Artist Profile: Sunshine Barlowe Lewis September/October 2020
Abstract Artist
Lynchburg Living Editor Shelley Basinger: When did you first start painting? Sunshine Lewis: I started painting in 2008. I had been painting for fun alongside my close college roommate and friend. When she passed away later that year, I had such a deep loss and I kept at it. I realized it was a great outlet for me.
SB: Art is so healing. How did you end up where you are now? SL: Art found me—I wasn’t looking for it. I believe creativity has the power to heal and is beneficial for everyone. I look back at my art and I’ve grown into my style. It has evolved and changed over time just like I have. It’s been a great tool and a gift to me. I’ve always loved texture and layers that build upon one another. The more I painted and the more mistakes I made, the more I learned. I figured out what worked for me and what I really love. At the urging of friends and family I reluctantly started to put myself out there more and started selling. The more I sold, the more confident I became. I realize art is subjective. Not everyone “gets” abstract art. And that’s ok. I have had people ask me, “What is this?” and I’ll reply, “Whatever you want it to be.”
SB: Do you enjoy doing commissions? SL: Yes! But only if they allow me creative liberty to make most of my own decisions. I’m okay to ask them for a broad idea of colors and movement. But if there is a client who has too many specific ideas then I am not the artist for them.
SB: You also work closely with the interior design community. How has that helped you take your artistic career to another level? SL: I decided to send emails to local interior designers whose work I’m drawn to. Eventually it paid off. I’m honored that they would want to use my work, it gives me another foothold in the market and exposure, too. They put my art in such beautiful spaces and it just comes alive.
SB: Your art is full of color and texture. What inspires you to create? SL: I’m inspired by music, nature, old books, the texture of old brick walls, the sea, and traveling. I can find inspiration in many places and things.
SB: Aside from long days painting, what else keeps you busy? SL: When I’m not painting, I’m hanging with my three boys and husband. We love to be outdoors at the lake and love to travel. I’m also a birth worker and come alongside families to help them prepare for birth and achieve their birth goals.
SB: Sounds like you don’t have a lot of free time on your hands! What’s next for you? Is there anything you want to accomplish in the coming years, either in your art or in life in general? SL: I’m looking forward to focusing on a new collection and taking some time off to focus on filling up my online store.
More travel. More experiences. More inspiration.
What the Curation of The Cocktail Party Could Mean for Anne Spencer’s Legacy Photos by Ashlee Glen
Although she never set foot in New York City, Anne Spencer was a central figure in the Harlem Renaissance.
Spencer’s involvement in this hugely important cultural movement, which fostered and celebrated the intellectual and creative accomplishments of African Americans, began with a visit from James Weldon Johnson. In addition to being a renowned African-American writer, Johnson was also a civil rights activist and field secretary for the NAACP.
When he came to Lynchburg, he—along with Spencer and other activists—established a Lynchburg chapter of the NAACP. Johnson became fast friends with both Anne and Edward Spencer, and he discovered early on that Anne was a talented writer whose poems demanded exposure and deserved acclaim. Before long, Spencer had a poem published in The Crisis, an NAACP-published magazine, and another poem published in The New Negro: An Interpretation, a groundbreaking anthology of African-American work edited by Alain Locke, who is often referred to as the father of the Harlem Renaissance. Anne and Edward’s Pierce Street home quickly became a hub for African-American artists, writers, and intellectuals passing through the South.
Despite her increasing popularity and friendships with such prominent people as Johnson, W.E.B. Du Bois, and Langston Hughes, Spencer valued her privacy and enjoyed spending time working alone in her garden. Additionally, only about 30 of her poems were ever published even though she likely wrote at least a thousand during her lifetime.
“Anne’s poetry has activism in it, but it’s not in-your-face activism,” says Shaun Spencer-Hester, one of Anne’s granddaughters and the executive director and curator of the Anne Spencer House & Garden Museum. “She kind of used nature and incorporated it with activism to address things that she didn’t think were always fair or equal.”
Spencer’s simultaneous compulsion to write (and disinterest in seeking fame for her writing) led to the existence of a painting in the Spencer House with a fascinating backstory. When it came to writing, no surface was off-limits for Spencer—including her own bedroom wall. Spencer would wake up in the middle of the night and write any number of things—poems, ideas, grocery lists—on the wall of the bedroom she shared with Edward. At one point, he suggested they have a painting done on the wall. Anne agreed.
“My grandfather was trying to protect my grandmother,” Spencer-Hester says.
“My grandfather had a pool table in the attic, and in order to get to the attic, you had to walk through my grandparents’ bedroom.
The community of people who knew of her knew she was a person who often wrote for privacy, so they could have said that the writing on the wall meant that she didn’t want to be bothered with people. They also could have said, ‘What about that Anne Spencer? She’s just too much!’
My grandmother wasn’t afraid to step out, but that wasn’t the kind of thing women did during that time period.”
Ultimately, Dolly Allen Mason, a friend of the Spencers, painted The Cocktail Party on a canvas that was pasted directly onto the Spencers’ bedroom wall in 1944. The painting depicts a large gathering of smiling, well-dressed men and women, along with two large disembodied grins in the background.
In a 2018 C-Span interview, Spencer-Hester mentioned that her grandmother said the painting was “about having to go to a party and put on a phony smile.” Spencer-Hester notes that this statement refers to her grandmother’s aversion to disingenuity rather than an aversion to social gatherings in general.
“She was definitely not an introvert, but she also didn’t need to have people tell her who she was,” Spencer-Hester says. “There was nothing phony about her and she would tell you exactly what she thought but was never cruel with her words. I think she was just saying that people don’t always act genuine at parties. When you go to a party, you’re in the moment, feeling out the room, and maybe you’re not really being you.”
There is another intriguing layer to The Cocktail Party: who it potentially depicts. Spencer-Hester speculates that some of Spencer’s famous friends may be portrayed in the painting.
“In my 12 years of involvement with the museum, I have gotten to know these people by reading my grandmother’s papers,” she says.
“They have really become familiar to me. I pass this painting daily, and one day I looked at the gentleman in the bottom righthand corner, at his profile, and I’m like, ‘That’s James Weldon Johnson with his big forehead! And that’s his wife Grace! And that could be W.E.B. Du Bois in the bottom lefthand corner with two of his smart women that he liked to travel with!’”
