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.

Celebrates 10 Years
of Mischief, Merriment,
and Breaking the Mold

“Even a man who is pure in heart and says his prayers by night / May become a wolf when the wolfbane blooms and the autumn moon is bright.”
—Curt Siodmak, screenwriter of the 1941 horror film The Wolf Man

In 2008, a group of friends in Appomattox was determined to find a venue for their production of Bat Boy: The Musical. After reading the musical, director and actor Dustin Williams wanted to bring it to life, and he and several of his friends happened to comprise the perfect cast. Finding a venue, however, was not quite so easy. “I went from theatre to theatre, asking if they would be willing to host our production,” Williams says. “Bat Boy is a bit risqué and not-quite-your-standard theatre, so we were met with a lot of hesitation.”

After a long and fruitless search, Williams decided to break the bad news to his fellow actors. He intended to call his friend Larry first, but instead he accidentally called Larry Hart, Heritage High School’s theatre teacher, who had already passed on hosting the production. “When I realized I had reached the wrong guy, I floundered a bit and made up some excuse for the random call,” Williams recalls. “Just before I hung up, he stopped me and said that he’d been thinking a lot about my request to do Bat Boy and it was a show he really wanted to see, so since we hadn’t found any other space, he went ahead and gave me a green light. We had a space!”

Hart’s one caveat was that Williams come up with a name for his company so people wouldn’t think that Heritage High School students were involved in what Williams calls a “bloody, insane show.” Williams decided on Wolfbane, taken from a quote from the 1941 horror film The Wolf Man, because it speaks not only to the theme of Bat Boy, but also to his personal philosophy about the transformative power of theatre. “The theme of Bat Boy was ‘don’t deny your beast inside’ and we loved the idea of theatre transforming folks into a wilder, freer version of themselves and fighting against the stuffy stereotype,” Williams says. “So we became Wolfbane.”

Nearly ten years later, Wolfbane continues to push the envelope and deliver unconventional, high-caliber shows to unconventional, delighted audiences. “We work hard to pick shows that are not focused at a traditional theatre audience,” Williams says. “We are on a mission to re-brand theatre and let the general public know that it is not only for the wealthy or the stuffy or the elite. Wolfbane shows are first and foremost immersive and experience-based. We have a base that is not your typical theatre group. In fact, we try to avoid using the word ‘theatre’ in our branding. This way we reach a lot of folks who would typically shy away from seeing live theatre.”

In addition to putting on inherently offbeat productions like Evil Dead: The Musical!, The Rocky Horror Picture Show, and Bubble Boy: The Musical, Wolfbane has also created and produced original adaptations of several Shakespeare classics. “Probably the most fulfilling productions have been our original adaptations of the Shakespeare classics,” Williams says. “We’ve done a reimagined Tempest that was set on a fantasy Celtic island and a Macbeth staged outside in the middle of the Blue Ridge, where we built a massive castle set and had full battles that stretched across the countryside. We produced a 90’s pop musical version of A Midsummer Night’s Dream in the forest at the Devils Backbone Brewing Company in Roseland, and this past year we produced our Civil War adaptation of Romeo and Juliet at Appomattox Court House Historical National Park. All of these are tailored towards Wolfbane’s unique brand of theatre and it’s wonderful to see audiences fall in love with them.”

Williams, who divides his time between New York City and Appomattox, was casting for a Wolfbane production in NYC in 2012 when he met actor Ken Arpino. “I met Wolfbane’s founder Dustin Williams five years ago in New York,” Arpino recalls. “He was casting Bare: A Pop Opera at the time and wanted me to consider one of the roles. I said no. He was persistent and eventually talked me into it.” Arpino quickly felt at home at Wolfbane and is now its Director of Development. “Wolfbane was unlike any other theatre I had worked for,” he says. “The company members have such a genuine passion for the work, an energetic, creative drive, and true sense of family. I felt so welcome—and challenged—and knew I wanted to be a part of it.” Arpino and Williams agree that Appomattox is the ideal home
for Wolfbane.

“Wolfbane is comprised of a bunch of self-described nerds—history nerds included—and Appomattox’s rich history is a huge draw for us,” Arpino says. “The Civil War ended here. Slavery ended here. The stories we could create about this area are unending. Also, the landscapes in this area are gorgeous. As an outdoor theatre, it is important that we feel connected to the natural environments we work in. We feel very at home here.”

