An Impactful Program for Men and Women with Alzheimer’s at the Maier Museum of Art at Randolph College

WORDS & PHOTOS By Meridith De Avila Khan

Inside the Maier Museum of Art at Randolph College, Laura McManus leads a conversation with a small group of retirement-age men and women. They view the vibrant pop art, mixed media work of Korean artist Sang-ah Choi; McManus, the curator of education, guides the participants through the provocative artwork’s various themes.

After reviewing a few more pieces, they move to a table stocked with watercolor paints, paper and assorted potted plants, where they spend the final minutes of their time together painting images inspired by the art they’d just observed. Most of the participants, attending with a spouse, alternate between laughing about and complimenting each other’s artistic attempts.

The Maier hosts more than 6,000 visitors each year. This could be any of the hundreds of groups that come through their doors. Except for one crucial difference: some of these individuals have early stage Alzheimer’s.

They are a part of the Arts Fusion program—a joint offering by the local chapter of the Alzheimer’s Association and the Maier that’s inspired by a similar program launched in 2006 by the Museum of Modern Art in New York. According to the Alzheimer’s Association’s website, music and art can enrich the lives of people with Alzheimer’s by allowing self-expression and engagement, even after dementia has progressed.

Once a month (every second Thursday), the Maier welcomes men and women who are suffering from the disease, along with their caregivers, to attend a stimulating session that doesn’t presume that Alzheimer’s has affected their ability to critique art. McManus says they typically include three to four works in each session that are connected by a theme.

“The works of art serve as a springboard for conversation, reflection, imagination,” she says. “They freely share personal stories that a work of art reminds them of, like you would with a friend.”

As McManus explains, the group forms “a bond because they are all dealing with the impact of dementia”—especially during the second half of the session, where the participants create their own works of art. McManus says she considers the participants’ ages, skill levels and other factors when choosing each session’s art project. Projects are low pressure, require limited materials and only take a few steps to complete.

“The projects also allow for collaboration between the individual with dementia and their caregiver. They can be accomplished alone or with assistance, so that everyone can enjoy the activity regardless of prior experience,” she says.

Among the group laughing and painting potted plants at the Maier on that June day are Lynchburg residents Chris and Amy Heppner, who will celebrate their 25th wedding anniversary this fall, although they’ve known each other their whole lives.

When they were teenagers, Amy was friends with Chris’ older sister. One day, Chris says it was like he saw Amy for the first time, realizing how beautiful she looked. Their first date was shortly thereafter, and they’ve been inseparable ever since. After they settled down and got married, they welcomed their son Lynch in 1997. (Chris is a direct descendant of Charles Lynch, brother of Lynchburg’s founder John Lynch.)

A few years ago, Amy started becoming more forgetful. Still, like so many people with Alzheimer’s, it was easy to find an excuse. But the forgetfulness became more pronounced.

She had an MRI. Everything looked ok. They carried on.

Then, her memory problems became just a little worse, so they went back to the doctor. Finally, in June of 2017, they had an official Alzheimer’s diagnosis after a second MRI revealed lesions on Amy’s brain.

Chris points to a classic example of the disease’s effects with a story from earlier in the day. “We couldn’t find the Band-Aids this morning and I said I just bought a box and I don’t know what you did with them. I found them in the pantry. … That’s not where Band-Aids go, they go up in the closet in the bathroom. …She wouldn’t say ‘Silly me, I put them there’.” He pauses, then continues, “She would say, ‘Well, I don’t know, that’s where they go’.”

There are other little clues. During our interview, Chris asked Amy where their first date was. After a pause, he jumps in to give her prompts. (He took her to his hunting stand, an unusual first date, and Amy wore a long, stylish trench coat, expecting to be taken to a restaurant. Chris laughs about how she casually played it off as though she wore high fashion in the woods all the time.)

It’s the sort of quick-thinking cover that a partner gets used to as they adapt to their loved one’s early journey with Alzheimer’s, suddenly becoming the memory and reason, the mental compensation for their partners in moments like Chris described.

One thing they’ve realized in the past year is just how misunderstood the disease really is. They’ve had reactions from well-meaning individuals who assume Amy has become incapacitated (this couldn’t be farther from the truth). Or, worse, some people worry that it’s somehow contagious (it’s not).

The Heppners found Arts Fusion in the weeks before the official diagnosis when Chris was searching for local resources; they say the art is wonderful, but the companionship of others in the same situation is just as rewarding. According to 2018 statistics from the Alzheimer’s Association, 5.7 million people in the United States are living with Alzheimer’s. That’s why McManus is focused on increasing their reach into the Alzheimer’s community.

“I have been working with the Alzheimer’s Association and adult care centers to get the word out about this opportunity,” she says. “We want to keep the group size intimate (not more than 10 is comfortable), but would be interested in adding additional days if there is interest.”

As a teacher in the Randolph College Museum and Heritage Studies major, she may incorporate Arts Fusion into that curriculum and allow students to be involved.

“Last summer I had an intern who co-led several sessions, and the feedback was very positive,” she says.

For now, her focus is on continuing to look for those “aha” moments in her groups, which she defines as: “the moment when someone sees something in a work of art for the first time, or hears and sees another person’s interpretation that is compelling but not something they had considered.”

It’s those moments that make each session so worth it—and give couples like the Heppners a little hope.

“A connection between thought and memory, between thought and language (word), between image and idea. It shows active reasoning,” McManus says. “I know that the research shows engagement in the arts is beneficial for individuals with early onset dementia. But it is extremely gratifying and inspiring to actually see it happening in real time.”

Local Resources

Arts Fusion
Maier Museum of Art at Randolph College
Second Thursday of every month from
10 – 11 a.m.
Registration is required.
https://maiermuseum.org/education/arts-fusion/

Memory Café
Central Virginia Alliance for Community Living conference room
501 12th Street, Lynchburg
Last Tuesday
of every month
from 1 – 2 p.m.
There is plenty of parking, and snacks are provided.

Alzheimer’s Association, Central and Western Virginia Chapter
Lauren Deasy Blackshaw,
Family Services Manager
lblackshaw@alz.org
www.alz.org/cwva

Title: Painter and Photographer Age: 39

Many of our readers will probably recognize the name of your first art “teacher.”

People always think I’m joking when I say that I learned to paint by watching Bob Ross. But it’s true. I spent many Sunday afternoons watching him on PBS before I ever got my first paint set. And while I no longer paint stylistically like him, you can see many of his techniques in my work still.

What other types of art memories do you have from your childhood?

I grew up in Gretna, so there wasn’t a lot of art happening there, but my high school art teacher was a great influence. She would indulge my odd creations and encourage me to go further.

Another great memory was visiting the Mystic Art Fair in Connecticut. I have family there and we would visit each year. If the fair was happening at the same time, we’d wander the streets looking at hundreds of different artists’ work.

Then, you took your talents to Central Virginia Community College. What did you study there?

I earned an Associate’s Degree in Communication Design. This was right as everything was beginning to convert to digital, so we learned a little about the old way of doing things while getting an introduction to the new digital tools.

Where did life take you next?

