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  • Culture | Dawn Hunter | South Carolina Sunshine™

    Culture South Carolina Sunshine™ | Special Focused Content and Listings of Cultural Events in South Carolina. Table of Contents Icons Scroll and click on an icon image below to go a Culture section you are interested in reading. Tina Williams Brewer | Stories of Grace Immerse yourself in the rich narratives of Tina Williams Brewer's story quilts at the Columbia Museum of Art. For over four decades, Brewer has woven her personal experiences, historical accounts, and vibrant textiles into her unique quilts, offering a profound exploration of African-American history and spirituality. The "Stories of Grace" exhibition, open until September 3, 2023, showcases her hand-stitched, collage mixed-media pieces that map out her heritage, the African diaspora, and the connections between past, present, and future. Journey through intricate layers of symbolism and culture, Tuesday to Sunday, with extended hours on Thursday. More Carla Gannis/ C.A.R.L.A. G.A.N. Carla Gannis' WWWunderkammer is a pioneering endeavor, challenging traditional museum narratives by reimagining the classic 'cabinet of curiosities', known as Wunderkammer. She employs cutting-edge technology to fuse physical and virtual realms seamlessly. The physical installation reflects her continuous online project found on Mozilla Hubs and high-definition desktop VR, welcoming viewers to distinct thematic 'chambers'. Each chamber explores critical facets of contemporary life - from environmental challenges to the digital revolution's impact on self-perception and language. Gannis harnesses the power of augmented reality in her gallery display, blurring the line between the virtual and the real. This approach helps her investigate the essence of human existence in the internet age while promoting universal access to knowledge. More Elizabeth Catlett Experience the captivating artistry of renowned artist Elizabeth Catlett at the Columbia Museum of Art (CMA). This significant survey exhibition comprehensively overviews Catlett's illustrious career as a printmaker and sculptor. Alongside her works, the collection includes select pieces by mentors, peers, and students who shared a personal connection with Catlett. Additionally, the installation incorporates additional artworks from the CMA Collection. Witness the profound impact of Elizabeth Catlett's artistic journey, spanning an impressive seventy years. Her art sought to give visibility and voice to underrepresented individuals, often focusing on laborers, women, and African Americans. Addressing social issues relevant to the United States and her adopted home of Mexico, Catlett's powerful figures embody resilience while acknowledging the struggles Black and Mexican working classes face. More Jordan Sheridan Introducing the winner of the prestigious 2022 701 CCA Prize, Columbia-based artist Jordan Sheridan. This biennial juried award, presented by the 701 Center for Contemporary Art in Columbia's Olympia neighborhood, recognizes the talent of South Carolina artists under 40. Jordan Sheridan is an emerging artist known for her captivating installation art. Her remarkable talent and dedication have been acknowledged with the distinction of being named an SCAC Emerging Artist for FY2022. Currently serving as a full-time faculty instructor at the University of South Carolina's School of Visual Arts and Design, she imparts her expertise to aspiring artists through her engaging painting courses. More 701 CCA Prize Finalists Welcome to the captivating 701 CCA Finalists Exhibition, now open at the esteemed 701 Center for Contemporary Art. Prepare to be mesmerized as three exceptional artists and finalists for this year's prize showcase their visionary works until January 15, 2023. Step into this exhibition and immerse yourself in a world of artistic brilliance. Each artist, including the talented Kate Hooray Osmond, Jordan Sheridan, and Brittany Watkins, pushes boundaries and invites you to explore their unique creative perspectives. From innovative techniques to thought-provoking concepts, their creations will ignite your imagination and inspire you. More Art by Krigga Enter the captivating world of the Omphalos, a convergence of time and perspective. In this exhibition, presented by the visionary artist Dogon Krigga, two distinct collections of works harmoniously blend the past and the future. Embracing the timeless beauty of Black thought and form, Dogon Krigga invites you to celebrate the resilience and boundless creativity of the Black experience in the ever-present now. Breaking away from the narrative of Black suffering that pervades historical records and art, the Omphalos seeks to cultivate a space where Blackness thrives. By highlighting the gifts, abilities, and interconnections within the Black community, Dogon Krigga's art becomes an act of rebellion and revolution. Afrofuturism is a powerful tool, reminding us of our mastery and potential in this realm while liberating our minds from societal constraints. More Tyrone Geter Step into the realm of powerful