WALTER Magazine - January 2022

The Art & Soul of Raleigh

JANUARY 2022

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ARTIST ANN ROTH MAKING A DRAG DIVA MARJORIE HODGES 2,022 REASONS WE LOVE RALEIGH

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DEPARTMENTS

Volume X, Issue 5 JANUARY 2022

OUR TOWN 25

FOOD: Southern Soul Tonya Council’s food traditions

44

SIMPLE LIFE: A Gentle Nudge Mysteries on the golf course

29

DRINK: In the Current A holistic approach to wellness

46

NOTED: Resolving to Practice Crafting an art, day by day

32

VAULT: Team Leaders Sports artifacts inspire resilience

35

NATURE: A Closer Look How caterpillars spend the winter

IN EVERY ISSUE

38

41

25

14

Editor’s Letter

18

Contributors

MUSIC: Defying Expectations The Veldt’s Chavis brothers

19

Your Feedback

21

Datebook

CREATORS: Salt of the Earth A shared passion, in business

85

The Whirl

95

Extras

96

End Note

On the cover: Sir Walter Raleigh by Ann Roth, photography by Joshua Steadman

10 | WALTER

Trey Thomas (TONYA’S COOKIES); Joe Pellegrino (DRINK)

29

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FEATURES

49

Work

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50

Beauty and Craft For Marjorie Hodges, home is the place to showcase art in all forms

by Ayn-Monique Klahre photography by Catherine Nguyen

60

76 12 | WALTER

Forward Momentum Four design projects that will change Raleigh in 2022

by Ayn-Monique Klahre, with Victoria Gallagher, Valerie Hillings, Nick Neptune, and Larry Wheeler

70

Off the Grid A New Year’s resolution inspired Ann Roth’s change in medium

by Colony Little photography by Joshua Steadman

76

A Diva is Born Dipping a toe into Raleigh’s drag scene, step by stilettoed step

by Billy Warden photography by Justin Kase Conder

Justin Kase Conder (EYELASHES); courtesy NC Freedom Park (PARK)

60

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s I sit down to write this letter, we’ve got holiday cards pouring in, stockings on the mantel, lights and garland outside dressing up our home. Two hours ago, I was up to my elbows in flour with my daughters, baking cookies. They’ve actually gotten to be pretty good helpers, now that they can handle the mixer and crack eggs without getting shells everywhere (most of the time). And yet they still end up with cheeks caked in dough and flour in their hair, a reminder that they can’t totally be trusted.

Each year, we make the same recipes: gingersnaps, snickerdoodles, oatmeal raisin, chocolate chip, and peanut butter.

The cookies are part of an annual holiday gathering, one my sister and I started over two decades ago. We wanted to host a party for our friends while we were home for college, but since we weren’t old enough to serve libations, we baked cookies instead. She’s kept up with the tradition, too, but as the foodie of the family, gets more creative with her recipes: menus past have included Mexican Wedding Cookies, Salted Spicy Double Chocolate Chili Cookies, White Chocolate Macadamia with Cranberry, and Cardamom-Orange Sugar Cookies.

We each keep spreadsheets. Mine has my five recipes and their ingredients, so I know exactly what to buy from the grocery store for maximum efficiency.

Hers has a list of all the recipes she’s ever made, with links to the recipes, cooking temperatures — and, of course, the ingredients. Type-A, anyone?

Despite all these efforts — and the joy that comes from this abundance of sweets and merrymaking — come January 1, I’m always ready to get rid of it all: the leftover cookies, the decorations, the cards. (Don’t worry, I keep the cards, and the decorations go back into storage.) I think it’s a natural instinct to clear the way for what’s to come in the new year — to wipe the slate clean, start fresh.

This year, the reset doesn’t feel quite as urgent as it did coming out of 2020. But I can assure you that my house needs it, my brain needs it, and my family needs

Marjorie Hodges, Ayn-Monique Klahre, and Laura Wall at Hodges’ home.

it. Last year, it seems, was a bit of an overcorrection for 2020: a few too many activities, just a little too busy.

All four of us found ourselves missing our unscheduled Saturdays (no soccer, basketball, gymnastics), taking time to sip coffee and read the newspaper, to slowly gear up for meandering hikes nearby.

And we need clean surfaces to make space for a season of puzzles and Lego projects, dioramas and origami and popsicle-stick houses. We need to make space so we can create again, together.

Anyway, my sister didn’t make cookies this year because she’s been busy making room of her own: she’s got a baby due January 1! We’re very excited to meet our new niece or nephew! If all goes as planned, the very best gift of our holiday season will be the very first miracle of our new year.

Ayn-Monique Klahre Editor

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EDITORIAL

PUBLISHING

Editor

Publisher

AYN-MONIQUE KLAHRE

DAVID WORONOFF

Creative Director

Advertising Sales Manager

LAURA PETRIDES WALL

Associate Editor ADDIE LADNER

Contributing Writers KARA ADAMS, WILEY CASH, CATHERINE CURRIN, JIM DODSON, MIKE DUNN, VICTORIA GALLAGHER, VALERIE HILLINGS, HAMPTON WILLIAMS HOFER, IMONYLOWD, COLONY LITTLE, DAVID MENCONI, NICK NEPTUNE, BILLY WARDEN, LARRY WHEELER, LORI D. ROBERTS WIGGINS, GIDEON YOUNG

Contributing Copy Editor FINN COHEN

Contributing Graphic Designer MORGAN GUSTAFSON

JULIE NICKENS

Senior Account Executive & Operations CRISTINA HURLEY

WALTER Events KAIT GORMAN

Graphic Designer ALYSSA ROCHEROLLE

MALLORY CASH, JUSTIN KASE CONDER, SAMANTHA EVERETTE, CATHERINE NGUYEN, S.P. MURRAY, JOE PELLEGRINO, BRYAN REGAN, JOSHUA STEADMAN, TREY THOMAS

Contributing Illustrators JILLIAN OHL, GERRY O’NEILL

16 | WALTER

JANUARY 2022 WALTER is available by paid subscriptions for $25 a year in the United States, as well as select rack and advertiser locations throughout the Triangle. Subscribe online at waltermagazine.com/subscribe For customer service inquiries, please email us at customerservice@waltermagazine.com or call 818-286-3118.

Address all correspondence to: WALTER magazine, 421 Fayetteville Street, Suite 104 Raleigh, N.C. 27601 WALTER does not accept unsolicited manuscripts.

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Please contact Ayn-Monique Klahre at ayn-monique@waltermagazine.com for freelance guidelines.

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Contributing Photographers

VOLUME X, ISSUE 5

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CONTRIBUTORS

Escape to the

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From world-class golf to local shopping and dining, our welcoming Southern hospitality is why people have been coming home to the Pinehurst, Southern Pines, Aberdeen Area for more than 125 years.

Plan Your SANDHILLS Escape today!

JUSTIN KASE CONDER/ P HOTOGR A PH ER With clients that span the spectrum from Otis Elevator to Nickelodeon, it’s the local, fun, quirky stories like these that fill editorial and commercial photographer Conder’s cup most. “I absolutely love that I live in the South and have the pleasure of sharing this story! The time, energy and enthusiasm these Queens dedicate to their craft is beyond exceptional — we had so much fun!” More of Justin’s work can be seen at his newly launched website, jkase.com.

Courtesy contributors

GIDEON YOUNG / W R I TE R A member of the Carolina African American Writers’ Collective, Young’s work has been in Journal of Black Mountain College Studies, Modern Haiku, and North Carolina Literary Review. His debut haiku collection, my hands full of light, was published in April 2021. A Curious Honeybee, his multimedia literacies film, was commissioned by the Arts Education Partnership and the Education Commission of the States.

Gideon is a Fellow for A+ Schools of North Carolina, a K-12 Literacy Specialist, and stay-at-home dad.

“Many stalks of this essay sprouted in conversations with editors, writers, and colleagues over the last year.

I’m thankful for the opportunity to unify ideas and embrace the presence of Grandma’s spirit.”

GERRY O’NEILL /

www.homeofgolf.com

LORI D. ROBERTS WIGGINS / W R I TE R Wiggins delights in telling the stories of people, places, and things. Her work spans three decades of reporting and writing across various mediums throughout the Southeast, including Midtown Muse, a weekly column in The News & Observer. Meeting Tonya Council was a “wow” experience for Wiggins, who fondly remembers Mama Dip’s Kitchen as a student at The University of North Carolina at Chapel Hill.

“We treated ourselves to dinner once a week, and often found ourselves there. Self-care at its best!”

18 | WALTER O'HENRY Magazine Jan - March 2022 Half Pg Ad.indd 1

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I L L U S TR ATOR The youngest of six kids, Gerry O’Neill always had someone to outdraw, outwit, or outrun.

With a degree in commercial art, O’Neill worked in Washington, D.C., advertising agencies before striking out as a freelance illustrator. He put down roots in Durham in the ‘90s and his love for North Carolina only grows stronger.

The state’s landscape has been a compelling muse, which he trys to to capture in oil paint. “Each painting or illustration offers me an opportunity to engage with a new place or viewpoint and bring a piece of myself in capturing its essence. Jim Dodson’s writing evokes a sense of wonder and humor that I’m privileged to bring my own wonder and humor to.”

FEEDBACK We love to hear from you! Tag us when you’re out and about — or cozied up at home with WALTER. “The whole December issue is a work of art — so many amazing pieces — and I can’t believe I got to be a part of it!”

—@Mickshulte on Instagram

Retirement living.

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Welcome to a life that’s anything but ordinary. When you Writer Ilina Ewen with Dr. Brian Jackson discussing his research with poinsettias for our December issue.

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OUR TOWN Ring in the new year with cultural events to broaden your appreciation of art, music, and history.

Bryan Regan

by ADDIE LADNER and KARA ADAMS

NOTED

JOHN CHAVIS MEMORIAL PARK: PAST TO PRESENT All month | Dusk to Dawn Head over to Chavis Memorial Park to check out their newest outdoor exhibit, Past to Present. The exterior features an extensive timeline of the park, starting in 1809 with Reverend John Chavis’ ar-

rival to Raleigh and continuing through its renovation last year. The interior highlights specific events in the park’s history with photos and first-person accounts, including the addition of a

miniature train ride in 1952 and the airing of Teenage Frolics from the park in the ‘60s and beyond. Free; 505 Martin Luther King Jr. Boulevard; raleighnc.gov/ chavis-history The Art & Soul of Raleigh | 21

KWANZAA FEST Jan. 1 | 11 a.m. - 4 p.m.

Celebrate the final day of Kwanzaa at the Durham Armory with a performance by the African American Dance Ensemble. Shop handmade accessories and cultural goods from vendors including Aumiitu Combs Creations, Martin’s Golden Threads, and Won On One Jewelry. Free; 220 Foster Street, Durham; aadekwanzaafest.com

ILLUMINATE ART WALK Jan. 1 - 7 | See website Catch the final week of Downtown Raleigh’s Illuminate Art Walk presented

by Wake Tech with a self-guided evening tour strolling through the streets of downtown. Experience brightly lit works of art of all kinds, including Meredith Conolly’s Mushrooms III in an alley off of Fayetteville Street, featuring glowing toadstools in a scene straight out of Alice in Wonderland, or neon artist Tayler Drattio’s Luxuriate in a shop window on Glenwood. Free; see website for locations; downtownraleigh. org/illuminate

ENO RIVER WINTER HIKES Sundays | 2 p.m.

Uncover the history of the scenic Eno River basin on guided afternoon hikes, where — if you like a little I-Spy with your fitness — you can work on completing the 12 challenges of the #SuperEno photo scavenger hunt.

Starting with bonus challenges on New Years Day, earn points towards a free 2022 Eno Calendar by visiting the river’s most iconic spots and snapping pictures along the way. Free; 4950 Howe Street, Durham; enoriver.org 22 | WALTER

THE UMBRELLAS OF CHERBOURG

AFRICAN AMERICAN HEROES AND SHEROES

Jan. 5 | 2 - 4 p.m.

It may be cold outside, but it’s warm inside the NCMA’s East Building SECU Auditorium, where they’re offering monthly matinees featuring old films. On Jan. 5, watch The Umbrellas of Cherbourg, a romantic musical of young lovers Geneviève and Guy who are torn apart by war and family. $5 for members, $7 for non-members, 2110 Blue Ridge Road; ncartmuseum.org

Jan. 15 | 11 a.m. - 12 p.m.

Hear narratives about the lives of noteworthy African American figures in history by riveting storyteller Linda Gorham. Rosa Parks, Barack Obama, the Little Rock Nine, Ruby Bridges, Dr. Martin Luther King Jr., and others will come alive in Gorham’s educational and entertaining performance. $8; 101 Dry Avenue, Cary; townofcary.org

MLK/FBI Jan. 13 | 2 p.m.

Spend Martin Luther King Jr. Day at the Cary Theater learning about the government’s recently declassified surveillance files in Sam Pollard’s 2020 documentary, MLK/FBI. The film follows the life of the civil rights activist up until his assassination, with a focus on the FBI’s harassment and interference with his work. $5; 122 E. Chatham Street, Cary; thecarytheater.com

ROOFTOP YOGA Jan. 16 | 11 a.m.

Stretch out with Oak City Yoga at The Willard Rooftop Lounge, where you can enjoy a view of Raleigh’s stunning skyline from the comfort of tree pose.

Relax during this restorative hour-long

LAKEA SHEPARD AT CAM

All month | see website See local artist Lakea Shepard’s first solo exhibit, Malik: Sovereign of Faith, on display at Raleigh’s Contemporary Art Museum. This collection of mixed media and textile sculptural masks is inspired by her parents’ work in textile production and mechanics, and includes three corresponding poems: Papa Said Girls Don’t Play With Guns, Culture Vulture, and He Loves Me Not. Be sure to look for Shepard’s signature red thread hidden within every piece.