Williams adds that “the community has absolutely embraced Wolfbane and we are beyond excited about the future of Wolfbane in our Appomattox home.”

That future looks bright indeed. After becoming a 501(c)(3) nonprofit and increasing their season from 10 weeks to 23 weeks in 2015 and bringing their entire season to the outdoor amphitheater Wolf P.A.C. (Performing Arts Center) last year, Wolfbane has cemented itself as a major Appomattox attraction. As the vice-chair of the Experience Appomattox campaign, Arpino hopes that this initiative will generate even more interest in Wolfbane and other area attractions and thus bolster the community. “The Experience Appomattox campaign was created by a group of Appomattox entities with a vested interest in tourism growth,” he says. “We love our community and want to see our visitor numbers and spending increase. Tourism is a huge revenue generator, job creator, and opportunity provider. As a committee, we hope to attract a diverse array of visitors from all over the world to our little corner of Central Virginia.”

Despite an increasingly demanding schedule, Williams, Arpino, and Resident Designer Christine Yepsen also make time to promote arts education. In addition to offering master classes for both high school and college students, Wolfbane has established an annual theatre exchange for high school students at Heritage High School after a hugely successful inaugural exchange this year.

“The theatre exchange gives students the chance to show off their talents and meet other creatives from the area,” Arpino says.

“It is a great way for students to work with industry professionals, ask questions, and work on new material. The Theatre Exchange is valuable to students looking to work on the stage or behind the scenes, and it’s a great chance for Wolfbane to meet local talent.

We have offered internship and acting opportunities to students who have participated.” He adds that arts education is important for everyone in that “the arts build confidence, sharpen public speaking skills, enhance team building, promote strict discipline, and challenge critical thinking daily. These are traits that are pivotal to potential employers, college interviews, and leadership roles in general.”

As Wolfbane forges ahead into its second—and likely even more exciting—decade of operation, its staff hopes to continue to entertain audiences from both near and far, boost tourism in Appomattox, share their expertise and enthusiasm with students, and perhaps even to break into a little thing called Broadway. “Eventually, we would love to see one of our pieces produced on Broadway,” says Arpino, who has acted in the Broadway touring companies of Mamma Mia!, Legally Blonde: the Musical!, and Hairspray. No matter what audience Wolfbane reaches, its ultimate goal is to create a fun and unique experience that particular audience will never forget. “Not only do I get to play in the woods, work with some of the best people you’ll ever meet, and lose myself in the most awesome shows; I also get to watch audiences go on the ride we’ve set up for them,” Williams says. “Their reactions and enjoyment are everything.”

Title: Architectural Renderer, Owner of Point Of View, LLC | Age: 68

How long have you been doing this and what led you down this career path?
As I was growing up I was constantly drawing and loved art projects. But when I entered college I floundered with general art courses. A wise professor recognized this and suggested I look into some design-oriented paths. I switched over to Architectural Design and was surprised to learn that most assignments included doing renderings in perspective and color to show the instructor we could visualize the final design. While most of the class groaned at the notion of drawing, I was ecstatic. As a professional Interior Designer, I would get requests from my colleagues to produce some for their presentations. I made the decision to turn renderings into a business, and now I’m in my 36th year.

You have created a business around what can be considered a “lost art” in the architecture world. How did computers change the demand for hand-drawn architectural renderings?
I graduated in 1978 B.C. (Before Computers) so for me personally it was many years before Computer Aided Design (CAD) started to encroach on the hand-drawn market. As personal computers got more sophisticated with 3D capabilities, it seemed like everyone was getting into the act. This took some of my business away, but not enough to lure me away from the pencil. I also realized that even though the demand for hand-drawn images diminished somewhat, the recognition of the benefits and importance of renderings increased throughout the design industry.

And as you can attest, a lot of businesses and organizations still want that hand-drawn “look.” Why?
CAD generates an almost too photo-realistic representation for the design concept. As a significant part of design presentations, clients get more excited looking at a visual that has an artistic look. Another advantage to the hand-drawn method comes when the design is still in the conceptual stage. Computers can only convey specifics where art has imagination and can fill in the blanks.