Spencer-Hester believes that Spencer herself might be depicted in the painting as well.
“My grandmother used to talk about, and has written about, her and her friend Mary Rice putting on their best red dresses or red hats, and that meant that they meant business,” Spencer-Hester says. “When they wore red, that meant they were going out into the community to do some shaking up!
In the painting, you can see two women with red on, so maybe that’s them.”
Regardless of the particular figures portrayed in the painting, its historical and cultural significance are undeniable. In January, The Cocktail Party was selected from more than 40 applicants as one of the Virginia Association of Museum’s “Virginia’s Top 10 Endangered Artifacts.” Although the top two prizes ultimately went to other artifacts at other museums, the Anne Spencer House & Garden Museum received an award of $500 to put towards the painting’s restoration.
Mark Wittl, conservator and owner of Virginia Art Conservation and Restoration, LLC, recently met with Spencer-Hester to look at the painting. “It is a well-executed, whimsical painting of social interaction in happier times,” Wittl says.
“I am thrilled to be a part of this exciting project and hope the joy I personally feel when I complete a restoration can be shared by all who view it in the future.” Following a May visit to inspect the painting, Wittl returned to the Spencer House in June to remove the oil-on-canvas artwork from the wall—a necessary part of the restoration process since portions of the wall are experiencing internal failures, he explained.
The removal was successful, but intense—it took Wittl about four hours to extract the canvas inch by inch. He transported the painting to his studio in Roanoke for restoration, which includes cleaning, mounting it to a suitable substrate, touching-up and framing. Wittl believes the entire process will take eight to 12 weeks.
After it’s restored, the original painting will be framed; a copy will be printed and rehung inside the museum where the original used to be located. Spencer-Hester also says they are making some limited edition copies available for purchase, with proceeds going toward the restoration of The Cocktail Party.
Once the painting came off the wall, Spencer-Hester was thrilled to unearth another surprise: more art. The Cocktail Party was covering up three smaller paper paintings. “One of the three paintings is intact. The other two adhered to The Cocktail Party,” she said.
As The Cocktail Party is restored, Spencer-Hester is excited to investigate these new pieces of her grandmother’s past—and hopefully unearth more secrets of her legacy as well. “There is another layer to remove as we get down to the plaster. Dranny’s scribbling on the wall has yet to be seen,” said Spencer-Hester. “How exciting to find the artwork. It adds another layer to the story. Oh, if these walls could talk…”
Artist Profile: Christina Davis July/August 2020
Lynchburg Living Editor Shelley Basinger: Christina, you made headlines in June for your mural on 13th Street, “Make Waves,” that was created right at the height of local demonstrations about racism. How did you learn about the blank wall at Hill City Hardwoods?
Christina Davis: At first I was tagged on the social media post and then the owner, Randy Smith, ended up messaging me directly. We have been trying to get together on a project for awhile but the timing wasn’t right since I just had my daughter a couple of years ago. We agreed, “Let’s do it now. It’s so needed.”
SB: This all happened pretty quickly, right? CD: It did—we tried not to procrastinate because we really saw this mural as an opportunity to join in on what was happening in our nation and community. With assistance from family and Randy, we spent about four days working on the mural—which included scraping and fixing up the wall. It might have taken less time if it weren’t for the heat. We worked mostly in the morning before it got too hot.
SB: Tell me a little bit about the mural. Who is it we see there? CD: A lot of my work exhibited at the Academy Center of the Arts and other local places is portrait work—animals and people. A lot of my portrait pieces are almost like a self-portrait, because artists always put a little of themselves into everything they create. I wanted every black woman to feel represented as beautiful, strong members in our social and family circles. So this piece is coming from the community—a positive visual of a black woman and the role models we can find in our own community. “Black Girl Magic” can happen in small towns and we don’t always have to look to big time stars for that.
SB: She appears to be swept up into water. Why did you portray her in that way? CD: More like she is setting it in motion. It’s a play on the social media movement we are seeing right now—people tagging and passing things along, tagging other women and uplifting them. “Make Waves” is just like when a hashtag goes viral, and we were hoping that would happen with #blackgirlmagic—that other people would take their own pictures and use their own visuals. Water is constantly in motion and we hope that the current Black Lives Matter movement keeps flowing as well. It is one powerful way to spread a message with almost little to no words.
SB: Personally, why did you feel a need to tackle this project? CD: As a black art teacher and a woman having grown up here, I think our voices are very important and need to be heard. As an art teacher, you wouldn’t believe the things I have heard children say about race. I believe we are seeing the result of being silent. Generations before me were often silent or turned the other cheek, and over the past 100 years that’s proven it does not work. But I must point out this is not an angry piece. I’m trying to speak my thoughts and reach out in a strong visual way.
SB: What’s next for you? CD: I work with lots of local camps (Blue Ridge Montessori school, Discovery Kids, Jubilee, etc.) teaching art classes, so that will be a large part of my summer. But I plan to do three more murals this summer and they are going to be in spaces that the community can see.
The Art Abides
New Artistic Amenities in Bedford Await Brighter, Busier Days Ahead
Art, in its many forms, has become a source of distraction and comfort to many of us during these disconcerting times. Community-driven art initiatives are especially important—they serve as tangible reminders of what we can accomplish and share with the world when we work together.
Bedford’s recent beautification initiative, known as “The Loop Project,” is a shining example of what community partners can achieve. Some of the most recent additions to the Loop, the town’s popular walking route, are steel-fabricated benches and bike racks that display a local artist’s unique design.
Last July “The Loop Project” received an AARP Community Challenge Grant, a grant awarded for projects that aim to make immediate improvements and jumpstart long-term progress to help residents of all ages. The project was one of 159 projects selected from over 1,600 applications.
“The Loop is well-known within the town and beyond as a walking destination,” says Bedford Economic Development Coordinator Mary Zirkle. “The existing pedestrian amenities (concrete benches and wood-slat trash cans) were also starting to show wear and needed a facelift.”
The task of beautifying these amenities within the timeframe stipulated by the grant (about four months) was a challenge in and of itself, then town staff decided to add another challenge on top of that: the designs used for the proposed benches and bike racks would be chosen from submissions from the general public.