artistic expression with Tyrone Geter's exhibition at ArtFields' TRAX Visual Art Center in Lake City, South Carolina. Over the past six months, this exhibition has left an indelible mark on the art scene, showcasing Geter's masterful mixed media drawings that blend exquisite draftsmanship, torn paper, and found objects into visually captivating statements. Each artwork is a testament to Geter's immense talent and resonates as a profound experience in its own right. Geter's creations operate on multiple levels, transcending mere aesthetics. While some pieces look into his personal journey, many images explore the complex dynamics surrounding race, gender, and economic structures within contemporary American culture. More Adrian Rhodes We are delighted to feature the enthralling realm of Adrian Rhodes, winner of the esteemed 701 CCA Prize in 2020. Celebrated for her artistry in printmaking and mixed media installations, Adrian's solo exhibition "How to Untie a Tight Knot" was a result of her dedicated six-week residency at the 701 CCA. With academic roots in Rock Hill's Winthrop University, Adrian has gained recognition in the Carolinas and beyond. Her work, exploring the paradox of longing for and escaping the past, provides a captivating lens into the human psyche, using recurring motifs to express the intricacies of relationships. More Ginny Merret Meet Ginny Merett, a dynamic artist and passionate art educator, who has been a vibrant part of Columbia's art community for over thirty years. Known for her striking, graphic collages, Merett's art may seem playful and whimsical at first, but it carries profound undertones addressing societal norms, cultural, gender and racial identities. ​ Currently, she holds the distinguished position of Artist-in-Residence at The Jasper Project. Her intriguing creations can be appreciated at Sound Bites, nestled in the heart of historic downtown Columbia, at 1425 Sumter St, Columbia, SC 29201. Don't miss the opportunity to experience her captivating work, which will remain on display until the end of July 2022. More Margaret Curtis Welcome to the world of Margaret Curtis, a prominent figure among contemporary American artists. Known for her distinctive and ground-breaking art, she is currently represented by the esteemed Tracy Morgan Gallery in Asheville, NC. Margaret's oil paintings tell stories through their imagery, and their physicality also forms a deep, visceral connection to their underlying themes. Her widely recognized and critically acclaimed artwork has recently been bestowed with the distinguished Joan Mitchell Foundation Fellowship, an award that requires an exhaustive selection process. The fellowship, amounting to $60,000 spread over four years, has enabled Margaret to augment her studio and broaden her creative horizon. More ArtFields 10th Anniversary Exhibition ArtFields celebrated its 10th year, showcasing 369 artists from 12 Southeast states in a nine-day festival from April 22-30, 2022. We were thrilled to have "The Darcy Inventory" in the competition and equally enjoyed experiencing the festival as attendees, filled with South Carolina Sunshine. ​ The ArtFields festival, which began in 2013, aims to honor Southeast artists with celebrations and competitions, providing over $100,000 in cash prizes. This year's winners were Noah Scalin, MyLoan Dinh, Melvin Toledo, and Jonathan Imafidor. Enjoy the photo essay and immerse yourself in the art that left us in awe. More Jasper Project 10th Anniversary Party On April 14, 2022, we celebrated the 10th Anniversary of The Jasper Project at 701 Whaley. This event paid tribute to a publication that has become a cornerstone of Columbia, SC's cultural landscape. Under the guidance of Cindi Boiter, the magazine offers invaluable insights into our vibrant community, spotlighting the lives and works of local artists, performers, dancers, musicians, and writers. ​ The celebration evening echoed with tunes from Adam Corbett, Post-Timey String Band, DJ Preach Jacobs, and Dick Not Richard, accompanied by a spellbinding performance from the Columbia Repertory Dance Co. Explore the captured moments from the event in our photo essay featured below. More Lady Gamecock Parade Main Street was abuzz with excitement as countless UofSC WBB supporters gathered to commemorate their second historic national championship. The triumphant victory was clinched on April 3 in Minnesota, where they bested the UConn Huskies. Jump into the jubilation of the event through our photo essay to view highlights from the celebration! More Anila Quayyum Agha Anila Quayyum Agha, an American artist of Pakistani origin, brings enchanting realms to life within her exhibition spaces. Her exhibit, "Let a Million Flowers Bloom," leverages halogen bulbs nestled within meticulously crafted and lacquered steel. This technique casts mesmerizing shadows that "paint" the gallery walls, creating an immersive environment that makes us feel as though we've stepped into a chapter of Lewis Carroll's Wonderland. Our take on the exhibit? It's superb! Experience the wonder for yourself from February 19 through May 29, 2022. More