Free; 409 W. Martin Street; camraleigh.org

NOTED

courtesy Kwanzzfest (KWANZAA); courtesy Willard Rooftop Lounge (YOGA); courtesy CAM (SHEPARD)

DATEBOOK

Courtesy NCMA (ART); courtesy NC Symphony (BROADWAY); courtesy Burning Coal Theatre Company (ART); Bryan Regan (ACORN)

practice and reward yourself with a celebratory mimosa after class. $15; 9 Glenwood Avenue; oakcityyogaraleigh.com

WINTER FULL MOON WALK Jan. 18 | 6 - 7:30 p.m.

Experience a rare opportunity to roam the grounds of the North Carolina Museum of Art under the stars — and in particular, beneath a full moon. Park programs manager Brye Senor will lead a nature stroll starting at the Eclipse then wander the moonlit grounds while soaking in the installations. Ages 16 and up. Free, but registration required; 2110 Blue Ridge Road; ncartmuseum.org

STICK FLY Jan. 19 - Feb. 6 | See website This timely play from the Playmakers Repertory Company explores themes of family, class, and race. What’s meant to be a leisurely weekend turns tense when two brothers show up to introduce their girlfriends to the family — only to find their mother missing and their father acting suspicious. From $20; 120 Country Club Road, Chapel Hill; playmakersrep.org

FIRST NIGHT

December 31 | 1 - 7 p.m.

NYC drops a disco ball, Atlanta drops a peach, Boise drops a potato… and here in the City of Oaks, we drop an acorn.

On New Year’s Eve, First Night Raleigh will return to the streets of downtown for a celebration that in past years has drawn up to 75,000 people. The fun starts at 2 p.m. with family-friendly activities on the Bicentennial Plaza, including a sleigh ride, a brightly lit ferris wheel, and a disco roller rink. Through the Children’s Celebration, young ones can ring in the night early with an acorn drop and fireworks at 7 p.m. For adults, the evening continues until the real countdown to the big finale at midnight, with performances from musical acts including Sonny Miles and Jack the Radio.

NOTED

From $12; downtown Raleigh; firstnightraleigh.com

THE BEST OF BROADWAY

ART

Jan. 21 & 22 | 8 p.m.

Hear the North Carolina Symphony and guest vocalists Alli Mauzey and Ryan Silverman perform all your favorite Broadway show tunes, including hits from musicals such as Little Shop of Horrors, The Phantom of the Opera, Chicago, and more, in a performance that will delight musical theater lovers.

From $26; 2 E. South Street; ncsymphony.org

Jan. 27 - Feb. 13 | See website See Burning Coal Theatre Company perform Yasmina Reza’s Art, a Tony Award-winning comedy that dares to ask the meaning of art — and friendship. This production features an all-Black cast in the roles of three mid-

CITY OF RALEIGH MUSEUM RALEIGH ROASTS Jan. 26 | 9 a.m. - 12 p.m.

Head over to The City of Raleigh Museum for their Raleigh Roasts, where you can browse both the museum exhibits and shop from vendors including some of Raleigh’s most beloved cafes and businesses. Purchase a $5 wristband to sample all that the vendors have to offer, including tasty treats and coffee, and take home a signature mug to commemorate the event. Free admission, $5 for wristbands; 220 Fayetteville Street; cityofraleighmuseum.org

dle-aged men whose long-standing relationship is comically tested by a blank canvas. “It’s about male friendship and bonding and how people view each other and themselves, and how easy it is to tear that veneer apart,” says artistic director Jerome Davis. “It’s easy to The Art & Soul of Raleigh | 23

BEST SELECTION OF ON SHOES

DATEBOOK see yourself in one or all of these roles and there’s truthfulness at the heart of the show that’s made it popular for 25 years.” Art is available to watch both live-streamed and in-person. $25; 224 Polk Street; burningcoal.org

RENT

North Hills 919.821.1556 shop online at: mainandtaylorshoes.com

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Jan. 28 - 30 | See website The Tony Award-winning musical RENT is coming to Durham as part of the 25th anniversary “Farewell Season of Love” tour. Jonathan Larson’s play, drawing inspiration from La Bohème, follows a group of friends in the East Village struggling to break into the entertainment industry during the height of the HIV/AIDS epidemic.

From $38.50; 123 Vivian Street, Durham; dpacnc.com

LA BOHÈME Jan. 28 & 30 | See website Speaking of La Bohème: delight in the wonders of Giacomo Puccini’s classic opera, centered around a tragic romance in 1830s Paris on Christmas Eve. North Carolina Opera’s performance marks the return of beloved characters such as Rodolfo and Mimi for the first time in the Triangle in eight years. From $43; 2 E. South Street; ncopera.org

AFRICAN AMERICAN CULTURAL CELEBRATION

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Jan. 29 | See website Join the North Carolina Museum of History for the 21st Annual African American Cultural Celebration: Black People, Green Planet: Environmental Justice. This online event, presented in collaboration with the NC African American Heritage Commission, will honor the contributions of the community to Earth through informative performances and presentations. Free but registration required; virtual; ncmuseumofhistory.org

FOOD

Southern SOUL Tonya Council blends the sweet and savory with life lessons from grandma

by LORI D. ROBERTS WIGGINS photography TREY THOMAS

W

hether she serves the sweet or savory course, Tonya Council channels more than the legacy of her grandmother, Mildred “Mama Dip” Council, the Southern food icon behind Mama Dip’s Kitchen, a staple in the Chapel Hill food scene since 1976. She also reaches for a blend of home-style morals, values, and ethics that are as soul-filling as any ingredient the tongue can taste, any dish the heart can embrace.

“We were all taught the kitchen aspects of life, but while we were cooking, my grandmother was planting seeds about other things,” Council says. “Life lessons: how to live and give back, the business side of things — and she was always preaching to us to help people, and how to do it. We were always taught to use the best ingredients, and to always put your heart into it.”

Council’s roots run deep as a chef, small business owner, and community advocate. She was raised by her grandmother

and mother, alongside seven aunts and uncles. “I was almost like the ninth brat,” Council laughs. “Whatever she taught them, she taught me — like to always help people and, if you don’t like the way it tastes, don’t serve it.” Since her grandmother’s death in 2018, Council’s aunts and uncles — and some cousins, too — oversee Mama Dip’s Kitchen.

Council struck out on her own, building a business that celebrates local food traditions. She owns Tonya’s Cookies, a baked-goods company, and is the curator The Art & Soul of Raleigh | 25

FOOD thickened. Add the chicken base and stir to combine.

Press one pie crust into the bottom of a casserole or pie dish. Pour in the chicken and peas and carrots, then pour the broth mixture on top; spread it out evenly. Place the second crust over the top. Using a fork, pinch the bottom and top crusts together, then cut a few small holes into the top pie crust to allow steam to escape.

TONYA COUNCIL’S CHICKEN POT PIE “This is one of my favorite dishes, something I grew up on,” says Council. “It’s almost a one-dish meal. You’ll have to make it to see why I love it so much!”

INGREDIENTS FOR FILLING 2 small potatoes, diced 2 cooked whole chickens

Bake for 35-40 minutes until the crust is golden brown.

INGREDIENTS FOR PIE CRUST 2 cups all-purpose flour, plus more for dusting ½ teaspoon salt 2/3 cup shortening 4 tablespoons cold water DIRECTIONS

4 tablespoons all-purpose flour

Mix flour and salt together in a bowl.

Add the shortening and combine using a fork or fingertips until the mixture turns to coarse crumbles.

Mix in the water, a little at a time, to bring the dough together. Divide into two, then refrigerate for at least 30 minutes or overnight.

1 16 oz bag frozen peas and carrots, thawed

When ready to bake, place the dough on a lightly floured surface to roll out.

2 cups chicken broth ½ cup butter 1 cup plus 2 tablespoons water 1 cup milk

2 ½ tablespoons chicken bouillon base 2 pie crusts (ready-made or using the recipe that follows) DIRECTIONS Boil the potatoes in a pot of salted water and cook until tender, about 10 to 15 minutes. Drain and set aside.

Remove the skin and bones from the chicken and dice the meat into bite-sized pieces to yield four cups.

In a large saucepan, combine the chicken broth, 1 cup water, and milk. Bring the mixture to a boil.

In a separate dish, combine the remaining water and flour; blend into a paste. Add flour mixture to the cooking broth and mix until well combined. Let the mixture cook for 15 to 20 minutes on low heat until

26 | WALTER

of NC Made, a specialty shop focused on local edibles at Crabtree Valley Mall. She also heads up the Sweet Tea & Cornbread Grill & Eatery at the North Carolina Museum of History.

“We’ve known Tonya for several years, and we consider her a good friend,” says Jo Wainwright, a co-owner of Little Switzerland-based Crow Bar Farm Foods whose goods are featured at NC Made.

“We like being showcased with the best of the best,” says Sharon Smith, the other owner of the food brand. “It’s a real privilege. She believes in our quality and it’s a big feather in our cap to be featured in NC Made.”

“Tonya and her family have elevated North Carolina food, products, and traditions from regional pride to a national conversation,” says history museum director Ken Howard. “We have been very fortunate to have Tonya bring her talents and unique Southern food items to create our museum restaurant.”

Many of the items Council offers through her cookie business and restaurant have origins with Mama Dip: Tonya’s Pecan Crisp Cookies, for example, mimic the taste of Mama Dip’s famous pecan pie, which is revered for its chopped pecans and the pecan brittle that bakes to the top. A spate of boredom years ago led Council to try to replicate the taste of the pie in a cookie. Her grandmother gave it a thumbs-up in a taste test, and with a few tweaks, she made the recipe official; light, crisp, and gluten-free.

On the menu at the museum grill, there are chicken salad sandwiches — inspired by Mama Dip’s classic chicken salad, served on a croissant — and a BLGT, which adds another Southern delight, fried green tomato, to the traditional BLT. “I stick to my roots, but I put my own twist on it as well,” says Council.

Council shops at farmer’s markets in Chapel Hill, Carrboro, and Raleigh for home and business, often buying from vendors who share fond memories of her grandmother and whose children also are stepping up as second-generation business owners. It’s one way she gives back to the community, Council says.

And last year, there was a big surprise: Council’s Pecan Crisp Cookies made it onto the holiday list of Oprah’s Favorite Things. The day the list was unveiled, Tonya’s Cookies received 500 orders.

The orders have kept coming ever since, straining store shelves and the cookie supply at Mama Dip’s Kitchen, Council says. Already understaffed due to the pandemic, Council had to halt operations at her baking kitchen in Chapel Hill and temporarily close the eatery at the museum to keep up with demand.

“It was overwhelming with all the making, baking, packing, and shipping!” she says. A boon to her business, but also challenging — and an opportunity to reassess. “It may be time for something bigger,” Council says of her baking space. And she’s starting to think aboug how to franchise the business in other states. “I’d like to show other people how to support local, give back, and help

other vendors get their products in front of people,” Council says.

Whether it’s for a giftable treat or a meal with family, Council believes in putting your heart into whatever you make, and only sharing the good. “To me, it’s all about comfort and food —

what you crave when you’re missing home,” Council says. “It’s about the Sundays, when people cook together, then sit down at the table to eat together, talk to each other, encourage each other, and enjoy that first good meal of the week.”

The Art & Soul of Raleigh | 27

WALTER EVENTS

INSPIRING A NEW GENERATION OF LEADERS

WIN i 20 22 Sunday, March 13 Market Hall, Raleigh

Join us for our fifth annual WINi summit celebrating young women, diversity and innovation. Hear female leaders in our community share their career journeys — from overcoming obstacles and pushing boundaries to achieving their goals.

Guests will also participate in workshops designed to sharpen problemsolving skills and creative thinking.

Heavy hors d’oeuvres and refreshments will be served For more information, please visit

waltermagazine.com/wini

DRINK

in the CURRENT Brit Guerin and Nathan Williams offer a holistic approach to wellness

by CATHERINE CURRIN photography by JOE PELLEGRINO

“I

ntegrating physical and mental health is so important to me,” says Brit Guerin. “You can’t really have one without the other.” Guerin, along with husband Nathan Williams, is the co-founder of Current Wellness, a comprehensive wellness center designed to provide a plethora of services including nutrition counseling, mental health support, and fitness opportunities.

Guerin has a long history in the Raleigh fitness community, with fans from cycling sessions at Flywheel, high-intensity interval classes at the YMCA, and pop-up fitness collective Raleigh Group Fitness. Guerin and Williams met seven years ago while both working in Wellness & Recreation at North Carolina State University. A professor in the university’s Parks & Recreation department by day, Williams manages the food and beverage portion of the Current. A foodie and a

part-time fishmonger at Locals Seafood for the past four years, Williams always had the itch to start his own food venture. He had a food truck in mind, but when they secured a bigger space than they were expecting for the Current, he shifted his vision toward a wellness kitchen.

In December of 2020, they opened Current Wellness on S. East Street.

“I knew I wanted to open a space that combined fitness with mental health The Art & Soul of Raleigh | 29

DRINK

THAI BASIL RICKEY INGREDIENTS 1 ounce Seedlip Garden 108 alcohol-free spirit 2 sprigs Thai basil 1 to 2 lime wedges ½ ounce lime juice 4 ounces Topo Chico or other sparkling water ¼ teaspoon minced Thai chile pepper DIRECTIONS Add lime wedges to a cocktail shaker and press 4 to 5 times with a muddler. Gently muddle in 3 to 5 Thai basil leaves. Stir in Seedlip, lime juice, and chile. Pour into a medium-sized tumbler glass, top with ice and Topo Chico, and stir gently with a bar spoon to combine.

Garnish with a sprig of basil.

therapy,” says Guerin, who is also a certified mental health therapist. Guerin and Williams chose this neighborhood intentionally. Not only do they live just down the street, but they felt it was in need of a collective space for physical and mental health. “Fitness and wellness services tend to be overrepresented in some areas of Raleigh,” says Williams.

“Southeast Raleigh doesn’t have as many of these businesses, and we wanted to be 30 | WALTER

part of addressing this disparity.”

Williams came up with the name for their business on an trip to Louisiana with N.C. State’s Outdoor Adventures program. While rafting on a river, he thought of the word current — and it stuck. “Current has so many meanings — it could be water, electricity, flow,” says Guerin. “We’re always evolving and changing like the current.”