After CVCC, I started working for Dan River in Brookneal where I specialized in creating the patterns that would be printed on fabric. Working for Dan River gave me the opportunity to learn much more about art and production. It also allowed me to teach myself new software like Photoshop and Illustrator.

In 2006, I started working at Parkland Direct as a Prepress Technician. Here I learned more about graphic design and how to work across a variety of software.

You have such a diverse portfolio of collections—they are so different!

I’ve never really been able to label what sort of artist I am, or want to be. I try to let the ideas and inspiration take me where they will and then find the best medium to convey those things. I may not always be successful, but I’d like to think that I’ve not become stagnant in my creativity.

Right now, you are focusing on your Canvas Collection, on display at Riverviews Artist’s Co-Op Gallery.

The paintings featured in June at the Co-Op Gallery were part of a series of landscapes and florals that I had begun. I’m continuing to work on the series as I’m really enjoying the process of creating them. But I’m also really surprised at how many people have responded to them.

There’s also a neat story behind your creation of the Time and Memory Collection.

The Time and Memory series was inspired by my girlfriend. She had told me about when she was a Marine in Iraq using coloring books to destress. So of course, I decided I wanted to make a coloring book for her. Something fun and personal. Unfortunately, as I started making the book my own ideas got the better of me and the coloring book took a backseat as the pieces in this series emerged.

Photography has also been a big part of your art through the years.

I studied black and white photography at CVCC and really enjoyed taking pictures. But it wasn’t until I purchased my first digital camera in 2005 that my love of photography really took off. Not having to deal with film allowed me to be much more experimental. You can see this in my series of photographs inspired by the song “The Passenger.” The effects you see in the photographs were done practically and the only digital alterations were for color.

How have you found a sense of community in the local art world?

Working a full-time job and balancing that with trying to create art make it hard to keep up with everything that is going on, but two years ago I joined an art journaling group. The group was founded by Lillian Brue and we meet each month. Hanging out with these ladies each month has given me the opportunity to connect with the art community. Where I am today is very much because of what I’ve learned from being in the group.

What types of things inspire you to create?

My inspiration can come from a conversation or just wandering around Lynchburg. The best example would be my current series of paintings.
I was working on a geometric piece that just wasn’t working. My girlfriend and I were at First Friday and talking about different styles and subjects.
She mentioned how much she enjoyed floral paintings. I realized I’d never done anything like that, so the next day I painted flowers over my failed painting. I enjoyed the process so much I kept going. And I’ll keep going until another conversation sparks a new idea.

Looking forward, what are your goals for your art and/or your art career?

My art goals are pretty simple: to just keep creating.

As for my career, I’ve always had the dream of being featured at the Academy or Riverviews.

My other goal would be to meet more people in the local art community and hopefully help them in the ways that the community has helped me.

How can readers get in touch with you or see your work?

They can find me on my website at epluscstudio.com. Or if they want to follow what I’m doing currently, my instagram is eplusc_studio. And I can always be contacted directly at custere.art@gmail.com

Photos by Ashlee Glen

“Weaving Adventure Through the City of Lynchburg & Amherst, Appomattox and Campbell Counties”

The lazy, hazy, crazy days of summer between camps and family vacations possess a certain charm, but the lack of structure can quickly become monotonous. If you want to add fun structure to your summer without having to do all the planning legwork yourself, consider utilizing the City Streets & Country Roads Artisan Trail, a newly-established network of local artisans, agri-artisans, art galleries, restaurants, lodging facilities, cultural sites, festivals, and museums—it encompasses Lynchburg as well as Amherst, Appomattox, and Campbell counties.

“An Artisan Trail is a self-guided and determined way of finding exciting and interesting places to visit in specific areas around the state,” says Kathy Johnson, Artisan Trail Coordinator
for the Artisan Center of Virginia.

Although the specific path and activities you choose are up to you, the Trail’s Management Team has created suggested itineraries to assist in planning your excursions (see pages 30-31).

Among the individuals and businesses already registered on the Trail is Gail Speidell Pottery in Amherst. “I was so glad to hear they had created a Trail our area,” she says.

Speidell, an Amherst native who has been a juried artisan with the Artisans Center of Virginia, has been a potter for over 20 years and enjoys creating both functional and decorative pieces. “I enjoy making pottery to be part of a meal, to enhance the food and be a part of family life,” she says. “In the last few years, I have also been making totems for the home and garden. It is freeing to make things purely for their beauty.”

She believes that the Trail will be successful for herself and other artists because many people are just as interested in artists’ processes as they are in their products. “I think people like to visit artisan studios to see where and how the art gets made,” she says.

Anne Novak, General Manager of The Art Box, which is also registered on the Trail, is excited to see how it impacts Downtown Lynchburg. “As people travel and visit the Trail, it’s sure to drive foot traffic downtown,” she says. “It’s such a lively and interesting place to be! Visitors will see how our city has grown and how it is changing, giving exposure to new restaurants and businesses, as well as those foundational to our downtown.”

The Art Box staff also relishes the opportunity to connect with like-minded individuals and entities. “Being on the Trail is an opportunity to associate with folks—in our own community and beyond—who make, appreciate, and value the same things we do,” Novak says.

The City Streets & Country Roads Artisan Trail began its journey in the fall of 2016. Lynchburg’s Office of Economic Development & Tourism (LOEDT) (formerly The Lynchburg Regional Convention & Visitors Bureau) contacted the Artisan Center of Virginia to inquire about setting up a Trail for Lynchburg, and the ACV suggested including the surrounding counties. City officials then identified participants to form a Management Team made up of regional leaders to identify and recruit artists.

Since the team’s first meeting on March 9, 2017, the Artisan Trail has garnered over 50 participants, and that number continues to grow steadily. Although interested parties needed to have signed up by June 30 to be included in the first production of the Trail’s printed brochure, enrollment will be ongoing for the life of the Trail. Interested individuals and organizations are encouraged to visit artisantrailnetwork.org to learn more about eligibility and enrollment.

Krista Boothby, marketing and public relations coordinator at the LOEDT, believes that the City Streets & Country Roads Artisan Trail will prove invaluable to both the participating members and the communities it serves. “The arts are an important economic driver in the region,” she says. “These small business entrepreneurs create handmade work that they can sell and earn a living doing something they love. It is this experience we want to promote to visitors, and until this Trail was formed, it was difficult to collectively market the artist/artisan community as a destination activity.”

Whether you are a Central Virginia native or a visitor to the area, the City Streets & Country Roads Artisan Trail will take the stress out of your summer planning and connect you with incredible artists, artisans, and organizations that you may have otherwise missed. “With this newly-created tool, our Trail tourism offices can now market to locals and travelers an authentic and well-rounded artisan experience,” says Boothby. “Visitors will be able to stay in a boutique lodging establishment, dine in a chef-run restaurant, enjoy the fruits of the agri-artisan’s labors, visit unique attractions, and take home a piece of Virginia-made art—
all in one visit.”

Visit the City Streets and Country Roads tab at artisantrailnetwork.org to learn more. Two sample travel itineraries are on the following pages.

