways. The Star collection styles can be served on the rocks but are also fabulous in a range of cocktails—served simply with lemonade or tonic water, in classics such as manhattans, sidecars, and mojitos, and in all-out extravagant concoctions produced by award-winning mixologists.

The premium varieties Private Reserve, Angels’ Treasure, and the astonishing AEN are best served as digestifs. Take your time with them and enjoy every note and flavor—you’ll be well rewarded.

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OR ANGE SUMMIT COC K TAIL

By House of Metaxa INGREDIENTS

PREPAR ATION

1 1/2 ounces Metaxa 7 Stars 1 1/2 ounces freshly squeezed orange juice 3/4 ounce fresh lime juice 3 dashes chocolate bitters 1/2 ounce liquid sugar cane

Frost the shaker and the glass beforehand. Pour into the shaker the Metaxa 7 Stars, the orange juice, the lime juice, the chocolate bitters, and the liquid sugar cane.

GARNISH Grapefruit Slice Orange Zest Chocolate Shreds

Shake and filter into the glass. Add the garnish and serve. Cheers!

Le monde

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Sunshine SPREADING MUSIC FOR KIDS AND THE

GROWN-UPS WHO LOVE THEM

BY SALLIE W. BOYLES PHOTOGRAPHY BY DAWN CHAPMAN WHITTY

I

n the past, a songwriter could earn a comfortable living behind the scenes.

Low-cost streaming and downloading have since reduced royalty payments, so now, more than ever, endurance in the industry demands great talent, originality, and effort. Ken Johnson and Andi Zack-Johnson, who are respected, award-winning songwriters with deep ties to Nashville, exemplify what it takes to make it in the industry by succeeding in projects they never imagined pursuing a decade ago.

The public may best recognize Ken and Andi as regular cast members of CMT’s I Love Kellie Pickler (2015–2017), a reality show produced by Ryan Seacrest. Exposing their naturally engaging personalities and friendship with Pickler and her husband, award-winning songwriter Kyle Jacobs, Ken and Andi are entertaining when they’re just being themselves. But when they step onstage to perform their

original music, they often pose as their alter-ego characters, Huck and Lilly.

It all began with a chance meeting. As the story goes, the two were enjoying the beachside deck of Bud & Alley’s restaurant in Seaside, Florida, when Andi, a native of British Columbia, spotted a fiddler crab.

“It scared me,” Andi confesses. “I’m from Canada!”

The male crab’s major claw is significantly larger than the other, giving him a Frankensteinish appearance. Ken, born and raised in Alabama, assured her that the crustacean would keep his distance, but he couldn’t explain the name fiddler. “I don’t know,” he told Andi. “He don’t play a fiddle!”

From those words, Ken and Andi wrote “The Fiddler Crab (He Don’t Play the Fiddle),” a breakout song on their first children’s album, There’s a Tree Growing in My Room, released in 2015. They also gave life to Phil the Fiddler Crab, a puppet ambassador for V I E MAGAZ INE . COM | 153

Le monde

Huck and Lilly—the stage roles for Ken and Andi, as well as their children’s music brand. Huck pays tribute to Huck Finn, a literary favorite of Ken’s, and Lilly to Andi’s favorite flower.

“We wanted to put ourselves out there as two best friends who play music, have adventures together, and help others,” Ken says. Accordingly, they are highly approachable and interactive with fans. Kids also love meeting Phil and Slo-Mo-Joe, a stuffed turtle who also has a song.

The personable characters also spread goodwill to Ken and Andi’s music industry pals. Phil (Ken) has interviewed numerous country music celebrities: Lee Brice and his brother Lewis, Kellie Pickler and Kyle Jacobs, Maggie Rose, Ashley Campbell, Craig Wayne Boyd, and Carolyn Hobby. The gregarious crab has also sat down with Andi and Ken (the latter thanks to Andi’s adept video editing). While lighthearted and kid-friendly, the puppets’ video spotlights amuse adults, who are also Huck and Lilly’s fans.

“Music for kids and the grownups who love them,” is a fitting tagline for Huck and Lilly’s catchy songs that target toddlers to seven-year-olds but hook multiple generations. During performances, the duo will inevitably spy older children mouthing the lyrics.