Now, the Current offers fitness, yoga, and dance in its movement studio, with a pay-it-forward option to help fund someone else’s workout and a sliding pay scale for folks with fewer means. The other half of the 3,000-square-foot space is dedicated to mental and physical health.

There, Guerin offers appointment-based services with chiropractors, massage therapists, and nutrition and wellness coaches. The concept merges spa, workout, and counseling into one.

Williams and Guerin are grateful for the way the neighborhood has rallied around them. “I’m always humbled by the number of people who live nearby and sign up for a class or stop in for a First Friday,” says Guerin. “We’ll often hear things like, I live across the street and thought you only did yoga classes, but it’s so cool that you can see a mental health counselor here too.”

When Williams isn’t teaching, he operates the learning kitchen adjacent to the movement studio. “It’s the heart of the building,” he says. It’s not lost on him that Current Wellness is located in a historically low-income area at a time of rapid transition. He and Guerin provide food education through monthly cooking classes. “This space is where everything comes together,” says Williams. There’s also a wellness bar, a spot to pop in for a beverage — like mocktails, CBD drinks, and kombucha — or hang out after a class. “We really like to have non-alcoholic options that aren’t just sparkling water,” says Guerin. “A non-alcoholic cocktail can be a beautiful, special drink.”

Williams researched, observed, and experimented over the years to learn the art of bartending and develop his own signature drinks. He says that non-alcoholic drinks don’t have to be boring, or overly sweet and sugary. “A lot of times people think mocktails are just juice and sparkling water,” he says. “But we’re conscious of our ingredients — there’s bitterness, and spicy flavors.”

His Peppery Paloma and Thai Basil Rickey are both complex in flavor and with a faint kick of spice. Williams uses ingredients like Seedlip, a non-alcoholic spirit that has similar properties to gin,

mimicking the bitter flavor liquor adds to a cocktail. The Paloma uses coconut water and grapefruit juice as its base to provide the substantive feel of a mixed drink. Local ingredients like peppers and basil from their garden, as well as bitters from nearby Crude Bitters, give the recipes a personal touch.

On First Fridays, the Current hosts guided mocktail classes as well as “Make Your Own Mocktail” stations.

Guerin says that all of the Current’s services give the community a new way to approach wellness. “Integrative services encourage folks to think about their wellness in a more well-rounded way, which better serves them in the long-term,” she says. The duo has been buoyed by the community response, and can’t wait to see how their space continues to evolve.

“We weren’t sure what folks would think about all these things being under one roof,” says Williams, “but the large number of people who utilize our services tells me that we’re filling a need.”

PEPPERY PALOMA INGREDIENTS 2 ounces grapefruit juice 2 ounces coconut water ½ ounce lime juice ½ ounces Royal Rose Three Chile syrup Half-dropper of “Pooter” bitters from Crude Bitters Tajín seasoning (for glass rim) DIRECTIONS Fill a cocktail shaker halfway with ice. Add in all ingredients and shake vigorously for 10 to 15 seconds (this will help crack up the ice to give a slightly “slushy” mouthfeel; shake less if you want to keep it smoother and more liquidy). Rim a coupe-style cocktail glass with Tajín seasoning, then pour in the drink.

by Ed Howard, Joe Sears, Jaston Williams

February 4-20, 2022

theatreinthepark.com 919-831-6058 Starring Ira David Wood IV The Art & Soul of Raleigh | 31

team LEADERS Inside the history museum, modest artifacts speak to the resilience of Black athletes in America

by HAMPTON WILLIAMS HOFER

O

n the third floor of the North Carolina Museum of History is an exhibit with a winding, burnt orange path, painted with white lanes like a track, jerseys hanging overhead. You can almost hear the echo of cheers as you follow the track past cases where lights shine on game-winning balls and trophies once hoisted by sweaty hands.

This is the North Carolina Sports Hall of Fame, the permanent home to some 200 relics of Old North State sports heroes and their feats. Alongside the glass cases are champion driver Richard Petty’s stock car, an interactive monitor to test your sports trivia, and a scene of life-size replicas of basketball play-

32 | WALTER

ers — airborne in front of a screen that replays some of the best moments from monumental games.

Founded nearly 60 years ago, the Sports Hall of Fame inducts several new members each spring. Its home at the museum is a sea of familiar logos — wolves, heels, deacons, devils, and panthers — as well as household names like Michael Jordan and Julius Peppers. Hanging in the hall are Mike Krzyzewski’s Duke University warm-up jacket and Roy Williams’ signed #7 jersey.

And while basketball is king around here, the Hall of Fame pays homage to everything from billiards to hang gliding, recognizing the greats from all areas of sport, including journalism and medicine.

Images courtesy the North Carolina Museum of History

HISTORY

A jersey worn by Walter “Buck” Leonard. Opposite: With his team.

Beyond the glitz of the trophies and the glamour of the big names, there are two quieter stars: a simple white cap, emblazoned with “USA” above its navy blue bill, and a plain gray uniform with coordinating tie-up cleats. The cap shaded George Williams’ face as he coached more than 40 track and field Olympians, three of them to gold. The uniform is what Walter “Buck” Leonard buttoned up before each game he played as one of the most talented clutch hitters in Negro League baseball. These relics tell a story that is bigger than record-breaking stats and prime-time sponsorship deals — the stories of people who surmounted incredible obstacles to lay the foundation for many other North Carolina athletes.

George Williams was the head coach of the USA Olympic track and field team in Athens, Greece, in 2004. He had built a powerhouse track and field program at his alma mater, Raleigh’s own Saint Augustine’s University. During his four-decade run as head coach, his men’s and women’s teams secured an astounding 39 NCAA Division II National Championships, and an almost unbelievable 282 individual national crowns.

George Williams ranks third for the most championships in NCAA history, regardless of division, putting him well ahead of Nick Saban and Bobby Knight.

“You will never meet a more humble person than George,” says N.C. Sports HOF Director Bobby Guthrie. “When I was the athletic director for Wake County Schools, George always welcomed First in Fitness activities for our elementary and middle school students at Saint Aug’s. He has been around the world, is known around the world for his track expertise — but he will never talk about himself.” Three-time winner of The Order of the Long Leaf Pine Award — the highest civilian honor presented by thegGovernor of North Carolina — Williams was inducted into the N.C. Sports HOF in 2000.

The Art & Soul of Raleigh | 33

HISTORY Not far from George Williams’ hat, behind another glass case at the history museum, sits the uniform of baseball great Walter “Buck” Leonard: simple, gray polyester button-up shirt, emblazoned with the team name “HOMESTEAD” and matching pants. The Wilson tag on the shirt still reads number “44” with instructions to machine wash only. Tall navy knee socks with worn cotton loops hang above plain black, lace-up baseball shoes. Buck Leonard led the Homestead (Pennsylvania) Grays to nine consecutive pennants from 1937 to 1945. He was the Negro League’s all-star first baseman an incredible 12 times.

As a little boy growing up in Rocky Mount, Leonard would sneak over to the baseball field of the local white team and watch through the fence as they pitched and hit. He was once arrested peeking through that fence, but he never lost his obsession with the game. With no Black high school in Rocky Mount, Leonard went to work for the rail station after eighth grade, eventually playing semi professional baseball on the side. His contemporary, Dave Barnhill, once said of Leonard: “You could put a fastball in a shotgun

and you couldn’t shoot it by him.” Leonard worked his way to the Grays, widely considered one of the best teams in Negro League history.

“One of the highlights of the whole exhibit is the baseball uniform worn by Buck Leonard,” says Katie Edwards, the museum’s curator of popular culture. “He was a star first baseman during a time where African Americans were not allowed to play in the Baseball cleats majors. He was so good, in fact, that he was worn by Walter the first North Carolinian inducted into “Buck” Leonard. the National Baseball Hall of Fame.” Leonard, like George Williams, helped break the barriers for later Black Hall of Famers like Charlotte Smith, Andrea Stinson, Michael Jordan, and Julius Peppers.

Next to Leonard’s baseball uniform is a ball, dirty and worn, reminiscent of something from The Sandlot, with “Buck Leonard” written in careful cursive. There is nostalgia in the North Carolina Sports Hall of Fame, and there is also pride. “Having a history like this can only help our youth to reach for their dreams,” says Guthrie. “We not only have a history of Hall of Famers in this state, we have a history of the best of the best.”

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NATURE

Clockwise from top left: A Luna Moth cocoon; a variety of pupae; an open Luna Moth cocoon revealing the pupa; a Red-Spotted Purple larva inside its hibernaculum.

a CLOSER LOOK Unseen by most, many caterpillars spend the winter in our yards Words and photography by MIKE DUNN

A

walk in the winter woods brings crisp air, the sound of leaves underfoot, and an appreciation for the shapes and textures of so many plants hidden by leaves in the warmer months: birch bark releasing from a trunk in gentle curls, spiny grass that rises undeterred by the frost. But insects are generally absent from the landscape.

Where do they go?

Look closely, and you may see clues: a rolled leaf still attached to an otherwise

naked branch, an oblong tuft of fuzz under some loose bark, or maybe a brown nub attached to a dried stem with silk.

As varied as these discoveries are, they’re all the work of caterpillars.

I have an inordinate fondness for caterpillars, the larval stage of butterflies and moths. A lot of people either don’t pay attention to caterpillars or want to eradicate them because they “eat my plants.”

But caterpillars are one of nature’s most efficient means of converting the greenery that surrounds us into helpful

pollinators and food for other animals — and they become an amazing variety of beautiful and intriguing flying adults.

Throughout my career as an environmental educator, I have used caterpillars as a gateway organism to help people understand and appreciate our local fauna, as well as the native plants that benefit wildlife. They are abundant and easy to observe and most people aren’t afraid of them. In North Carolina, there are about 177 species of butterflies, and over 2,900 species of moths, so no matter where The Art & Soul of Raleigh | 35

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you live, you can find a variety of these fascinating larvae throughout much of the year — even in winter.

You may recall from grade school that butterflies and moths have four distinct life stages: egg, larva, pupa, and adult. A few species of butterflies spend the winter as adults. The Monarch undergoes a spectacular migration to warmer climates, but a handful of local species, like Mourning Cloaks and Eastern Commas, stay here, seeking refuge under loose tree bark or other sheltered places. It’s always a delight to see one flitting about the woods on a sunny day in January.

A few species of butterflies and moths overwinter in the egg stage. Others spend the winter as caterpillars. Wooly Bears, the larva of the Isabella Tiger Moth, get under a rock or log for protection. The Red-Spotted Purple caterpillar makes a tiny sleeping bag, called a hibernaculum, on its host plant, Black Cherry.

The larva chews away all but the base of a cherry leaf, then rolls it into a tube using silk. Look for these tiny rolled leaves on wild cherry twigs this winter — the silk keeps the hibernaculum on the twig after the leaves have fallen.

Most of our common species spend the winter as pupae. A pupa (Latin for doll) is a stationary, living, breathing phase that is the life stage where the miracle of metamorphosis occurs, as the crawling caterpillar is transformed into the winged adult. Many moth caterpillars

pupate in the soil. The caterpillar buries itself in an underground chamber and sheds its skin one last time to reveal a brown cylindrical pupa that resembles a small tapered cigar butt. You may have found these while digging in your garden.

A cocoon is a type of pupa wrapped in an outer casing of silk, and often other materials, as a protective covering. Once it is wrapped up, the caterpillar molts one last time inside of this chamber to form the reddish-brown cylindrical pupa.

Insects that create cocoons need to have a way to escape from it as an adult, as silk is a very strong substance. Most species do this by either cutting their way out or by secreting enzymes that soften the cocoon.

Some cocoons are constructed with oneway escape holes or with lines of weakness that allow for an easier exit.

Luna Moth cocoons are wrapped in leaves and are usually found on the ground — a fuzzy-looking bundle, with a final leaf layer. Look in oak and birch

trees for another species, the Polyphemus Moth. Wrapped in silk and a leaf, their cocoons are one of the easier ones to spot this time of year, as they stand out against an otherwise leafless branch and look like little brown holiday ornaments, dangling from a twig.

A chrysalis is the pupal stage of a butterfly. The word is derived from the Greek word chrysos, for gold, and refers to the metallic gold coloration found in some types of chrysalises. With so many hungry insect predators out there, most chrysalises are well camouflaged or hidden from view. Even the metallic colors on some, like the gold dots on a Monarch chrysalis or the silvery spots on that of a Variegated Fritillary, may resemble dappled sunlight through vegetation.

Swallowtail butterflies create a chrysalis that is generally attached to a vertical surface, like a plant stem. It is fastened by a silk pad at the bottom and suspended by a silk loop midway up, looking much like

a telephone repairman’s safety harness.

The result is a pupa that looks more like a broken twig than something a hungry bird might want to eat.

It often surprises folks to learn that so many of our butterflies and moths spend several months as a pupa, nearby but hidden from view, waiting until the right time next spring or summer to emerge and begin the cycle anew. For me, it is just another mystery that makes learning about caterpillars so compelling. It is also an important reason for the growing trend to “leave the leaves” in your flower beds, because so many insect species overwinter in leaf litter or on dry plant stems.

We don’t have to be like pupae in winter, stationary and wrapped up against the cold. Get out and enjoy the wonders of nature in this season of quiet beauty.

And as you walk in your yard or hike in a local park this winter, look closely to find one of our caterpillar friends in its seasonal guise.

The Art & Soul of Raleigh | 37

MUSIC Daniel Chavis, left, and Danny Chavis of The Veldt.

DEFYING Expectations The Veldt’s three-decade run shows no signs of slowing down

by DAVID MENCONI photography by SAMANTHA EVERETTE

T

hirty-some years ago, local musician Alex Maiolo walked into Chapel Hill’s Hardback Café and saw a band of young Black men called The Veldt. They were setting up on stage to play what Maiolo figured would be some variant of soul or rhythm and blues. He was neither the first nor last to be surprised: it was a wall of psychedelic rock, 38 | WALTER

the sort of music that was more typical for British bands.