  • Soft Serve Vanilla Ice Cream

    Soft Serve Vanilla Ice Cream PHOTO ESSAY BY DAWN HUNTER AND DARCY PHELPS, NOVEMBER 19, 2022 We are so excited to get a new ice cream maker, and we went for a reasonably priced model created by the brand Tasty. There were a range of colors to choose from, and we were able to select one that suited Darcy's style. She promptly decorated it with a sticker created by one of her favorite YouTubers and a source of her inspiration for Dish with Darcy™, Moriah Elizabeth. We watch her creative YouTube channel every Friday together. "Nobody has everything and everyone has something” ​ - Moriah Elizabeth Homemade Vanilla Ice Cream Darcy has been trying to make ice cream in a plastic bag for the past few weeks. The results were less than she desired even after shaking the mixture in salted ice. Since tackling ice cream from scratch and minimal technology had been frustrating, we decided to go for a recommended ice cream mix. The mix we found, Junket Ice Cream mix, was simple to follow and only required a few ingredients that we already had in our kitchen. After a few trial and errors, we finally had a delicious and smooth soft serve ice cream that we could enjoy! tasty.co Moriah Elizabeth Junket Desserts Unique History Ice cream's origins can be traced back to ancient China. Its appearance can be traced to Italy through Marco Polo and then to France with Catherine de Medici. Eventually, it made its way to the US through Thomas Jefferson. European ice creams appeared in Italy during the 1600s and eventually became popular throughout Europe by the mid-century. This is recorded in letters, journals, and records from Paris, Florence, Naples, and Spain. ​ ​ "I scream, you scream, we all scream for ice cream!" - Howard Johnson History continued: Ice cream reached America with European settlers and was served by the first lady of colonial Maryland as early as 1744. George Washington bought a mechanical ice cream maker for Mount Vernon in 1784. Thomas Jefferson, who developed a taste for French-style ice cream while in Paris, served it at the executive mansion at least six times and wrote ten recipes, including one for vanilla ice cream with egg yolks. ​ By the late 19th century, ice cream had become a popular treat in America. In 1874, the ice cream soda was invented, and by 1881, the sundae made its debut. The waffle cone stole the show at the 1904 St. Louis World’s Fair, while Popsicles were patented in 1923. Both Dairy Queen and Carvel claim to have created soft-serve ice cream in the mid-1930s, and frozen yogurt hit the scene in the 1970s. ​ ​ Junket Vanilla Ice Cream Recipe ​ 3 Junket® Rennet Tablets 2 tablespoons cold water 3 cups whole milk 2 cups heavy whipping cream 1 cup sugar 4 tsp vanilla Dissolve Junket® Rennet Tablets in cold water by crushing. Set aside. Combine remaining ingredients in saucepan. Heat while stirring to lukewarm (110º F). Remove from stove. Add dissolved tablets. Stir a few seconds and pour immediately into freezer can. Let set at room temperature until firm and cool. When mixture is set, place container into the ice cream freezer and follow manufacturer’s instructions. Begin churning until it is frozen. ​

  • Contact | Dawn Hunter | South Carolina Sunshine™

    Contact Let us, Dawn and Darcy, know what you think. Also, please submit information you have regarding upcoming events, art exhibitions, or interesting outdoor places to explore. We aim to keep our project going and growing! Let's Chat Phone 770-815-9008 Email dmhunter@email.sc.edu Social Media First Name Last Name Email Message Send Thanks for submitting!