Fortunately, local artist Megan Davies was up for the task. She submitted the winning designs for the benches and bike racks and was also asked to come up with a sign design based on the findings of a “Design the Sign” public workshop. Her painting of the Peaks of Otter, called “Shape Our Land,” was selected for the bench design, and another one of her drawings of the Peaks was used for the bike rack design.
“So many people in this area love the iconic mountains, so I felt that design was a great fit for a public piece,” Davies says. “I love simple line-work. The lines and sections of the painting could be constructed into a bench several different ways, giving the fabricator more freedom and flexibility.”
To ensure that the design guidelines would call for proper functionality, Zirkle touched base with David Hanowitz, owner of Central Virginia Manufacturing. “I had met Dave in 2018,” Zirkle recalls. “I remember him saying they like to make different things that aren’t [always] industrial. I needed expert advice as we tailored the design guidelines when putting out the call for designs.”
After several businesses put in a bid for the project, Hanowitz’s manufacturing proposal was ultimately selected, and he and his team were excited for the unique challenge.
“I have worked with customers in the past to recreate artworks using our metal fabrication abilities, but this project was unique in the fact that there were several pieces of art to be incorporated into the different builds,” Hanowitz says. “Many times we cannot 100% recreate a drawing or painting to transfer over to cut-and-formed steel due to limitations within the material or machinery used.”
But after what Hanowitz describes as “many hours” designing the benches, they feel like they came as close as they could to making Davies’ painting come to life on a steel canvas. “At the end, we were very pleased with the outcome,” he says.
Central Virginia Manufacturing produced six benches, all of which have been placed, and six bike racks, all of which were in the process of being placed in mid-April. Two of the six benches are smaller, backless benches, and all six benches bear the new town brand on their legs. All the signs that have been produced have been placed, and a few additional signs are being made.
Although neither Davies nor Hanowitz reside in Bedford, they both feel strong ties to the town and are delighted to play a role in its beautification and advancement.
“Whenever I talk to other artists about how and where to get involved, I always stress to plant some artistic roots in Bedford,” says Davies. “The art community in Bedford is more like family and everyone is so supportive of each other. Bedford is my art home.”
“The community will embrace a project like this, especially when members of the community are directly involved with the design work,” Hanowitz notes. “These projects always benefit local companies that are involved as it gives examples of their abilities and can help foster future projects with other local businesses.”
Zirkle hopes this initiative will be the first of many art-focused projects, and community collaborations, in Bedford.
“I hope the benches and racks will encourage people to add more public art of their own and to request that of the town,” she says. “I want visitors to see that we are a creative and welcoming community, and these pieces can help convey that. Maybe one day we can have an ‘Art Walk’ of some kind for people to discover unique pieces and appreciate them. I think art should be a year-round celebration of what Bedford is.”
During the Pandemic… “Public Works placed these benches while this pandemic was going on. The director and I talked about how important it was for people to see things like this happening, that work on improving the community continues. The bench installation came at the perfect time with people needing to get out safely and to see something new that brightens their day.” – Mary Zirkle, economic development coordinator in Bedford
Artists Profile: John Shuptrine May/June 2020
Wooden Camera Sculptures and Photography Photos by Lucas Moore
Lynchburg Living Editor Shelley Basinger: John, where can you trace your love for photography and cameras back to? John Shuptrine: It started when I was a teenager and continued through college. I grew up on film and at a time when it took longer to learn the craft of photography because you didn’t have that instant feedback. I started to get serious about photography about 25 years ago. Most of my photography is black and white.
SB: This was while you were working as an anesthesiologist? JS: Yes, photography was a wonderful outlet. Along with the support of my family, it helped me stay centered during some of the busier work times of my life.
SB: Where did the idea for these wooden camera sculptures come from? JS: After I retired, I literally woke up one morning with the idea of building these wooden bodies and then adding on some old camera parts. I had dabbled in woodworking all my life. It quickly evolved from that. They were a little crude at first but got more finished over time. Now, I display them in local and regional craft shows, and have won some awards. I’ve also been published in Artful Home magazine.
SB: About how long does each camera take? JS: I would say at least a couple of days—from gluing different pieces of wood together to shaping the wood to adding the parts. I look at the piece for a while and I kind of just let it tell me what to do next. I just let my mind go.
SB: What’s your favorite part when you are creating? JS: For me, it’s all about the wood—the beauty of some of these pieces of wood and incorporating them and their colors. It’s got an energy and a life to it. I also feel really good about repurposing old or non-working camera parts, give them a new life.
SB: How many have you made so far? JS: About 300. Of those, I’ve sold or donated about 150. Occasionally, a local organization needs one for a fundraiser and that means a lot to me that I can help that way.
SB: What’s next for you? Are you itching to start up any new projects? JS: I have started to create more furniture, some end tables and coffee tables. It’s delightful to make functional woodworking stuff. And I have ideas for some huge boxes of leftover metal camera bodies. But first I need to learn how to weld. I recently joined Vector Space on Fifth Street so I can do that.
SB: What’s your advice to aspiring artists, young or old? JS: Be patient. And be kind to yourself. Let yourself make some really ugly stuff… until you don’t. I’m learning how to paint right now. Painting is very challenging for me. So I’m having to be patient and kind to myself. And let myself make some really bad-looking paintings.
“I’ve found a greater need to spend my quiet time being creative. I’ve found with all of the stress around us, it’s been a place of sanctuary.” – John Shuptrine
Finding Their Beat
HIGH SCHOOL STUDENTS EXPLORE EXPRESSION THROUGH HIP-HOP
Photos by Lucas Moore
What happens in Freestyle Fridays, stays in Freestyle Fridays.
That’s the rule teacher Casey Wood has for students in his “Exploring Language and Culture Through Hip Hop” class at E.C. Glass High School, an elective that explores hip-hop and rap as an art form.
As soon as the bell rings on Fridays, the classroom is quickly transformed into a makeshift performance space. Students circle up and huddle around their “DJ booth,” a filing cabinet with a computer and speakers on top. But it does the job as they pass the microphone around and rap about whatever comes to mind.
As the music blasts through the speakers, other students are scattered around the room. Some write, some draw, and others choose to quietly watch the performance unfold.
“The teacher next door is pretty understanding,” Wood jokes. “He doesn’t give his students tests on Fridays since he knows what we’ll be doing in here.”