“They were playing music you don’t often see being made by Black people around here, which was very striking,” says Maiolo, who plays these days in a number of local bands including Lacy Jags. “At a time when most other Triangle bands seemed to be wearing cutoffs and playing punk rock, they had it down

with dressing great, playing great, and looking cool and in control and putting on a show. They’re always early to the party with whatever they’re doing.”

Led by Raleigh-born twin brothers Daniel and Danny Chavis, The Veldt is still at it more than three decades later.

They’ve been around long enough to become a local-music institution, and to tour internationally, too. And they’re

still surprising people with a sound that is, as they put it, “between hip-hop and hillbillies.”

“That’s us, I guess,” Daniel says with a laugh. “It seems like we’ve spent half our career trying to explain ourselves.

We came up with all these bands around here like Superchunk, The Connells, Zen Frisbee, who were all friends of ours.

But because they were white, they could just go out and play without all the extra racial stuff we’ve had to put up with: getting called the N-word, stopped by cops.”

“Yeah,” says Danny, “I remember a traffic stop where they called for the canine unit, then asked if we played reggae.

Play me a song while we wait, the guy says.

Right.”

In spite of the travails, The Veldt has had a very fine run over the years, releasing a long string of albums on major and minor labels. The group’s best-known album is 1994’s Afrodisiac, released on Mercury Records, with the should-havebeen-a-hit-single “Soul in a Jar” — equal parts wall-of-guitar psychedelic-rock thunder and irresistible dance-floor pulse. In its wake, The Veldt toured with a long list of alternative-rock hitmakers: Cocteau Twins, Throwing Muses, The Jesus and Mary Chain, Echo & the Bunnymen, and The Pixies among them. “We played with all of them and not many Black groups can say that,” says Danny.

“No others, probably.”

“Daniel and Danny are not dependent on the vagaries of musical trends at a particular time — they’ve adapted and adjusted, they fold into the current matrix, but they’ve never chased trends,” says Dave Buriss, who played with The Veldt in the ‘90s and is now a television producer. “Whether you connect with them as a listener or not, their worst

stuff is always interesting, and their best stuff is genius — it’s beautiful.”

More than 30 years in, The Veldt remains highly regarded by their peers, even if commercial success has been more of a slow burn.“It would be nice to get some respect and more recognition while we’re still alive,” says Danny. “We’ve been told we’re ‘just too unique’ to sell.

But we’re not stopping.”

“When you look at the amount of time they’ve been able to be creative and continued to be a force, it’s clear they’re creative dynamos,” says Buriss. “The fact that they’ve been able to persist without imploding is not just a testimonial to their character but to their talent and persistence — they get knocked down, they get right back up.”

Thanks to extensive touring across America and Europe, The Veldt might be better known out of town than here at

Daniel and Danny; the 1994 album Afrodisiac

home. Playing psychedelic-rock festivals elsewhere got the Chavis brothers thinking that there should be similar events in their home state. That inspired them to launch the North Carolina Festival of Psychedelia in 2016, with a series of festival shows in Raleigh and elsewhere

“It would be nice to get some respect and more recognition while we’re still alive. We’ve been told we’re ‘just too unique’ to sell. But we’re not stopping.”

— Danny Chavis The Art & Soul of Raleigh | 39

MUSIC across the state.

Over time, the psychedelic festival has morphed into Noir Bizarre, a multimedia festival concept billed as Black-centered, bohemian, and inclusive.

The first installment in September 2021 featured the late New York critic/tastemaker Greg Tate’s band Burnt Sugar the Arkestra Chamber, playing alongside The Veldt in what the Chavis brothers called “a happening.” Set up in the former Taz’s grocery store on E. Hargett Street, the well-attended event intrigued passersby with its pumping bass, pulsing violet lights, and oversize signage declaring “I Have a Dreampop.”

Future installments of Noir Bizarre will be more ambitious. After a pop-up at City of Raleigh Museum in December, they’re working toward making it happen on a larger scale for this year’s Juneteenth, with local bands and deejays of all races plus out-of-town Black-rock legends like Fishbone and Living Colour.

It’s envisioned as an update of an event from more than a century ago, the Black sociologist/author/activist W.E.B. Du Bois’ 1900 Paris International Exhibit, “The Exhibit of American Negroes,” which had a goal of combatting racist stereotypes.

“That exhibit showed the many ways that Black people were living post-slavery,” says Daniel. “Now we’d like to showcase how Black people are living in America today. There are Black creators in all endeavors, and we want to focus on the art.”

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Local Presence. National Footprint.

RALEIGH 434 Fayetteville Street

CREATORS

General manager Sorena Dadgar along with chefs Chris Lopez and John Kleinert

SALT of the EARTH Building a business together around a shared culinary passion

by WILEY CASH photography by MALLORY CASH

T

he interior of the building is warm and smells like the ocean. The walls and ceiling are constructed of white corrugated plastic sheets, all of them glowing beneath the bright noonday sun. Nets hang from the ceiling above tables that hold large wooden trays, their bottoms lined with thick, restaurantgrade plastic.

Jason Zombron looks down into one of the trays of white crystals that seem to have arranged themselves in haphazard patterns. If you stare long enough, it appears that the ocean is in each tray, dozens of tides frozen in time, doing their best

to return to their previous form. After all, just a few days ago, this salt was floating somewhere in the Atlantic, but now it has made its way here to a piece of land in Burgaw, North Carolina, where Jason and his wife, Jeanette Philips, own and operate Sea Love Sea Salt Co. Jason picks up a small shovel and scoops up a load of crystals, which have hardened into countless geometric shapes, from squares to pyramids. Jeanette stands nearby. “I never get tired of this,” she says, her voice quiet as if she’s whispering a prayer. “Every time I witness it happen, it takes my breath away. It sits here with the sun and the heat until it’s ready to The Art & Soul of Raleigh | 41

CREATORS

Clockwise from top: Salt drying, a few of their products, and the buildings where Sea Love Sea Salt is created.

be harvested. We’re not doing anything to trays on tables throughout the salt house. make this happen.”

The trays will sit in the heat however long While heat and evaporation are the final it takes for the water to evaporate, leaving steps in creating salt, Jeanette and Jason nothing but the salt behind. actually do a lot to make it happen before The labor can be taxing, and that’s before it gets to that point. The venture begins in the harvesting and the blending of salt with Wrightsville Beach, where water is exother ingredients even begins, but Jeanette tracted from the ocean and pumped into and Jason delight in the work. After all, the a 275-gallon tank on the back of a trailer. chance to spend as much time together as From there, the water is transported to possible is what led them to step into the rural Burgaw and the 3-acre farm that business of making salt.

Jason and Jeanette own. The water is then “Whatever business we set out on, it had — Jeannette Philips pumped from the trailer to a second tank, to get us together,” Jason says. “That was the where gravity takes over and the real work most important thing.” begins. Jason and Jeanette fill tray after tray with water, “It feels great because we’re passionate about this,” Jeakinking the hose to stop the flow while arranging the full nette adds to his sentiment. “And it’s the first time we’ve got-

“It feels great because we’re passionate about this.

And it’s the first time we’ve gotten to do something creative together.”

42 | WALTER

ten to do something creative together.”

The two met on a blind date in Asheville. At the time, Jeanette was working in public health, and Jason was in sales for an outdoor provisions company. They both traveled a lot, and they wanted to spend more time together. Jeanette’s sister lived in Seattle, and so the young couple set their wagons west. They made a life in the Northwest, forging successful careers and raising two young children, and they soon realized that they were both interested in food, the growing of it, the preparing of it, and, of course, the eating of it. They also began experimenting with various ways of using different kinds of salts in their cooking.

While they loved living in the Northwest, they began to feel hemmed in by their careers and schedules and missed the sense of community they’d felt in the South. Jeanette was born and raised in Decatur, Georgia, and Jason just outside of Washington, D.C. “We wanted to live close to the water,” Jason says. When they moved to Wilmington a couple of years ago, they began to look for a shared business opportunity they could devote themselves to. They learned that Amanda Jacobs, the founder of Sea Love Sea Salt Co., was looking to sell her growing business. When they met with Amanda, Jeanette brought along a salt recipe she had developed back in Seattle. While there were other suitors who wanted to purchase the business, “No one else brought Amanda a salt,” Jeanette says.

Since purchasing the company, Jeanette and Jason have worked to develop new salts to add to a lineup that already includes citrus, Sriracha, rosemary, dill pickle, and others.

Two flavors they brought with them from their experiences in Seattle are herb and fennel, and they regularly test various salts at local farmers’ markets in Wilmington, tracking the responses of their customers. They also have a thriving connection with numerous local restaurants and breweries, most of whom pride themselves on sourcing local products, as do Jason and Jeanette. Almost all their salts are flavored with North Carolina-grown goods.

Aside from developing new salts, Jeanette and Jason are planning to develop the land where the business sits. While it contains the salt house and a warehouse, they are building a hoop house to double their capacity — important during the winter, when the time it takes for water to evaporate goes from 10 days in the summer to as long as three weeks in the colder months, when days are shorter. They are planning to host farm-to-table meals featuring local chefs and artists, and are thinking of other creative ways to invite the community to this wooded, quiet piece of land.

Jason pours scoops of salt into fine mesh bags that he hangs from the ceiling, salt that could have begun on the other side of the world, now suspended from the rafters in rural North Carolina.

“People come here for the ocean,” he says. “This is giving them the chance to taste it.”

+DSS\ 1HZ <HDU

The Art & Soul of Raleigh | 43

SIMPLE LIFE

Mysteries of the golfing universe

A Gentle Nudge

by JIM DODSON illustration GERRY O’NEILL

N

ot long ago, the host of a popular golf radio show asked me who I most enjoy playing golf with these days. We were discussing the various golfers and assorted eccentrics I’ve met, interviewed, and written about over a long and winding career.

“These days, I like to play golf with old guys,” I said without hesitation, “like my friend Harry.”

“So, who is Harry?” he asked.

Harry, I explained, is a gifted artist and nationally known cartoonist I’ve known for many years. He has a wry sense of humor, a beautiful tempo in his golf swing, and a refreshing take on life.

Harry is 76 years old, deaf in at least one ear, losing bits of his eyesight, and battling a rogue sciatic nerve in his left leg that sometimes makes swinging a club difficult.

He was once a splendid single-digit player who now aims for bogey golf, and never gets too rattled by whatever the game gives him. He accepts that bad breaks happen and are simply part of this maddening game, not worth fretting about. So are aging body parts that can’t propel the ball the way they once did.

Instead, Harry plays for the occasional fine shot, the rare good break, and the fellowship of his companions that includes a good 44 | WALTER

bit of affectionate needling and laughter. He’s never had an ace, but holds out hope of someday shooting his age, the proverbial goal of every aging golfer.

Though I’m almost a decade younger than Harry — he jokes that I am in pre-geezer in training — I love playing with him because he’s a model of what I hope to be in the shrinking years ahead: a man who’s loved the game since he was a boy and loves it just as much, though differently, as an old man. He’s living proof that the game can grow sweeter as the clock runs down.

Golf has been part of his life since he was 10 or 11 years old and an uncle allowed him to pick a club from a barrel of used irons.

He chose a battle-scarred 7-iron and the set that went with it.

“It was a set of Dalton Hague clubs, really beautiful. I played with them for years bragging that I owned real Dalton Hague signature golf clubs.” He pauses and chuckles. “They turned out to be Walter Hagen clubs that had just been beaten to death. But oh, how I loved those clubs.”

We often meet late in the afternoon for nine holes at a beautiful municipal course set on a wide lake well out of town, surrounded by mature hardwood forests with no houses, streets, or power lines visible anywhere. We often pause to watch the action

as shadows lengthen and nature reawakens — deer crossing fairways, waterfowl in flight. We rarely bother to keep a score.

We just play, talk, exist.

Harry’s favorite hole is the short par-4 seventh that angles down toward the lake, with an approach over a wooded cove to an elevated green backdropped by a breathtaking view of the water. He has sketched and painted it several times, aiming to get it just right. “Isn’t this something?” he’ll say with a note of quiet wonder, pausing before his approach shot that sometimes lands in the water of the cove, sometimes just feet from the pin.

If nothing else, getting older also makes it easier to laugh in the face of Father Time. “That’s the easiest 69 I ever made,” Walter Hagen – aka Dalton Hague – playfully quipped upon turning 69.

One afternoon not long ago, as we were watching a spectacular chevron of geese heading south for the winter over the lake from his favorite spot on the course, Harry told me a little golf story that speaks of wonder and mystery.

After Harry’s mom passed away, her final wish was that Harry and his younger sister take her ashes and those of Harry’s father down to a lake in a park at Carolina Beach, where the couple first met and later married. Harry promised he would do that. His sister was a busy surgical nurse. Her unpredictable schedule repeatedly delayed their planned journey to the coast. It happened month after month. One afternoon he was playing golf with a partner who was particularly wild off the tee.

“I was helping him look for his ball deep in the woods, when I stepped over a downed tree and saw a golf ball sitting on top of a rotting log — almost like someone had placed it there. I picked it up and tossed it over to my companion. But it wasn’t his ball so he tossed it back. It was a very old ball. When I looked at it, I couldn’t believe what I was seeing.”

The ball’s colorful logo read Carolina Beach.

One word was printed on the opposite side: Mom. “It sent chills down my spine. A day later, I drove my folks’ ashes down to Carolina Beach — four hours away — and spread them in the lake at a spot that meant so much to their life together. I felt real peace at that moment.” As he told me this, he pulled the ball out of his bag and handed it to me.

“I’ve carried it with me ever since,” he explained. “This game, this life, is wonderfully unexplainable, isn’t it?”

Simple coincidence or a gentle nudge from the golfing universe? Harry’s not sure. And neither am I. But that’s part of the wonder of this game.

As we played on, hitting occasional nice shots and mishits that will never be recorded, it struck me that there was, as usual, a nice little message in Harry’s seventh-hole homily, perfectly timed for a couple “old” friends on a golden afternoon at the end of their golf season. It’s yet another reason to be thankful for the game I aim to play, just like Harry, until I either shoot my age or simply fly away like geese in the autumn.