  • SC People | Dawn Hunter | South Carolina Sunshine™

    South Carolina People South Carolina Sunshine™ | SC People feature interviews with people who build our communities and make South Carolina great! Table of Contents Icons Scroll and click on an icon image below to go an interview section you are interested in reading. Our selected interviewees are influential figures within the state of South Carolina. Through a series of thoughtfully crafted questions, our goal is to inform the public about dynamic artists, directors, curators, and cultural programming in our region. We have chosen to interview individuals who exemplify the diversity and richness of our cultural landscape. Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Diana Farfán Ceramic Artist | Community Leader Kyle C. Coleman Artfields Collective | Fine Arts Director Mary Robinson Internationally recognized printmaker Brian Rego Renowned Charleston, SC artist Marius Valdes Professor, University of South Carolina Ella Marushchenko Scientific Illustrator Sara Schneckloth Professor, University of South Carolina Nakisa Abdollahbeigi Critically Acclaimed Artist Caroline DeSantis Entrepreneur Bohumila Augustinova Director, Columbia Art Center Upcoming Interview We are excited about our upcoming interview with multidisciplinary artist, Cedric Umoja, a Columbia, S.C. Cedric uses letter forms, found materials, and archetypal totems to create transformative art. His work spans drawings, paintings, murals, sculptures, films, installations, and performances, bridging ancient and futuristic themes. ​ Influenced by artists like Dondi White, Betye Saar, and Sun Ra, Umoja studied at the Art Institute of Atlanta and apprenticed under Tony Cacalano, who was mentored by Jack Tworkov of the New York School. Umoja’s style incorporates elements of Post Graffiti, Post Expressionism, Afro Surrealism, and Modern African art.