A Bedford native, Wood began teaching English at E.C. Glass in 2006.
“Growing up, I had a lot of teachers who inspired me,” he said. “When I was halfway through college, I just knew that was what I wanted to do.”
Over the years, Wood wanted to find a more creative way to teach classic literature—a way that was relatable to his predominately black students. He already had a form of Freestyle Fridays in his English classes as a way for students to burn off steam following a long week of learning vocabulary. That led him to present the idea of a hip-hop elective to the administration. A musician himself, Wood thought this could be another way to bridge the gap with his students, since most of them have listened to hip-hop since their childhood.
“I started thinking about how I could connect Charles Dickens to Tupac,” he said. “Ultimately, it’s all about how people use words to touch other people. Words matter and influence our lives, but art looks differently to other people.”
This is the third year Wood has taught the class, which is open to sophomores, juniors, and seniors. It has a strong following, with nearly 100 students enrolled over three sessions.
“We cover poetry, storytelling, some lessons on hip-hop artists, and politics. This year, we’ve introduced a music production continuation of the class where our students can do some recording or DJ,” Wood explained.
The coursework also allows room for creativity. For example, Wood asks students to choose an artist and see how far back they can trace his or her influences—some dating all the way to Mozart. More recently, the students studied Kendrick Lamar’s “good kid, m.A.A.d city” album.
When Tavian Edwards first signed up for the class, he saw it as an easy way to fulfill his graduation requirements. But after he was assigned a project about the meaning behind “What’s Going On” by Marvin Gaye, he realized the impact music has on the world.
“You don’t really listen to the lyrics most of the time,” Edwards said. “But when you sit down and focus on it, you can see how much pain and feeling [Gaye] put into that song and how he wanted to bring the community together.”
Senior Victoria Jenkins also had mixed feelings about the class before it started.
“At first, to be honest, I didn’t know how learning hip-hop from a white teacher was going to go. But I appreciate Mr. Wood’s incorporation of the culture and how he tries to understand what rap music means to us,” Jenkins said, adding that the class is a true safe haven for students.
Senior D’Kiya Jackson agrees, saying many students feel like they can’t truly express themselves while at school—but in this class, there is a different vibe.
“Mr. Wood is open to everything,” Jackson said. “Whether you like poetry or jazz, if you like hip-hop, he’ll allow you to express yourself in any form. He doesn’t exclude anyone. … That’s really important with kids our age.”
Though Freestyle Friday is a time to perform, Wood doesn’t pressure his students to share publicly. Fridays are also a time for students to journal, draw, record or pursue whatever art form they choose. For example, in the weeks after Kobe Bryant’s death, Jackson took time to sketch out a tribute to the basketball player during Friday’s class.
Wood said there are many benefits to giving students open-ended time to be creative.
“It boosts their voice and gives them confidence,” he explained.
And Jenkins said she has seen many classmates come out of their shells this year by embracing the rhythms of rap or hip-hop—regardless of their background.
“It’s not just a certain group of students rapping in the class,” she said. “You got all types of genders, colors… everybody’s rapping. It’s not condensed to one type of person.”
“It’s not the same type of rap either,” Edwards added. “It’s not just heavy beats or snare drums. You can have something that’s more spiritual. Sometimes there’s pan flutes and the beats can switch and become a different type of music.”
The impact this class has had on students continues well after they graduate. Wood says he still keeps in touch with some of his former students.
“Many feel like they’ve found their voice [because of the class],” he said. “That’s how I judge if I’m successful as a teacher.”
As Jenkins, Edwards, and Jackson get ready to graduate in a few months, they are already reflecting on what they’ve learned from Wood and his hip-hop lessons—that anything is possible if you just put yourself, and your voice, out there.
“You have the ability to be open in the world,” Jackson said. “We’re entering a new chapter in our lives and Mr. Wood taught us to be open. Try new things. It’s okay to step out of your comfort zone. I feel like that’s what his class is about. It’s about expressing yourself and being free.”
SNEAK PEEK!
A LOOK AHEAD TO THE AREA’S THEATER OPPORTUNITIES
Information Compiled by Emily Mook
If you’re a fan of the theater, the greater Lynchburg region has a little something for everyone. From high school students to professional actors, we are lucky to live in a community that invests in and supports its performers of all levels. To make it even easier, we’ve compiled our annual Theater Preview Guide to highlight the year’s upcoming local shows.
Community/Professional
Academy Center of the Arts 600 Main Street, Lynchburg academycenter.org
Community Through Theatre Presents: Curious Incident of the Dog in the Night-Time “Christopher, 15 years old, stands beside Mrs. Shears’ dead dog. It has been speared with a garden fork, it is seven minutes after midnight and Christopher is under suspicion.” March 7, March 12-14 at 7:30 p.m., March 8 and 15 at 2 p.m. at the Joy & Lynch Christian Warehouse Theatre
Opera on the James Presents: The Barber of Seville “The story is simple: a handsome young nobleman is in love with an independent-minded young woman, who is kept under constant surveillance by her elderly (and ill-tempered) guardian. Enter the Barber, who, through various ruses—one of which includes a mountain of shaving cream—saves the day.” March 27 at 7 p.m., March 29 at 2 p.m. at the Historic Academy Theatre
Academy Presents: Daniel Tiger’s Neighborhood LIVE! “Daniel Tiger and his family—along with O the Owl, Miss Elaina, Katerina Kittycat, Prince Wednesday, and more familiar friends—will take audiences on an interactive adventure to the Neighborhood of Make-Believe, sharing stories of friendship, helping others and celebrating new experiences.” April 5 at 2 p.m. and 5:30 p.m. at the Historic Academy Theatre
Thomas Jefferson’s Poplar Forest Presents: A Conversation with Mr. Jefferson Featuring Frederick Douglass “Thomas Jefferson is joined by famed abolitionist, autobiographer, and orator Frederick Douglass for a fascinating look at their lives and legacies.” April 25 at 7 p.m. at the Historic Academy Theatre
Academy Presents: Reduced Shakespeare Company: The Complete Works of William Shakespeare (abridged) [revised] “All 37 Plays in 97 Minutes! The Complete Works of William Shakespeare (abridged) [revised] is an irreverent, fast-paced romp through the Bard’s plays.” May 16 at 7:30 p.m. at the Historic Academy Theatre
Endstation Theatre Company 2500 Rivermont Avenue, Lynchburg endstationtheatre.org * All evening performances begin at 7:30 p.m. All matinee performances begin at 2 p.m.
