A Behind-the-Scenes Look at Hacksaw Ridge

It’s been said heroes are made, not born. His birthplace of Lynchburg, however, set the first scene in the heroic true story of Private First Class Desmond T. Doss. His story is now told by Hollywood in the major motion picture Hacksaw Ridge, in theaters November 4.

“I thought it was just a faith-based war story,” Randall Wallace told Lynchburg Living in a phone interview from California. “I read it and couldn’t believe it said Lynchburg, Virginia.”

The moment that a screenplay titled The C.O. (Conscientious Objector) came to famed Hollywood screenwriter Randall Wallace was every bit as serendipitous as years before, when a trip to Scotland to learn more about his Scottish-American roots led Wallace to discover the legend of a medieval Scottish patriot. That journey inspired his first produced screenplay, Braveheart. In The C.O. Wallace found another compelling true story of patriotism and sacrifice, but this time he and the patriot shared roots in common ground.

“I had grown up in Lynchburg and never heard of Desmond Doss. He was remarkable to me,” said Wallace. “Commitment to God and country, for him it was not either or, it was both and.”

At age 21 Doss became a deacon at Lynchburg’s Park Avenue Seventh-day Adventist Church. Within five years he would become the first Conscientious Objector to receive our nation’s highest military decoration, the Congressional Medal of Honor. In the wake of Pearl Harbor, Doss felt compelled to serve his country in World War II, but he had to reconcile that with serving God and upholding His Sixth commandment–Thou Shalt Not Kill.

Doss concluded he could do both by serving as an Army medic. He would not carry a rifle because of his deeply held Christian beliefs, drawing the disdain of fellow soldiers. Nevertheless, he saved the lives of as many as 75 men during the Battle of Okinawa, by carrying or dragging them one-by-one to the edge of a cliff and lowering them down the jagged face to friendly hands waiting below.
Wallace committed to the script’s re-write, deciding it should be called Hacksaw Ridge, the name Americans gave the portion of the Maeda Escarpment on the island of Okinawa, Japan. It’s where Doss found himself under unrelenting enemy fire while working to save his fellow soldiers. Wallace took his screenplay draft to friend and colleague Mel Gibson, who directed and starred in Wallace’s Braveheart. Hacksaw Ridge is Gibson’s directorial comeback, after a ten-year hiatus.

The distance to cross the White House lawn, the shaky feeling one might have preparing to stand face to face with President Harry S. Truman—the events of October 12, 1945, the day Pfc. Doss was awarded the Medal of Honor, pale in comparison to what Doss had endured to get to that day. Two weeks after receiving the Medal of Honor Doss unceremoniously caught a bus home to Lynchburg. His hometown threw a parade in his honor.

Today drivers make their way from one end of Lynchburg on the Pfc. Desmond T. Doss Memorial Expressway. Lynchburg City Council named the portion of highway for Doss in 2007, the year after his death. The night before their surprise appearance at Liberty University’s commencement in May, Wallace, Gibson, and actor Vince Vaughn, who plays Doss’ sergeant in the film, wanted to see Lynchburg, to get a better appreciation for where Doss came from, according to Liberty University President Jerry Falwell, Jr. Falwell said their driving tour included a trip down the expressway named for Doss and to see Desmond T. Doss Christian Academy.

Following commencement select guests gathered with the screenwriter, director, and star for an intimate screening of a yet to be finished or promoted Hacksaw Ridge at the university’s Cinematic Arts school. The local audience felt as if they’d been taken back to 1940s Lynchburg, despite the film having been shot on location in Australia. An Australian mental hospital was used to represent “Lynchburg Hospital” in the film. Becki Falwell, wife of Jerry Falwell, Jr., said moviegoers with connections to our area should watch with a keen eye to spot what would seem to be familiar sites in the film.

“There’s a scene where Desmond and his girlfriend are running through the woods,” said Becki Falwell. “The rocks, it looked Virginia. It looked Lynchburg. It looked real.”

“There were a number of discussions about what Lynchburg was really like,” said Wallace.

Wallace was just the person for filmmakers to ask. He moved with his family from Tennessee to Lynchburg at the age of 11 and graduated from E.C. Glass High School.

“Lynchburg became home to us,” said Wallace.

Wallace said financial considerations kept filming in his adopted hometown off the table, but the filmmakers still wanted it to feel authentic. They hoped to capture the essence and beauty of the area.

“They found locations that looked remarkably like Lynchburg and surrounding areas,” said Wallace. “The mountain scenes looked like the Peaks.”

Location was everything, and while getting the sights right was important, sound adds another layer of authenticity to the film. Wallace suggested filmmakers talk to people with real local accents, then Hollywood came calling Lynchburg. Locals found themselves chatting on the phone with a dialect coach.
“They were trying to get the native accent,” said Lynchburg Museum Director Douglas Harvey, who answered a cold call from the coach. “How do people in Lynchburg say house?”

Cindy Childress, who works in the Lynchburg College Admissions Office, responded to an email filmmakers sent to the office’s inbox. The dialect coach was wanting to chat with a local female, over age 50. Just shy of her 50th birthday and having been in the Lynchburg area since third grade, Childress was perfect for the role.

“She just asked me to talk,” said Childress. “Tell me about your family. Tell me about your last vacation, just broad things that would get me talking for a while.”

At a private screening for about 75 Seventh-day Adventists near Washington D.C. in August, producer Bill Mechanic told of another secret visit.

“Andrew Garfield had come to Lynchburg sometime back to see all the places associated with Desmond,” said Desmond T. Doss Christian Academy Principal Steve Doss, who attended the screening.

Garfield is best known for portraying the skyscraper scaling superhero in 2012’s The Amazing Spider-Man and its 2014 sequel. Desmond Doss, coincidentally, was the subject of a comic book published in 1946. Wallace said Garfield was well suited to take on the identity of a real-life hero.

“The young man who plays Desmond is absolutely committed to accuracy,” said Wallace. Desmond Doss moved to Georgia in the 1950s where he built a home with his wife and raised a son. There under the authority of the Georgia Cumberland Association of Seventh-day Adventists, the Desmond Doss Council was created to preserve, protect and manage the intellectual rights to Desmond Doss’ life story. Steve Doss, who has no known familial relationship to Desmond Doss, had a chance meeting about three years ago with Dr. Charles Knapp, chairman of the council.

“If my memory serves, Dr. Knapp told me they had held on to his story for some 12 years to find the one that would stay true to who Desmond was and what he did,” said Steve Doss. “He told me then they had just gotten the story to someone who would stay true to it. I felt confident the story was going to be done right.”

On one visit to the school that bears his name, Desmond wore his Army uniform and Medal of Honor. He showed the students how he tied the bowline knot he used to lower wounded soldiers to safety. Another time he talked to young people about where faith could take them in life. For Steve, the movie’s portrayal of Desmond Doss did not disappoint.

“He was very humble when he spoke. Desmond seemed to be the opposite of what one would think a war hero would be. At the end of the movie, they have actual footage of an aged Desmond telling one of his stories. I felt like that was the confirming point for the audience, to know the man in the movie was a real man telling the story,” said Steve Doss. “He never seemed to represent what he did with his words because the words didn’t match his small 150-pound frame. For me, the movie makes the two now match.”

By Angela Hatcher

Title: Altavista High School student/Sketch Artist | Age: 17
Editor’s Note: Deon Calloway has autism and sometimes needs assistance communicating. His teacher and mentor, Jessica Ward, helped him answer the following questions. They were edited only to improve clarity and not take away from Deon’s voice.

You have a lot of talent for a young artist. When did you first realize that you were very good at drawing?
When I was a little boy, I knew I was a great artist.