Jim Dodson is a New York Times bestselling author. He lives in Greensboro.

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NOTED

Resolving to PRACTICE A craft that’s an art, 365 days in

by GIDEON YOUNG

L

ate November, 2021. Our children are playing “ice cream store” and “toy store” with pennies and nickels. They’re almost ready for their next denomination, and I’m thinking of ways to clean and sanitize. I write a short poem.

It doesn’t ring as pure as their laughter, nor is it as well-wrought as their arguments, but I write it and save it with an exclamation point. This small poem holds significance to me beyond its language or imagery: it marks my one-year anniversary of writing every day.

Over 12 months, I wrote poems, essays, and beginnings of essays. I wrote children’s books and ideas for educational books. I wrote in form: kwansabas, tanka, and contemporary haiku. Most of my writing throughout the year was haiku — full with seasonal words, dreaming room, a focus on nature, and perhaps surprisingly to some, no adherence to syllables.

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I was not alone in this journey. My daughter, reading over my shoulder as I typed a few last lines before making breakfast, might say, “I like that, Dada.”

More than once I revised a poem by singing them as goodnight songs to my son, more variations than perhaps he wanted to hear. My laptop was always on, the slowly lengthening file open. Perhaps it helped to have one large digital sheet of paper. No time was wasted with file names, or new beginnings. old dimes coming to a shine at the bottom of a glass jar of dark cola

Getty Images

I had set aside creative writing as its own goal. Earlier in the year, during a critique meeting of the Carolina African American Writers’ Collective as we celebrated our 26th anniversary, members had discussed how marketing writing and creating writing are two different jobs. The brain cannot work on both at the same time. This shared wisdom helped me.

My stay-at-home dad schedule allows, on the most productive of days, two or three short opportunities for work. Like many of us, much of my work is composing and answering emails. Regularly, I also update a few websites, critique manuscripts, and collate submissions for publication. All of these actions include writing, but I chose to separate my yearly goal away from these business activities. Even during the three weeks I was writing four different Lexile level versions of my upcoming children’s book, I still wrote daily in my year-ofwriting-file. scrubbing sweet potatoes soap and red clay swirl in the sink

Much of my inspiration was life around me, but throughout the year, I discovered a few supportive practices that bloomed evergreen scents of inspiration and preservation. I welcomed natural cycles. In the beginning, my writing was full of Christmas lights, intergenerational moments of teaching, and mirth. In the spring I wrote about daffodils, the coldness of dirt, hope like reflected sunlight. When my grandmother died six days after her 104th birthday, all my writing breathed her life — her family’s midnight escape from Texas after Klan members burned their establishment; her completion of nursing school in California despite segregation preventing her from eating in the dining hall; how she and my grandfather, a medical doctor, birthed Black babies in Inkster and Belleville, Michigan. I still hear her voice. hummingbird inspects blue wind chimes Another practice was to focus on different forms of poetry. For a few weeks, I wrote kwansabas, which are African-American praise poems: seven lines, seven words in each line, no word more than seven letters. Then I focused on a different technical component of haiku each month: dreaming room, meeting the reader, juxtaposition.

November was full of tanka, a fiveline poem similar to haiku, with more narrative feel. I did not tie myself to judging improvement, only to the idea of practicing. holding the mug from Great Grandma with both hands

Sometimes, as I was writing, I would say aloud, “This isn’t very good.” But this unpolished writing ended up serving two purposes: to remind me of the true goal, and to write.

Before this year of writing, when I would sit down to create — which was not nearly as often as I wanted — I contained a stifling pressure to “write something superb” or reach an epiphany. I was not partitioning business from creation. I was trying to make something from nothing.

HELIOCENTRIC dear child, our sun does not rise. when the sun is hidden under earth, has not yet drawn itself as whole note on the rough line of horizon, know we are in its eternal view. to the Sun, earth and humans are just one speck of light coming home.

I believe in the energetic powers of humans, that those things upon which a person focuses their time, thoughts, and actions, are given strength to grow in their life. I did not enter into this journey with any business goals. I feel lucky to have had my most “successful” year of writing this past year — a debut haiku collection, two forthcoming books for young readers, a commissioned multimedia literacies film, and multiple award nominations. I attribute these outcomes directly to the long-term energy produced by daily creative work.

I have finished a year of writing every day. Now what? I learned early on that I have found a new way of life that mirrors the shifting shapes of light in my soul.

Having finished a year of writing, I am already amid the next.

Not every day contained gold.

Many days I knew the poem I was writing was trite, the dream boringly vague, the idea undefined. There was a freedom I found in practice: not everything needed to be publishable. I embraced the raw side of my writing.

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Essentials for Winter Adventure +

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greatoutdoorprovision.com Raleigh • Chapel Hill

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Work

by IMONYLOWD When obstacles and mistakes remind you that this year hasn’t been your best race, focus your thoughts on the fact that you are still running that life hasn’t sucked the necessary out of you that a new year is about to be born and you have another chance to raise it correctly this time don’t beat yourself up over defeats that didn’t destroy you today is the only person you have the ability to change, break down, and build into what you want it to be so work work on staying encouraged because there’s still purpose left in you that can bring life to all the right things work on finding space for healing so it can take up the room your past usually sleeps in

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work on walking in love so you won’t run people back to their scars work on loving yourself so you can be comfortable living inside of you work on getting yourself ready for the new year, so that when it comes you’ll be able to take good care

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SHIFTING VISION Two mixed-media works by Raleigh artist Tim Lytvinenko have pride of place in the dining room of Marjorie Hodges and Carlton Midyette’s home. Made in gold leaf and a photo transfer process, the images change with the light (the piece on the right occasionally reveals a nude self-portrait). The white terraform sculpture on the console is by Rosalie Midyette, Carlton’s daughter. Opposite page: Hodges loves to collect textiles, including these pillows made from traditional Guatemalan huipils.

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&

For Marjorie Hodges, living with art is a way of life

by AYN-MONIQUE KLAHRE

photography by CATHERINE NGUYEN The Art & Soul of Raleigh | 51

“I

believe passionately in the power of art, the joy of living with art, and the importance of supporting those that create it,” says Marjorie Hodges. “Art keeps me grounded and inspired.”

Hodges is arts and community advocate and co-founder of Artsuite, an online platform that showcases artists and collectors around the globe and provides a curated selection of works for purchase. “Both of my parents instilled in me an appreciation for art — both visual and performing — and nature,” she says. “That was my foundation.”

She studied art history and trained as a classical pianist — but majored in marketing and public relations instead, intending to start a more practical career in pharmaceutical sales. And yet she found herself visiting galleries instead of cramming for tests, a hint at her true passion. After working for Pfizer in her native Florida for a few years, she lived in Park City, Utah, where she had her two children, then moved to Raleigh. Here, she was able to transition her skills into the arts world, first working with Duke Raleigh Hospital to acquire work for patients’ rooms, then working for the former Flanders Gallery. Over the last 15 years, she’s held director positions at the North Carolina Museum of Art and CAM Raleigh, and she also serves on the board of the Dix Park Conservancy.

The earliest pieces Hodges collected were abstracts. “I first started with a color focus, and as I’ve gotten more confident in my taste, I’m more and more attracted to pieces with complicated processes or a strong message or story,” she says. “The more art I see, the more I’m able to glean from each piece.” She’ll pick up pieces on her travels, often simple, handcrafted items, like a bowl with ornate carvings. “Some of these pieces are stunningly beautiful, even though they’re made for utilitarian purposes,” she says. “Lately I’m especially drawn to textiles — I think because it’s such a global thing, women have been working with their hands to create textiles for centuries.”

In the modernist north Raleigh home in that Hodges shares with partner Carlton Midyette, their art collection merges textiles, pre-Columbian pottery, ceramics, contemporary photography, sculpture, and painting. “Living with art is one of life’s greatest pleasures. Most of the artists in our collection are friends. Each work has special meaning,” says Hodges. “The art brings our home to life and adds character and authenticity.”

The two add pieces little by little, as they find them. “I enjoy traveling to international art fairs like Art Basel, Frieze, and NADA — these give me a snapshot of the global art market — but I love visiting artists’ studios, artist collectives, and museums, too,” says Hodges. She advises others to follow their instincts and build over time. “Buy what you love and collect whatever you want to collect,” she says. “If you are able to invest in art, have an advisor guide you toward a few anchor pieces.”

Most importantly, display the work you love. “I hope to inspire people to live with art, whatever their taste,” says Hodges. “Art is something you’ll keep the rest of your life — you may change residence or update your furniture, but art is enduring.”

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FORM & FUNCTION This page: In the living area, a ceramic form by North Carolina artist Tom Spleth is mounted on a beam end left over from construction of the home. Bottom: A painting by Durham artist Beverly McIver is showcased as you descend the lower level of the home. “Beverly’s skills are remarkable and the soul of her work is palpable,” says Hodges. “She is a dear friend and such a wonderful mentor to artists in our area.

It warms my heart to live with this.” At the end of the hallway, a gold bench by North Carolina- and Mexico-based artist Randy Shull sits under a turtle shell found on the Outer Banks and a headdress from Zaire.

Opposite page: In the living area, a 1960s-era painting by Joe Cox, who was a professor at North Carolina State University, hangs above a Stickley cabinet from the early 1900s. On the cabinet are a Mimbres burial bowl in Thunderbird design from approximately 1000 C.E. in the ancient Southwest, as well as a snail bowl from Cajamarca, Peru, which dates from 300 B.C.E. to 300 C.E. Two glass sculptures by Dean Allison, who was a resident at the Penland School of Craft, are on view in the dining area.

“He takes the mundane — in this case a lunch bag — and turns it into something extraordinarily beautiful,” says Hodges.

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PERSONAL CONNECTIONS In the entryway, a print by Scott Avett sits above an Indonesian console table. Hodges got to know Avett through her friend and his bandmate, Joe Kwon. “Joe encouraged me to visit his studio, and I was absolutely blown away — Scott is an artist in every sense of the word,” says Hodges. She worked with him to present his first solo exhibit at the NCMA, and this piece, Color Wheel in Black, was part of it. Opposite page: On the screened-in patio, a pebble-shaped mosaic ottoman by Brooklyn artist Summer Wheat is both art and seating. “I hosted a dinner party to celebrate Summer’s show at SOCO Gallery and her installation at the Mint Museum, and she brought some of her work to share with the guests,” says Hodges. “But once I saw it in our home, I couldn’t live without it!”

The antlers were found on their property.

“Art is something you’ll keep the rest of your life — you may change residence or update your furniture, but art is enduring.”

— Marjorie Hodges

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TEXTURE PLAY In the living room, nuanced pieces complement the stonework in the fireplace. “We didn’t want to detract from the fireplace — that’s really the focal point, especially with a roaring fire,” says Hodges. The woven sculpture on the hearth, titled City of Fear, is by Mexican artist Manuela Garcia.

Hodges found it just before the onset of the pandemic, and its title ended up feeling prescient. “It just spoke to me, and as I learned more about it — there’s no metal armature below it, it’s just hand woven — I found it intriguing,” says Hodges. Above the mantel is a rice bowl from Laos, and inside the alcove is a ceramic pot by Tom Spleth. The pillows are a mix of Laotian batik prints and Uzbek weavings. “Living here with Carlton and merging our very different collections has broadened our perspectives as to what constitutes art. It’s been mutually enriching,” says Hodges. Though many of these pieces were found on her travels, we’re particularly lucky here, she says: “From the NCMA to CAM to Anchorlight, Artspace, and so many others, our region is rich with opportunities to view art.”

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QUIET SPACES Opposite page: The carved wooden doorway leading into Hodges’ study is an Indonesian wedding arch. Just beyond is a traditional Japanese Nihonga painting by Yuko Nogami Taylor, which was painted during the pandemic, and a red bench by furniture maker Randy Shull. This page: A hallway leads from the living area to the master bedroom. Here, wall hangings by Chinese artist Shen Wei move gently as one walks past. They were created during a performance at the American Dance Festival in Durham. “The dancers wore pads dipped in paint on their feet and hands, and the designs from their choreography were transmitted onto these cloths on the dance floor,” Hodges says, noting that Wei was the choreographer of the 2008 Beijing Olympics. Inside the office, quieter pieces help Hodges focus. The large photograph is by Texas-born, New York-based artist Allison Hunter, part of her series titled Recent Animals. The smaller work is by Susan Harbage Page, who lives and works in both North Carolina and Italy, featuring gouache over antique Italian book pages.

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A rendering of the grove at Dorothea Dix Park.

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courtesy Dix Park

Four design projects that will change Raleigh in 2022

forward

MOMENTUM

by AYN-MONIQUE KLAHRE

A

s we move into this year, there’s a shared sense of optimism and purpose.

Big-time projects, some decades in the making, will be coming to fruition. These offer an opportunity to reframe the conversation in Raleigh: How are we using our space? How are we portraying our history and using it to contextualize our future? Can our choices make Raleigh not just a place that we enjoy, but a destination for folks from further afield?

In downtown Raleigh, the North Carolina Freedom Park will open this year, a free public space to contemplate our complicated history and look forward with a shared goal: freedom. At Dorothea Dix Park, the Gipson Play Plaza will get underway, creating a destination for Raleigh’s newest generation to recreate and build community. North Carolina State University has commissioned a unique outdoor art installation from a globally recognized artist that will invite folks onto its Centennial Campus. And the North Carolina Museum of Art is overhauling its floor plan as part of its reimagining of The People’s Collection, challenging visitors to see the pieces we love with fresh eyes.

If the last two years have been ones of upheaval, then 2022 promises to be one of momentum: growing with what we’ve learned, gathering together, and reaffirming Raleigh as the place where we love to live. Here, we’ve asked community leaders involved in the projects to share, in their own words, their enthusiasm for these projects.

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North Carolina Freedom Park Rooted in history — and reaching toward the future

I

am honored to be part of a dedicated group of citizens who have been working together to make the North Carolina Freedom Park a reality. When it opens next year, it will be the first park in the state to specifically acknowledge and celebrate the Black experience.