Sample Itinerary:
One-Day Excursion

The evening before your excursion (6 – 8 p.m.): If you want your one-day excursion to be a full day of fun, consider spending the previous night at the Florence Elston Inn in Amherst. Located at the entrance of Sweet Briar College in the foothills of the Blue Ridge Mountains and boasting 38 beautiful, spacious rooms, this is the perfect launching place for a day trip.

Mid-morning (8 – 10 a.m.): After a complimentary Continental breakfast at the Inn, attend your prescheduled* appointment at Gail Speidell Pottery. Gail loves to share her passion for pottery, which is inspired by her own life experiences, with others.

Late morning (10 a.m. – 12 p.m.): Head to Lynchburg to visit the Lynchburg Museum atop Monument Terrace. The museum offers an in-depth look at the people and events that shaped the Central Virginia region.

Early afternoon (12 – 2 p.m.): Travel to Appomattox to eat lunch at The Babcock House, which boasts seasonal menus and Southern favorites made with the freshest ingredients.

Late afternoon (2 – 4 p.m.): While still in Appomattox, venture over to Cub Creek Studio, where studio founder and ceramics artist John Jessiman, along with other artists-in-residence, hone their skills and exhibit their work.

Early evening (4 – 6 p.m.): To conclude your journey, head to Brookneal to visit Patrick Henry’s Red Hill, the beautiful and vast last home and burial place of one of America’s founding fathers and Virginia’s first post-colonial Governor.

Sample Itinerary:
Weekend Excursion

FRIDAY

Early evening: Start your weekend excursion in downtown Lynchburg by checking in to the Craddock Terry Hotel, which boasts spacious rooms, an adorable canine greeter (Penny Loafer), and charming nods to the building’s former use as a shoe factory.

Evening: Unwind with an authentic Irish meal and a refreshing brew at Kegney Brothers Irish Pub. Look out at the James River and enjoy live music in this modern revival of the original Kegney Brothers, which was established in the 1800s.

SATURDAY

Early morning: Enjoy your complimentary breakfast (delivered in a vintage shoe box, of course) at the Craddock Terry Hotel.

Mid-morning: Head to Kelly Mattox Fine Art Studio for your prescheduled appointment. Kelly loves working with bright colors, and her work reflects her personality with its boldness, energy, and sense of excitement.

Late morning: The time for your next prescheduled appointment with mixed media artist Jill Jensen has arrived. Jill works with paint, original prints, and stitching to create one-of-a-kind pieces, and she also welcomes commissions.

Early afternoon: For lunch, drive back downtown to the Lynchburg Community Market. Choose from several amazing food vendors and browse the wares of art vendors as you wait.

Late afternoon: Take your lunch with you to the Old City Cemetery Museums & Arboretum and set up a picnic under one of the shade trees. Then walk around and take in the grandeur of the most visited attractions in Lynchburg.

Early evening: Head to the Maier Museum of Art on the campus of Randolph College. The Maier offers an incredible collection of American art and includes works by such artists as John Sloan, Georgia O’Keeffe, Robert Rauschenberg, and Jacob Lawrence.

Evening: Enjoy dinner at one of Lynchburg’s many fine dining establishments (see lynchburgvirginia.org/restaurants/fine-dining/ for some top-notch options) before heading back to the Craddock Terry Hotel.

SUNDAY

Early morning: Depart Lynchburg and head to Appomattox County to visit the American Civil War Museum, which boasts a comprehensive collection of artifacts and documents that detail events before, during, and after the Civil War.

Mid-morning: Head to Kat’s Pottery, where your prescheduled appointment will allow you to meet and admire the incredible handmade pottery of Kat Ferguson. Kat’s work is inspired by nature and can also be found at Baines Books & Coffee on Main Street in Appomattox.

Late morning: Your last stop is DeVault Vineyards, which is situated on 32 beautiful rolling acres in Concord. Visit the tasting room, request a tour, or time your visit with one of their many special events. The vineyard also boasts an Olympic-size indoor pool, basketball court, and children’s play area.

*Before visiting an artist in their studio, set up an appointment in advance.

Age: 50… (mumble) | Title: Design Whisperer

How early in your life did you discover a love for art?
In second grade, I was drawing on my report card cover and the teacher said, “You are an artist!” It resonated with me. Every year after that it seemed I was the class artist. My goals were to be a fashion designer and the President of the United States. At least everyone would look good! Ha!

But you sort of strayed from it a little bit?
I was in a creative writing class in junior high and that stirred my imagination, giving me a love for writing. In high school, I took a journalism class and eventually became the editor of the high school paper. Naturally, I wanted to be a journalist and while on a college tour of Eastern New Mexico University, I saw the PBS station and knew right then that is what I wanted to do. I began my broadcasting career in college at 17 years old, spending every waking hour and weekends hanging out at the TV station and learning about all the equipment.

It didn’t take long for art to find you again, though—even in the journalism field.
While I was majoring in broadcasting, I minored in art. While I was working at the PBS station as a student, the art director left and I asked to fill that position. I was directing a television show at the same time. It was the best of two loves.

You spent the bulk of your career in Florida. How did you end up there?
After I graduated, family matters brought us to Orlando. I got a job right away at WOFL-FOX35 working in master control. In 1983, broadcast engineering was largely male dominated, so I was the only woman in the department for four years. When the station got a new graphics system, I went for the position as the first on-air electronic graphic designer… and got it! It was so new and cutting edge. I had the opportunity to travel and learn new ways to bring moving graphics to the small screen. I was one of the first women in Orlando to be in an on-air designer position. After 13 years at FOX, I applied for the Art Director position at the CBS station in Orlando and worked at WKMG-TV6 for the next 13 years. I loved working in broadcasting as an artist. So much creativity and learning on the job with my crew.

While you were caught up in graphic design at work, did you focus on any other types of art at home?
I really had a busy life with a demanding career and two sons involved with school and sports. I was always quick sketching at work to show how animations would move or how the anchors would stand next to graphics, so that still kept me involved with the tactile experience of pen to paper. It wasn’t until my boys got closer to graduating high school when I started to paint at home. I had to design very tightly for television and I wanted to loosen up and have fun and get messy. I was slapping paint on the canvas and getting back to my roots. I joined a group of artists in Casselberry where we exchanged themed art journals and studied “The Artist’s Way” by Julia Cameron. Creating in those sketchbooks inspired me and taught me how to work with different mediums. I created a sketchbook of caricatures of my family saying wacky things for the Brooklyn Library and submitted it for their permanent collection.

Where did your career take you next?
After my sons graduated, my husband and I moved to Steubenville, Ohio. I had never been to such an industrial area in my entire life. My eyes drooled with all the machinery and the architecture in the area. Very exciting. As it turns out, the newspaper was looking for a graphic designer and I got the job! I believe in synchronicity and the publisher came in one day holding up a caricature map of a city and asked, “Who can illustrate something like this?” After working on those sketchbooks, I had honed my skills and I raised my hand. I just finished my fifth caricature map with the Fun Map of Lynchburg. It is now a 1000-piece puzzle.

