Diversions 9.11.14

Diversions YourObserver.com

A&E

THURSDAY, SEPTEMBER 11, 2014

The many stages of Amanda Heisey PAGE 4

A&E

The Batik Exhibit opens at Selby Gardens PAGE 6

ARTS&ENTERTAINMENT | WOOD WORKS

BLACK TIE

The Devyn celebrates its grand opening PAGE 8

by Heidi Kurpiela | Contributing Writer

SHAPE SHIFTER

Heidi Kurpiela

Furniture-maker Pat Pettit is turning her old wood scraps into hangable, frameable art.

ARTS&ENTERTAINMENT COVER STORY CONTINUED ON PAGE 2

DIVERSIONS

YourObserver.com

THURSDAY, SEPTEMBER 11, 2014

// ARTS&ENTERTAINMENT: WOOD WORKS

SHAPE SHIFTER

Furniture maker Pat Pettit is turning her old wood scraps into art.

P

at Pettit’s hands are her most valuable piece of equipment.

In a woodshop outfitted with power tools, hardware and enough lumber to build a yacht, it’s Pettit’s hands that get the job done.

Her fingers are long, tough

and unadorned. Her nails are unpainted and clipped to a sensible length. When Pettit, a retired furniture-maker, speaks, she rests her palms in her lap as if to give them a break from years of sawing, sanding, ham-

mering and staining.

Asked to describe her long career in the custom furniture business, the 62-year-old Sarasota resident routinely falls back on this one remark: “I worked with my hands.”

Like Pettit, the statement is understated. For four decades she used her hands to build some of the finest furniture in Sarasota.

Many of her pieces — chests, cabinets, tables and beds — are now family heirlooms.

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Heidi Kurpiela

Pat Pettit at work in her shop.

by Heidi Kurpiela | Contributing Writer (continued from page 1)

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THURSDAY, SEPTEMBER 11, 2014

3

// ARTS&ENTERTAINMENT

I can be more playful. I’m not working to someone’s specifications.

I walk into my workspace and see where it takes me.

— Pat Pettit on her jump from making furniture to making art wooden canvas and then coated the assemblage with black house paint to achieve a textured, monochromatic effect.

Pettit’s longtime friends and clients were not surprised to see the pragmatic furniture-maker take a stab at making art for art’s sake.

“There are artists who have creativity, and then there are artists who have creativity and can still make substantial things that last,” says Kate Korp, Courtesy photos Pat Pettit’s “Minimalist Quadrilateral Forms” received an a painter, printmaker and honorable mention in an art show last year at Art Center Sarasota. retired State College of Florida, Manatee-Sarasota A New Jersey native, Pettit had this time as a wood sculptor. art teacher. “One thing you no formal training when she got Four years ago, the artisan can count on with Pat is that her her hands on a stack of old cy- found herself staring at boxes of artistic skills are as extraordinary press boards tossed outside of shop scraps; hundreds of castoff as her craftsmanship.”

St. Martha Catholic Church in pieces squirreled away like dusty At first Pettit was hesitant downtown Sarasota. Her mother keepsakes. Sometimes she kept to show off her collage. After was a seamstress. Her sister was pieces for their texture, some- spending so many years builda quilter and her father built times for their color and some- ing functional, high-end furnimodel trains, so Pettit figured times for their shape. ture, she feared her new foray she also had a natural inclina“The stuff that landed on the into abstract sculpture might be tion to make things from scratch. floor intrigued me,” Pettit says. viewed as frivolous. Was she the She built a long low credenza “A lot of ’em were too nice to only person who saw beauty in and sold the piece to a friend; throw out.” random woodcuttings and gathe commission launched a long She created her first wood col- rage “doo-hickeys,” as she often successful career as a furniture- lage using scraps and found ob- refers to them? maker –– first as one half of Pet- jects, including corrugated cardMuch to the artist’s delight, tit Fine Furniture with then-hus- board, woven wallpaper, cabinet friends and family loved the band Bill Pettit, and later on her knobs, nails, clothespins, wash- work, and soon Pettit was workown, as a one-woman operation. ers, a slotted spoon, a metal ing on a follow-up piece, a wal“I learned by doing,” she says. chain and tools pulled from her nut relief sculpture sectioned off “I had no formal training.” father’s sail maker’s kit. She ar- into squares.

Now semi-retired, Pettit is ranged the objects into a loose Unlike the first work, Pettit learning by doing all over again, pattern, glued them to a large meticulously mapped out her

second wall sculpture. She cut each square and embellishment to fit the canvas and then applied a lacquer to the walnut to create a kind of wooden crazy quilt. She titled the work “Minimalist Quadrilateral Forms” and entered it in an art show at Art Center Sarasota, where it nabbed an honorable mention –– her first real kudos as an artist.