America’s past is complicated. Moving forward requires that we acknowledge our unsettling history while celebrating the accomplishments of so many people who pursued freedom in spite of slavery, overt racism, and systematic oppression.

It took 20 years of committed effort to build a consensus and find the resources to bring this long overdue yet necessary space into reality. This journey started in 2001, when the Paul Green Foundation, a North Carolina-based group for advancing the arts and human rights, conducted a series of town hall meetings across the state to explore ideas to honor the African American struggle for freedom. I was privileged to attend and facilitate these meetings, where community members, educators, activists, and leaders came together.

They were truly inspiring. Participants shared their experiences and engaged in difficult, albeit transformative, conversations about experiences of race and racism. We considered what we would like to say — together, in public — to honor the contributions of Black and African American citizens and to come to terms with our history of oppression.

The result of all this effort was support for a public park to be built in the Capital City that would be commemorative, inviting, and educational. In 2004, a multiracial, statewide group was created, with support from the Paul Green Foundation and the state Arts Council, to pursue planning and funding for this monumental project.

Over the next few years, members of the board, committed citizens, and com-

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munity leaders engaged in site selection, artist selection, focus groups, planning meetings, and developing educational materials. Indeed, at one point, the suggestion was made that an apt memorial for this project would be a looping video of all of the meetings, discussions, and ideas that were considered!

The resulting vision is of the creation of a national-caliber park that honors the African American experience and struggle for freedom in North Carolina.

It will offer a different perspective into what public commemoration can look like. This park offers a place for school children, visitors, residents, and policymakers to learn about the contributions of African Americans, and to reflect upon the importance of full freedom for every citizen and the sanctity of justice and equality for all. There will be no statues of individuals in the park; instead, words will be our monuments.

Last year, the Freedom Park Board was awarded a $1.9 million grant from the Andrew W. Mellon Foundation as part

Freelon’s design envisions a beautiful green space adjacent to the General Assembly building and steps from the Executive Mansion. The roots of the trees in the park go deep down into history, while the light from the central beacon will shoot into the sky and the future.

The words inscribed on the walls of the park will be stark, sobering, and inspirational. Visitors will be struck by the beauty, resilience, and deep, indestructible humanity reflected in those words. A visit to Freedom Park will be an uplifting and transformational experience.

The Park’s design affirms that Black people have something important to say to the world about freedom. The people who can speak with the greatest power, conviction, and moral authority about freedom are the people who were denied it most completely: the people who were enslaved, and their descendants.

We were thrilled to break ground for the park last year. When it opens, we hope that if anyone, from any background, begins to take freedom for

“The people who can speak with the greatest power, conviction, and moral authority about freedom are the people who were denied it most completely.”— Victoria Gallagher of its Monuments Project Initiative, an effort to transform the nation’s commemorative landscape.

The NCFP Project was chosen for its innovative vision and design: the funds specifically support the construction of the park and the Beacon of Freedom, the pivotal piece of the park’s design, which was one of the last projects created by renowned architect Phil Freelon. It was his idea to illuminate the words of Black North Carolinians about freedom in order to reflect the deep roots of African American engagement in this state.

granted, or finds themselves discouraged or disillusioned because of hardships and oppression, that they will visit the Freedom Park. There, in the words of civil rights activist John Hervey Wheeler, they’ll remember that “the battle for freedom begins every morning.”

Dr. Victoria Gallagher is a professor at North Carolina State University. She’s on the board for the Freedom Park, and has consulted for Marbles Children’s Museum, Headstart of New Hanover County, and the North Carolina League of Women Voters.

Courtesy NC Freedom Park

by VICTORIA GALLAGHER

A view of the Freedom Park, looking southwest.

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Larry Bell in front of a mockup of part of the forthcoming art.

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Elevating NC State’s Design Reputation A destination art installation at Centennial Campus

by LARRY WHEELER

courtesy Chris Grunder, San Francisco

T

here’s a four-acre grassy plateau adjacent to the Hunt Library, the architectural gem of North Carolina State University’s Centennial Campus, and Fitts-Woolard Hall, its sleek new center for engineering innovation.

The lawn connects these two modern landmarks to clusters of red brick classroom buildings and residences. Intended to function as a central gathering place for the new campus, it has thus far fallen short of its potential.

Susan Woodson, wife of Chancellor Randy Woodson and an energetic arts advocate, views this spare plaza as an opportunity to animate Centennial Campus with art that reflects its mission as a center for innovation and invention. She contends, passionately, that the genius at work inside these surrounding buildings should be expressed in works outside of the buildings that arouse curiosity and bring people together.

the chance to help do something great for her alma mater. Within a few weeks, Lauren proposed that we consider the work of Larry Bell.

Bell is the preeminent artist of the Light and Space movement, a highly acclaimed and popular style of work centered around Op art, Minimalism, and geometric abstraction that emerged through the 1970s and 80s. His artistic explorations of the properties of glass are collected by art museums and sculpture parks throughout the world. (A series of his large red cubes was a centerpiece of the most recent Whitney Biennial in 2019.) Enjoying a renaissance of acclaim at age 82, we wondered: Would he be interested in taking on a big project for NC State?

In early 2020, Susan and a small group of local art patrons trekked to Austin, Texas, to see a new installation of Bell’s work and to meet the artist, who had

“Red and Whites, the installation now being fabricated, consists of a four-part series of large cubes — and cubes within cubes — in different variations of the color red. They appear to explode and break into component parts over a 40-foot square plot.”— Dr. Larry Wheeler When Susan asked if I would help her identify artists who could help accomplish these goals, I, of course, agreed to help. I pointed out two caveats that must be reckoned with, however. One was to find artists of international caliber who would accept such a commission.

The other was to manage the significant expense of doing it.

I described our ambition to Lauren Ryan, a highly regarded art advisor and partner with Anthony Meier Fine Arts in San Francisco — and a graduate of NC State’s Class of 2000. She jumped at

cubes — in different variations of the color red. They appear to explode and break into component parts over a 40foot square plot. The cubes will be large enough to invite visitors within and around them, as the interactions between the overlapping panes of glass change the shapes and colors that come into view.

Art newsletter Design Dispatch, which featured this project in its November issue last year, claimed that this may “very well be a pinnacle in Bell’s illustrious career — no small statement for an artist who has masterfully harnessed and manipulated the hidden qualities of glass for six decades.” In an interview, Bell adds: “Although we tend to think of glass as a window, it’s a solid liquid that has three distinctive qualities: it reflects, absorbs, and transmits light — all at the same time.”

When installed later this year, the Larry Bell project promises to elevate the design reputation of NC State and take the powerful interactive role of public art to a new level of international importance.

Larry Wheeler, Director Emeritus of North Carolina Museum of Art, is a consultant to nonprofit organizations on vision and resource development. He is currently advising regional universities on major arts initiatives.

agreed to come from his studio in Taos, New Mexico. In the parlance of New Age-y wisdom, the visit inspired a harmonic convergence of personalities and interests. He agreed to come to Raleigh to take a look, and he did in late February 2020, just before Covid closed down the world. The Woodsons’ hospitality only reinforced Bell’s commitment to create an ambitious, site-specific installation for that grassy plaza.

Red and Whites, the installation now being fabricated, consists of a four-part series of large cubes — and cubes within

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The People’s Collection, Reimagined A gallery refresh at the NCMA for its 75th anniversary

T

his is an exciting year at the North Carolina Museum of Art: 2022 marks the 75th anniversary of the North Carolina Legislature setting aside funds to start the state’s art collection.

The appropriation was unheard of at the time and drew national attention.

To commemorate this milestone and further that commitment to accessibility and inclusivity through art, we will transform our galleries through an exciting reinstallation: The People’s Collection, reimagined.

This new presentation will offer a more dynamic experience of the arts through thematic and interpretive galleries that connect the collection across place and time. The approach will be much like our recent, popular Interchanges series, which placed vastly different artworks side-by-side to start conversations. Visitors will be able to explore more of these cross-cultural connections — for example, encountering Mickalene Thomas’ Three Graces: Les Trois Femmes Noires, 2011, hung alongside British and Flemish portraiture from the 1500s.

This is the first complete reorganization since the opening of West Building in 2010. We are excited to feature major loans from regional, national, and international museums and new, site-specific commissioned works, alongside visitor favorites presented in new ways. It’s been two years in the making, and we worked with input from 11 consultants across North Carolina and the United States.

The goal of these changes is to broaden representation and narratives in the galleries, to connect national and global cultures to our own communities here

in North Carolina, and to transparently capture our shared histories.

I’m especially proud of how we’ll present the new American gallery, with ancient American and Indigenous art alongside visitor favorites like pieces from artists Mary Cassatt, Aaron Douglas, and Winslow Homer. I can’t wait to unveil these changes in October.

While the collection galleries are under construction, including the closure of the West Building starting June 1, there will still be so much to see and do inside the Museum’s East Building and on our campus. One exhibition, Fault Lines: Art and the Environment, on view this spring, will highlight contemporary artists’ responses to current environmental concerns through an immersive, multimedia exhibition and outdoor sculpture installations. It includes works by artists John Akomfrah, Olafur Eliasson, Christine and Margaret Wertheim, Allison Janae Hamilton, and LaToya Ruby Frazier. And this summer, we’ll celebrate the 25th anniversary of the Joseph M. Bryan, Jr., Theater in the Ann and Jim Goodnight Museum Park, so be sure to join us for musical and dance performances under the stars.

There’s so much to come. I hope to see you soon at your North Carolina Museum of Art.

“This is the first complete reorganization since the opening of the West Building in 2010.”

— Valerie Hillings

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Dr. Valerie Hillings has led the NCMA since 2018, driving record-setting attendance that broke one million visitors in 2020. She previously managed global projects for the Solomon R. Guggenheim Museum and Foundation and received her B.A. in art history from Duke University and her M.A. and Ph.D. from New York University.

courtesy North Carolina Museum of Art

by VALERIE HILLINGS

A visitor taking in the Interchanges exhibit.

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A plan for a waterfall at Gipson Play Park.

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A Place for Play Developing Dix as a destination for fun — and community

by NICK NEPTUNE

Courtesy Dix Park

L

ast month — or last year, depending on your perspective — Raleigh City Council voted unanimously to accept a $10 million donation in support of Dorothea Dix Park’s 18-acre Plaza and Play space from a Raleigh couple, Tom and Pat Gipson. Clearly in recognition of this generosity, the area will officially be called Gipson Play Plaza.

I’m thrilled by and grateful for this philanthropic largess, and frankly believe Raleigh Mayor Mary-Ann Baldwin’s assessment, in a recent interview in The News & Observer, that “this is a wonderful legacy, but it will be a legacy all our children can enjoy… this is a special moment for all of us and Dix Park.”

In its Master Plan, the transformation of Dix’s sprawling 308-acre landscape is guided by three core principles: to “open up and connect,” to build upon what is already there, and to offer something for everyone. Phase One of the plan includes physical improvements to approximately 120 acres of the park designed to facilitate more welcoming edges along Western Boulevard and Lake Wheeler Road. It includes the restoration of Rocky Branch Creek (water feature!), rehabilitating some of the existing buildings (historic preservation!), and the creation of a main gateway landscape featuring civic plazas and gathering spaces (community wellness!). This is the area that will include the Gipson Play Plaza.

Since last August, I have had the privilege of serving on the Dorothea Dix Park Community Committee, an advisory body featuring a cross-section of folks of all ages, backgrounds, and abilities that live in Raleigh and the greater region. Being engaged with the worldclass designers and landscape architects leading Dix Park’s development, Michael Van Valkenburgh & Associates, has been a constant source of joy and wonder.

From Zoom calls and site visits to public

forums and post-work session drinks at Whiskey Kitchen, there’s been no doubt about the team’s enthusiasm and dedication to one of this nation’s most exciting park projects in a generation.

expanding opportunities for each other.

The ground-breaking for the initial phase of Gipson Play Plaza at Dix Park is set for July — and I sure hope to see you there.

“It’s open and inviting, an environment that uplifts and excites, a place for community, connection, and conversation; or, as the planning team likes to say — nearly an incantation — ‘a park for everyone.’”— Nick Neptune From one meeting to the next, seeing our ideas come to life — from grand entry plazas to iconic art features, cultural preserves to cookout zones, play spaces, and community gardens accessible to all ages and abilities — we’ve truly been witness to the design and development of an aspirational space. It’s open and inviting, an environment that uplifts and excites, a place for community, connection, and conversation; or, as the planning team likes to say — nearly an incantation — “a park for everyone.”

The site, which sits on the eastern edge of the park, adjacent to Lake Wheeler Road, will offer an experience unlike any other in the Triangle, including climbing towers, a slide valley, waterplay mountain, a beautiful plaza and waterfall, and a picnic grove, all embedded within a garden setting.

Ultimately, Gipson Play Plaza at Dix Park is an investment in us and our growing city. It’s an investment in our shared spaces, what American sociologist and urban studies scholar Eric M. Klinenberg calls our “social infrastructure” in his critically acclaimed work, Palaces for the People. It’s a civic space in which we can see and meet each other and realize how we all want to keep a roof over our heads and food on the table; to realize and reaffirm that we each have a role to play in

Nick Neptune is the associate director of advocacy and education for WakeUP Wake County, a nonpartisan nonprofit that promotes smart and sustainable growth policies related to housing, transportation, and infrastructure; he’s also a member of the Dorothea Dix Park Community Committee.

The Art & Soul of Raleigh | 69

70 | WALTER

Known for her textiles, artist Ann Roth explores a new medium

OFF

G R I D e h t

by COLONY LITTLE photography by JOSHUA STEADMAN

The Art & Soul of Raleigh | 71

I

n 2018, textile artist Ann Roth made an unusual New Year’s resolution: “No straight lines and no right angles.” For an artist who spent the majority of her career on a loom, where the symmetry of weaving leaves little room for error, this was a radical departure from her previous work.