Pencil sketches seem to be your niche. Why do you like those types of sketches?
I like to use pencil, because it makes me happy. Pencils are cool because [they make] shading, dark, light, and more.

How do you begin your sketches? Do you have a plan or do you just start drawing?
Most of time I look at the pictures. I use photos from my camera. I do assignments from my art teacher.

What types of things really inspire you to start sketching?
Amazing pictures of buildings or cars. I love buildings like Avoca in my town.
Tell me about a few of your favorite pieces you’ve created so far and why you are proud of them.

[My] favorite drawings are motorcycles. I [am] proud of it, and they are fantastic. I get to see Harleys in Lynchburg at Harley-Davidson too when I show my art there.

You’ve taken your masterpieces out to many different art shows. How does it feel to have people want to buy what you create?
The people want to buy my art, because it is amazing. I feel proud and happy when people want my art. I like to go to my bank account and make deposits. I have great Facebook fans too. I have 1300 likes. The likes make me happy. People tell me they love my art.

What kind of encouragement or feedback do you get from your fellow classmates?
My friends think my art is beautiful. My classmates are my fans too because they know I work hard [on] my art.

How have your teachers played a role in your talent through the years?
My teachers [have] seen me working hard They know I am great artist. Ms. Ward helps me talk to my fans and [takes me] to A.C. Moore and art shows and do the TV interviews. My old teacher Mrs. Gail helps me too.

What do you think people misunderstand about people with autism?
Autism means I need help sometime[s] but I can do it.

What kind of message do you want to send to the public about the disorder?
Autism means that some people think I am weird, but I am not weird—I am just Deon.

Are there any other types of art you want to learn?
Oh yes I do. I [learned] painting and pastels in my art class, and at Michael’s I go to classes, and I learn on YouTube.

What’s next for you in your journey?
My goal is to save more gold [Note: this is what Deon calls his money]. I like to make deposits and spend. I like to do more art shows and learn good talking to my fans. I am going to practice new types of art. Some will be big, and some will be small. I like it when people like my art; I do not like to erase and change my art. I only like to make it perfect to me.

Any closing thoughts?
Like my Facebook page. I like people send[ing] me pictures to draw for them.

How can readers get in touch with you?
My Facebook page is ArtByDeon and email ArtByDeon@gmail.com

Title: Fine Artist/Illustrator | Age: 59

What are your early memories of art?
I was quite a rambunctious child growing up. I remember someone handing me a Dr. Seuss book and asking me to copy what I saw. After working for a while, I looked and saw green eggs and ham on my paper. At that moment, I found what came easily to me and what I loved to do.

My parents then learned to put art supplies in front of me to keep me calm, focused and, hopefully, out of trouble. Years later in church where I would fidget and had a hard time behaving, I remember my father giving me a piece of paper and a pencil before the sermon and asking me to draw a person in our row.

Then in 5th grade, an English teacher asked me to draw on the chalk board for a lesson she was giving and that she would pay me for it. Pay me? Even back then I thought to myself, “Hey, I can get paid for this!” It was the beginning of my freelance career I guess.
Describe your formal study of art.

I studied art and illustration at the Art Institute of Pittsburgh. The first year was a bit of everything from painting the human figure, fashion illustration, photography and even hand calligraphy. The second year was more focused on design and illustration techniques. I’d say that my time there prepared me in two important ways. First was how to design and layout an illustration to fit the page. I found out early the importance of good design, and illustration was a bit more than just producing pretty pictures. The second and more important lesson was learning how to work within a tight deadline.

A funny story was when I was illustrating for a children’s book publisher outside of Dublin, Ireland. The cover art was completed, and being pre-computer, it was mailed to Dublin via FedEx. Turns out the truck was hijacked outside of Dublin and emptied along with my art. Once I received the news, I had two days to recreate it and send it off again.

Describe your first job out of art school.
I was hired directly out of school, and I moved to Columbus, Ohio, where I worked for Federal Glass Company. Federal Glass produced glassware for the top national food chains such as Burger King and McDonalds and other major clients such as Hallmark Cards and American Greetings. I have fond memories of drawing the characters of Holly Hobbie, Ziggy, the Hamburgler, along with the usual flowers and mod designs you saw in the late 1970s. Before I left I even began to illustrate some ideas for a new movie coming out called “Star Wars.” I guess, like in my earlier Dr. Seuss days, what this job reinforced and taught me was the ability to think and work freely in different styles and mediums as needed—a talent that would help me greatly through the years.

What type of work did you do as an illustrator?
Using a phone book and the bus in Washington, D.C., I would set up appointments, show my work and, to my surprise, walk out with an illustration assignment.

At first I concentrated on political magazines and, being in Washington, D.C., there were plenty to choose from. I would return home to Columbus, do the assignment and return looking for more. It did not take long before I packed my bags and headed east. Early on I met a wonderful illustrator who illustrated amazing theater posters. Wanting to break into that field, I contacted a local printing company and asked if they wanted a free illustrated promotional poster. They immediately said yes. I then went to the Folger Shakespeare Theater and asked them the same question, and they also said yes. With everything in place and at no cost, I illustrated my first theater poster. Once it was printed, I took to all the theaters in town saying, “Look, I illustrate theater posters!” That one poster paid off well—I enjoyed more than a dozen years of working in the theater world illustrating posters and show logos for the Shakespeare Theater, Arena Stage, the Kennedy Center and many others around town.

Through the years my work and clientele varied and was never boring. Early on I used an airbrush and for years wore a mask and air tank. When scratchboard was in vogue I moved into that technique for work in spot illustrations. One year it may of been corporate logos, another more Washington Post editorial illustrations. I designed and illustrated PBS season posters, book covers, coloring books and for two years I produced political caricatures for The Weekly Standard magazine. I would receive a call each Wednesday and would send the work in by Friday morning. I never knew what was coming in.

What did you enjoy about illustrating?
In a word, everything. Even back then I looked at illustration as art. Art is an illustration for the plain fact that it embellishes someone’s written word. The fact that I could take someone’s thoughts and words and a blank piece of paper and create an image that they approved of was very exciting to me.

How did you arrive in Lynchburg?
With family in both Charlottesville and Lynchburg, my partner Wanda and I were making the trek to and from Lynchburg often, and the more I visited the more I loved the city. Wanda grew up here and had been gone for more than 30 years. But after watching the city grow for a few years, we decided that it was time to finally make the move. After some searching, we purchased an 1898 home on Diamond Hill and are slowly restoring it back to its former grandeur.

What are your thoughts on the culture of the Hill City?
During the years we watched Lynchburg, we were once driving through a neighborhood here in town looking at homes. Curious to know what it would be like to live on the street, we stopped a couple of women walking and asked for their thoughts. One of the ladies said to follow her home and talk about it more with her and her husband. When we arrived at their home, we met her husband, Ted Batt (Director of Visual Arts at the Academy Center of the Arts). Ted introduced us to the Academy (and to the building project) and gave me my first show in 2015. The Academy has become a bit of a second home to me now where I find wonderfully dedicated people and much inspiration in their monthly art shows, talks and classes. I donate art to their galas and often volunteer my help when I can.
Tell us about your first show at the Academy.

It usually takes years to be able to book your first show at the Academy. There is a long waiting list of artists along with other yearly national shows and scheduled exhibitions. In February 2015, Ted asked if I wanted a show in May [of that year]. I swallowed and with a smile said “SURE!” This is where my deadline mode kicked in and by that May we hung just over 30 paintings. Being new to town, I thought I would first paint a series of Lynchburg scenes that people would possibly like. I love the architecture of Lynchburg and the first thing I noticed driving through town were all the church steeples. They reminded me of the scenes of French painters from the 19th century.