  • Brian Rego | Dawn Hunter | South Carolina Sunshine™

    To play, press and hold the enter key. To stop, release the enter key. The Artistic Vision of Brian Rego: Crafting Masterpieces and Nurturing Future Artists "My work is informed by where I live, and how I live out my life in these respective places. South Carolina has been the culmination of challenge and beauty." Brian Rego is a seasoned artist known for his evocative landscape and figurative works. Born and raised in the United States, Rego's formal art education was forged within the robust arts communities of Pennsylvania and South Carolina.In 2004, Brian Rego achieved a significant milestone, receiving his Bachelor of Fine Arts in Painting from the University of South Carolina. His unique talent was quickly recognized, earning him the prestigious Ed Yaghjian Award for Distinguished Undergraduate Work. Yet, for Brian, this was only the beginning. Driven by a relentless curiosity and an unwavering commitment to his craft, he pursued further studies at the highly respected Pennsylvania Academy of the Fine Arts, attaining his Master of Fine Arts in Painting in 2007. Brian's dedication, however, extends far beyond his academic accomplishments. From the outset of his career, he has demonstrated an exceptional artistic prowess. His solo exhibitions, such as "Present Memory" at the Nancy Margolis Gallery in New York in 2021, "Tiny Mirrors" at the John Davis Gallery in 2019, and "Affections" at the Southside Gallery, also in 2019, have drawn significant attention and acclaim. This acclaim not only cements his status as an accomplished artist but is also a testament to his remarkable creative vision. Furthermore, his work has been featured in various notable group exhibitions, including "Rooms For Strangers" at the Pamela Salisbury Gallery, and "Working Small | A Group Exhibition" at Nancy Margolis Gallery. Above, Dream Walking, oil on board, 15 1/8 x 18 1/2 inches by Brian Rego. Image courtesy of Nancy Margolis Gallery But Brian Rego isn't just about painting pretty pictures. He's got this passion for education that pushes him to go beyond his studio. He's taken on roles as a teacher, a critic, even a visiting artist at different places. He really puts his heart into fostering the growth of young talent, nurturing the next wave of artists who'll make their own marks in the world.. These have included the Jerusalem Studio School in Israel and the University of Mississippi. Notably, he also returned to his alma mater, the University of South Carolina (2008-2019) serving as an Adjunct Professor in 2-D Design Foundations, Figure Drawing and Painting. In 2022, he taught a course, "Considering the Masters: Cezanne and The Organizing Principles of Design," at the Penn Studio School of Art. In recognition of his contributions to the field, Rego received the Blackwell Prize in Painting Award from the University of West Georgia in 2023. This honor underscores the potency and originality of his work. His artistic vision and technique have also made their way into print. In 2022, his thoughts and creative process were shared in "Art In The Making, Essays by Artists About What They Do," where he was featured on pages 228 - 231. From long nights in the studio to countless hours in the classroom, Brian Rego's journey through the art world is a shining example of how grit, imagination, and a love for teaching can shape a successful career. Every brushstroke tells a story, and Brian's art, full of beauty and depth, reflects his unique take on the world around him. But what's really cool is that his work doesn't just hang on gallery walls - it also lights a spark in young artists who dream of following in his footsteps. Pair that with his impressive list of exhibitions and teaching roles, and it's no wonder Brian is making waves in the modern art scene. Above, Swimmer, oil on board, 14 1/4 x 18 1/2 inches by Brian Rego. Private Collection Q & A with Brian Rego Dawn Hunter: What initially sparked your interest in art, and how has your upbringing in South Carolina shaped your artistic style and career? Brian Rego: From the time that I can remember, I had an interest in drawing. Looking back, it seemed like a natural thing to do. There are certain people who have temperaments that compel them to record their experiences to understand the significance of them, and to tell their stories. I grew up reading and drawing Sunday comics and followed the styles of Berkely Breathed, Bill Watterson, and Jim Davis. I was overtaken by how real the characters felt, and how easy it was for me to relate to them. I engendered a deep affection for these illustrators, for treating with such care and attention, their ability for, and dedication to storytelling. For a moment, I found a place to belong. I soon developed my own characters, and told my own stories. My grandmother was an artist, a painter. When she was in her twenties and thirties, she painted in oils, but by the time I had come to know her, she was a watercolorist. I loved her work as a boy, and I wanted to emulate her. I didn’t relate to art as an ideology, but I understood it through my grandmother. I was in awe of the non-diminishing return of her work, how the power of her paintings intensified the more time I spent with them. But I wouldn’t try my hand at painting until my twenties. (continued below) Brian Rego painting en Plein air. Girl in Garden, oil on canvas, 20 x 29 inches, oil on canvas by Brian Rego. Courtesy of Nancy Margolis Gallery. Brian Rego: (continued) I completed my BFA in painting at the University of South Carolina, and as a student, I had two professors who made a huge impact in my artistic development. One was in