On Golden Pond “The plot focuses on aging couple Ethel and Norman Thayer, who spend each summer at their home on a lake called Golden Pond. … The play explores the often turbulent relationship [the daughter] shared with her father growing up and the difficulties faced by a couple in the twilight years of a long marriage.” June 19-21, 23-28 at Thoresen Theatre, Randolph CollegeCollege
Bye Bye Birdie “Bye Bye Birdie is an American musical about fictional pop sensation Conrad Birdie and his final performance before being drafted to the army. He promises a song and a kiss to a typical American teenager on the Ed Sullivan Show.” July 14-19, 21-26 at the Warehouse Theatre, Academy Center of the Arts
The Twelve Dates of Christmas “Christmas celebrations are just around the corner and Shirley the Partridge has got some problems to solve. The French Hens are arguing, the six geese have flown to Florida for the winter and worst of all… someone has stolen the Five Golden Rings!” December 17-20, location TBD
Little Town Players 931 Ashland Avenue, Bedford www.littletownplayers.com
I Hate Hamlet “TV star Andrew Rally is about to start rehearsals to play Hamlet—and he is terrified. In the midst of his confusion, he is visited by the ghost of legendary actor John Barrymore.” Directed by David Walton. March 13-15, 20-22
Once Upon a Mattress “This musical comedy opened off-Broadway in 1959 before moving to Broadway. It was written as an adaptation of the Hans Christian Andersen fairy tale, ‘The Princess and the Pea.’” Directed by Denis F. Deane. June 5-7, 12-14 *Friday and Saturday night shows begin at 7:30 p.m.; Sunday shows at 2 p.m.
Renaissance Theatre 1022 Commerce Street, Lynchburg renaissancetheatrelynchburg.org * Thursday, Friday, and Saturday shows begin at 8 p.m., doors open at 7:30 p.m. Sunday matinees begin at 3 p.m., doors open at 2:30 p.m.
M*A*S*H: The Play “The staff of a Korean War field hospital use humor and hijinks to keep their sanity in the face of the horror of war. Some of your favorite characters from the TV show are here: Radar O’Reilly, Painless the dentist and, of course, Hawkeye. Join us for the hilarity as they run amok in the 4077 MASH!” March 1, 5-7
Other Desert Cities “Brooke Wyeth returns home to celebrate Christmas. She announces that she is about to publish a memoir dredging up a pivotal and tragic event in the family’s history—a wound they don’t want reopened.” April 24-25 and May 1-3, 7-9
Nana’s Naughty Knickers “What Bridget saw as a unique opportunity to stay with her favorite Nana in New York for the summer quickly turns into an experience she’ll never forget! Her sweet Grandma is running an illegal boutique from her apartment, selling hand-made naughty knickers to every senior citizen in the five-borough area!” July 10-11, 17-19, 23-25
Sister Act “When disco diva Deloris Van Cartier witnesses a murder, she is put in protective custody in a convent! Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but, in doing so, blows her cover.” October 2-3, 9-11, 15-17
A Good Old Fashioned Redneck Country Christmas “Bill, Dave, and Jimmy have had it with their women! Even though it’s Christmas Eve, the boys decide to hightail it into the mountains for a little hunting and a lot of beer. It’s gonna take a Christmas miracle to get these redneck families back together.” December 4-5, 11-13, 17-19
Wolfbane Productions 618 Country Club Road, Appomattox wolfbane.org * Thursday, Friday, & Saturday Performances: All shows start at 8 p.m., doors open at 7 p.m. * Sunday Performances: All shows except Young Frankenstein start at 3 p.m., doors open at 2 p.m. Young Frankenstein Sunday performances start at 8 p.m., doors open at 7 p.m.
Steel Magnolias “Picture it: anybody who’s anybody comes to get their hair done here. Winner of Wolfbane’s 2020 Audience Choice poll, get up close and personal with the ladies like never before: no stage, no curtain, just hair… and a little bit of gossip.” May 7-10, 14-17, 21-24, 28-31 at The Wolf Den indoor venue
Young Frankenstein “Based on the hilarious Mel Brooks classic, with all your favorite characters: the famous doctor Frederick Frankenstein (pronounced ‘Fronk-en-steen’), the hunchbacked sidekick Igor (pronounced ‘Eye-gore’), the leggy lab assistant Inga (pronounced normally), and more!” October 8-11, 15-18, 22-25, October 29-November 1 at the Wolf PAC outdoor venue
Stranger Sings “Written exclusively for Wolfbane by Cinco Paul, this highly energetic, feel-good parody returns just in time for the holidays! Based on the first season of the hit Netflix show ‘Stranger Things,’ join Chopper and Twelve (see what we did there) as they journey through another dimension with Eggos, Demogorgons, and Madonna.” December 3-6, 10-13, 17-20 at the Wolf Den indoor venue
College
Liberty Tower Theater/Alluvion Stage Company 1971 University Boulevard, Lynchburg liberty.edu/academics/art/theatre & alluvionstage.com
Sonic-Con Audio Theatre Convention “Sonic-Con is an audio theatre convention featuring interactive workshops, industry professionals, and live radio dramas. The convention will be the 20th-22nd, but we’ll have select performances available on the evenings of the 23rd and 24th. Tickets to the public performances sold separately from the convention passes.” March 23-24 at 7:30 p.m. at Liberty University
The Drowsy Chaperone (Academic Performance) “Hailed by New York Magazine as ‘The Perfect Broadway Musical,’ The Drowsy Chaperone is a masterful meta-musical, poking fun at all the tropes that characterize the musical theatre genre.” April 17-18, 21, 23-25 at 7:30 p.m., April 18 and 25 at 2 p.m., April 26 at 3 p.m. at the Tower Theater
University of Lynchburg Theatre 1501 Lakeside Drive, Lynchburg lynchburg.edu/academics/majors-and-minors/theatre/
Curtain Call Musical Theatre Cabaret “Come share a night of heartfelt joy, laughter and of course, singing. With music from Bright Star, Once, Big River and more!” March 27-28 at 7:30 p.m. at Dillard Theatre
Student Theatre Production (production TBD) “Entirely produced and executed by students working collaboratively to find their own vision and voice. Mature themes and language.” April 22-24 at 7 p.m. at Studio Theatre Stage
Randolph College Theatre 2500 Rivermont Avenue, Lynchburg randolphcollege.edu/theatre
The Mousetrap “A timeless tale of ‘whodunit,’ Agatha Christie’s The Mousetrap strands seven strangers at Monkswell Manor during a blizzard. But a police sergeant unexpectedly arrives, worried that a murderer-at-large is among the guests of the Manor.” Directed by Stephanie Holladay Earl. April 9-12, times TBD
Circle Mirror Transformation by Annie Baker “Sweet Briar Theatre presents the acclaimed play by Annie Baker about how a community acting workshop gradually reveals the hopes, fears, and unresolved conflicts among a random group of people in a small New England town. This play is directed by Sarah Jane Grubb as part of her senior project in Theatre.” May 8-9 at 7:30 p.m. at Babcock Studio Theater
Disney’s Beauty and the Beast “The classic story tells of Belle, a young woman in a provincial town, and the Beast, who is really a young prince trapped under the spell of an enchantress! If the Beast can learn to love and be loved, the curse will end and he will be transformed into his former self. But time is running out.” April 30, May 1-3, May 7-8 at 7 p.m., May 9-10 at 3 p.m.