We love the Lynchburg puzzle! How long did it take to complete?
It took me three months to draw everything. When I am creating a piece of art, I first see it in my mind. I would go to sleep and dream of drawing and placing everything.

How did you decide whom to feature?
With a timeframe in mind, I went to everyone I could get to in Lynchburg and sold spots on the map. Some of the people I included because I needed folks to model for me. My friend’s children, my art friends and, of course, my husband is fishing in the front.

What goes in to designing and sketching each building?
I sketch out the whole lay of the land on paper. Where the river goes, where the mountains will be, where the different areas of town will be located. I take pictures of the buildings and the people so I see their features. I also use Google and Bing maps to get placement of buildings in relation to each other. I create each drawing in its own file and drop it into the big map so I can move it around if needed. The main map gets to be about three gigs. I’ve pushed it to four gigs, but Photoshop starts balking.

While the caricature maps are your “bread and butter,” you love experimenting with other kinds of art. What else keeps you busy?
I love pastels, acrylics, colored pencils and encaustic wax. Encaustic is the oldest form of painting. Beeswax and resin are heated to a certain temperature and pure pigment is then added. “Encaustics” originates from the Greek word enkaustikos. I started painting with encaustics on the back of cigar boxes. I like being outside painting nature and street scenes with pastels. I am a consummate learner and recently started painting with acrylics.

And you’ve enjoyed getting to know other artists in town in a very creative way.
I started an altered art journal group here in Lynchburg because I need the camaraderie of other artists. We meet once a month and swap journals and teach each other our different methods of painting with all kinds of mediums and tools. My current journal’s theme is “naked.” This group is so creative and I love the surprise of what everyone has created when we meet. So fun.

As an artist, what inspires you to paint or create?
I take my camera everywhere I go and take pictures of whatever inspires me. Tight shots of mushrooms, bugs and flowers are so wonderful. I like it when a little bug sneaks into my photo and I don’t see it until I download my photos into my computer. Whenever my husband and I travel, I get some interesting phone photos as I take pictures of whatever we’re passing. It’s usually a “look at that!” as we’re zooming by. I start thinking about my photos at night when I’m drifting off to sleep and what I can create from them. I’ve put my street scenes on earrings, in paintings and on cigar boxes. Inspiration comes from taking a walk in the neighborhood and seeing the asphalt cracks after the rain. Learning new techniques with different mediums makes me question how I can use them in my next journal entry or painting. I see faces everywhere and humor always inspires me.

What advice do you have for other aspiring artists?
Learn the basics of your craft. Know what your paint or medium does and how to use it. Ask questions. Make friends with lots of other artists. Take classes. Paint or draw every day. Go to sleep with a design challenge and then dream of the solution. Keep files of inspiration. Watch videos. Go to movies. Listen to music and podcasts. Read. Be curious and open. Push past your fear. Don’t judge.

What do you like best about being an artist in the Hill City?
I find inspiration in the natural beauty that surrounds us. I enjoy the company of some very smart, talented creative folks and we learn from one another. There are some exciting art and creative experiences offered here in Lynchburg and more places are opening up for local artists to share their work with the public.

How can readers get in touch with you?
My website is www.lillianbrue.com. I am also on Facebook, Instagram and Twitter as Lillian Brue art.

SPARKS Digital Media Arts Lab Connects Disadvantaged Youth with Technology and Art

Riverviews Artspace recently became home to a groundbreaking new digital media arts lab called SPARKS. In collaboration with the George Mason University School of Art, SPARKS offers contemporary creative arts and technology workshops to socioeconomically disadvantaged young people in and around Lynchburg.

Kim Soerensen, Executive Director of Riverviews

Kim Soerensen, Executive Director of Riverviews, was inspired to start SPARKS when she realized that many of her daughter’s classmates don’t have the same access to technology that her daughter enjoys.

“My daughter is an eighth grader at Dunbar Middle School, which is located in one of the poorest zip codes in Virginia,” she says. “She has access at home to all modern digital technology, but most of her friends, who live in this zip code, do not due to socioeconomic circumstances. Although these young people are keenly interested in the medium, modern digital media technology is not readily available to them at school or at home. This discrepancy denies youth and young adults the opportunity to obtain valuable skills enabling them to be more competitive in the employment market.”

In addition to working toward bridging this technology gap, SPARKS also strives to connect young people to the arts, specifically digital media arts. “The arts are the second largest global economy, with digital media arts being the number one driver,” Soerensen notes. “Engaging the arts to provide solutions to system-level problems like poverty will create equitable futures for youth and foster a sustainable structure for growth of the SPARKS program and its participants.”

Soerensen believes that Riverviews Artspace is the ideal home for SPARKS in terms of both logistics and Riverviews’ overarching mission. “Riverviews is ideal because it’s within walking distance of some of the possible students, but most of all it is ideal because Riverviews is a contemporary arts institution,” she says. “We are on the forefront of using the arts to address and engage in contemporary social challenges. The arts have always been at the forefront of the social movement to address societal and community issues, even if they aren’t recognized for it. Look at Picasso’s anti-war stance, John Lennon, or the entire graffiti culture. We have the tools to be part of the solution to challenges society often does not know how to address.”

A pilot program held at the end of April identified ideal candidates for SPARKS.

Brian Chad Starks, PhD, Founder and CEO of BCS and Associates, Inc., helped lead the program. “Dr. Starks has a program with high school students from underserved communities whom he engages with every Saturday morning to provide experiences they would otherwise not have,” Soerensen says. “These young people had the opportunity to experiment in our lab. While for some it was not of interest, we were able to quickly identify who was interested and who had the aptitude to participate. These selected teenagers, from there on forward, will have classes and projects every Saturday, transportation provided by Dr. Stark’s team if needed.”

SPARKS plans to offer workshops on such topics as digital imaging, motion capture, multimedia, computer animation, and film production. Knowledge in these fields can lead to internships and employment opportunities in technical illustration, artistic production, exhibition, broadcast, and game design. Marketing and media firm Blackwater Branding will provide internships to SPARKS graduates, and Soerensen is also hopeful that graduates will be eligible for occupations beyond minimum wage work.

“Digital literacy is needed in almost any aspect of a career with growth potential and to make a living wage now and especially in the future,” Soerensen says. “Skills obtained through SPARKS will enable underserved youth to break the perpetual cycle of poverty by obtaining better quality, higher-paying careers after high school.”

Digital Media Arts Lab: The lab has storage boxes and bowls for each student that contain tech gear, headphones and educational equipment.

Grants and community partnerships play and will continue to play a central role in SPARKS’ operation. A $7,800 Best Buy grant and a $6,600 ELRO Foundation grant have secured most of the lab’s equipment. “We do not have all the equipment yet that we hope to have, but we have basic equipment that represents the equivalent to an ad agency, graphic design work studio, and basic film/music editing and sound score systems,” Soerensen notes. “We hope a few more grants will come through so we can truly build a lab that is fully functional as a studio to be rented out to professionals who need the technology for specific projects.”

In addition to renting out studio space to generate funds for the lab, the SPARKS team also plans to organize annual fund drives and offer workshops with fees to the public.