I scoured shops for antique frames and produced works to fit them, wanting the show to have an old established feel to it. Techniques varied from impressionistic oil works to tighter Edward Hopper–looking paintings, portraits and still lives.
My studio then was in the Allied Arts Building on the 5th floor. I was working fast and whatever image came to me I would try and capture on canvas. I had one unsold portrait already completed before I moved to town, and I thought I would perhaps paint a second. These two African American portraits became the most talked about works in the show with one selling during the show.

You really found your niche with that type of portrait. What’s the background story?
In past years I vacationed a bit in the Caribbean and had photographs of people I saw tucked away in drawers waiting for the right inspiration. When I see a photo or an image I like, I instantly see the completed painting in my mind. I photographed a lady laughing and had the image laying around for years. Every time I would run across it, it would make me smile. So one day I sat down and painted her, titling the piece “The Joke.”

Receiving numerous compliments on this work both at the Academy and online, I thought perhaps I may have found a new direction. I was intrigued and challenged, painting the darker skin tones using grey, lavender and blues. I also experimented and found I liked the look of leaving portions of the painting unfinished, showing the base color that I rub into the canvas with a rag. In my earlier illustration days, I always seemed to over-finish the entire work with detail so I wanted to loosen up a bit when I worked on canvas. Overall, I was very pleased with the new look and feel of the completed works. Since then, I’ve branched out a bit more, painting the women and figures placed in a more abstract, heavily-layered patterned background. I enjoy this look and will continue to experiment with this series to see where it leads me.

What recognition have you received for your work?
I received a number of national awards for my illustration work through the years, but I am fairly new to fine art painting. Focusing more on the work itself, I have only entered five competitions to date. This year I received second place in the Academy Center of the Arts National Juried Art Exhibition. The 36 x 48” work was of a woman surrounded by my swirling patterns, and I called her “Dance.” I placed some of my work to sell on Saatchi Art in 2015 where I was a featured artist in August for the Made in the USA Collection, in October for the Celebration of Picasso Collection, and in November for the Mid-Century Modern Lovers Collection for one of my abstracts. In 2015 I also received an Honorable Mention at the Arts Club of Lynchburg.

Which artists have influenced your style?
My latest large works with the patterns were obviously first inspired by Gustav Klimt. When I lived in Washington years ago, I saw the Impressionist Show in the West Wing of the National Gallery and that show left a lasting impression on me to this day. Besides the obvious greats such as Cezanne, Degas, Monet and Sisley, I also was inspired by the work of Gustave Caillebotte.

What is your philosophy of art?
I tend to agree with Picasso when he said that all children are artists.
The trick is how to remain an artist when you grow up. When I am working on my patterned pieces, I try not to over think but let the abstract patterns dictate where and how I add detail. In other words, I let the child in me out and color freely. I recently read that in the broadest sense, anything man-made is art. Not just paintings and sculptures hanging in museums and galleries but anything not made in nature. It can be functional, ugly, disturbing or quite beautiful. I want to create works that are pleasing to my eye and capture a certain moment in time whether it be a woman deep in thought or this beautiful city in transition.

What’s the role of art in a community?
Artists living and working in a community actually help create a sense of community. Seeing their works—perhaps on a First Friday or painted on pianos scattered throughout the city—art brings a smile to one’s face and helps bring people together and hopefully inspires. Art also creates conversation in a community and helps people look at things perhaps from another point of view. I feel this city is filled with many talented artists, and I am very happy to be a part of it and very glad that I moved here.

What are you currently working on?
I am currently illustrating for a group out of Charlottesville and starting on a large 4- by 5-foot commissioned abstract for a local client. It is obviously hard to do a sketch for an abstract, but I will be painting three smaller works first to narrow in on color and basic technique. I am in talks now to perhaps paint some artwork for a public building here in town, and I will have a busy summer getting ready for two more shows including a benefit in Lynchburg. I’m also proud to be sending three works to Greenville, SC, for the Museum Antiques Show in October through Mary Brockman at Enchanted. I currently have a few of my works for sale in her beautiful shop.

What’s next for you?
I have written two children’s books and would love to set some time aside to work on them. I’m hoping in 2017 I’ll be able to get to one of them, [and] I have a show scheduled for 2018 again at the Academy.

Any closing thoughts?
I invite everyone to come out for First Fridays. Hop on a trolley and see what new works artists are bringing to our residents and in one way or another get involved with this vibrant art community. See a play, take pottery lessons at the Academy or even sit and play a piano on Main Street if you can. There is something for everyone.

How can readers get in touch with you?
I will soon be moving my studio back into the Allied Arts Building in downtown Lynchburg at 725 Church Street, and a variety of my work can be found in Enchanted at 1204 Main Street.

Connect with Kevin at (540) 940-5039, thecreativemind@verizon.net, and follow him on instagram.com/kevin_chadwick.

Four Local Authors Share Their Stories

Now more than ever before, Lynchburg is a great place to create. With its beautiful mountain views, burgeoning downtown scene, superb theatres and school drama departments, community arts programs and initiatives, and more, the Hill City inspires artists of all persuasions to pursue their passions. Here we profile four published local authors—all women—whose experiences in and around Lynchburg have shaped their lives and work.

Rachel Deddens
Rachel Deddens is the author of three published children’s books: A Box of Switches (Warwick House Publishing), A Boy Named Orion and a Bear from Otulp (TLC Publishing), and, most recently, The Day the Calf Ate the Chocolate Cake (Morgan James Publishing). Deddens hails from Mount Pleasant in Amherst County and has lived in Lynchburg for about 35 years.
“My writing tends to be a reflection of my life experiences as a child, growing up on a farm,” she says.

Deddens cites her grandmother as her primary source of inspiration; Calf and Box are both directly inspired by stories her grandmother told her when she was young. “The inspiration for this book [Calf] was a story told to me by my Granny with her remembrance of a day when her husband (my grandfather) rescued a newborn calf whose mother had died,” Deddens says.

“[Box is] also inspired by my Granny, who was a great storyteller. She would tell us about getting a box of switches instead of our wished-for presents at Christmas if we were naughty children.” Boy was inspired by Deddens’ son. “When my son was very small, he asked me to write a story about a boy who meets a bear from outer space,” she recalls. “He wanted lots of silly words in the story. It is full of those silly words that come together in the end.”

Just as Deddens’ grandmother instilled a love of stories and storytelling in her, Deddens hopes to do the same for her grandchildren. “The most rewarding thing about being a writer is reading to my grandsons a book that I wrote!” she exclaims. “Reading and talking to children of all ages and helping them to realize that anyone, at any age, can be a writer is also very rewarding.” Deddens has read her most recent book at Peakland Preschool, Holy Cross Catholic School and the Legacy Museum of African American History where she is also a guest curator.

She also recently did a book signing, along with Calf illustrator Olivia Cesafsky, at Givens Books.

Deddens advises writers hoping to be published to keep trying no matter what. “Keep trying, and use your creative talent,” she says. “I guess I see it as using the imaginative component of oneself and just writing it down.”

Diane Fanning
A harrowing childhood experience led author Diane Fanning to an interest in fictional and true crime writing. “I was drawn to write crime fiction and non-fiction by an experience [I had] when I was nine years old,” Fanning says.

“Only the fortuitous arrival of another vehicle spared me from abduction. I memorized the license plate number of the would-be kidnapper. When police stopped him, they found evidence in the trunk of his car that he had sexually assaulted and murdered an 8-year-old girl the month before. I delved into criminal psychology in order to understand the why of the crime.”