City on a Hill Youth Theater 219 Breezewood Drive, Lynchburg facebook.com/CityOnAHillYouthTheater
Pride and Prejudice “Finding a husband is hardly Elizabeth Bennet’s most urgent priority. But with four sisters, an overzealous match-making mother, and a string of unsuitable suitors, it’s difficult to escape the subject.” April 23-May 2, times TBD
Brookville Theatre (Brookville High School) 100 Laxton Road, Lynchburg facebook.com/BrookvilleHighSchoolTheatre/
42nd Street “Aspiring chorus girl Peggy Sawyer comes to the big city from Allentown, PA, and soon lands her first big job in the ensemble of a glitzy new Broadway show.” April 2-3 at 7 p.m., April 4 at 2 p.m. and 7 p.m., April 5 at 2 p.m.
Fame JR. “Set during the last years of New York City’s celebrated High School for the Performing Arts in the early 1980s, Fame JR. is the bittersweet, but ultimately inspiring, story of a diverse group of students who commit to four years of grueling artistic and academic work.” May 21-22 at 7 p.m., May 23 at 2 p.m.
Glass Theatre (E.C. Glass High School) 211 Memorial Avenue, Lynchburg ecglasstheatre.org
In the Heights “Lin Manuel Miranda’s In the Heights tells the universal story of a vibrant community in New York’s Washington Heights neighborhood—a place where the coffee from the corner bodega is light and sweet, the windows are always open, and the breeze carries the rhythm of three generations of music.” April 29-30, May 1-3 at 7 p.m.
Roald Dahl’s Matilda, The Musical “Matilda is a little girl with astonishing wit, intelligence, and psychokinetic powers. She’s unloved by her cruel parents but impresses her schoolteacher, the highly loveable Miss Honey.” April 3-4 and April 9-11 at 7 p.m., April 5 at 3 p.m.
Liberty Christian Academy Theatre 3701 Candlers Mountain Road, Lynchburg facebook.com/TheatreLca/
The Sound of Music “Set in Austria on the eve of the Anschluss in 1938, the musical tells the story of Maria, who takes a job as governess to a large family while she decides whether to become a nun.” May 14-15 at 7 p.m., May 16 at 2 p.m. and 7 p.m., May 17 at 3 p.m. at Liberty University’s Tower Theatre
Artists Profile: Amy Burczyk March/April 2020
Oil Paint Artist Embraces Her “Inner Child”
PHOTOS BY LUCAS MOORE
Lynchburg Living Editor Shelley Basinger: Amy, we’ve been hearing a lot about you as an artist. Some even calling you a “visionary”! How would you describe your artwork? Amy Burczyk: It’s a juxtaposition between child-like presentation and serious subject matter. There is a use of color and characters that’s easy to relate to. I’ve also been called an illustrator—and I’m fine with that. I just paint my interpretation of stories or the stories that pop into my head. I just let my imagination run without all the constraints of being an adult all the time.
SB: Can you give us one example? AB: “Time to Make the Donuts” is the story of working women in a man’s world. She does it all—raises the kids and brings home the bacon, both represented by the pig. The squid represents her ability to multitask in a dog-eat-dog world. She does not climb the ladder, but steps down—does she recognize the need for balance? Those around her express disdain, incredulity and a patronizing superiority, while her demeanor is unmoved by them.
SB: Where did you get the idea to approach artwork in this way? AB: It was less of an idea than it was a reaction to a phase of my life and what I was going through about 8 years ago. My kids were grown, my marriage was over and I found myself in Virginia. It was a complete 180 from what I had known. It was scary; I felt very alone. But, at the same time, it was very freeing. There was no one else that I had to please and I had a lot of time for reflection. My meltdown came while unpacking. I found my antique copy of Alice’s Adventures in Wonderland and it was ruined! I had always liked art as a child so I painted my first work in Virginia, “Cheshire Cat.” It opened up a whole new world for me and was so much cheaper than therapy.
SB: At what point did you realize you were doing more than just healing… but were able to sell your work? AB: I stopped in to a little cafe in South Boston—Southern Plenty, owned and operated by Mary Bagwell who is an amazing artist and chef—and she was selling some local artists’ work out of the cafe. I showed her a picture of a couple of my pieces and asked her if she would consider selling mine. She said NO. Instead, she sent me to the Prizery where Chris Jones offered me my first show here in Virginia! Thank you Mary and Chris!
SB: It’s so awesome to look back on the people who helped us get to where we are. How are you involved in the Lynchburg art community now? AB: I become a member of the Lynchburg Art Club two years ago. There are so many talented members; I was really rather intimidated to join the club with all that talent! But they were so receptive to my work, even though it was very different from theirs. I won an award at a juried show and their response was, “Let’s give you a show.” I’ve had a few exhibits at private businesses and the Lynchburg Humane Society, but it wasn’t until I joined the Lynchburg Art Club that I received any real notice here in Lynchburg. I was also given the opportunity to do a pop-up show at Riverviews Art Space—Kim, Meg and Stephen have really made Riverviews a special place!