figure drawing, the other was in painting. Together, they pushed me to be my best while providing me the room to experiment, to struggle, to fail. If I managed to succeed in one area, it was met with brief acknowledgement and the demand to do it better; they were constantly looking ahead. I am grateful for that now because any time I am met with success, I treat it the same way, and that allows me to focus on the work instead of the results. I learned that failure and success are just a part of life, but given too much attention, they become detrimental to the growth of one’s work. My work is informed by where I live, and how I live out my life in these respective places. South Carolina has been the culmination of challenge and beauty. I paint from life, so the heat of the South is always a barrier to my work, but because I struggle against it to paint in the landscape, the work is neither sluggish nor indulgent, but urgent and direct. I have taken to the discipline of working in the studio once the painting is developed enough to sustain the use of memory as a resource. My blessed wife and four children have contributed to the necessity of this development in the process of making paintings, and I have grown to love it. Memory has a limitless capacity for engaging the imagination, and as I learn to channel that powerful interaction through my sensibilities, the expression through the material, as a consequence, has shown itself to be something of a personal style. But I don’t give much attention to that; I focus more on the accuracy or the tone of the gestural expression of form through paint. Artist Brian Rego working in his Charleston, SC studio. East Bay Street, oil on linen, 20 x 24 inches, by Brian Rego. Courtesy of the artist. Dawn Hunter: Your solo exhibitions, including Present Memory; Tiny Mirrors; and Affections; have garnered a lot of attention. Could you give us a glimpse into the creative journey that led to these pieces and what they represent for you? Brian Rego: Each piece of every body of work is a visual accounting of my life in a certain place, in a certain time. But the paintings are about themselves, they are not about me. I just use what is around me and how I engage with those things as material to make the work. I have my own attachments to the work, my own entry points, but those will be different for someone else and what I have to say will only hinder their relationship to the painting. Each painting needs its autonomy. I need to keep looking ahead to what is next, not because I know what to look for, but to keep myself moving, one step at a time. ​ Dawn Hunter: Alongside creating your own art, you’re passionate about teaching and nurturing the next generation of artists. How has this commitment to education shaped your own artistic workand the way you view your role as an artist? Brian Rego: I believe in giving back. I have had many people contribute their time, energy, knowledge, and love, to my development as a person and as a painter. The biggest influences in my life, aside from my family, have been teachers. I am grateful for the ability to teach, but even more so for the desire to do it. It brings me satisfaction to share something that I consider to be so good and so rich with other people. I love to see people struggle and grow, to see them enriched; I never tire of it. This attitude has fostered within me an ardent love for what I do, and in a way, it justifies what I do. If I painted exclusively for myself, I don’t think I would do it. Pineapple Fountain, oil on canvas, 22 x 28 inches by Brian Rego. Courtesy of Nancy Magolis Gallery. Dawn Hunter: You’ve been honored with several awards, like the Ed Yaghjian Award and the Blackwell Prize in Painting. What influence have these recognitions had on your artistic perspective, and what words of wisdom would you share with budding artists aiming for such honors? Brian Rego: Awards are wonderful because they represent someone believing in the value of your work, but whether the work is received favorably or unfavorably, the focus must be set upon the needs and demands of the work, which are established solely between you and what you make. Do not aim for honors, it is a distraction. The people who honor you will also dishonor you the moment you and your work cease to represent the values they hold dear. If you, especially as a budding artist, give that level of influence to someone else, you will lose your way. Expect there to be good times and bad times, but remember that each does not last. Listen to your heart, follow your gut, and move onward. It is not about you, it is about the work. Dawn Hunter: What do you hope viewers will experience or understand when they interact with your art? Looking forward, are there any new themes or techniques you’re looking forward to incorporating in your upcoming works? Brian Rego: Ideally, my hope is for a viewer to enter into the compressed space of the painting, slowly expanding, finding themselves immersed in another world. One that connects deeply to the viewer’s interior world, to their sensibilities, and form a connection to it. My hope is for the viewer to understand that the painting is there to be seen and that it reveals itself in layers, that it imparts something of value, but that it takes time. Regarding my upcoming work, I want to paint on bigger surfaces. I want to learn how to make large paintings, really get into things. I am working out the practical aspects of making large paintings on location, and then of course, how to paint them. ​ Above, Woman Sunrise at the Park, oil on line, 22 x 26 inches, by Brian Rego. Courtesy of Nancy Margolis Gallery. Nancy Margolis Gallery | Brian Rego