“We will offer workshops anyone can participate in to learn more about the basics of animation, Photoshop, and other tools of digital art,” Soerensen says. “One perfect example: Every Apple Mac comes with GarageBand and a basic film editing tool. Do you know how to utilize yours? Well, we will offer workshops for that.”

George Mason University will lead many of these advanced workshops several times a year. Edgar Endress, Associate Professor and head of the digital media arts program at GMU, has been a key player in SPARKS’ development from the beginning. “I have been friends with Edgar for about 15 years, and I have visited the university several times to review equipment and receive his guidance,” Soerensen says. “He has also visited Riverviews many times and brought students to discuss and develop a plan.”

SPARKS is still seeking additional digital artists who would like to teach workshops, as well as additional businesses and schools that may be interested in collaborating with the lab.

Soerensen has several specific goals for SPARKS in the future.

“I hope we will have animation and gaming festivals, offering patrons a chance to see the results of our lab,” she says.

“My secret hope and passion is to offer projection mapping, the hottest trend in the arts industry. I would love to see projection mapping and light art festivals right here in Lynchburg and to become the hub of it on a national basis. Why not dream big?

It would provide major, well-paid employment and Riverviews would be the creative cradle of it and perhaps become self-sustainable too.”

Regardless of the particular path SPARKS paves, its very existence casts a bright light on a problem that is too often ignored and simultaneously offers an innovative solution. “We have an opportunity right now to really change how our culture values the arts and economy by collaboratively engaging in the fight against poverty in a new way,” Soerensen says. “Arts are often seen as a frivolous hobby rather than an investment into a dividend-providing sector. This must change.”

Age: 70
Title: Fine Arts Photographer

Take us back to when you moved to Lynchburg after college. This was when you really started focusing on art?
I came to Lynchburg in the early ’70s with my husband and our two small children. I had graduated from Duke University as an English major but didn’t know what to do next. Lynchburg was smaller then, and opportunities at first seemed limited. Then I discovered the Lynchburg Fine Arts Center.

I had always loved to draw, so I started taking classes in the evenings. I knew I had a knack for capturing a likeness, so I concentrated on portraits and actually wound up teaching portrait drawing at the Art Center for a couple of years.

And working with clients on portraits is what opened the door to photography?
I soon realized I needed to take my own photographs of children in order to have the right information for portraits, so I signed up for a photography course at Central Virginia Community College. I remember how nervous I was the first time I developed film! But I soon fell hopelessly in love with the medium. I took all the photography classes, then printmaking, drawing, design, computer graphics—and before I knew it, I was finishing the commercial art degree.

Where did your career take you next?
While finishing that degree, I took on an internship at Lovern Advertising, Inc. I managed to progress from accidentally dropping phone calls in the early days to ultimately doing most of the design work. Eventually I became the agency’s art director and did photography as well. Later on, I took a job as coordinator of marketing and public relations at CVCC. I also served as curator for what was then the CVCC Merritt Hall Gallery and continued to do some part-time work for the agency.

How would you define yourself as an artist now?
I definitely consider myself a street photographer. I enjoy venturing out into the large, visually chaotic world and selecting elements that cohere into a pleasing or compelling composition. I am interested in a photograph’s ability to freeze a moment in time and remove it from context, and I prefer photographs with people or evidence of people in them. Street photography suggests a narrative, and I leave the interpretation of that story up to the viewer. I always hope for a little bit of mystery in the image.

When did you start becoming interested in this niche of photography?
For a few years I was doing photographic silkscreens, a complicated process, and my subjects stayed still: architecture and objects. Then, around 2000, some photographers had rented a studio in town and wanted a number of us to join them in a larger organization—which became the Blue Ridge Photographic Arts Society. The great bonding moment for some of us came when we roamed the streets of New York City soon after 9/11. That’s when I realized I could do street photography—and that it was terribly exciting! Since then I’ve done a great deal of traveling, and I love getting out on the streets of some major cities with my camera.

Since taking classes at CVCC, you’ve seen a lot of changes in the photography world. Has it ever been difficult to adapt?
I know some people regret the transition from film to digital—after all, the darkroom was a magical place!—but I’ve wholly embraced digital photography. Most everything you can do in a darkroom you can do on a computer. However, I’m not interested in morphing a photograph into something entirely different from the original, although there are fine artists who do very creative digital work.

With smartphones and social media sites such as Instagram, anyone can be an amateur photographer these days. Do you think that is making artistic photography any less special?
Oh, you can always spot the artist who has a sense of composition, who knows the elements of design—someone with depth of feeling, understanding, self-expression—that doesn’t change. I know a photographer who works strictly with cellphone apps. In the hands of the right person, it is brilliant. I even tried my own hand at it with an exhibit of iPhone tintypes at Magnolia Foods not long ago.

“An Afternoon with Madame X”

One of your photographs really caught some attention in Lynchburg recently.
I won first place in the Georgia Morgan Show at the Lynchburg Art Club. I was surprised because I think of it as a painter’s show, and there was some lovely work. My piece was titled “An Afternoon with Madame X,” and it was a large color image of a young family in a gallery with John Singer Sargent’s portrait of “Madame X.”

In March, I had a two-person show with John Shuptrine at the Lynchburg Art Club. John’s work was color, and mine was black and white, so we called it “Seeing Differently.”

Did you choose black and white photos for any particular reason?
I’ve always loved the black and white photography of Henri Cartier-Bresson, Walker Evans, Helen Levitt, to name only a few. So much of the exciting history of photography is in black and white. So, although I have been moving to color in recent years, this show was a wonderful opportunity to revisit black and white as an interesting contrast to John’s fine color work.

Where are some of your favorite places to get photographs in Lynchburg?
Downtown Lynchburg provides excellent opportunities for street photography, and wandering down Main Street at night is especially good. The estate stores are a lot of fun for photographers, and our BRPAS group enjoys forays to Old City Cemetery and Kemper Street Station.

What types of scenes or people inspire you?
I often like to capture the single figure in a setting, standing alone in a composition that appeals to me, especially if there are strong tones, strong shapes and shadows.

I like humor. If there is an amusing interaction, I am thrilled! I like repetition, echoes: someone accidentally adopts the pose of a nearby statue, or two figures provide counterpoint to one another without realizing it. I also like lights, mystery, and any unanticipated magic.

You’ve been a part of the Lynchburg arts scene for a while now. What would you like to see in the area moving forward?
We have a number of wonderful arts organizations and a lot of very talented artists in this area. I would like to see the organizations thrive and grow, of course. I would like to see increased connection, more awareness. I’m a docent at the Maier Museum, and I think every artist in town should be visiting the Maier’s wonderful annual show of contemporary art. It is too easy to be limited to one organization, to stay rooted in one spot. I also think First Friday, which encourages people to visit a number of venues in one night, is fabulous.

What advice do you have for aspiring street photographers and other artists?
Probably the same advice everyone gives them: Do the work! Don’t sit around and think about it. Don’t wait for grand inspiration. Just do what you love—get moving. And while you are at it, notice what others are doing and know the history of your medium.