Somehow their teens—eighteen-year-old Marlee, now a college freshman, and fourteen-year-old Max, a freshman in high school—know every song!

WE WANTED TO PUT O U R S E LV E S O U T T H E R E A S T WO B E S T F R I E N D S W H O P L AY M U S I C, H AV E A DV E N T U R E S TOGETHER, AND HELP OTHERS. If not singing along, audiences are moving to the special harmony made with Ken’s deep voice and guitar and Andi’s high pitch and ukulele. Andi says she picked up the ukulele because it complements her tone, deeming it “her instrument.” She says, “I started playing five years ago. You can’t write a sad song on the ukulele!” (When Ken challenged her to do that, Andi began to sing, “I lost my ukulele . . .”)

Earlier this year, Huck and Lilly released their second album, Sunshine.

Considering the brand’s evolution, Ken admits, “The first album was organic and kind of slow-going with our writing songs and not knowing we were going to do an album.” Progressing, they wanted to do something that hadn’t already been done. For one thing, instead of sticking to a single genre, they let each song dictate if it would be country, blues, hip-hop, disco, or rock. A refreshing mix of dance music and ballads also kept the set list interesting. “If we were producing an album in Nashville,” Ken notes, “the publisher would ask, ‘What are you doing?’ and the label would say, ‘You don’t know who you are!’” That’s why they’ve produced their two albums in-house.

After writing their first song collection, Ken and Andi went to their friend Skidd Mills, an industry veteran with multiple Grammy and Dove Awards. “We felt he had been the missing link as far as the sound goes,” says Ken, “and we had great chemistry together.” Also, Ken points out, “We are not at the mercy of a studio.”

Skidd has one in his home, so they could work late into the night and set their own deadlines. They all believed that the first album was complete when the idea for “I Sat on a Porcupine” arose. “We wrote and recorded it in one day,” Ken reveals, reiterating that songwriting is all about inspiration. “Some songs, we’ll work on for a while and come back to them.”

Huck and Lilly exist to entertain children and inspire young ones to use their imaginations, insisting that not every song has to teach a lesson. Huck and Lilly have produced three singles from There’s a Tree Growing in My Room and four from Sunshine that have earned airtime on Sirius XM’s Kid Place Live, channel 78.

Followers may struggle to envision Ken and Andi outside Huck and Lilly, but their résumés prove their chops outside of the children’s genre. Ken’s includes cowriting plenty of hits: “Still a Little Chicken Left on that Bone,” released by

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Craig Morgan; “Beer on the Table,” cowritten with Andi and recorded by Josh Thompson; “You Dream I’ll Drive,” “Summer and 16,” and “White Van,” the three of which hit number one with Josh Grider; and “Every Time I Fall in Love,” recorded by Harry Connick, Jr., The Farm, Lisa Lambe of Celtic Woman, Clare Bowen from the show Nashville, and Kree Harrison from American Idol. (Moments after meeting Ken for the first time, Connick spontaneously invited him from the audience to perform “Every Time I Fall in Love” in a duet during a live episode of HARRY, his syndicated daytime show.)

Ken also cowrote the theme song for the 2018

motion picture American Dresser with ZZ Top’s Billy Gibbons and Tim Montana.

Andi’s song “Heart Shaped Locket” appears on Brothers Osborne’s Grammywinning Pawn Shop album. Josh Thompson, Danielle Peck, Etta Britt, and Drew Gregory are among many other artists who have recorded her music.

Andi additionally released her CD, Love Party, which features eleven songs written for the ukulele.

“We have a great network of friends in the music business who are like family to us,” says Ken. “It’s a community that rises up to help one another.”

Emulating that ethos, Ken and Andi launched Hit Songwriter House Concerts to inspire collaboration among songwriters and expose them to audiences, mostly

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Le monde

IT’S A COMMUNITY THAT RISES UP TO HELP ONE ANOTHER. along Florida’s Emerald Coast. “We write together and do private concerts,” Ken says. Usually, the concerts take place in private homes, although they book small public venues occasionally. Such intimate settings allow talents like Charlie and Dana Black, who have at least twenty number-one hits between them, to play their songs and share the stories behind their lyrics. With performances booked nearly every week, Ken informs, “We don’t have to advertise.”