SB: Are you working on anything special right now? AB: I’ll be exhibiting at Magnolia Foods and Flint Realty in March through the Academy Center of the Arts. I’m working on my own Tarot deck—just the Major Arcana (22 pieces). I also have a wedding portrait commission I’m working on. The groom is a polar bear and the guests are birds—ageless. I love these kinds of commissions! And of course, other stories that pop into my head.
SB: And we have to mention—you are doing all of this on the weekends! AB: Sunday Fundays are spent painting. During the week, I’m a designer at LG Flint Construction, which creates a nice balance for me. The sense of composition, rhythm, color and discipline translate across design and painting. I love my design work. My creative side helps me address design issues with my tendency to use my “what if” in a functional way. The people at LG Flint are fantastic to work with and our clients are amazing! I’m not going to lie though—if I won a big lottery, I might paint all the time!
SB: What’s the best advice you’ve ever received that’s helped you as an artist? AB: Ken Ludlow, my high school art instructor, was the best! And the most relentless. Observe, line weight, see, thumbnails, look, rules, sketch, look again, more lines… and on and on to the point where I feel like my hands can SEE what pictures are in my head.
SB: What’s your best advice to aspiring artists? AB: 1) “Arting” should be a word, and you should do it as often as you can. 2) Do the art YOU like. It is much easier and more rewarding. 3) Exhibit—call it group therapy. It helps you stretch and grow as an artist.
Lynchburg Living Editor Shelley Basinger: We hear you come from a pretty big family, Robert. How did that help you develop a love of art?
Robert Pennix: I grew up in a very large family. My grandmother lived with us, and realatives were always dropping in to visit—aunts, uncles and cousins. Because I was an introverted child, I would look for places where I could find some solitude. I would find a space in a room away from everyone and just draw or sketch. That’s where it started.
SB: When did you really start to develop your technique?
RP: I took art all four years in high school. My high school teacher taught me to recognize the importance of shapes, shading, color, and perspective. He was very serious about art and the rules that applied to art. His class was not an easy “A.”
SB: Where did life take you after high school?
RP: After graduation, I worked a factory job for about a year. Then I started working in the culinary arts field as a cook in training at the local college. Within a few years, I had worked my way up to a shift leader and head cook. I decided to go back to school to take some management and business courses. After finishing my general education courses, I took my first art class as an elective at Central Virginia Community College. I enjoyed the class so much that I switched my major to art and received my associate’s degree in commercial art. After I graduated, I attended Old Dominion University for a semester. But because I was much older than most of the students on campus with more personal obligations and financial responsibilities, I returned to Lynchburg and went back into the food service field as a food operational manager, then as a regional food service director.
I had a great career in the food service industry and retired with 30 years of state service.
SB: Sometimes we have to make those decisions to provide for our families! But you still kept art as a side hobby, right?
RP: I have been married for 32 years to my wife who is my biggest supporter. She has watched me struggle to find time for art. As we were raising our children and people found out that I was an artist, they would ask me to draw portraits of their children. This would happen occasionally, especially around life events and the holidays. She encouraged me to take these opportunities.
Many times, the portraits were for family and friends. After our children graduated college, I decided to give art another try—I decide to focus on the art I loved to do. In the last six or seven years, I have really put myself out there.
SB: You are very well known for your pencil portraits. Why are those your favorite?
RP: It just feels more at ease. I love the black and white look. I primarily work with pencil, and I like to do portraits in pencil. I have worked in charcoal, but it’s a little messy. For me pencils have a better flow and I don’t have to think about mixing colors.
SB: We’ve noticed you like to draw some notable figures in the African American community. Why did you choose those particular individuals? And was it hard to “get them right”?
RP: Some of the portraits I have drawn are of local people who have done some significant things in our city’s history. Most of them are from an African American background. I think more African American history should be taught especially about our local citizens. There is so much rich African American history that younger generations should learn in order to preserve traditions and culture.
My approach when I start a drawing is I try to capture the image of the person to the best of my ability. It is my perception; I also tell a client it will not be perfect but it will be the best reproduction that I can achieve.
SB: Aside from pencil, what other mediums do you work in?
RP: I have done some pastel portraits when people ask. I have sold some paintings on a commission basis. A couple years ago a lady wanted a portrait of her grandchildren. When I saw the image, I did not think it was a pencil portrait. It was clearly something that needed to be painted.
She allowed me to paint the image as I saw it and she later commissioned me for a second painting. I dabble a little in photography as well. If I have my camera with me, I am shooting—scenery, landscapes and whatever I find interesting. I like to use the camera and feel no pressure. Sometimes I get useable shots.
SB: In the past couple of years, you’ve been part of a vocal group that encourages the community to support African American artists.
RP: I grew up in a community where most of the people did something artistic but they never saw it as an artistic endeavor. I remember some of the older gentlemen in my neighborhood carving wood. (They would call it whittling.) The ladies would cut small pieces of fabric to make quilts. My grandmother would spend weeks or even months on one quilt. They were incredible, amazing pieces of art. Many times, she sold them for a few dollars.
A couple of years ago I was honored to be part of the Legacy Museum’s two-year exhibit celebrating the local visual artists who are African American. Every few months they would have an artist talk—I was one of the first artists to volunteer to speak. Last year a group of us from the exhibit did an open forum discussion at the Lynchburg Public Library moderated by Tony Camm and sponsored by the Legacy Museum. I have also spoken at the local nonprofit The Listening. I enjoy art in all forms and I believe we should keep the community actively involved. Art is something that should not be removed from our schools.
SB: What advice do you have for aspiring artists? Particularly minority artists?
RP: The love of art has no color, no class distention, and no educational requirements. Passion prevails in your work; keep working and they will see the real you. There is no prejudice once people know who you are. Prejudice is a preconceived emotion that is only changed by the individual.
Photos by LUCAS MOORE
A Common Thread
How Quilting Bridges the Generation Gap
Few things are as deeply rooted in tradition as the art of quilting. Throughout history, quilts have served as both functional and ornamental pieces, and they have become deeply symbolic. As is the case for anything that inspires nostalgia, quilting has the potential to be seen as a lost art—quilts as relics. Fortunately, that has not proven to be the case at all.