She quickly created a third piece depicting faces in a long rectangular box. When it sold for close to $500, Petit felt a tinge of validation as an artist.

“Her craft is just impeccable,” says Emma Thurgood, exhibitions coordinator at Art Center Sarasota. “The wood she chooses and the way she finishes it, it’s kind of like collaging with wood.

Her pieces are always something to talk about, particularly her abstracts. They’re so intricate.”

Thurgood likens Pettit’s work to that of 20th century feminist sculptor Louise Nevelson, who was revered in the 1950s for her monochromatic wooden wall pieces crafted from recycled and found materials.

Like Nevelson, Pettit, who has two grown sons, is fiercely independent. Take, for example,

the home she purchased seven years ago on Wilkinson Road. A one-story fixer-upper, Pettit immediately started ripping the house apart when she moved in. She laid the tile floor. She installed the trim carpentry. She built a new kitchen, refinished old doors and restored the terrazzo floors. When the work was done, and her vision complete, she hired a contractor to build a 300-sqaure-foot studio in her backyard.

“It’s not air-conditioned, so this time of year I work mostly in the morning,” she says. “I’ll take out my boxes of scraps, start digging through them and wait for something to suggest itself.”

Pettit’s “In the Loop” was inspired by Picasso’s cubist faces.

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DIVERSIONS

THURSDAY, SEPTEMBER 11, 2014

// ARTS&ENTERTAINMENT: SPOTLIGHT

The many stages of Amanda Heisey

by Marty Fugate | Contributing Writer As Shakespeare once said, “All the world is a stage.” The multitalented Amanda Heisey would agree. You may have seen her on some of our local stages in productions of “Steel Magnolias,” “Dirty Rotten Scoundrels,” “Harvey” and “Talking With … ” Her performing-arts talents include acting, singing, dancing and a wicked gift for accents. But Heisey’s creativity doesn’t stop there. The Kansas City, Mo., native put her University of Missouri journalism degree to work at our family of publications as the former Web editor for the Business Observer. Today, she’s the communications manager for the Arts and Cultural Alliance of Sarasota County. Her cross-disciplinary talents definitely come in handy there. Her love for art and creativity in every form does, too. Our readers can get a taste of Heisey’s creativity in the upcoming production of “Lend Me a Tenor,” which opened Sept. 10, at The Players Theatre.

Here’s another taste below.

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What she loves about live theater ...

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“From my own perspective, I love that I get to not be myself on stage. In real life you’re stuck in one personality; on stage you can be anybody, from an ancient wizard to a showgirl. As a kid, I always dreamed of being British. ‘The Mystery of Edwin Drood’ made my dream came true. In ‘Dirty Rotten Scoundrels,’ I got to be a badass con artist. Who doesn’t secretly want to be a con artist? The best thing was, I didn’t really cheat anybody and have that on my conscience. In ‘Harvey,’ I played a nurse from a 1940s insane asylum. In ‘Talking With …’ I played a crazy actress who belongs in an asylum. I’ve been so many different people in the last year, and that’s fun.

“From an audience point of view, it’s just a great way to forget your troubles.

You know how you feel at the movies where you lose yourself in somebody else’s life for a few hours? You get the same thing from live theater, but more so. There’s an energy going on between

actors and audience you only feel in a live performance.

Whether you’re on stage or in the audience, live theater gets you out yourself and puts you into somebody else’s shoes. Either way, the experience can be transformative.”

What can we expect at ‘Lend Me a Tenor?’

“It’s a hilarious contemporary farce along the lines of ‘Noises Off.’ There are slamming doors, mix-ups, mistaken identities and lots of physical comedy, which I love. For me, it’s kind of like a musical without the music. It’s a revival of the hit production five years ago. I’m one of two actors who weren’t in the original show. I’m starting from scratch, and I’m having a blast.”

Her origins as an actor ...

“It all started in third grade after I saw my best friend perform as a lady bug. I thought that was so amazingly cool. I begged my parents to let me go to the same musical theater summer camp that she went to — and they actually said yes. After that, I constantly auditioned and performed in every school show I could, all the way through high school, and also did summer programs. I was in choir, chamber singers, high school rep theater and drama club. I was even the drama club president during my senior year. I was hooked on theater.”

Most memorable accents ...

“Just this year alone, I got to do a Southern accent for ‘Steel Magnolias’ and a British accent for ‘The Mystery of Edwin Drood.’ The nature of that production was we had to stay in character and talk to people in the lobby, so I’d still be speaking in a British accent.

People would say, ‘Are you really British?

Where are you from? Have you been to such and such a pub?’ I couldn’t spoil the illusion, naturally, so I’d laugh it off and change the subject. The Deep South drawl in ‘Steel Magnolias’ was also fun.