Do you still love it just as much as when you started?
Absolutely. I consider what I do as providing a service to the architecture community. The ultimate satisfaction comes when the client regards my drawings as an essential part of their design process. I have a photograph of a CEO giving the press corps a tour of a new hotel during construction and carrying a stack of my renderings to show what each space will ultimately look like. That’s pretty rewarding.

What types of renderings have you drawn for clients over the years?
There are quite a few renderers who specialize in exterior building art, but few concentrate on interiors as I do. But that doesn’t limit the subjects that I’m asked to produce, especially in the commercial field. Hotel jobs usually include lobbies, restaurants, bars, guestrooms, pool areas, etc. Museum exhibits and custom trade show booths are always a treat because there’s usually a lot of fantasy involved. Of course, I always look forward to the house drawings for homeowners who want their dream home in art. Some realtors even give them as appreciation gifts to clients for choosing them to list their home.

Which ones are your favorite to do? Any drawing in particular you are the most proud of?
A real sense of pride comes from doing local projects, like when I saw my rendering of the Lynchburg College Drysdale Student Center on a couple of billboards. I’m especially proud of how the exterior of the new Lynchburg Humane Society building turned out, not to mention several views of the Randolph College Student Center and several financial institutions. My favorite ones happen when I can look at the design elements I’m given to render and instantly know if I feel a connection to the space and would like to visit it after it’s built.

Tell us how the process goes when you work with a client, from start to finish.
It all begins when a designer or architect gives me their design package that includes blueprints of the room or building, photos of furnishings and material samples. They indicate the viewpoint they’d like to show, and I visualize what all these pieces of the puzzle will look like as a final design. I email the drawing in stages for their input just to make sure they don’t have any second thoughts about their design. Perspective drawings have a way of revealing surprises even to the designer.

And computers can make things a lot easier at times, right?
Before computers I was creating renderings directly on illustration boards big enough for presentations, making changes and design revisions nearly impossible. Being able to scan the original to digital format, I can render a change if necessary in a separate drawing then cut and paste it onto the original. I consider this a supplement to my mixed media creation. And of course, emailing drawings saves me from delivery issues and connects me with clients all over the country I’ve never met—and they receive them instantly. In addition, as a digital image the client has the ability of sending the art conveniently to printing services to reproduce them in sizes from a billboard to a brochure.

What types of mediums do you use when creating a rendering?
Markers are my primary tool, and accents are made with colored pencils. In school, they teach the mechanics of creating perspective, but not how to render. I got my hand on every rendering book I could and studied different techniques and styles and marker seemed to be a good fit for me. Marker manufacturers have come a long way since the “Magic Marker” days, and now offer hundreds of colors and tones that give me more realism and flexibility. I’ve been able to develop a wash effect that many clients mistakenly identify as watercolor. And that’s all right with me!

What advice would you have for someone wanting to enter this field?
Expect to put any artistic ego aside. Realize not all design projects to be rendered are award winners, but treat them as though they are. My job is to convey the vision of the designer in the most aesthetically effective means and in the least amount of time possible. Having a design background helps in understanding the designer’s development process, but that also means accepting the constant revisions that occur throughout the drawing creation with grace.
How can readers get in touch with you?

My website: povrenderings.com or Facebook: facebook.com/povrenderings

Title: Visual Artist | Age: 45

In the past, you have described yourself as a folk artist. How would you define that genre?
I see folk art as an everyday art done by an untrained artist that is more decorative than aesthetic. I used to define myself as a folk artist for my lack of formal training but now, as my art has evolved, I’m leaning more to surrealistic or pop artist.

What do you hope people experience when they observe your artwork?
I want to bring the child out of the observer. I want to take them to an imaginary world inspired by nursery rhymes, fairy tales, lullabies and childhood memories. I want to generate a feeling of nostalgia.

What are your preferred mediums?
My favorite medium is acrylic paint. I also like making dioramas using wood and clay. I love combining elements like fabric and paint to make art dolls.

Are there any special pieces you have created over the years that stand out as being your “best”?
It’s hard to pick one because even the ones that aren’t the best have a reason to be and reflect a moment in my life I wanted to express.
From the public I get great reactions from “The Cat with a Pearl Earring”—they think of the movie and the painting “Girl with a Pearl Earring” by 17th century painter Johannes Vermeer. But since it’s a cat, not a girl, many think that is very amusing.
The other painting that brings a lot of compliments is “Sir Ram.” The texture of the horns and the folds in his clothes make people want to touch it and that gives me joy.