Whether as Ken and Andi or Huck and Lilly, the songwriters are having the time of their lives and feeling grateful. “Andi and I aren’t the kind who would waste time worrying about why something didn’t work or wasn’t fair,” says Ken. Andi agrees. “You can sit around and complain about the industry,” she muses, “or you can find opportunities that reflect the way things are.”

Their words hint of more to come.

To learn about live shows, watch interviews, sample or download music, purchase signed albums and other products, or join the fan club, readers should visit HuckandLilly.com or go to Facebook.com/HuckandLillyOfficial.

Albums and songs are also available through iTunes. Find out about their songwriter concerts at HitSongwriterHouseConcerts.com.

Sallie W. Boyles works as a freelance journalist, ghostwriter, copywriter, and editor through Write Lady Inc., her Atlanta-based company. With an MBA in marketing, she marvels at the power of words, particularly in business and politics, but loves nothing more than relaying extraordinary personal stories that are believable only because they are true.

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Introspections

T H E

M O D E R N - D A Y

S A L O N

By Suzanne Pollak Photography courtesy of Charleston Library Society

B

orn during the literary movements in seventeenth-century France, the salon is a gathering of intelligent, like-minded people to discuss cultural topics such as literature, art, philosophy, music, and beauty. Usually, there is a single host to conduct this exchange of ideas, opinions, and perspectives. As the interim director of the Charleston to Charleston Literary Festival, I am no stranger to the concept of the salon. In fact, I was a proponent, instigator, and organizer of salons even before I knew what they were. The very nature of a gathering of two or more people to discuss social themes always seems like a good idea to me. Reading books, listening to music, and looking at art can be fantastic shared experiences. I’ve experimented with

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all kinds of salons and finally discovered the ultimate kind: the only effort involved is to have a good time and the only objective is to expand the mind.

I experienced my first salon in the company of my brilliant father. His extensive collection of books and ten thousand records traveled all over Africa with us, carried from library to library, house to house, country to country. When my Dad came home from the embassy where he worked with the CIA, he relieved his brain of diplomatic duties by reading philosophy or reciting Shakespeare, solving complex calculus problems, or listening to Verdi operas, Mozart sonatas, or the Modern Jazz Quartet—while drinking a whiskey, of course. It’s astounding when I

Suzanne Pollak’s Rainbow Row living room in Charleston, South Carolina Photo by Brie Williams

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Introspections

A new idea emerged: a modern-day salon series in beautiful spaces, organized by professionals, with intelligent authors, writers, and directors. Brain food galore!

think of the trouble he took to transport these cultural objects every few years or months to a brand-new world. He carried his beloved collection around like a turtle carries its shell.

African music and art were embedded in my bones, but my father’s intellectual passions stirred my curiosity. What was it about the records, turntables, recording machines, and tapes that fed his soul? To find out, I came up with my first salon even though I did not know that’s what it was. I asked my father to listen to opera with me, and so we began. I thought he was obsessed and wondered if a person really needed ten versions of Don Giovanni.

Can anyone actually tell the difference in who is singing? I learned the answers during our private salon afternoons in Monrovia, Liberia. I made cucumber sandwiches and tea because I thought that was an elegant thing to do while listening to music and reading librettos.

High schools in Monrovia were not noted scholarly institutions, at least not in those days, so I attended a boarding school in New Hampshire.

Culture shock ensued from temperatures dipping below my comfort level of ninety degrees to less than zero and mountains instead of flat Sahara surrounding me. Seeing snow for the first time made my head spin. Reserved New England personalities were a world apart from African exuberance, the architecture was completely different from what I had grown up with, and every aspect of life seemed foreign to me.

But my affinity for salons traveled with me to my new world. I invited new friends from Saint Paul’s School into the Old Chapel for an afternoon of talk and tea. Ours was a secret salon in a borrowed place, a space we had to sneak into. We stole snacks from a teacher’s lounge, drank hot tea from a Thermos, and talked about who knows what—some rubbish, I am sure.

Once our activity was discovered, the Old Chapel doors were bolted except during worship services. The powers that be probably imagined we were drinking and doing drugs, not discussing our elevated eleventh-grade ideas.

My salon concepts lay dormant for decades while I raised my children, but the ideas sprang to life again for two reasons when we moved to Charleston, South Carolina. Not only did my three-centuries-old townhouse on Rainbow Row make 160 | O C T OBE R 2018

the perfect setting for a salon, but I became friends with the ideal partner for one.