Do you have any big plans for the future?
I am going to France again in May. I’ve photographed in Paris a number of times, but this time I will visit the Dordogne for the very first time with some wonderful friends.

How can readers get in touch with you?
I’m very easy to contact. I’m on Facebook, which is a good place to message me, and my email address is ridiculously easy: kcudlin@aol.com.

Age: 56 | Title/Occupation: Creative Director/CEO of Jacinto Enterprises

Art has been a part of your life since your earliest memories. Tell us about your dad and what you learned from him growing up.

My dad was awesome! He had the gifts of humor, love, imagination and art. I can remember being in his studio as young as 3 years old. I had a table where I would try to imitate his paintings, utilizing line and shape. At age 5 or 6 I understood perspective and composition, and by age 10 I began to understand color theory.

My dad was extremely gifted. He painted in oils, painted murals, developed logos, and created ads for local businesses. He gave me advice that I never forgot. He said, “Never, ever, ever let anyone place you in a box. You paint, draw, create, express, and illustrate what your heart and God tells you, not where people want to place you. They will tell you that you are either a fine artist or commercial artist or illustrator. Don’t conform to their demands.”

Because of what he told me, when asked what kind of artist I would consider myself, I say, “An artist that creates.”

What was school like for you as a child and teenager?

I loved school until I hit the 4th grade. During the ’60s, the educational system in California was structured in such a way that my learning style did not match the teaching methods. I was labeled as a “slow learner” and was placed in a “special class.” What was not taken into account was that I was not an analytical learner but a global visual learner. Compound that with my dyslexia and auditory processing disorder and instructions and explanations were just words. I was bullied not only by my classmates but teachers as well.

Eventually my reading suffered and studies were impossible. The only thing I thought I could do was art, music and swimming. In 1975, I met Paul Royle, who was the head coach of our city swimming team who also became my high school teacher (and is still a friend of over 40 years). He painstakingly peeled all the garbage away. I was learning physics through swimming, math through music, and my art was teaching me about history, anthropology, geometry, architecture, and even astronomy. Art and art history connected the subjects in school. I was learning and did not even know it. This led to self-confidence and eventually I began to excel not only in art but also in sports, including setting records and state championships for swimming and becoming a national champion and Olympic paddler for sprint kayaking. Still, through all these accomplishments, I doubted my intelligence and knowledge, even after being accepted to the University of Southern California’s Roski School of Art and Design.

Moving on to college, you met someone special. But didn’t know it at the time?

Before I was accepted to USC I had to go back to Ventura Community College to repeat some classes that were hurting my GPA. It was there I met my college sweetheart Alisa Ontiveros. She was a soccer player at the time and had graduated with honors—she helped me pinpoint the areas in Algebra in which I was struggling. We dated that year and fell in love. The plan was that while I was at USC she was going to transfer to Pepperdine in Malibu and play soccer, but that changed when she received an athletic scholarship to Liberty University. We thought we would make the long-distance relationship work but later broke up.

What type of work did you do after college?

Throughout my life I have been in and around the arts. I designed t-shirts for high schools and organizations in Ventura County and worked on advertising for businesses, signs and murals for homes and business. Once I graduated I thought I would be teaching high school art and coaching; however, things went in a whole different direction. Right after graduation I worked on the set of How the Grinch Stole Christmas starring Jim Carrey. Then, I was selected as the national junior development coach for Olympic sprint kayaking. I accepted and was working at both Olympic Training Centers in Lake Placid and Chula Vista while also building my own sprint kayak team in Ventura County. I later began working for a billboard company as the airbrush supervisor and developed my own art studio. I worked on movie billboards for corporations such as Disney, Universal, and Warner Brothers and movies such as Armageddon, Mask of Zorro, and Godzilla.

And while in California, you also added teaching to your resume.

Yes! Paul, who I spoke of earlier, told me I would be a great teacher because of what I went through as a child. I began teaching art and art history at Christian high schools in California. I found that the arts really took a back seat in education as many school systems today feel the arts are a waste of time and money. In my opinion, the problem is not the arts, but rather how they are taught, at least in California, where there is no curriculum. I teach my art classes using a very structured curriculum that I have developed. Not only do the students learn about the fundamentals of the arts such as materials, tools of the trade, and theories in composition and color but also art history and how it connects to other subjects. I also teach critical thinking of art history, not just regurgitated information.

When did you and your wife move to Lynchburg and why?

Now, remember I said Alisa and I broke up back in ’93? Well, we didn’t see each other for 18 years and neither of us married. In January 2010, we reunited via Facebook, and on December 10, 2011 we tied the knot. At this point I was rebuilding my life; I had a business that fell hard. When we got married I was teaching, but even with both of our incomes, we knew we would never be able to afford a house in California. Her sister and her family decided they were going to move back to Virginia, so that was when I made an executive decision for us to move back as well in June 2014. It also gave me the chance to pursue my master’s degrees at Liberty. I am currently pursuing a Master of Art in Teaching-Secondary and Master of Fine Arts, both of which I should complete by the end of next year.

What do you think of the Hill City?

I feel that Lynchburg is America’s best-kept secret. The beach is only three hours away, there is snow skiing here, and the one thing we have here that Southern California does not is four regular seasons. Also, the people are extremely friendly, social, and very, very polite. Another thing that is here is talent. The amount of talent in music, dance, and theater is amazing, from the kids of the elementary schools to the college and professional levels. There is also a lot of talent in the visual arts as well; however, my wife and I were extremely surprised with the lack of set designers and painters in the technique of airbrush. Much of the set work for the bigger performances are brought in from other states as far as Illinois, which opened the door for us.

What types of projects are you working on in the community?

When we arrived here in 2014 the plan was for me to fully concentrate on my master’s degrees, while my wife would be the breadwinner. But that plan went out the window—in a great way. In 2015 when I was cast in the Thomas Road Baptist Church Christmas Spectacular, the directors found out that I had worked on sets back in California and asked if I could do some airbrushing. This is where everything took off like a rocket. The next set I worked on was for Masterworx’s performance of Oklahoma. Once word of my work got out, I recruited my wife to help out with the sets and organize my schedule.

Today we are designing and painting sets in and around the Lynchburg area for high schools and other community theaters including the Academy Center of the Arts and Opera on the James. Last year my wife and I produced 29 sets throughout the area, and this year promises to be even bigger. My work is now expanding even further in commissions for children’s book illustrations as well as paintings and portraits. I’m also working on my cartoon characters called Rollerbots and the Elite 7; they will be featured this summer at my art show at the Academy Center of the Arts.

If there is one thing you wish you had known as an aspiring artist, what would that be?

Oh boy where do I start? Well, let me say this to young artists: There is money in the arts, and you can make a great living working in the arts. However, it requires more than just talent. You have to be willing to work hard, meet deadlines, and know where you want to go.

I would also want to tell teachers, parents, and friends of those who have artistic talent, do not tell these individuals, “Wow, you’re so talented you should become an artist!” That statement is equivalent to telling a child who is great in math, “Wow, you’re so gifted, you should become a mathematician!” Direct that artistic student into an area where their strengths are because once they laser into that field, they can expand into other areas beyond their dreams.