Where do you sell or show your art?
I sell my artwork at art shows, outdoor art festivals, art galleries, art stores and from home when I get commissioned work.
Once I had a fun experience when I needed to set up my booth in my front yard to check my new panels before an art festival. People driving by my house stopped and started shopping and I made a few sales. It was a very encouraging experience.

Take us back to your upbringing in Buenos Aires, Argentina. It didn’t take long for you to discover your talents.
I remember the exact day I thought I wanted to be an artist. I was in 5th grade and my teacher left the classroom for a while. She said we could draw on the chalkboard and I did. My classmates told me they liked my drawings and asked me to make drawings for them. They offered candy as payment and I gladly accepted.

After childhood, where did your art career take you next?
I kept drawing as a hobby; I wasn’t a painter—just drawing using charcoal and pencil. One day back in 2006, for my birthday, my husband gave me an acrylic paint set and brushes. I tried to use them right away, but it was like pushing mashed potatoes with a tiny mop. I went to the library and got some books on acrylic paint; I kept practicing until I got it.
At that time I was a stay-at-home mom of three young kids. One day I was browsing eBay and I noticed people were selling paintings. I posted my first painting and I sold it. My husband’s birthday was coming up, and I felt pretty good about being able to buy him a present with the money I had earned as an artist.
Selling my artwork online gave me confidence to apply to art festivals and shows. At my first art market I sold almost all my artwork and the owner of a nearby consignment store asked me if I would like to sell my artwork at her store.
Then at different venues, art store owners like Space Montrose in Houston asked me to show my artwork at their stores so I realized I didn’t have to be a part of so many art festivals (I was booking one a week)—I can just send my artwork to stores.

Now, you are taking care of a family of your own. How has having children changed you as an artist?
In the beginning of my career my artwork was more serious and realistic. From them I learned to have fun with my work and paint what I want to paint—not to pretend to be something that I’m not. I’m a silly mom who loves fairy tales and movies and that’s what I paint.

Do you think one of your children may follow in your footsteps?
I have four kids. All of them like art, and they are all very talented. One of them, my 17 year old, wants to follow a career in art. He is in high school and is already doing art commissions. He sold his first painting online when he was only 9 years old.
My 11- and 13-year-old girls’ drawing skills are amazing, but they want to be doctors like their dad. My 7-year-old boy is the only one who has not shown signs of liking art.

What is your best piece of advice for aspiring artists—including children and teenagers?
Work on your technique, practice and create. Don’t get too attached to your paintings so when you make a mistake or you are not happy with it you can let it go and move on to the next piece. Listen to criticism; consider it, but don’t dwell on it too much. People love to tell artists what to make or how to run their art business, but they are usually not in the art business. Don’t be afraid to be different.
I would also like the concepts of “starving artist” or “profitable hobby” to be removed of the way people approach this business. My experience of talking to young or aspiring artists is that they believe they are not going to make enough money as artists and that is not true. You can have a very profitable career as an artist. It’s hard work, but it’s possible.

What’s next for you in your journey?
Do you have any big goals?
I would like to have an art gallery and art center in the future.

How can readers get in touch with you?
They can visit my website at www.adrisart.com, follow me on Instagram at adris.art or on Facebook at facebook.com/adrisfolkart.

Technology, Engineering and Art Converge in Vector Space/Hill City Keys Collaboration

Are you on team STEM or team STEAM? As STEM (Science, Technology, Engineering and Math) education and initiatives become more and more prevalent, many people have begun advocating for the inclusion of Art. As a librarian who conducts STEAM programs for children ages nine to 12, I fully support this inclusion and think that art often pairs seamlessly and effectively with STEM activities. Adam Spontarelli, who is an engineer at AREVA and the Director of Education at Vector Space, introduced a particularly exciting example of art meets STEM over the summer: a robotic arm that creates paintings according to notes played on the Hill City Keys piano at the Community Market.

The project, which went live in May and will continue through October, occurred to Spontarelli after a series of successful projects at Vector Space that linked technology, engineering and art.