I lived in Alabama for a little bit, and I love doing that accent. I can testify that after one or two beers, I start talking

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THURSDAY, SEPTEMBER 11, 2014

YourObserver.com

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// ARTS&ENTERTAINMENT

Heather Merriman

more and more Southern for some reason, although that’s not part of my actor’s preparation.”

Advice to the Sarasota arts community ...

“We have an amazing cultural audience here: so supportive, so dedicated, so aware. My only tiny bit of advice is to get outside your comfort zone. If you love going to plays, try going to a gallery. If visual art is your thing, see a play occasionally. Stretch your boundaries.

You’ll be glad you did.”

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“In real life you’re stuck in one personality; on stage you can be anybody, from an ancient wizard to a showgirl,” says Amanda Heisey.

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DIVERSIONS

YourObserver.com

THURSDAY, SEPTEMBER 11, 2014

// ARTS&ENTERTAINMENT: HIGHLIGHTS

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THURSDAY, SEPTEMBER 11, 2014

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// ARTS&ENTERTAINMENT: REVIEWS

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// A Tribute to William E. Schmidt Featuring The American Spiritual Ensemble William Schmidt seemed to bring joyful music everywhere he went, and the fact that he and his wife, Casiana, most recently were living in Sarasota has meant that our musical arts organizations have benefited from the Schmidt touch. Take the Sarasota Opera. The name of the building may be the Sarasota Opera House, but the auditorium inside is named The William E. Schmidt Theater.

A businessman who loved to fly, Bill was a musical philanthropist who also founded the Schmidt Vocal Competition, which awarded monetary prizes and scholarships to talented high school students. It was the Bill Schmidt touch: gentle and loving, going far beyond the finances to be sure these students were followed, nurtured and properly trained in their craft. That’s rare in musical competitions.

Bill died a few weeks ago but, except for the deep vacuum he left for his family and friends, his spirit of giving was so strong that he’s still very much alive in those he touched. That spirit was positively glowing this past weekend when his widow brought Bill’s beloved American Spiritual Ensemble to Sarasota to blow out the walls of the William E. Schmidt Auditorium at the Sarasota Opera.

This group of big beautifully voiced professional opera singers from all over the continent had only about 20 people onstage, but the sound they made filled the heavens. Returning here after making numerous recordings and touring Europe and the United States, The American Spiritual Ensemble proved it is, indeed, filled with the spirit. Under the excellent

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direction of Dr. Everett McCorvey — director of the Opera Theater at the University of Kentucky and, most recently named artistic director of the eminent National Chorale in New York City— these singers specialize in the art of the Negro spiritual.

This is not gospel music. It’s the historic, emotional, beautiful, traditional music of African-Americans in arrangements that are mind-blowing.

Starting at the rear of the Schmidt Auditorium and making their way down the aisles to the stage, the group’s vocals sent chills down spines from wall to wall. The varied but somewhat sedate (it was, after all, a memorial concert) program featured soloists from within the group whose individual voices gave us more than an inkling of why this ensemble is so rich in musicianship and sound.

Among the standouts was countertenor Matthew Truss, whose rich, full-bodied soprano voice is among the finest I’ve heard of the current crop of singers in this particular vocal category. Soprano Rebecca Farley, a young winner of the Schmidt Competition who was making her first appearance with the ensemble, made a lovely contribution to the soprano section as both a soloist and chorus member.

Karen Slack, a dramatic soprano with a personality to match, blew us away in two solos, and Kevin Thompson, whose deep bass (“Ol’ Man River”) is so resonant he’s a whole bass section by himself, brought the audience to its feet.

There were short but extremely sweet speeches by Richard Russell, Stephanie Sundine and Melissa Burtless, representing Sarasota Opera, as well as McCorvey and Casiana Schmidt. Each showed a different aspect of Bill Schmidt’s life and love.

But it was the music that spoke the loudest, and this self-effacing gentleman with the glittering eyes must have been kvelling from his front row seat in heaven.

— June LeBell

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YourObserver.com

THURSDAY, SEPTEMBER 11, 2014

// BLACK TIE: CAMERA READY

by Heather Merriman | Black Tie Editor

THE DEVYN GRAND OPENING

BY THE NUMBERS 865 guests 22 racing dog rescue

More than 800 guests received the red carpet treatment Saturday, Sept. 6, at The Devyn for the venue’s grand opening celebration. Opening its doors for the first time, the 20,000-squarefoot venue featuring five spaces for entertainment hosted a celebration to not only celebrate its opening, but to raise money for the Racing Dog Rescue Program. The new event venue is located at 7113 S. Tamiami Trail and is available for ceremonies, receptions, meetings, product launches, exhibitions and private events.

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