How can readers get in touch with you?
Phone: 805-617-8652
For theater set designs: ajsquared@att.net
www.facebook.com/AJSquaredProductions
For fine art, portraits, murals, etc:
jacintostudios@yahoo.com
www.facebook.com/JacintoStudios

Flourishes in New Downtown Space

Ecclesia School of the Arts—formerly Ecclesia Dance Ministry—moved from Heritage Baptist Church to its new location in downtown Lynchburg last August, and owner and director Megan Horst is thrilled to be part of the burgeoning downtown community.

“In recent years downtown Lynchburg
has really come to life,” Horst says.
“We are excited for ESA to join in the effort
to continue revitalizing downtown.”

The new downtown space will not only allow ESA to thrive in an arts-focused area but it will also serve solely as the school’s space and thus negate the need for frequent equipment setup and breakdown. “Last year we were really struggling with space issues, as we had grown to approximately 100 students and had limited storage space,” Horst says. “The main obstacle was that we were turning Sunday school classrooms into dance studios three days a week. Between moving tables and chairs, setting up our portable dance floor, mirrors and barres, we were getting really burned out! We knew that we needed a permanent studio space if we were going to continue to grow. We love being able to hold classes in a ‘real’ studio, and we especially love being able to leave our equipment out! We now have three dance studios, an art studio and a café.”

In addition to a larger space, ESA also boasts expanded course offerings. Ecclesia Dance Ministry offered ballet and tap classes, whereas ESA offers beginner, intermediate and advanced levels of dance in ballet, pointe, tap, choreography and lyrical. ESA also now offers mixed-media art, arts and crafts, acting, choir, photography, fitness and balloon twisting.

The driving force behind ESA’s expansion—both in terms of space and course offerings—is Horst’s abiding love of dance.

Horst has been passionate about dance since she was seven years old, and her desire to share that passion with others also blossomed early in her life. “When I was 12 I convinced my parents to let me clear the living room and teach ballet to some young girls in our neighborhood,” Horst recalls.

At the tender age of 15, Horst started her own dance studio. “While living in Indiana, I started my own dance school, ‘Eagle Wings Dance Academy,’ where I taught beginner ballet classes for children,” she says. “Teaching ballet at such a young age was definitely a growing experience for me and helped prepare me for my future ballet endeavors.”

Although she was well-prepared for a future in dance instruction, Horst decided to pursue a different career and thought her teaching days were behind her. “When I moved to Lynchburg to transfer into Liberty University as a junior year journalism student, I didn’t plan to teach ballet,” she says. “I thought that chapter of my life had passed. I continued taking a few classes myself, but I was content with no longer teaching. By the spring semester that all changed. I missed teaching and being in the ballet world more than just once a week. When the opportunity to teach for a homeschool group arose, I jumped at the opportunity.”

That homeschool co-op quickly outgrew its original space, and upon moving to Heritage Baptist Church in 2009, Horst named the dance evangelism team Ecclesia Dance Ministry. The group performed at nursing homes, churches and children’s groups. Outreach is still a major component of ESA’s mission, and the students enjoy these opportunities to interact with the Lynchburg community.

“I love being a part of something bigger than myself,” says 14-year-old ESA student Ruthie Whealton. “Not only do we share the gospel… we also visit and talk with the people in nursing homes when we are there, which is something many of them don’t get to enjoy very much.” ESA student Jordan Reddy, age 17, says that visiting nursing homes is one her favorite things about dancing in ESA’s traveling dance company. “I cherish the bonding experience between everyone else in the company and meeting all the people at the nursing homes,” she says.

ESA has two traveling dance companies: the Preparatory Company for young intermediate dancers and the Ecclesia Dance Company for intermediate and advanced teen and adult dancers. “We typically tour twice a year,” Horst says. “Last year, we performed around Christmas time and will tour our Hiding Place: the Story of Corrie ten Boom performance this fall. We tour in Virginia and North Carolina.” ESA holds open auditions for both companies at the end of their touring seasons.

Horst attributes a great deal of ESA’s success to her 10 fellow instructors and to the guest artists who have shared their knowledge and talents with the students. “We have a wonderful team of teachers who are proficient in their fields and who love to teach,” she says. Whealton heartily agrees. “Aside from the dancing part, I love being able to have a sense of camaraderie between the students and the teachers,” she says.

“One thing that sets Ecclesia apart is that, while other teachers at other schools are passionate just about ballet and can forget the student while perfecting their skill, Ecclesia teachers are just as passionate about the students as they are about what they teach.”

In the future, Horst hopes that ESA will be able to offer even more classes, particularly in art, acting, choir and balloon twisting. In an effort to extend its courses to as many people as possible, the school allows parents to volunteer in exchange for tuition. “Our purpose is to offer quality and affordable dance and creative arts classes to the community,” Horst notes. “We value the arts and never turn anyone away for financial reasons.”

As ESA continues to grow and evolve, Horst gracefully strives for balance between administrative and teaching duties, but teaching remains her primary passion. “Even though I spend a lot of time on the administrative side, the best part about my job is teaching,” she says. “We have an amazing group of talented students, and they make it worth all the time and work we put into the school.”

ESA Upcoming Events
Acting Camps:
Every Thursday in March/April
Paint Night Event: March 16
Art Show: May 5
End-Of-Year Performances: May 11, 12
Learn more at ecclesiaarts.com

Title: Ceramic Artist | Age: 57

Kim, we hear you are very new to town. What brought you to Lynchburg?
I have been coming to Lynchburg to visit my aunt and cousin since 2008, when we had a big family reunion. While on a trip here in 2015, I went to see the pottery studio at the Academy and was very impressed. Ted Batt offered me a workshop in 2016, and I loved working here, so I did a second workshop in May 2017.

That’s when I made the decision to move here. Back in California, life was becoming stagnant for me and I needed a CHANGE.

What do you think of the area so far?
Beautiful! I think the downtown area will be exploding with art. The hiking trails are wonderful. As a life-long Californian, I’m looking forward to seeing what winter brings in Virginia.

When did you first develop an interest in art?
My parents enrolled me in all kinds of art classes very early.

I remember a place in Hollywood called Barnsdall Art Park. I must have been 5 years old when I started there. It was a tad crazy… we melted Styrofoam for art. There were other classes such as dance, ceramics, basket weaving, cake decorating, painting and photography. They also dragged me to art museums and gardens every weekend, which ended up having a positive impact on me.

But despite having talent, you didn’t feel like you could make a career out of it?

Art was something I really didn’t think I was any good at, but I was. For some reason, I listened to the wrong people and did not pursue my art until later in life. I was raising two kids and running two businesses with my ex-husband. In 1996 I took a class and got back to creating with clay.

Once you “got your hands dirty” again, where did your art career take you next?
I started doing art shows and street fairs and was very well received. I developed a following of collectors throughout southern California. At one point, my husband recommended that I learn how to market my art. This led me to Learning Tree University in Chatsworth, California. After taking their marketing class, they offered me a teaching position—something I had never imagined doing. I found I was good at teaching and loved it. Then I worked in Simi Valley Unified School District which paid for my teacher’s credentials. I was there for 10 years. Throughout the years I have taught workshops in raku, pit firing, wheel throwing as well as figurative sculpture.