The two of us even came up with the idea at the same time. My living room felt like old-world elegance meets hip-hop cool, an excellent place for ancient ideas to intertwine with new concepts. We used my upstairs living room with pale blue Venetian plaster walls decorated with a collection of eighteenth-century armorial Chinese porcelain. Two curved couches surrounded a round dining table chopped down to fifteen inches off the floor, and overhead was a spectacular contemporary crystal chandelier. This design made space for conversation, cocktails, and connection on a deep, meaningful level.

My coconspirator and I decided seven was the perfect number of guests and implemented a rule that there were no spouses allowed. (We did not want the salon to turn into a cocktail party.)

Two problems emerged: the spouses wondered why they were excluded, and word got around. Other people wanted to come. When friends asked if they could join, how could we tell them no? Our well-intentioned salon all of a sudden felt wrong, clubby, and exclusive, so we let it fizzle.

A new idea emerged: a modern-day salon series in beautiful spaces, organized by professionals, with intelligent authors, writers, and directors. Brain food galore! I’ve been missing the salons I grew up with, with an organized time, place, and participants but no organized agenda aside from the arts as a subject. A salon is not about changing the world (no politics); it’s about improving, expanding, and putting a spark in a person’s life so there is a future gathering to look forward to. It provides a place where one can get outside oneself, whether it’s once a month or once a year.

The Charleston Library Society is the perfect setting for a salon, and it will welcome the Charleston to Charleston Literary Festival in its Main Reading Room this November. The beauty of the architecture, the good weather, and the history of Charleston seem to provide all the culture one might need. The city is also walkable, with world-class dining and entertainment. Charleston to Charleston will take place at the Charleston Library Society from November 8 through 11 this year. The lovely beaux arts building (built circa 1912) on lower King Street serves as Charleston’s living room. Thursday, Friday, and Saturday nights are held in America’s oldest theater, the Dock Street Theatre. The roster of world-class authors and

speakers includes Tina Brown, Earl Spencer (Princess Diana’s brother), John Avlon (CNN anchor) talking with Elliot Ackerman (novelist and former Marine), and Lynsey Addario (photojournalist); topics will range from Shakespeare to the impact and aftermath of World War I (this last will take place on the hundredth anniversary of Armistice Day).

by VIE). What better way to make new friends and expand your horizons with new ideas?

The schedule of literary events is balanced with a series of stimulating social gatherings. Some parties are in private homes and historic spaces that have held gatherings for centuries. These venues set the stage for authors and attendees to mingle. The festival is a salon in the truest sense of the word. Authors and speakers don’t give lectures; instead, they have conversations on stage with another noted person, exchanging important ideas. Participants become part of the discussion by attending the sessions and social events, from book signings to parties at night (i.e., the opening night party in the CLS Reading Room hosted

Suzanne Pollak, a mentor and lecturer in the fields of home, hearth, and hospitality, is the founder and dean of the Charleston Academy of Domestic Pursuits. She is the coauthor of Entertaining for Dummies, The Pat Conroy Cookbook, and The Charleston Academy of Domestic Pursuits: A Handbook of Etiquette with Recipes. Born into a diplomatic family, Pollak was raised in Africa, where her parents hosted multiple parties every week. Her South Carolina homes have been featured in the Wall Street Journal “Mansion” section and Town & Country magazine.

To see the schedule and purchase tickets to the Charleston to Charleston Literary Festival, visit CharlestonToCharleston.com.

Previous page: Front entrance of the Charleston Library Society Photo courtesy of CLS A salon in the Reading Room at the Charleston Library Society Photo courtesy of CLS

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Introspections

WE’RE ALL

NOW

BY NICHOLAS S. RACHEOTES 162 | O C T OBE R 2018

on’t just sit there; perform! The age of passively “soaking it up” is over. Passivity is passé, from talk radio to gaming, the visual novel, the classroom, and the concert stage. Wherever you go, the audience is the show.

the dinner table, the dialogue is supposed to convey the difference between argument and argumentation, to promote mutual understanding between speaker and listener, and, in the best cases, to arrive at the truth.

This art of conversation has always been an endangered species of performance and audience participation.