  • Congaree National Park

    Congaree National Park Congaree National Park hosts a diversity of wild life, being the largest preserved stretch of old growth bottomland hardwood forest in the southeastern United States. The floodplain is revitalized by the waters of the Congaree and Wateree Rivers, which deliver essential nutrients and sediments. This natural process fosters a rich ecosystem and sustains the impressive national and state champion trees found within the park. What is Congaree? Our forests offer much more than just beautiful landscapes and wildlife. Each one has a different story to tell. ​- Raveena Tandon Congaree National Park is a favorite attraction for many hikers and kayakers. It is a 20,000-acre, federally protected wilderness. The park is known for its “giant hardwoods and towering pines.” It is a floodplain forest with one of the highest canopies in the world. The 2.6-mile boardwalk is an excellent introduction to the park. Visitors can explore the park by foot, kayak, or canoe. To ensure a safe park visit, we would like to point out that cell phone reception within the park is very spotty, therefore, it is important to be well-prepared before hiking, camping or kayaking. It is also essential that you inform someone about your plans and it is paramount that you leave your itinerary behind in case of emergencies. Equip yourself with appropriate clothing and footwear and carry necessary items such as water, snacks, first aid kit, map, and compass. Congaree National Park Photo Gallery The best time to visit Congaree National Park is during the fall, from October to early November. The crowds are low, the leaves are changing, and there are fewer bugs. Congaree National Park Basic Information Before your visit, check the weather forecast. Conditions can change rapidly, and flooding is a potential hazard, and can occurwith little or no warning. During the summer months, mosquitoes can be bothersome; bring insect repellent for a more comfortable experience and protect yourself from insect bites. ​ Activities that are permissible in the park are hiking into the Congaree wilderness, canoeing or kayaking into the park's heart by way of Cedar Creek, and paddling the 50-mile designated recreational paddle trail. Those who want an immersive experience in Congaree National Park can "stay in one of the park's primitive campgrounds or in the park's wild backcountry." Fishing is also permitted in the park; however, it is important to be informed of the policies. ​ The park is open 24 hours a day, every day throughout the year and closed for observed holidays. Congaree Holiday Closure Schedule Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link

  • Inspiration from Patz Fowle

    Inspiration from Patz Fowle PHOTO ESSAY BY DAWN HUNTER AND DARCY PHELPS, 9-7-2022 During our most recent Lake City excursion, Darcy and I went to the Onward and Upward exhibition at the Jones-Carter Gallery. The show featured artwork by Patz Fowle (1954-2021) and Mike Fowle. We were taken and awe-struck by the artwork, which led to an impulse buy of Patz Fowle's whimsical and exquisite clay work Every Artist...Has a Story. The piece is comprised of hand sculpted stoneware, porcelain, oxides, underglaze, stains, and luster. The ceramic work contains references to famous works of art by artists like Dali, Picasso, and Munch, and seminal readings of Art History. The tactile surfaces rival the painted surface qualities of The Isenheim Altarpiece by Matthias Grünewald (1512–1516) and inspired Darcy's cookie bake off! “It is good to love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is well done.” ― Vincent Van Gogh Who was Patz Fowle? Born 1954 Ringgold, Georgia Died 2021 EDUCATION Parsons School of Design, New York City, New York Adelphi University, Garden City, New York Savannah College of Art and Design, Savannah, Georgia ​ Patz Fowle was renowned for her illustrative, handmade ceramic sculptures, which were glazed with bright low-fire colors. Her works often featured anthropomorphic animals, such as zoo animals taking a taxi or a fish walking to work with a briefcase. She developed unique sculptural techniques, known as the "Patz Process Ceramic Technique," which were recognized by the American Ceramic Society and featured in art textbooks. ​ In collaboration with her husband, Mike Fowle, she created large-scale metal public art sculptures. Jones Carter Gallery Patz Fowle Mike Fowle Patz Fowle's work inspires a cookie bake-off. The best location for this artwork in our house? The kitchen table, of course. Our meal times are now rich with discussions about art, history, and Patz's work. There are so many layers of references in the artwork. What a wonderful gift for our home! The work served as inspiration for Darcy's and Eva's sleepover cookie bake-off this past weekend. The greatest challenge? The icing and cookie cutters could not translate the fine detail of the elephant. All photos by Dawn Hunter, click on the photos to activate a slideshow. ​ ​ “I dream my painting and I paint my dream.” ― Vincent Willem van Gogh Pat Fowle Public Collections ​ American Museum of Ceramic Art, Pomona, California Big Bleu Birdnanna, public art sculpture, commissioned by city of Florence, South Carolina Dr. Ronald E. McNair Life History Center, Lake City, South Carolina McLeod Regional Medical Center/ McLeod Family Medicine Center, Florence, South Carolina ​ ​ Recipe: Sugar Cookies ​ Ingredients: 3 cups sifted flour 2 teaspoons baking powder 1/2 teaspoon salt 2/3 cup shortening 1 cup sugar 2 eggs (well beaten) 1/2 teaspoon vanilla extract 1/4 cup of milk ​ Directions: Mix and sift flour, baking powder, and salt. Cream shortening, add sugar slowly, and cream until fluffy. Stir in well-beaten eggs and vanilla extract. Add sifted dry ingredients with the milk. Blend well and chill. Roll 1/4 inch thick on a lightly floured board. Cut cookies into desired shapes. Bake at 375°F for 10-12 minutes. ​