Fanning, who is from Boston but has lived in Lynchburg since attending Lynchburg College, has 25 published books to her name, the first of which was published in 2003. Six of these novels comprise Fanning’s Lucinda Pierce Mystery Series (Severn House), two comprise her Libby Clark Mystery Series (Severn House), and the others are true crime novels dealing with such notorious cases as the Casey Anthony case, the Matthew Winkler murder, and the Lisa Nowak case, among others.

Two of her latest true crime novels are set around Lynchburg; Under the Cover of the Night (Berkley Books), which is about the murder of Jocelyn Branham Earnest, takes place in Forest, and Treason in the Secret City, a Libby Clark mystery, takes place in Bedford County. “Living in the [Lynchburg] area has given me a strong appreciation for southern culture,” Fanning says. “All but one of my works of fiction are placed in Virginia, and the majority of my non-fiction is placed here as well.”

For Fanning, who has appeared on 48 Hours, 20/20, The Today Show, MSNBC News, and many additional television programs, one reward of being a writer stands out amongst the rest. “There are lots of rewards: the great fulfillment of holding a book you have written in your hands, of knowing that others are interested in what you have to say, and the exhilarating excitement of putting together the puzzle pieces to form a coherent story,” she notes. “Most of all, though, was the time one of my books made a big difference in someone’s life when I played a role in obtaining freedom for a wrongfully-convicted woman.”

Fanning offers the following advice to her fellow writers: “Read! Read in every genre. If you insert a technique traditionally found in a genre different than yours, you can create something fresh. Write! Everywhere! Get comfortable writing in any environment—it can chase writer’s block away when you change your environment. And never, never give up. Suffer through rejections while working to become a better writer.”

Carolyn Tyree Feagans
Carolyn Tyree Feagans has eight published works, most of which are inspirational and historical novels set locally and in the Blue Ridge Mountains. Feagans was born in Lynchburg, raised in Amherst County, and has lived in both places most of her life. “Lynchburg and the beautiful surrounding area is the main setting of my books,” Feagans says.

“I lived in downtown Lynchburg, Clay Street, in the ’60s, and I have drawn from that experience, particularly in my book In the Shadow of the Blue Ridge. Many locals prefer that book.”

Many of Feagans’ books sell along the Blue Ridge Parkway and in the Shenandoah National Park. Additionally, Feagans’ books In the Shadow of the Blue Ridge, A Bittersweet Story, and Sharp Top (all published by Warwick House Publishing) are sold in Shenandoah National Park’s Visitor Centers. For Feagans, art reflects life. “As with many novelists, my writing most definitely reflects my own life experiences,” she says. “Fiction is not truly fiction, but emanates from the author’s life experiences and true experiences of others who have influenced them.” History, nature, and a desire to help others are among Feagans’ inspirations. “My inspiration is primarily to write and leave behind something that will help others,” she notes. “The reception for my books has been wonderful, beyond my dreams! However, it is my pleased readers who bring me the most joy—particularly those cards, letters, and emails that express their gratitude for the books and how they have helped them during their troubles.”

For Feagans, the most challenging thing about being a writer has been, and continues to be, dividing time between her family and her craft. “For me, the most challenging thing is juggling the time for it [writing] with such a busy life and large family,” she says. “My first four novels were written as I held a career job, managing several branches of staffing facilities. It was definitely a challenge then, and it was also a challenge while having a new baby at 40 years old!

But it can be done! I believe that we can and will do whatever it is that we really want to do, our passion!” She adds: “If you have a passion, something burning within you, don’t wait. Start!”

Karen Swallow Prior
Karen Swallow Prior, PhD, is a Professor of English at Liberty University, Research Fellow with the Ethics and Religious Liberty Commission of the Southern Baptist Convention, and a member of the Faith Advisory Council of the Humane Society of the United States. She also happens to be a writer. She has written and published many essays and two books: a literary and spiritual memoir titled Booked: Literature in the Soul of Me (T.S. Poetry Press) and a biography of Hannah More titled Fierce Convictions—The Extraordinary Life of Hannah More: Poet, Reformer, Abolitionist (Thomas Nelson).

”Most of my writing is cultural analysis and interpretation, so I’m always drawing on life experiences, both direct and indirect,” Prior says.

“My first book, Booked: Literature in the Soul of Me, is a memoir, so that is the most direct reflection of my life experiences, narrated through the lens of the books that have had the most impact on my life.” Both books have had a significant impact; Prior has led a couple of talks about them on Capitol Hill and has spoken at the American Enterprise Institute and several other colleges.

For Prior, moving to Central Virginia transformed her life and writing. Born and raised in Maine, she moved to Central Virginia in 1999 to teach at Liberty University. One of her favorite essays she has written, titled “North and South,” reflects the impact of the Lynchburg area on her life and writing. “One of my favorite essays I’ve written, ‘North and South,’ is about how I’ve changed—physically, intellectually, and spiritually—just by dwelling in this warm, gorgeous land after moving here from the North,” she says.

“I can’t really measure the way the sight of the Blue Ridge Mountains from my front porch, the bluest blue sky above me, and the long summers have affected me and my writing, but I know they have. I love living close to the earth. I do most of my thinking outside—while running, swimming, or horseback riding—and the lovely scenery and agreeable climate encourage this more than in any other place I’ve lived. My lifestyle here is a lot like the one I had as a child in Maine—without the long and bitter winters. I’m pretty sure I’ve found heaven on earth here.”

Prior first and foremost considers herself a reader and emphasizes the importance of reading for all writers. “I’ve always considered myself a reader first and a writer second,” she says. “Writing is a conversation. The first thing one needs to do in order to write something people will want to read is to be part of the conversation. That means you must read! Specifically, read the kinds of books and publications that reflect what you want to write and where you want

to get published.” According to Prior, being part of a conversation with her readers is the most rewarding thing about being a writer.

“I write for the same reason that I teach: because I love learning,” she says. “Ideas are important to me. Being able to share ideas with others through my books and articles and to be sharpened and challenged by readers just keeps fueling the world of ideas for me.”

By Emily Hedrick

Hill City Keys Launches Third Year of 
Art, Music and Community Advocacy

When Libby Fitzgerald saw beautiful, professionally-painted pianos being played by people of all ages along the streets of Lancaster, Pennsylvania, she knew that this idyllic scene belonged in Lynchburg, Virginia as well. She returned home from her trip in 2013 determined to start a similar project—with one notable difference.

“The new idea I got after returning home was to have student artists in our area schools paint the pianos, rather than using professional artists as they had done in Lancaster,” Fitzgerald says. “My thought was that we could combine music with art to showcase student talent, give them a chance to make a civic contribution, and create pride within those school communities.”

After Fitzgerald received sponsorship from the James River Council for the Arts and Humanities and several donated pianos, Hill City Keys (formerly Keys for the Hill City) made its debut in May 2014.

Two years later, Hill City Keys is still bringing art and music to Lynchburg but on an even larger scale. Five high schools participated in the inaugural event. This year, nine schools are participating: E.C. Glass, Heritage, Altavista, and Brookville high schools; Linkhorne, Dunbar, and Sandusky middle schools; James River Day School; and Liberty University. The pianos made their debut at various businesses downtown at the First Friday event on May 6 and will remain on display until October 31.

New this year, Hill City Keys attained sponsorship from the Academy Center of the Arts. One boon of this relationship is additional staff support. “There are now more staff to help me with ideas, marketing, outreach, billing, planning musical events around the pianos, and so many other details. I am truly grateful for that help, and I think the Academy is the perfect home for Hill City Keys,” Fitzgerald remarks.