Roth made a name for herself by dyeing and weaving vibrant wall hangings, playing with the colors in the warp and weft — the interaction between the vertical and horizontal yarns — as they wove over and under each other to create intricate, layered patterns. She had success in this medium, with solo shows at the Gregg Museum of Art & Design as well as through the Wilson Arts Council, and she displayed work at juried shows across the United States. But she started to feel confined. “It takes so long to weave that you can’t experiment as you’re working,” she says. “It began to feel like I was cooking with a recipe.”

Her first step toward keeping her resolution was to create some space in her studio, a modest room within her home. She loaned her loom to one of her former students at Meredith College, where she taught between 2001 and 2014, which cleared up some physical space. And once she was free from the constraints of the studio equipment, she found the mental space to explore a creative path that was more suited to the joys of discovery. Amid a break from the yarns and calculated over-unders of her weavings, Roth found herself leaning toward more organic shapes inspired by ocean waves and verdant gardens.

72 | WALTER

At first, she experimented with new methods and materials that mirrored the motifs found in her woven work. “I was painting pieces of bristol board and cutting them into quarter-inch strips and weaving them together to try to emulate the ikat,” she says, referencing the traditional Indonesian textile patterning that she often featured in her woven pieces. “I was continuing to play with optical color mixing — you’ve got one color on the warp and one color on the weft and when they intersect they make a new color.” But as her process evolved, she disconnected from the weaving. “I thought, I’m not going to do strips, I can follow these paths that I’ve woven — that’s when I started cutting things apart,” Roth says.

A surprising material, Tyvek, be-

came her new canvas. Often found in construction projects, this waterproof, flexible nonwoven material bridges the space between paper and fabric, with the heft to hold a form and a bright white surface begging for color. Roth paints both sides of the material in various patterns and hues, then cuts it into curved strips that she weaves by hand into interlocking shapes or lets hang free. The lightness of the Tyvek allows her new practice to take on larger, more sculptural shapes — moving from her two-dimensional weavings into 3D forms.

Her early experiments in the medium recalled the overlapping shapes of her textile days. This new, more fluid expression radically changed the artistic direction of her work, and over the last

LAYERED LOO K This and oppo site page: Two wall hangings by An n Roth. The ar tist creates the pi eces by paintin g on both sides of a length of Ty vek, a waterproof no nwoven cons truction material, then cutting those into organic strips.

She weaves th e pieces togeth er to create he r sculptural piec es.

The Art & Soul of Raleigh | 73

CESS

VE PRO

a ing on h work t o R ts a n in ge: An s or pa This pa f e draw h s c , t ie s p eo . Fir es of a id project s h . t strips onto bo it into design he cuts s gths of n n e h le t Tyvek, ing the ld ns. fo d g an teractio Twistin erent in iff d n e o t a re work Tyvek c Roth at e page: it s r. e o v p o p c O ary R’s Janu WALTE

CREATI

74 | WALTER

few years her pieces have become larger and more dimensional, popping off walls or suspended from ceilings. Her work changes constantly — scraps from previous weavings make their way into new ones in an organic process. For the cover she created for this issue, she used both new pieces and ones left over from previous work to create Sir Walter Raleigh’s vibrant portrait.

In January 2021, she completed an installation at the Village Library called Leap. The large-scale piece consists of three separate panels, which were suspended from the library atrium. The colors and patterns revealed themselves in different ways depending on the perspective the piece was viewed from. One side showed various shades of green, from deep forest hues to softer, mossy ones, while the other side resembled the explosive patterns and colors in a kaleidoscope ranging from persimmon, pink, turquoise, and cobalt blue.

Roth created Leap during the turbu-

lent summer months of 2020. The colors woven together represent ideas and people coming together, while the green represents growth. “I’m not taking on social issues directly, specifically, or literally,” says Roth. “I’ve always seen the world abstractly as patterns and colors.”

While her eye is in abstraction, she also grounds her work in the meditative and contemplative characteristics of her process and the viewer’s experience with the work. “I’m hoping that art is a way to bring people together,” she says.

In December, Roth reinstalled Leap at Wiley Magnet Elementary School, where it is currently on view. Her work in Tyvek has also been displayed on the walls at Cup A Joe on Hillsborough Street, and she was one of the first artists on exhibit at the newly reopened Pullen Arts Center.

In many ways, Leap is her magnum opus. It personifies Roth’s bold decision to part ways with her loom to venture into new artistic territory. But after four

years working in Tyvek, she just might reconsider textiles. “I’m kind of ready for a new change,” Roth says. “I still want to deal in color, but there is something that’s calling me about making more fabric.”

It’s an approach towards change that encourages others to embrace the unknown with both courage and grace.

“My journey was slower than others, but lots of great things have occurred along the way,” she says. “We need to feel good about doing things in our own time and our own pace.”

The Art & Soul of Raleigh | 75

Dipping a toe into Raleigh’s drag scene, step by stilettoed step

a

diva is BORN

by BILLY WARDEN

T

photography by JUSTIN KASE CONDER

he wig is a worry. Dark, tangled, and sky-high, it makes me look like Cher suffering an electrocution amid a tornado.

I frown into the mirror.

“But isn’t ‘rock’n’roll’ the vibe what we’re going for?” asks Brandon Moore, also known as drag impresario Kayla LaShay, fluffing the wig to greater heights.

True, the drag persona I’m bringing to life with the expert help of Brandon and Justin Burleyson (aka Emory Starr) is a bad girl. But does the wig make her less like a stormy rebel and more — as my bemused wife suggests — a hot mess?

“Well, remember, you don’t have your face painted on yet,” counters Justin.

True, we still have miles to go — some in death-defying heels — on this possibly ill-advised adventure.

I’ve signed on to create a drag charac-

76 | WALTER

ter who will perform at the monthly revue Brandon runs at the Hillsborough Street bar The Green Monkey. As drag rises in popularity around here, I’m going undercover — not to mention layers of foundation and “juicy” padding — to understand the scene and its increasingly wide appeal.

“There used to be one drag show per week, at one location in the Triangle, and a dozen or so queens,” says Brandon, who’s in a financial job by day.

“Now there are several shows each week at all different places, and hundreds of queens.”

Brandon, a Triangle drag star for half a decade, signs on as my “drag mother,” as mentors are known in the biz. Justin has offered an assist (my drag aunt, I suppose).

With four weeks to showtime, here is how a one-and-done diva is born.

The Art & Soul of Raleigh | 77

THE CHARACTER Before committing to such a fullbodied investigation, I scoped out a drag dinner featuring Brandon and Justin at Clouds Brewing. The audience was a rainbow mix of enthusiasts, including a straight couple on their first date, colleagues out for beers, and an 11-year-old who bugged her mom to take her after marveling at a drag character in the Just Dance video game.

Escapism and empowerment had attracted two young women. “It’s inspiring to see people be so fearless about who they want to be and how they want to look,” said Nicole Hall.

Added her sister Michelle: “I want to be ‘me’ with THAT level of confidence.”

Hmmm. Fearless confidence? Sounded like a crash course worth taking.

“When I become Kayla,” Brandon later confirms, “all my insecurities go away.”

Sprouting up in tiny Princeton, North Carolina, young Brandon hung out with family matriarchs in the kitchen while the men worked on tractors. He was drawn to drag, and for a high school talent show made up a male pal as — who else? — Cher. But Brandon didn’t give drag a whirl himself until being gobsmacked by a revue at Raleigh’s Legends nightclub. Soon after, Kayla was born.

Now, he says, “Kayla is fierce and unstoppable.” Not unlike Justin’s alter ego, Emory Starr. “Out of drag, I’m an introvert; in drag, I’m an extrovert,” says Justin, who grew up in Mount Pleasant. “I act sweet, but when you talk to Emory, things get naughty.”

In other words, Kayla and Emory are larger-than-life projections, “characters,” Brandon explains, created by performers “who are not all gay and who might even be women.” Smack-talking superheroes built for the stage, these queens don’t wear their drag rags at home any more than Tom Brady wears his gridiron gear while grilling out. Says Justin, “Most drag queens just dress up for shows — it’s just a hobby or career.”

The first step, then, is to create that outsize persona. I think about all the people I’m mindful to please — day

78 | WALTER

Clockwise from top left: Billy Warden works with Brandon Moore (left) and Justin Burleyson (right) to test out a few elements of a future drag persona.

in, day out, professionally and socially.

What if I just didn’t care who was happy with me or not?

A character takes shape. I email Brandon: Her name is Debbie D. Lirious.

Once a cheerleader and member of her small town’s elite. Then brought down and cast out by vicious rumors — some of which were likely true. She now lives by her own rough-edged rules, while still possessed of cheerleader zest.

An agonizing day passes before Brandon replies: Debbie is spectacular!

We have a persona. With three weeks until showtime.

THE LOOK To clothe our creation, I head to Brandon’s gleaming mid-century ranch in south Raleigh, where the wardrobe room barely contains the riot of sequined gowns and headdresses he creates on his Singer sewing machine.

The colors rival a jumbo box of Crayola crayons. Plus: wigs, bracelets, rings, necklaces, tights, scarves, shoes — a sugar shock of bling.

Brandon has pulled a bedazzled beige jumper ringed by a skirt of shiny royal blue ribbons.

“The skirt will give you some flow,” he advises. “And it says cheerleader.’

The dress settled, it’s time for what I expect will be, based on what I’ve heard, a religious revelation: the shoes.

Drag queens achieve a good deal of their majesty by tacking on heels so they tower above mere mortals. Justin — a pastry chef by day — offers a pair of silver, size-11 stilettos. But when I stand, the world is made of Jell-O. I teeter and lurch and pray for deliverance, finally plummeting back into the chair.

An ominous silence frosts the room.

Brandon perks up, “Let’s try a chunky platform.”

Five minutes and one nearly broken ankle later, it’s clear that heels, no matter how chunky, are hazardous to my health.

Facing a crisis, I venture, “You know, Debbie is a former cheerleader …”

Justin catches my drift, “ … and cheerleaders don’t wear heels …”

Brandon completes the picture, “ …

The Art & Soul of Raleigh | 79

they wear sneakers.”

Saved! My trusty Converse will do.

Now the transformation heads north.

Hours earlier, I bought my first bra from a purse-lipped woman at Belk who avoided small talk. After fastening me in, Brandon fortifies each 38-D cup with flesh-colored bean bags. So equipped, I feel like I’ve tightened on my boldest tie for a business pitch. I’m battle-ready.

Finally, that electrocuted-Cher wig.

After hashing out its merits and demerits, Brandon reaches for a high box in the wardrobe room closet and gently lifts out an alternative, a sassy halfblack, half-blond bob that we all agree is deliriously right for Debbie.

We’re still in business. With only two weeks until showtime.

THE MOVES The all-important song we’ve selected for hellraiser Debbie to lip-sync and jive to is Joan Jett’s poundingly primal “Bad Reputation.”

I’m pretty sure I have moves — I’m built wiry, prone to bursts of pogoing energy, and have performed with glam band The Floating Children for 30 years.

But are they drag moves? Observing some sample steps at home, my wife offers a gentle critique: “You look like you’re trying to start a fight. You’re hulking around like a caveman.”

Testing my routine in full regalia for my drag family in Brandon’s living room, I remain as graceful as a neanderthal.

“Try to elongate,” ever-patient Justin suggests. “Stretch out your arms.”

“And don’t forget the audience,” coaches Brandon. “Stop and interact.”

The reward for a little eye contact, a wink, or a seemingly surreptitious smile is tips. A drag show is a kind of Rotten Tomatoes in real time, with the audience signaling its appreciation by waving dollar bills (or fives! Or even tens!).

It’s all a lot to figure out. And just when I think I’m getting it, Brandon queries, “So what’s your finishing move?” Justin chimes in, “Cartwheel?

How about a split?”

“Bad Reputation” being a power chord-studded rock anthem, I windmill

80 | WALTER

on an imaginary guitar. For the first time, my drag family seems not to be suppressing panic. “Oh,” says Brandon.

“I think I might steal that.”

He better not. With mere days before showtime, it’s the best move Debbie’s got.

Clockwise from top left: Warden’s prep continues, as he refines his drag look, experiments with his makeup, and works on his moves.

THE SHOW As drag fans fill the cozy confines of The Green Monkey, I cram into a storage area-turned-dressing room separated from the crowd by an olive curtain with three professional drag queens — Kayla, Amazing Grace, and Amanda LaRouxx — plus a volunteer valet. The glamour!

Justin is busy getting ready to MC his own extravaganza up the street at Legends, but texts his well wishes: “Debbie is gonna turn it out!!!” No pressure.

Maneuvering into gowns, plumping their padding, and touching up their faces, the pros gleefully kvetch, bemoaning money matters and body aches, dispensing gossip and salty wisecracks.

Three hours earlier, Brandon, a former cosmetologist, sculpted on my makeup in thick, pore-suffocating layers. “We all need piles of the stuff,” he reassured me.

“That’s why we call it painting.”

Glancing into a plastic stand-up mirror now, I’m startled by a stranger, a fetching one at that. My normally wide nose is as thin as an arrowhead, my cheekbones sharp enough to cut a gash in Angelina Jolie’s self-esteem. It’s not me, it’s Debbie D. Lirius.

An hour later, Brandon, now transformed into Kayla, introduces me. I wait on the shadowy sidewalk while he fills the front door leading into a narrow performance corridor carved straight down the middle of the standing-roomonly mob. “If you like Debbie’s look, give her a tip,” Kayla declares. “If you don’t like her, give her more so she can look better next time.”

“Bad Reputation” jackhammers through the sound system. Finally, it’s SHOWTIME! “Don’t go in too fast,” Brandon whispers to me. “Make them wait. Anticipation, then revelation.”

But Debbie flies into the room like an errant missile. I try to slow down and think. Time for a shimmy. Remember to The Art & Soul of Raleigh | 81

flow. Sell the lip sync.

Dollar bills spring up among the hordes. Maybe Debbie is doing something right? The thought makes me so happy I lose track of the lyrics. The crowd cools. I break out the windmills.