Whole libraries full of books, or should I say terabytes of literature, have discussed the aesthetic experience.

Philosophers have told us what beauty is. Critics have let us know what it isn’t. Neuroscientists are probably going to Google Map our brains, if they haven’t already, to let us know precisely where our sense of beauty resides. Authors, not yours truly, invite us to willingly suspend our disbelief and get immersed in the novel, the short story, or the play. Musicians muse over the rapture of melody, harmony, and dissonance.

Talk to a gamer, and she or he will tell you about the joystick of participating in alternative universes, some of which might trick you into thinking that you, not their digital architects, have created them.

Do you remember Adam Cadre’s Photopia, Andrew Plotkin’s Spider and Web, and Emily Short’s Counterfeit Monkey? Have you chosen among choices as to how to shape the story? I guess this means that you can elect to choose your own suspension of disbelief, but that’s a few too many suspenders for me.

Let’s take a look (if not a listen) to the captains of the kilohertz as they try desperately to save AM and FM radio from the assault of the internet. You and I get something like the unapologetic “This morning it’s all about the home team on your sports talk WSPT, the station that allows you to throw spitballs at the local nine, the local twenty-two, and the local five. Today’s subject is that seven-figure waste of a center fielder.

Dial 877-GET-LOST—that’s (877) 438-5678— and tell the world what you think.”

By the way, if the years haven’t obliterated my memory of college English, I think that this business of plot choices went beyond the confidants of insecure authors who used their pen pals as focus groups. Charles Dickens, for example, wrote two endings, one happy and one sad, for Great Expectations. In the happy version, the boy gets the girl. Now, I ask you, if Dickens were writing today, would that be the happy ending?

What elevates talk to a conversation? If you’ve ever spent time with a four-year-old little motormouth, you might disagree that speech is the outward expression of joy. If you’ve listened for more than ten minutes to any talk radio, when the blithering master of blather is trying to encourage anger, despair, and participation using the “hot take,” you might conclude that the airwaves have become the land of the joy of misery.

The gift of provoking imagined outrage over stuff that never touches the listener’s life can earn a host a more-than-indecent living.

Have you played Fortnite Battle Royale (while ignoring the spelling of it) or Grand Theft Auto or Overwatch until you were suffering from carpal tunnel syndrome and nearly overcome by hunger? I dare to think that the facial expression on a person deep into reading, gaming, or listening is the same. The philosophers and neuroscientists may not concur, but I suggest that the look is the outward sign of the performer, performing for an audience of the self. That’s about as far as I’m taking you into my alternative aesthetics.

In civil discourse, the sort one might hope to find in legislative halls, in classrooms at all levels, and even at

In dramas from Euripides through Shakespeare to even The Rocky Horror Picture Show, folks have been

hissing, booing, and whipping projectiles at stage and screen. Audience participation, or performance, has been evident from classical times to the present. From the original Olympics to the Roman arena, the Byzantine Hippodrome, the medieval lists, and now the brand-named stadia of our day, fans have voiced their displeasure or approval without hesitation.

However, if fans get creative, let’s say by dancing on the field while the game is on or using adult language regarding a player, the result can be more than annoying.

These efforts are rewarded with fines and even jail time. Part of the problem with baseball and the concert stage is that we not only want action but want to be part of the action. Since, as baseball is performed, three minutes or more elapses before anything noteworthy happens, you might want to bring knitting or your visual novel to a game and look up only when you hear the crack of the bat. I’m imagining a time when this tedium will be relieved by permitting fans to text players while the game is going on. I have no idea what to do about opera and the concert hall, although I’ve heard that rock acts take requests and even go outside their set to play them.

At this point, I’ve gone on for too long without asking you, the reader, to get involved, so choose from among the following conclusions: 1. Passivity is its own reward.

2. Until fans can vote on managerial decisions and baseball games are limited to the length of a movie, that sport is in real trouble.

3. There will never be an interactive opera or symphony.

4. There is no WSPT, but the not so “hot take” does exist.

5. “Don’t just sit there; perform!”

Wait, did I write that already?

Nick Racheotes is a product of Boston public schools, Brandeis University, and Boston College, from which he holds a PhD in history. Since he retired from teaching at Framingham State University, Nick and his wife, Pat, divide their time between Boston, Cape Cod, and the Western world.

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