She says this new relationship also benefits the community as a whole. “Hill City Keys is part of the exciting new Outreach Initiative at the Academy,” Fitzgerald says. “That means that any funds I raise from the program, beyond my expenses, will help support that effort, which includes over $17,000 in need-based scholarships for Academy classes and camps, free tickets to Academy shows, a Healthy Snacks and Cinema program for local youth, and a partnership with the YMCA Summer Learning Loss Prevention Program, to name just a few components. All of it is geared toward making the arts more accessible to underprivileged parts of our community.”

Evan Smith, director of community outreach at the Academy, believes that the Academy’s sponsorship of Hill City Keys benefits the Academy, Hill City Keys, and the community at large. “Hill City Keys serves the Academy’s new focus of serving our community through arts and culture,” he says. “For this goal to be met, we must have programs like Hill City Keys that are accessible to everyone in Lynchburg. We expect this program to have more exposure and more impact with it being at the Academy.”

Local schools are also making an impact by breathing new life into the pianos donated to Hill City Keys. Mike Bremer, a social studies teacher at Sandusky Middle School and longtime sponsor of student-led Relay for Life teams, saw the project as an opportunity to highlight Sandusky’s efforts to raise money for cancer research. In collaboration with Sandusky art teacher Karen Camden, Bremer proposed that Sandusky’s Relay for Life team, “Spartans for a Cure,” take the lead in designing the artwork for the piano. According to Bremer, the students were thrilled to be involved.

“The students were enthusiastic about the project, particularly through the design phase,” he says. “They expressed excitement to be able to show their commitment to fighting back against cancer in a new, public forum. A core of dedicated students prepared the piano and then a select group performed the more delicate painting tasks.”

The students decided to decorate the piano to go along with this year’s theme for Lynchburg’s Relay for Life, “County Fair—Give Cancer the Boot,” using boots of all sizes to reflect the fact that cancer affects people of all ages. Bremer notes that as the students worked on the piano, other students asked to become part of the project and adults at the school “became curious, donated boots and supplies, and supported students in completing the project on time.” Funds were also donated to “Spartans for a Cure” during this time. Between mid-February and the end of April, students volunteered over 125 hours to complete the project. “Once a student learns the value of volunteerism, it becomes an integral part of a sense of belonging that lingers into adulthood,” Bremer remarks. “These students will continue to enrich our communities and participate in improving our lives in meaningful ways.”

Of course, the most rewarding experiences are also subject to considerable challenges; Heritage High School art teacher Jon Roark can attest to that. After completing their Van Gogh–inspired piano on a Friday, Roark and his art students returned the next Monday morning to a flooded hallway and classroom. “When we walked into school at 6:30 a.m., there were two inches of water in the hall leading into my room and the same two inches of water in my class,” Roark recalls. “Fortunately, the piano bench was up on a table, and there on an apparent high spot in the room sat the piano, as if on some tiny desert island with a circle of water around it. Clearly the floor wasn’t level.”

Aside from this incident, which Roark says is now funny, the process was smooth and inspirational. Roark wanted to do a Van Gogh theme for the piano in part for a personal reason. “I’ve used Van Gogh in class for years as an example for students to aspire to,” he says. “Recently my brother-in-law Mark Lindamood has become a huge fan of the man, sort of pushing me to look deeper. I’ve done several copies of his self-portraits as gifts for Mark, and the kids always see this stuff being done. I think that inspires them to also look deeper.”

The creative process involved several steps including sanding the piano, cleaning it, painting it white, measuring the panels and redrawing them as simple shapes in Adobe Illustrator, transferring the shapes to the piano, and painting the images on those shapes. Seniors who had worked on Heritage’s previous piano took the lead on the project, but Roark was also keen to involve freshmen and other underclassmen.
“I love watching the students take pride and ownership of their work,” he remarks. “Combine that with seeing the new freshman and underclass talent rearing its head for the first time, and you have a teacher’s dream.”

For E.C. Glass art teacher Linda Harding, getting to design a piano for Amazement Square was a dream come true. “I jumped on the opportunity to create something for the children’s environment that many of my students have loved,”
she says. “Amazement Square has taken a new direction in the educational opportunities they are bringing to our community’s children. Their new Make Shop will focus on repurposing and reengineering items to learn and invent through exploration.”

To this end, Harding and students from her painting and advance studio/advance placement classes used parts from the inside of a piano on the outside of another piano. “We disassembled a piano action and explored several boxes of random instrument parts,” Harding remarks.

“Students were given parts to look at and design what they could be. These sketches took on themes of ocean, field, and jungle. We added a sprinkle of Dr. Seuss and our piano began to take shape.”

The piano E.C. Glass created two years ago has taken up permanent residence at the school, marking Hill City Keys as an honored tradition. “The piano we completed two years ago was part of my seniors’ experience, and it now graces our halls at Glass,” Harding says. “Younger students were excited to be a part of this tradition and program themselves. Often you hear lovely music and conversation as students and staff take a moment to express themselves on the keys.”

Music, conversation and self-expression are at the heart of Hill City Keys’ mission as a community art project. Fitzgerald’s favorite memory so far encapsulates all of these things and shows how they can transform a person’s—and possibly an entire community’s—life. “My favorite anecdote is the fellow who used to sit by the Bank of the James, speaking to no one, seemingly lost in his own world,” she recalls. “The first year of the pianos, on the first day they appeared, he proceeded to sit down and play amazing music on one after the other, and ever since he has been a changed person, engaging with everyone.

It’s proof to me of the power of music.”

For more information about Hill City Keys, visit the Academy Center of the Arts’ website: academycenter.org. Use #hillcitykeys with your photos and videos of the pianos on social media.

By Emily Hedrick

Portrait Painter, Sculptor and Artist in Various Media
Age: Old enough to be called “Dear,” sometimes “Honey,” and even occasionally “Would you like some help with that?”

How did your interest in art begin?
At age five and later in school, drawing my classmates in my notebooks and textbooks. Growing up, my mother encouraged my sister Jan and me in the arts. We moved every two years as my dad’s company was building bridges and dams, and everywhere we moved, Mom looked up the local private art and piano teachers for us. I quit piano when [my teacher] here in Lynchburg threatened just one more recital.

How has your technique changed over time?
I experiment, experiment, experiment. Once when I got a “Best in Show,” the judge said, “I gave it to you because you are
not afraid of variety.”

Should an artist be open to change?
Whatever an artist looks at will imbed, so it’s good to be aware of that. It will stick. Within those parameters, never be afraid to stretch out to extend your limits either.

Whose art were you influenced by?
Primarily the impressionists and abstract expressionists, but there is always the unequaled immortal Rembrandt. The world stands in awe of his chiaroscuro lights and shadows but should also recognize his divine inspiration. A movie about Rembrandt’s life and paintings included Rembrandt’s remarkable Christian faith and its effect on his work.

What’s your history here in Lynchburg?
We moved to Lynchburg when I was 14. I was a member of the first graduating class of the “New E.C. Glass High School in 1954,” which is why I did the paintings for the Glass Athletic Memorial Lobby to commemorate the basketball champions of 1954, many of whom are still among our many class survivors who are still active and have not changed all that much, and who meet monthly at Charley’s Restaurant for lunch.

Where and how did you formally study art?
E. C. Glass High School; Sullins under Alvin Sella; earned a BFA at University of Georgia under Lamar Dodd; The Art Students League of New York with David Lafel and under Frank Mason… many sculptors at the Loveland Academy in Loveland, Co. over 10 years, and also under several directors of the Lynchburg Center for the Arts here in Lynchburg.