You even ended up in Europe, right?
Oui, oui! I was accepted to participate in an arts residency in Vallauris, France in July 2012. I was required to make a body of work with four other international artists. In the six weeks I was there, I also visited museums and galleries in southern France. I found it delicious to be working in the village where Picasso had worked in ceramics.

How would you describe your artistic style?
Very whimsical. Some have said “Alice in Wonderland meets Tim Burton and explodes into Cirque du Soleil.” However, I think I have many styles that have evolved throughout my career.

What inspires you to create your unique ceramic pieces?
That’s a question I can’t answer. They just pop into my head.

What types of mediums do you work with other than ceramics?
I do mosaics with glass and found objects. When one of my ceramic pieces breaks, it ends up in a mosaic.

What’s your number one goal to achieve in your art career in the coming years?
To follow my muse. And hopefully inspire others and earn my keep while doing so.

Do you have any advice for aspiring artists?
Make what you love and make it your own.

How can readers get in touch with you?
(805) 320-6793 • www.ceramicsbykim.com
ceramicsbykim@gmail.com

In The Legacy Museum’s Visual Voices Exhibition

Art does not exist in a vacuum; art can inspire, lend a voice, unite, and motivate.
—Brooke Marcy, Guest Curator of the Legacy Museum’s current exhibition, Visual Voices, A Celebration of African American Artists from Lynchburg and Surrounding Areas

The Legacy Museum of African American History arose from the Legacy Project, Inc., which was established by the Lynchburg NAACP in 1993. After becoming incorporated and designated a 501(c)(3) nonprofit organization in 1995, Legacy bought a two-story Victorian house in a historically black neighborhood with the hopes of turning it into a museum in 1997. Three years and a hard-earned $300,000 later, the Legacy Museum opened its doors.

“The initial group of founders felt that the Legacy Museum filled a void in the Lynchburg community,” says Talea Teasley, Grant and Social Media Coordinator at the Legacy Museum.
“They decided to create a place to honor, preserve, and share the stories of the African American leaders and experiences of this area. Legacy programs and exhibits have been instrumental in raising awareness for many students and adults about people of color—people who, despite obstacles, have thrived, owned businesses, paved the way, led the fight for social justice, and have contributed to our community in many ways.”

Since opening in June 2000, the Legacy Museum has showcased 11 exhibitions that give voice to different aspects of the African American experience in and around Lynchburg from 1800 to present day. Among the themes spotlighted in past exhibitions are medicine and health, education, religion, business, military, Jim Crow laws, the Civil War, and music. The museum’s current exhibition, Visual Voices, A Celebration of African American Artists from Lynchburg and Surrounding Areas, turns its lens to local African American artists. This exhibition not only speaks to the experiences of local African American artists, but it also sings with a chorus composed of many distinct and talented voices.

“The exhibition is designed to create a comprehensive representation of the multi-talented African American artists who currently live or have lived in Lynchburg and its surrounding areas,” Teasley says. “These artists open doors to a greater understanding of our community through varied visual interpretations. Some of these artists have had extensive formal education in the arts, while others are self-taught. What they have in common is a passion and dedication to the creation and exploration of the world through visual expression.”

Visual Voices, which opened in August and will run through April 30, 2019, features art in many mediums: painting, sculpture, photography, graphic arts, soft sculpture, wood carving, portraiture and sketches.

Former NASA astronaut and Heritage High School graduate Leland Melvin contributed a photograph he took of the Space Shuttle Atlantis undocked from the International Space Station near the close of his 2009 STS-129 mission.

“Our orbital home 240 miles from Earth is a starry beacon in the night sky where nations work in peace,” reads part of his artist statement.

Some of artist Christina Ball’s work speaks to her ideas about feminism and beauty, artist Gerald Cheatham’s work portrays his love of and concern for nature and the environment, and artist Ruby Rittmeyer’s soft sculptures are inspired by her childhood memories of growing up on a tobacco, cotton and peanut farm. Each one of these artists, along with the many other featured artists in this exhibition, tells an important story that will inspire individuals and the community at large.

As is the case with all great art, the inspiration provided by Visual Voices is two-fold: the artwork is inspiring in and of itself, but it is also inspiring because of the stories it tells—stories of hope, strength and solidarity.

As the exhibition’s Guest Curator Brooke Marcy eloquently states, “art does not exist in a vacuum; art can inspire, lend a voice, unite, and motivate.” This exhibition “is a celebration of these gifted artists as well as a celebration of art itself,” she adds.

The museum is offering accompanying workshops, lectures and activities to further enrich the Visual Voices experience. “We hope these programs will initiate a dialogue on the importance of art in the African American community, as well as highlight talented artists in our community as a whole,” says Teasley.

Teasley is very encouraged by the response to the exhibition thus far. “So far, the responses to the exhibit have been extremely positive,” she says. “After each tour the docents request that visitors complete a questionnaire about the gallery offerings. Legacy reviews these comments and any recommendations are taken under advisement and discussed during exhibit committee meetings.”

For Legacy Museum Board President Joyce Dixon, garnering feedback from individual museumgoers is the highlight of her job. “The most rewarding thing about my job is witnessing the reactions of visitors as they respond to our exhibits with comments,” she says. “Whether the comments are good or bad, it’s all useful and good.”

In addition to providing valuable feedback after visiting the museum’s exhibitions, community members also play an important role in initially deciding which exhibitions will be featured. “The idea for the present exhibit was first proposed by the organization’s exhibit committee,” Teasley notes. “This committee requested suggestions from various community members and through many meetings and subsequent research, decided that artistic expressions in varying mediums needed to be explored as a possibility. The exhibit committee then held several meetings with supporters, previous contributors, collectors and museum partners for their input.”

As Visual Voices continues its successful run, the Legacy Museum Board of Directors is also working on events for Black History Month and beyond.

On February 25th, the museum will sponsor a Black History Program and Celebration at the Lynchburg Parks and Recreation Miller Center Theater. A featured speaker will discuss the history and evolution of Black History month in the United States and around the world, and a traditional southern Sunday supper will follow the presentation.

During the spring, the museum will focus on fundraising efforts and honoring donors. “Special fundraising activities are being undertaken to cover the expenses of brick and mortar repairs outside of the exhibit galleries,” says Teasley. “There are also plans to honor ‘Legacy Legends’—our longstanding supporters—for their continuing support and assistance.”

In the future, the Legacy Museum Board hopes to see an increase in community participation and collaboration. “We’d like everyone in the community to know we’re here and have something valuable to offer to the entire community,” Teasley says. “The Board would like to see an increase in attendance as well as collaborations with other community organizations that expand and lead to joint programming. We look forward to an increase in fundraising and the ability to continue to grow and fulfill Legacy’s mission: to enrich the lives of local residents and museum visitors by fostering and stimulating an appreciation of the diversity of the African American experience in Lynchburg and surrounding communities.”

Learn more about The Legacy Museum at legacymuseum.org.