More dollar bills go up and then — OMG — a ten. I bend in to bat my false eyelashes at the big tipper and see that it’s Justin, taking time out from producing his own show, in full Emory Starr finery. Talk about a supportive family!

I duck-walk through the final chorus, nail the climactic vocal exclamation, and tumble out the door into the cool, spacious night. Four weeks of intense prep, played out in three manic minutes.

Overinflated chest heaving, wardrobe pinching, I hardly feel regal. But with this unlikely mission accomplished, I do feel like, yes, I can do anything.

THE TAKEAWAY A few weeks later, I’m at a refined little party free of wig worries, comfortably outfitted in a suit (J. Crew, men’s) when Sam Adams, a friend who was at the show, approaches. “I have a video of someone who says she knows you,” he grins, brandishing his phone. “Debbie D. Lirious? You better take a look.”

Not wanting to relive the mad scramble of my performance, I decline.

“It’s very hard work, that’s for sure,” I note by way of changing the subject.

“Yes!” Sam exclaims, turning serious. “You know, 10 years ago, I avoided associating with drag queens. I didn’t want other people — ‘normal’ people — to think I was with the fringy folks. But then I went to one of Brandon’s shows.

And I was amazed. By the skill he puts into it. By how the audience loves it.”

He shrugs. “Now I go to all his shows — and I’m proud to carry his bag afterward. You know?”

Thanks to Debbie, I do know. The most important move in a drag queen’s repertoire is the leap of faith. Drag queens believe not only that they can be anything they want, but that the world will embrace them… eventually.

Drag is optimism — in all its fabulousness.

82 | WALTER

Clockwise from top left: Showtime! Warden debuts two looks for his drag persona, Debbie D. Lirious. Professional drag queens Amazing Grace, in the black dress, and Amanda LaRouxx, in pink and yellow, are the headliners of the show.

“Drag is optimism — in all its fabulousness.”

The Art & Soul of Raleigh | 83

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WALTER’s Celebrate the Season event at Union Station

WALTER’s roundup of gatherings, celebrations, fundraisers, and more around Raleigh.

86 WALTER Presents: Celebrate the Season 88 Holt Brothers Foundation at the Tree Lighting 89 BEAS Annual Luncheon 90 Boylan Heights ArtWalk 91 Armistice Day Event 92 Hayes Barton Centennial Celebration 93 Artsuite Open House

To have your event considered for The Whirl, submit images and information at waltermagazine.com/submit-photos

The Art & Soul of Raleigh | 85

WALTER EVENTS

O

n Dec. 1, WALTER hosted its signature shopping event, Celebrate the Season. Set under twinkling lights within the airy main corridor of Raleigh’s Union Station, the festive evening was a welcome kick-off to the holiday season.

Hundreds of guests enjoyed Southern-inspired bites like ham biscuits and a spicy pimento cheese from Catering Works,

86 | WALTER

alonside curated wines from Westgate Wine, beer from Wye Hill Brewing, and specialty craft cocktails from Young Hearts Distilling Company.

Local jazz musician Peter Lamb and friends provided the upbeat soundtrack while guests shopped from more than 30 booths offering an array of items, from Prodigal Handmade’s wood-crafted toys to Hyla Dewitt’s bright geometric earrings, to handbags

from pongopanna, home goods from Spoonflower and The Fab Foo, stationery from One & Only Paper, art from Charlotte Russell Contemporary, and so much more. The guests were pleased to see so many of their favorite retailers, all in one place!

Thank you to our sponsors Fink’s Jewelers, Green Front Interiors & Rugs, Opulence, and Duxiana for helping us make this festive evening possible.

S.P. Murray

CELEBRATE the SEASON

Milburnie Fishing Club in Raleigh, N.C.

Clockwise from above: Peter Lamb and friends; ordering cocktails at Young Hearts; the Flourish Market table; guests enjoying the Green Front Interiors & Rugs lounge; Unlikely Professionals’ booth; the event in progress; goods from Opulence; Wye Hill on tap; artist Lyudmila Tomova at work; one lucky guest won a gift from Fink’s Jewelers. Opposite page: Guests at the event.

The Art & Soul of Raleigh | 87

THE WHIRL

Liz McLean

HOLT BROTHERS AT THE TREE LIGHTING The Holt Brothers Foundation was invited by Midtown Events to set up a booth at the North Hills Tree Lighting. The launch of the Foundation’s holiday giving campaign, it was a chance to interact with guests and talk about its mission to support kids who have a parent or guardian with cancer.

Jennifer Greenacre, Nikki Richardson, Billy Richardson, Liz McLean

88 | WALTER

Hunter Mundy-Ferrell, Ryan Switzer

Liz McLean, Torry Holt

BEAS ANNUAL LUNCHEON The Betty Eichenberger Adams Society is CAM Raleigh’s women-led membership group to support contemporary art. This year’s fundraising luncheon featured an artist conversation with Lakea Shepard moderated by Colony Little, and Leah Goodnight Tyler was honored with the 2021 Veuve Clicquot La Grand Dame Award.

Jillian Clark

Marilyn Lall, Charman Driver

PROVIDING PREMIER DENTISTRY IN RALEIGH FOR GENERATIONS

Lakea Shepard

Lakea Shepard, Colony Little

PART OF THE FABRIC OF RALEIGH SINCE 1899 Our patients receive state-of-the-art care in a warm, professional, safe and friendly environment.

We welcome new patients!

OUR SIGNATURE SERVICES INCLUDE: Comprehensive & Cosmetic Dental Care Same-Day CEREC Crowns Invisalign Orthodontics Dental Implants Sleep Apnea TMJ Therapy

919-782-0801 www.drgregweaver.com Guests listen to the presentation

The Art & Soul of Raleigh | 89

BOYLAN HEIGHTS ARTWALK AWARDS On Dec. 5, Boylan Heights turned into a giant art gallery for its 29th year. Several artists won awards judged by an anonymous panel and named in memory of Elizabeth Dunbar, a longtime ArtWalk & Boylan Heights neighborhood volunteer who passed away in 2019.

January 16, February 13, and March 13 • 2 pm North Carolina Freedom Park: The Inspiring Story of How a Monument to Freedom is Built while Confederate Statues are Coming Down Part 1: Speaker, Marsha Warren Part 2: Speaker, Reginald Hildebrand Part 3: Speaker, Reginald Hodges

$15 Supporters • $20 General $40 All Three Lectures Series sponsored by Deirdre Newton

Marina Bosetti

Emily Romblad

THREE-PART LECTURE SERIES

In 2001, the Paul Green Foundation initiated a tribute to the African American struggle for freedom in this state. In 2021, ground was broken in the center of Raleigh for North Carolina Freedom Park, after twenty years of planning and fundraising. Designed by the late Phil Freelon (lead architect of the National Museum of African American History and Culture in Washington), this monument project is, in the words of Dr. John Hope Franklin, “ ... a continuing reminder of ... how much more we need to do to achieve equity and justice in our society.”

Henry Lovejoy, Lauren Lovejoy

In celebration of the 100th Anniversary of our historic Boyd House, we are hosting 100 events in 2022

For more information and tickets,

visit weymouthcenter.org WONDERFUL 100

Weymouth Center for the Arts & Humanities 555 E. Connecticut Ave. Southern Pines, NC A 501(c)(3) organization Micah Mullen

90 | WALTER

THE WHIRL

Matt Lail

ARMISTICE DAY EVENT To honor Armistice Day and the partnership between Raleigh and its Sister City of Compiègne, France, Raleigh Sister Cities unveiled an informational sign at Raleigh’s Compiègne Park on Nov. 11, 2021, Veterans Day.

Mary-Ann Baldwin, Cara Gentile

Cara Gentile, Gretchen Chapman, Cody Carland

New informational sign

Guests at the event

Hayes Finley, Charlotte Russell

PHOTOGRAPHY BY

ottss ott Bott lle B elle ell Jenell Jen

Bringing creative design to life.

RALEIGH, NC • 919.852.0570 DESIGNLINESSIGNATURE.COM

The Art & Soul of Raleigh | 91

THE WHIRL

let’s socialize

HAYES BARTON CENTENNIAL CELEBRATION The last weekend of October, the Hayes Barton neighborhood celebrated its 100th birthday with food trucks, trolley rides, antique car displays, historic exhibits, face painting, balloon art, a costumed dog contest, kids’ movies playing at the Rialto, and live music from the Chatham Rabbits.

More than 350 plush toys were collected for InterAct. Carlette Peterson, Elizabeth Rouse

Courtesy Terry Henderson

@WalterMagazine waltermagazine.com

Ruby the 1929 Model T

Austin McCombie, Sarah McCombie

David Knight, Justin Armstrong, Grace Preuc, Tommy Lloyd

Claren W Englebreth, AAMS®

IRT-1948J-A

Financial Advisor 4301 Lake Boone Trl Suite 206 Raleigh, NC 27607 919-615-0054

edwardjones.com Member SIPC

Terry Henderson, Charles Case, Margie Case

92 | WALTER

Mariachi Viva Mexico

Hopie Avery/The Scout Guide

ARTSUITE OPEN HOUSE On Dec. 5, Marjorie Hodges and Allen Thomas of Artsuite hosted an open house gallery tour to showcase some of its artists. Held at the Hudson, work by Tim Tate, Dean Allison, Leah Sobse, William Paul Thomas, Bill Sullivan, Jack Early and others was on display.

Work by Beverly McIver

Allen Avery, Larry Wheeler

Work by TIm Tate

Work by Jack Early

Onay Cruz, Marjorie Hodges

The Art & Soul of Raleigh | 93

wr ig h t s vi l l e

bea ch

winter beach

GETAWAY

THE WHIRL FENTON TOPPING OUT On Aug. 19, Hines and Columbia Development announced the topping out of Fenton, a 69-acre mixed-use district in Cary set to open in April. They marked the occasion in a ceremony with project partners, community members, and future tenants.

Speakers included Cary Mayor Harold Weinbrecht, Hines Senior Managing Director Kurt Hartman, and Von Kekel Salon Spa Director Paul Shultz.

Courtesy The Wilbert Group

Harold Weinbrecht

Fenton development team

Guests at the event

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94 | WALTER

Paul Zarian

Signing a beam

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Jessica Crawford (COOKSHOP); Courtesy The Oak (COZY); Bryan Regan (ACORN); Erin Comerford, Kathernie Johnson (SCOTT); Antione King (WILLARD); Jessica Crawford (COOKSHOP)

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FIRST LOOK AT CRAWFORD COOKSHOP Raleigh celebrity chef Scott Crawford talks his latest venture: a casual, family-friendly eatery in downtown Clayton.

25 COZY BARS & RESTAURANTS TO VISIT As it starts to gets chilly, bookmark this list of Raleigh eateries with indoor fireplaces, intimate booths, and wood-fired ovens to keep you warm.

10 WAYS TO RING IN 2022 IN RALEIGH Say goodbye to 2021 and ring in 2022 with Raleigh’s finest parties, concerts, and our special City of Oaks-style countdown.

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Artist Eleanor Scott Davis’s home come December is filled with bright colors, whimsical touches, kid’s Christmas crafts, and of course, art. @comerford.erin & @katherinejohnsonphoto @Piratelegacy Ummm that velvet chartreuse chaise, that’s a SHOW STOPPER @Katherinejohnsonphoto @eleanorscottdavis has the most beautiful home! @Lu.and.company This is stunning!

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Too cool not to share! Not only this snap by @antionneking but also the fact that this Wednesday the Raleigh Astronomy Club will set up telescopes on @thewillardraleigh’s heated terrace & guide views of the full moon + Leonids meteor shower. It’s free and open to the public. @Carolynleonadesign SO BEAUTIFUL @harthuffines Nice parking deck! @Rustedrosevintageshop So cool!! @Ambakerync Amazing!

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A first look at Scott Crawford’s latest @crawfordcookshop in downtown Clayton, opening soon! With Bryan Slattery as Chef de Cuisine, it’s a place to bring your family and friends to for classics like burgers and wings, yet with Crawford’s same attention to detail and balance of flavors. Field trip anyone? Learn more on our site and congrats team! @jessphotonc @Catnguyenphoto Yum!! @Megs.0329 Very excited!!

The Art & Soul of Raleigh | 95

END NOTE

REASONS WE LOVE RALEIGH

by AYN-MONIQUE KLAHRE illustration by JILLIAN OHL

213 3 118 18 174 7 10 125 42 210 12 2 59 8 25 146

Sunny days per year, on average Nature preserves Miles of greenway Museums* Goals scored by Hurricanes player turned coach Rod Brind’Amour Dog runs and dog parks Colleges and universities Miles of dedicated bike lanes Pieces of public art in the Municipal Art Collection Inches around Raleigh’s Champion Black Oak Public pickleball courts Food halls Musicians in the North Carolina Symphony Public aquatic facilities Incubators and coworking spaces Square miles

93 Downtown murals created through the Raleigh Murals Project 86 Years of Raleigh Little Theatre, the oldest continually operating community theater in the country!

36 Species of amphibians that live here 106 Public tennis courts 35 Breweries* 38 Dancers in the Carolina Ballet Company 190 Downtown restaurants 9 North Carolina Grammy nominees in 2021 200 Parks 5 Seasons of our women’s professional soccer team, the Carolina Courage 11 Downtown hotels 8 Distilleries* 32 Together Raleigh bus shelters 1 Grand capitol building

Special thanks to the Downtown Raleigh Alliance, North Carolina Museum of Natural Sciences, Raleigh Murals Project, Raleigh Chamber of Commerce,

26and | WALTER Raleigh Department of Parks, Recreation and Cultural Resources for their help. *Stats for Wake County, not just Raleigh.

96 | WALTER

4401 Glenwood Ave, Raleigh, NC 27612

(919) 571-2881

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As you can see, at our new Oberlin Road location, we specialize in specialties. Twelve of them at last count.

Which means you have all sorts of choices. Which, in turn, means you have access and convenience. Visit us at wakemed.org or visit us in person. It’s your choice.

Specialties at 505 Oberlin Road • • • • •

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• • • • •

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