When did you begin doing commissioned pieces?
Since around the age of 19. I have always loved painting and drawing people and animals. Especially grandchildren, because they are being painted out of the great love for them of their grandparents. I feel that, and I think it shows in the paintings.

What do you enjoy about that process?
I enjoy drawing and painting people because I seem to be able to capture a physical likeness, but also something inside the subject I think. For portraits, I try to illustrate my subjects the way they would like to be remembered, or how my clients would like to remember their intended subjects at a given time, especially grandchildren who change so rapidly. I love doing grandchildren!

What are some of the more memorable pieces you’ve worked on for clients?
Some of my more memorable paintings include the large oil painting of the famous young cellist Zuill Bailey with his Goffriller cello; we were fortunate to have had him here in Lynchburg twice. I was also honored to have been commissioned to paint two Poplar Forest patronesses. Fred [my husband] and I also made [the] two gold leaf ornamental frames.

But I [also] love doing landscapes and animals, so I think my favorite lately will be the life-sized painting-in-progress of Lynchburg City Police Chief Raul Diaz with a German Shepherd. Another favorite is the former JP Hughes, a large oil painting, which is more of a portrait type, but with an interesting expression!

I also enjoyed doing a 12-foot-wall composite recently for E.C Glass High School’s athletic department of the 1954 first graduating class championship basketball team, for which Fred spent six weeks building the framework and structure for the combining of my many separate paintings and drawings of that basketball team (that was volunteer work).

How did you become involved in both painting and sculpture? How are they similar? How do they differ?
One translates visually, and the other is both visual and tactile. I really began sculpture late, and felt reborn, after a fashion. I have always enjoyed trying new media, such as sculpture, glass, resin, clay etc. Some mediums have proved to be fugitive though [meaning they crack or turn yellow]! Fortunately, varnishes and some media have improved (hopefully) with newer, lightfast qualities.

Where do you find inspiration?
Reality plus imagination. Artists paint what they find inspiring, and translate it in the best way we can for others to enjoy. I cannot look at God’s beautiful earth without praising Him every day. Painting can be a praise to God or the opposite. I choose to praise Him, and I thank Him for the talent to do so.

How would you describe your personal philosophy of art?
I coined the term “Contemporary Impressionist” because there are few hard edges in my work except sometimes when I intentionally add some line drawing for effect. I prefer to suggest, and let the viewer fill in the blanks. I think that way art and the viewer can identify at some level within the painting because part of the viewer is filling in the blanks. With both painting and sculpting, the artist is always adding and subtracting. I sometimes say that creating art is making one correction after another. Put something down, then do something with it.

Paintings are sometimes like novels—the characters get away from you and assert themselves! Artists either paint to make things more real, more beautiful or to express something for others to see. Often art is used as a means of [expressing] “in your face,” “notice me,” or “This is art—accept this.” Remember the expression “Art will tell”—what it tells about is the artist. But the medium can also produce a vivid statement.

What’s the role of art in a community?
Whatever its role, art will reflect the culture of a community. It’s a question of whose and what.

What do you recommend for someone interested in studying art?
I would recommend good art videos. Today it is not necessary to spend thousands [of dollars] to attend far-flung workshops. Many excellent artists have donated their time, and gone to the trouble, to create wonderful instructional videos available at the push of a button. I would also encourage seriously studying anatomy in live anatomy classes. We have the Academy Center of the Arts here, as well as the Lynchburg Art Club, Riverviews and Magnolias etc.— thanks to Lynchburg’s interest in promoting the arts, for which, all of us who benefit from their generosity, are appreciative.

What are some memories you have of various shows you have done?
When I had a one-woman show at the Lynchburg Academy in 2011, I had more than 70 paintings and sculptures, but when I was painting for it, the subject matter initially was featuring musicians and their instruments. . . such as Zuill Bailey with his Matteo Goffriller cello, and some other paintings of musicians, but also a large painting in red of Randy Riley and his group. [I also recall] a non-musician portrait of English professor Elsie Bock at her Lynchburg College office computer, writing a novel. That painting won a “Best in Show.”

Any closing thoughts?
The purpose of art is to be seen. I hope my paintings are more interesting than 1,000 words about me or my opinions. . .also artists should be secure enough in their own style to appreciate the uniqueness of other artists and enjoy each others’ art. Artists sometimes need to lighten up. I am delighted that Lynchburg Living would choose some of my artwork to feature in their latest issue. Thank you so much.

How can readers get in touch with you? Call (434) 610-1733.

10 Years!!

For Geoffrey Kershner, the beginning of Endstation Theatre Company marked an ending of sorts as well. After years of traveling as a graduate student with Florida State University’s School of Theatre, he—along with fellow MFA student Krista Franco—went to Germany and toured theatres across the country. Franco, who is Endstation’s production manager and scenic designer, recalls seeing a modern adaptation of “A Streetcar Named Desire” and feeling “moved to make theatre that I could creatively invest new ideas into.”

This and other shows and theatres in Germany inspired the two students to form their own company, and upon seeing a production called “Endstation America” in Berlin, Kershner had the name: Endstation Theatre Company.

“The name [Endstation] is the final stop on a train line,” Kershner says.

“In founding Endstation, I returned to my home in Virginia to create theatre. With home being my final destination, after a number of years of travel, the name felt appropriate.”

Thus, Endstation Theatre Company was born in Amherst County.

A decade later, Endstation is delivering high-caliber, groundbreaking productions to large audiences every summer.

Like the best plays, Endstation’s story is dynamic, replete with successes, challenges and myriad changes—many of which took place in the early part of 2015.

Last year’s temporary closing of Sweet Briar College, which had been Endstation’s home since 2006, was an unforeseen obstacle for the company and for Kershner personally. “It was terrible initially,” he says. “Sweet Briar is where I grew up, and my father is a professor there. At first, it was personal because my father lost his job. The Sweet Briar home had also been essential to the company.” Despite the setback, however, Endstation quickly found a new home at Randolph College. “For Endstation, [the temporary closing] escalated a relationship with Lynchburg,” Kershner notes. “The company had been doing more and more work in Lynchburg because our largest audience base was in the city.

When the closure happened, we quickly mobilized to keep the company in a safe spot. Randolph College stepping up to support us during that time was huge. I think a Lynchburg home is an exciting venture, and I am excited for a new chapter at Randolph College.”

Kershner was named Executive Director of the Academy Center of the Arts in May 2015, but he remains an Endstation board member and hopes to direct for the company again. During his time as artistic director at Endstation, Kershner saw the company grow due to their focus on community. “We were always very interested in our specific community and how theatrical activity would excite and inspire this particular audience in Central Virginia,” he remarks.

“From this, our focus on ‘theatre of place’ was born. Our work was inspired by the location. Whether it was the site-specific work or creating original work inspired by local history or lore, we always started with this area as inspiration for our work.

The landscape, the history and the people are incredible for theatrical creation.”

Kershner recalls his work on Endstation’s 2011 production of “Hamlet” with particular fondness: “Making that work was an inventive and truly collaborative process and was also profoundly personal.

Walter Kmiec, Endstation’s new artistic director, was Hamlet. [The play] deals directly with mortality in a profound way in this play. Walter had lost his mother that year and the performance he gave remains the highlight of my directing experiences. His performance was deeply personal, selfless, dynamic, raw and moving beyond words.”

Kmiec and Kershner met at Florida State University (FSU) in 2004, and when casting Endstation’s first show in 2006, Kershner gave Kmiec a call. Since then, Kmiec has worked as an actor, writer, and director at Endstation before becoming artistic director last year. He cites Hamlet as his favorite role as an actor, calling it a “dream role” that was very personal due to his mother’s death. As a director, his favorite production to work on has been “The Two Gentlemen of Virginia.”