“It has been an evolution of ideas, starting with an interactive Mario Kart game that we made at Vector Space that required the player to ride a bike and hit a target with a laser pointer,” he says. “Then we built a chalk drawing robot to compete in Amazement Square’s chalk contest. After this and a number of inspiring visits to Maker Faires throughout the country, it seemed like the next logical step was to combine these ideas of interactive technology and public art.”

Before debuting the project, Spontarelli worked for about a month writing the code and building the arm, which resides in the gallery at the Academy Center of the Arts. “Figuring out how to accurately detect a note being played was easier than expected, but getting access to a persistent and reliable network connection near the piano was significantly harder,” he says. “There were some network connectivity issues in the beginning that were fixed by deploying a mesh network of routers, an idea proposed by another Vector Space member, Kurt Feigel.” For step-by-step information about how the arm actually works, check out our diagram on the next page.

1. A computer installed inside the Community Market piano has a microphone that detects and records any sound it considers loud enough to be produced by the piano.

2.The audio recording is decoded into a series of frequencies so that the note being played can be determined. “For all the math fans, this is done by applying a Fourier transform on the data,” Spontarelli adds.

3. The note is passed through a mesh network of routers with an oversized antenna until it makes its way onto what Spontarelli refers to as “the White Hart’s generously shared network,” where it is then posted on the internet.

4. From its home in the Academy Center of the Arts, the robotic arm watches for notes to be played. “If it receives a B, the shoulder will move clockwise a few degrees, and a B# will send it counter-clockwise,” Spontarelli says. “A C will move the elbow, a D will pump a drop of the pink paint, an F for the green paint, and so on. So the result is predictable and repeatable, but randomized by the community’s interaction.”

5. When someone plays a note, a pump attached to the arm draws the corresponding paint color through the tubing and onto the canvas. Spontarelli checks on the canvases periodically and changes them out arbitrarily. “I’m open to suggestions about what to do with the paintings,” he says.

After brainstorming with the Academy for over a year about how to combine art and STEM topics, Vector Space was awarded a $1,200 grant from Lynchburg’s Arts and Culture grant fund to complete the project. Hill City Keys founder Libby Fitzgerald was excited about the project from the get-go and is happy to see even more participation since it launched. “Not only does the Academy welcome community collaborations of all kinds, but anything that increases opportunities for public participation in this public piano project is so welcome and something we’ve encouraged for the four years of its existence,” she says. “We often think of art and science as being two totally different fields that rarely intersect, but to see one possibility of how they can is quite thrilling!”

Spontarelli is also pleased with the participation rate and feedback thus far. “It has been great!” he exclaims. “I’ve received a lot of positive feedback and amused looks. As of right now (mid-July), the robot has received 66,059 notes from the piano.”

Before this particular project made its debut, Spontarelli had already seen the benefit of including art in STEM initiatives firsthand. “There’s something about art that captivates minds,” he says. “I can teach a student how to write their first computer program that displays a message on the screen. I’ve done it many times and the students are always unimpressed. I then teach them how to write code that turns on an LED. For some reason, even though the concepts are exactly the same—instructions are given to the computer to send a digital signal to a display—students are absolutely fascinated by the LED. And once they start making it change colors, they can’t contain their excitement.”

As is the case with most STEAM activities, the data collected from the robotic arm has produced not only answers, but also more questions. “As someone who loves data analysis, I can tell you that all of the data is interesting,” Spontarelli says. “But for those who enjoy a good mystery, it seems that every now and then, at any time throughout the day, a lone G will be played. Is there a bug in the code? Is there someone out there in Lynchburg who plays G every time they pass a piano? Or does construction equipment tend to make sounds that resonate at 3136 Hz?”

These and other questions lend themselves to further inquiries, interest and involvement in this and similar projects, much to Spontarelli’s delight. “Even as the creator, whenever I’m at the Academy checking on the robot and it suddenly starts painting, I still get excited,” he says. “I want to engage the community in a way that makes them think about what’s possible and to hopefully inspire someone else to create something different.”

After this particular project completes its run, Vector Space will continue to spearhead unconventional and exciting STEAM activities and events and to encourage community participation. “We’ve continued to make outlandish, interactive technological contraptions, and we have an ever growing list of ideas from mile long marble runs to light shows controlled by the public,” Spontarelli says. “All we need are more interested minds to come and help bring ideas to life.”

For more information about Vector Space, visit their website: vector-space.org.