One need look no further than Lynchburg to see that quilting continues to thrive. Multiple quilting guilds and shops flourish here with diverse members and customers respectively, and there are several reasons why.
Artistically, quilting has remained relevant because quilters have embraced modern techniques that mark a diversion—but never a complete departure—from more traditional techniques.
Lynchburg’s first major foray into modern quilting was marked by the launch of a subgroup of longstanding quilt guild Patches ‘n Pieces in the early 2000s. This group, called LAFA (Lynchburg Area Fiber Arts), was founded due to the emergence of “art quilting,” which places emphasis on form over function.
“Blankets and baby quilts were and still are being made all the time, but now there was this explosion of creativity beyond those projects,” says Laurie Szczutkowski, member and former president of Patches ‘n Pieces. “A lot of quilts being made today are not your grandmother’s quilts!”
“Quilts are coming off beds and onto walls!” exclaims Barb Brummond, member of Patches ‘n Pieces.
An even more visible venture into modern quilting occurred when The Virginia Quilt museum featured an exhibit called “Heritage Redefined: A Modern Quilt Exhibit” in 2017.
“The term ‘heritage’ gives reference to the fact that even though quilting has changed, we have our roots in the tradition; we’re just taking it in different directions,” Brummond notes.
“Some of the things that define modern quilting are different layouts—a practice called alternate ‘gridwork’—as opposed to traditional patchwork; improv, where you’re not working with a pattern; and the use of negative space.”
In the summer of 2019, the Bower Center for the Arts in Bedford showed off numerous quilts at its National Juried Fiber Arts Exhibition. The contemporary quilts and other pieces were created as an artistic expression—not for everyday life. “With artistic quilts, you have some people who have come out of the traditional quilt field and want to expand their creativity in other ways,” said Jill Jensen, a juror and judge of the show.
“There are also artistic quilters who have come from the fine art field. … I started as a painter but I eventually came to textiles. It’s a way to combine all of my loves of color, bold imagery and texture all in one piece of art.”
The latest local development on the modern quilting front is the late November 2019 launch of a local chapter of The Modern Quilt Guild, an international organization founded on the West Coast 10 years ago. Meetings will be held at Threads Run Thru It, a quilt shop in Rustburg.
Efforts to offer quilting meetings and events at night and on weekends have also allowed for more participation from younger generations.
“The plan is to have [Modern Quilt Guild] meetings on weekends so that younger people can come and join the group,” Brummond says. “If we don’t have younger people, we’re not going to have much of a future for quilting! The modern quilt movement is attracting younger quilters, so we certainly want them to be able to attend meetings.”
Patches ‘n Pieces, a 40-year-old local guild that focuses primarily on traditional quilting techniques, saw a need to offer evening meetings; thus Seven Hills Quilt Guild was born in 2000.
“Seven Hills was established by members of Patches ‘n Pieces because they understood that there are people who work full time who also want to quilt and want an avenue to get together and create,” says Linda Black, member and former treasurer of Patches ‘n Pieces.
The Seven Hills Quilt Guild also embodies another reason that quilting has stood the test of time: its capacity to express support and concern for others.
“Quilters have the biggest hearts of any people you will ever meet, and quilting gives us an opportunity to serve those around us,” says Kim Payne, president of Seven Hills. “We feel that we can fill needs with fabric.”
The guild, which currently boasts about 35 members, produces a staggering number of quilts each year for various charities and causes both locally and throughout the East Coast.
Among these many quilts created annually are 50 baby quilts for the Blue Ridge Pregnancy Center, 25 quilts for the Salvation Army, a minimum of 25 quilts for women and 15 quilts for children at the Safe House for Abused and Battered Women, and one or two quilts for the Rainbow of Hope Quilt Auction for Centra Hospice. Additionally, the guild creates 10 to 15 quilts for Quilts of Valor for veterans, quilts for each of the beds and the sofa at the Desmond T. Doss Home for Homeless Veterans, 15 quilts for Hope for Appalachia (which aids special needs children in impoverished areas of Appalachia), and 16 quilts for beds at the Outdoor Education Center in Harpers Ferry, West Virginia (which supports at-risk youth in Virginia, West Virginia, North Carolina, and Maryland).
The Queen Bees, another subgroup of Patches ‘n Pieces, also creates quilts for local organizations such as HumanKind, Miriam’s House, the Pearson Cancer Center, and Habitat for Humanity.
Unsurprisingly, the internet has also played a significant role in keeping quilting alive. “The internet has made a huge difference,” Szczutkowski notes. “There are a myriad of permutations of how people have connected internationally over the last 15 to 20 years. That said, I don’t think meeting face-to-face will ever go out of style. The love of fabric is the common thread. There is something about being able to talk about that shared love in person that is very special.”
As it turns out, the cornerstone of quilting’s continued relevance and popularity is a quality it has always possessed: an innate ability to bring people from different backgrounds and of different ages together. As long as experienced quilters are willing to impart their knowledge and beginning quilters are willing to learn that knowledge, quilting will live on.
Luckily, experienced quilters assert that quilting isn’t as challenging as it seems. “Quilting is fun, and it’s not hard!” Payne exclaims. “If you can sew a quarter-inch seam, you’ve got it made.”
“The talent in this town is amazing,” says Szczutkowski. “I suspect that for beginners, it’s challenging to not feel intimidated by folks who have been quilting for a long time. We try to encourage our new members to be inspired rather than intimidated by more experienced members.”
Quilting, and in fact any creative endeavor, may seem especially intimidating to those who feel that they are too old to be considered beginners; that said, it is never too late to pursue a new hobby.
“When I was growing up, my mother didn’t like to sew because she had to sew our clothes, so I didn’t grow up loving to sew,” Black says. “I didn’t make my first quilt until my son was born when I was 35, and I didn’t make another one until I was 41 or 42. It’s never too late to find your passion.”
Regardless of your chosen creative pursuit(s), the important thing is to never stop creating. “My personal belief is that every human has an urge to create, and we all find our way to do so in some form or another,” Szczutkowski says. “Creating feeds our souls and nurtures us in a way nothing else can.”
SB: Art is so healing. How did you end up where you are now?
SB: You also work closely with the interior design community. How has that helped you take your artistic career to another level?