“I enjoyed working on ‘The Two Gentlemen of Virginia’ because I had co-written the show, and I had the original idea,” Kmiec says.

“I sometimes worried during the creative process that people would stop coming to our shows if I did a terrible job, which I think is just part of the anxiety of being an artist. The fact that it did well means a lot to me, and I consider it one of my personal highlights.”

In his role as artistic director, Kmiec wants to continue honoring and advancing communities across central Virginia. “Perhaps my main goal as artistic director is maintaining the artistic integrity of the company while expanding our reach in the community,” he remarks.

“Endstation has always considered itself a company that is community-centered, and my goals for the company very much reflect that stance. I want us to be engaged in the community in all aspects where theatre is concerned: education, entertainment and cultural ecology. We, as artists, should be helping to bring the community together however we can. Our work should promote discourse that helps advance the community while also helping them at times to step away from the daily grind; achieving both is what I strive for.”

Kmiec also hopes to see continued growth and change for Endstation in the coming years. “I want us to become regular fixtures at major community events, to become partners in city-wide initiatives, and to be a place where people can come to use theatre as a means of personal and community growth,” he says.

“I want to expand our presence beyond the summer, producing shows during the holiday season or taking shows on tour to schools and community organizations. I would like to see Endstation become a household name in Lynchburg and Amherst.”

A few months before Kmiec was named artistic director, Katie Cassidy was named Endstation’s managing director.

Like Kershner, Franco, and Kmiec, Cassidy also received her MFA at FSU, where she first heard about Endstation. She worked as a stage manager for Endstation’s productions of “Our Town” and “In Sweet Remembrance” in 2014 before becoming Kershner’s assistant and subsequently managing director.

Cassidy, like her colleagues, cites Endstation’s commitment to the Lynchburg and surrounding communities as a major source of the company’s growth and success.

“I think our mission to strengthen our community through the theatrical exploration of its people, its landscape and its history has really resonated with our audience,” she says.

“Whether it’s Thomas Jefferson and James Madison portraying 80s rock stars in ‘The Two Gentlemen of Virginia’ or exploring the class divide in Lynchburg at the Texas Inn in ‘Counter/Top,’ our Community-Centered New Works program has given central Virginia 10 new works in our company’s history. Our theatre is so community-focused, I don’t know how we could have done it anywhere else.”

As managing director, Cassidy strives to collaborate with other organizations to build an arts community. “As a rising tide lifts all boats, Endstation believes a strong and supported arts community can only improve all organizations in the region,” she notes. “For example, Endstation Theatre Company produced their first production outside of the summer season in February 2016 bringing ‘The Whole Bunch’ to schools around the central Virginia area. ‘The Whole Bunch’ is a new work based on educating Lynchburg elementary schools on the importance of healthy eating. Endstation’s production visited 16 schools, performing 18 shows in 10 days plus four public performances on Randolph College’s campus. We reached over 4,500 students in two weeks of touring.”

In its 10 year history, Endstation Theatre Company has thrived on change, and it will continue to do so in the future, but one thing remains constant: the strong camaraderie of its team.

“The artists, the team: I love them so much,” Kershner says. “They gave me the best nine years of my creative life, and none of our work would have been possible without so many selfless, gifted and dynamic individuals.”

“If I didn’t love the people I get to work with, I wouldn’t be a part of the organization anymore,” Franco remarks. “The designers, directors, performers, and staff I get to work with each year are truly amazing collaborators who help Endstation produce the high quality work that we do.”

“I’m incredibly lucky to be working with such amazing people,” Kmiec says. “The Endstation family is still strong after all these years, and I’m excited to see how that family grows and adapts in the coming years.”

“We really do love each other and the work we create, and I think that shows in our productions,” Cassidy says. “Theatre is such a collaborative art that if you can find a group of people who you love and want to make art with, it’s such a wonderful thing. I am so lucky to work here.”

By Emily Hedrick

Occupation: Art Teacher, Heritage High School
Hometown: Lynchburg, Va. | Age: 61

How did your interest in art begin?
I have always drawn. It was my way of learning about history—one of my first loves. I would copy photos out of books as a way of getting closer to the subject. One era led me to another, etc., etc.

One of my issues may be that I have too many varied stylistic interests. It’s hard to find your own style when everything you see pulls you in.

Congrats on recently winning “Best in Show” at the Hill Center Juried Regional Show in Washington, D. C. Can you share about that experience?
Amazing to get in that show—even more amazing to win a prize. It was an absolutely phenomenal group of artists chosen by Mark Leithauser, Senior Curator for the National Gallery of Art. More than 600 entries submitted with [only] 93 accepted. They told me my painting was number one from the first viewing.

I was also selected in 2014 for this show, which is a regional show encompassing six states. The Hill Center is an old Civil War Naval Hospital repurposed as a community arts facility and gallery not unlike our own Academy Center of the Arts.

Your art work is also showing up around Lynchburg. Can you tell us about your recent work with The Academy Center of the Arts?
I teach at the Academy in the summer, and they asked me, along with other artists, to interpret their new logo in a piece of artwork. I did a 3-D piece and had several of my students help in the spirit of old guild style work. The Academy has it hanging now at the entrance to their offices.

Did you always anticipate becoming an art teacher?
I absolutely hate speaking in front of a group of people so teaching was way down on my list of careers. I have made peace with speaking in front of a group but really love working one-on-one with students who have a passion for art.

What do you prioritize in the classroom?
Effort. Creativity and innate talent are great, but if you aren’t willing to work, you’re going nowhere fast. On the other hand, if you are passionate and willing to work, your innate creativity will serve you. Talent means very little to me. I was the student no one would have said could become an artist. In fact, I wasn’t allowed to take Art in high school until my senior year. But I have had great teachers take interest in my development mainly because they could see my interest. I try to be the same person to my students.

You and your students have done several community art collaborations. Tell us about them.
Last fall and winter we produced about 20, 4′ x 6′ luan panels (cheap plywood used in theatre) for Opera on the James. Each was a visual representation of an opera produced and staged by the Opera on the James. The Opera requested they be done in the style of Henri de Toulouse-Lautrec. So the kids had to research Toulouse-Lautrec, then design and illustrate a panel per opera using cheap house-paint, and the panels were hung in February 2015 at the Opera’s fundraising gala at the Academy.

Jeff Wagoner, the Academy Technical Director, had them lit in a way that made them glow—they looked like backlit transparencies. Just beautiful. The Opera later did a First Friday opening just for the students, which was a great event for them.
We have also published three children’s books at this point. One was written by my brother-in-law, the other two by students. The fourth story is being edited and hopefully we’ll begin soon. The third book was about mice living in the Academy Theatre as a way of introducing our students to the Academy. This one is sort of a prequel, explaining how the ancestors of our Academy mice happened to make it to Lynchburg onboard a James River batteau.

So this one will have a James River theme running through it.
I want our students thinking about their locale, about how things came to be here and the difficulties of travel and just life in general in that earlier Lynchburg as well as our impact on what is left for the following generations.

When I started at Heritage, we were basically unknown for visual art, and now we have folks in town asking us to help. I really like that change.

What’s been your experience with Keys for the Hill City?
We painted a piano for downtown’s Keys for the Hill City the first year they held it. We produced a Beatles-inspired piece since it was the 50th anniversary of their first trip to the U.S. We listened to Beatles everyday.

The kids designed some amazing art and did a fabulous job painting it. They wouldn’t let me help, so I got inspired and asked our building trades teacher to add a panel to the top back, and I painted the “Let It Be” portraits on it. I was having so much fun watching the kids; I just had to play also.

I have some really amazing students. We have just begun our second piano. This time it will be a Vincent Van Gogh–inspired piece.

In your opinion, what’s the role of art in a community?
Art is a mirror into our soul. It is a record of our time—a visual representation of us. In education, I believe it improves academic performance and student discipline as well as exposes students to the beauty of our world. In our greater community, I believe it challenges us to think in new ways while celebrating the old and can act as a catalyst for change in a community.

What do you envision for our region and the development of the arts over the next few years?
I believe The Academy Center of the Arts restoration is going to lead to even greater investment and development of our downtown and the fact that the Academy has returned to its roots as a community center (key word “center”).

I see the Academy as a hub of downtown revitalization with more and more opportunities for artistic expression and community involvement.

I am very excited for my friends at the Academy and thrilled that the word “Center” has been brought back to the importance it deserves.

Trending Wedding Themes with a Local Touch

The moment you share the news of your engagement with family and friends, two questions will soon follow:
“Have you set a date?”

“What’s your wedding theme?”

The answer to the first question is pretty straight forward (once you and your sweetie decide what works best). Answering the second question requires a little more detail.

When it comes to choosing a wedding theme, your style can be as unique as you want. In fact, many brides will choose their favorite elements from a variety of wedding themes to create a blended style. Perhaps you’ve always wanted a classic wedding with luxurious florals and chandeliers, but you love the look of burlap and lace. Mixing trends is a great way to express your unique style.

Local touches are also becoming increasingly popular. Sourcing elements like flowers, décor, favors and cuisine from local vendors is a fantastic way to tie in your roots. Choosing to incorporate local touches into your wedding theme shows your love for small businesses, too. “We often help couples incorporate local food items in guest bags or as favors, such as Virginia peanuts, local honey, apple butter, chocolate and wine,” says Kerry Giles, General Manager at The Farm Basket.

Maybe you’ve dreamed about your wedding theme since you were 5 years old. Maybe you’ve done your research and know exactly what you want. Or maybe you’re looking for inspiration and building your wedding theme as you go along.

From traditional to trendy, here are four of our favorite wedding themes this year.

Rustic Chic
Maybe you’ve been to a rustic wedding. There were probably a lot of natural elements, like centerpieces incorporating wood slices and antique lanterns. But rustic chic is a little different—it blends warm, rustic accents with upscale touches.

Danielle Rottweiler at Bridal Guide explains the difference between rustic and rustic chic like this: “There’s rustic with mason jars and lace, and then there’s rustic chic with sparkle and wildflowers. With more couples wanting the barn-style wedding, the rustic chic theme is very appealing.” In her article “The Hottest Wedding Themes for 2015,” Rottweiler explained, “Many couples who want barn weddings still want there to be some formality; they are avoiding the mason jars and burlap runners and opting instead for gorgeous farm house tables, Chiavari chairs and bright pops of color. Many brides, in this case, will also rock out a pair of cowboy boots instead of heels with their dress.”

One of the most poignant rustic chic trends is to incorporate bedazzled lighting elements. Whether it’s hanging a crystal chandelier over the dance floor or adding glammed up candelabras to each table, the sparkling glow will create a fancy feel even in a country barn.

Another rustic chic essential is a rich color palette, bursting with bright floral accents. Unlike rustic, where colors are muted and typically incorporate pale hues of blush or cream, rustic chic colors are vibrant. Create eye-popping accents by draping bright table runners over wooden tables and adding rich colors to floral bouquets.

“The contrast of nice linens and classic touches in a rustic chic setting is very appealing,” says Giles. “I like that it can be as casual as smoking pork and filling mason jars with freshly-squeezed lemonade, and I love how you can dress it up in a relaxed, more elegant way, too.”

Classic Modern
A classic modern wedding is defined as traditional with rich details, plus a few current trends mixed in. This theme incorporates a well-defined color scheme with sleek and luxurious details, creating a cohesive look throughout. The classic modern theme is timeless, honoring tradition while seamlessly paying homage to modern trends.

“If you’re going with this theme, more is more when it comes to florals,” says Stefania Sainato of Bridal Guide. “For the color scheme, white with silver or gold accents is a regal look, or you can go with pale pinks for a more romantic effect.”

When it comes to invitations and wedding programs, traditional cursive or calligraphy against a white textured background will set the stage for your big day. Just make sure the wording and tone of your invitation matches the formality of your event.

Incorporating opulent accents in the décor, venue and attire is the key to creating a classic modern theme. White flowers make a pristine statement with bold, matching floor-length bridesmaids’ gowns and classic black tuxedos. Adding floral arrangements along the aisle will create a dramatic effect at the ceremony location. And—of course—sending off the bride and groom in a vintage car is the perfect way to wrap up a classic modern wedding.

Vintage DIY
Chalkboard signs. A birdcage bridal veil. Flea-market-find embellishments. Simple, understated floral arrangements in antique vases. These are all things you might find at a vintage “do-it-yourself” wedding.

The vintage DIY theme is incredibly popular. Handmade and “up-cycled” items create a nostalgic, romantic atmosphere that’s both warm and inviting. Pairing wildflowers with mercury glass vases creates a subtle, simple centerpiece with dramatic impact.
Add touches of your own personality by stacking antique vases, clocks or birdcages on top of your favorite vintage books. Opt for an antique vanity (complete with vintage mirror) to display your guestbook or favors. Pin an old-fashioned brooch into your hair or bridal bouquet.

“The bare bones of vintage revolve around antique details, lace and some weathered accents,” says Andrea Fowler of The Knot. “The key to pulling off beautiful vintage decor is to style these old-world elements in such a way that the venue looks aged in a charming fashion.”

Local photographer and videographer Jeremiah Guelzo of Stone Blue Productions says the beauty of a vintage DIY wedding is that it allows the unique style of the couple to shine. “My favorite wedding theme is one where I can see the couple in the design. The wedding day is about the couple uniting as one.”

You can find inspiration for your vintage DIY theme literally anywhere. Start with a trip to your favorite thrifting destination. Take a leisurely stroll through the housewares section with an open mind. You’ll probably find an assortment of dishes, picture frames, glassware and décor that can easily be combined to create your vintage style. Variety is the key when it comes to curating the perfect pieces to feature in your vintage DIY wedding.

Coastal
Aaaah, coastal.

There’s something about the lure of the sea that makes this theme oh-so trendy.

Combining soft nautical comforts with bright splashes of color, a coastal-themed motif breathes pure relaxation.

Inspired by all things nautical, the coastal theme incorporates natural seascape elements like seashells, sand and starfish along with maritime accents like rope, anchors and lanterns.

When choosing your wardrobe and accessories, opt for flowy fabrics and refreshing hues. Hair and makeup should be soft and relaxed to evoke the sense of a calming seaside escape. Add texture to ceremony and reception décor by incorporating natural elements like driftwood and coral. Indulge guests by serving your favorite seafood as an appetizer, such as Mahi tacos or mini lobster rolls.

The coastal theme lends itself naturally to spring and summer weddings, so it’s important to consider your wedding season when creating this theme. “The setting, colors, food and florals that reflect the season and are fused with local and personal touches create the most memorable weddings,” says Giles.

Ultimately, your wedding theme should be about you and your sweetheart. It should reflect who you are and what you love. Look at the ways you dress, decorate, work and play. What are your favorite things? Find ways to work those in, and your wedding theme will be the perfect reflection of you both as a couple. The aesthetic you create for your big day is all about your individual style. Make it unique—make it you!—and it will be a day you and your guests will never forget.

By Claire Molineaux Foster