  • Mary Robinson | Dawn Hunter | South Carolina Sunshine™

    To play, press and hold the enter key. To stop, release the enter key. Celebrating Creation and Conservation: The Mixed-Media Journey of Mary Robinson "Printmaking is often a very collaborative process, so through many years of teaching printmaking I believe that I have also become more communally oriented" Hailing from Columbia, South Carolina, Mary Robinson is an artist of many disciplines, embodying the essence of creative re-imagination in her unique and thoughtful works. A mixed-media artist who relishes in finding the extraordinary in the mundane, she is currently the director of the Printmaking Program at the University of South Carolina School of Visual Art and Design, where she also teaches. Robinson's distinct approach to her craft involves printmaking in diverse media, creating objects from repurposed fabric, and making handmade paper. In her studio, she weaves together disparate elements to uncover new interplays of color and form. Robinson's works are intrinsically inspired by the natural world; from the intricate patterns made by acorn woodpeckers she observed in Inverness, California, to the pulse and rhythm of life, Robinson endeavors to convey the potent energy that unites all living things. This interconnection with nature is an underpinning philosophy in her artistry, beautifully highlighting a delicate balance between creation and conservation. ​ ​ Robinson's artistic journey has been one of exploration and education. She graduated with a BFA in Studio Art from the University of Colorado-Boulder, proceeded by an MA in Art History from the University of Wisconsin-Madison, and then an MFA in Printmaking from Indiana University-Bloomington. Robinson's passion for printmaking was sparked while assisting Master Printer Andy Rubin at UW's Tandem Press. Above, Pieced: Brown Small, collaged artwork by Mary Robinson. Image courtesy of Mary Robinson. Presently, Robinson is engaging with the community of Breckenridge, Colorado, as an artist-in-residence at Breck Create, a creative hub that's in partnership with the Saddle Rock Society. The residency offers artists from all over the globe a space to focus on their artistic process, interact with the local community, and foster a spirit of creativity and togetherness. During her residency, Robinson has led several impactful activities, ranging from teaching a Kids Camp to making filament from repurposed plastic sleds using a Precious Plastics extruder machine. A mixed-media artist in every sense, she has been involved in creating a braided rag rug, running a workshop on beading with repurposed materials, and making beads from repurposed paper and fabric. Furthering her ethos of recycling and repurposing, she gratefully uses fabric and yarn donated by the community for her projects at Breck Create. She hashtags her social media posts with #maryrobinsonstudion #repurpose, #breckcreate, #gratitude, #community, #cherishedscraps, #materialappreciation, and #artistresidency, reaffirming her commitment to community, creativity, and the appreciation of materials, however humble they might be. Above, Svalbard Seed Vault Exhibition Handbound books on display at Tromsø bibliotek, Tromsø, Norway. Image courtesy of the Global Seed Vault in Svalbad, Norway. Q & A with Mary Robinson Dawn Hunter: Mary, you've built your career around repurposing materials in your artwork. Can you share a story about a particular piece where the material's past life brought a unique depth or perspective to your creation? Mary Robinson: The series of works titled Pieced are made from my collection of fabric scraps, and I know where each little scrap comes from. For example, in Pieced: Brown Small, there are pieces of clothing belonging to my mother, my husband, my friend and myself. There are also leftovers from a quilt I made for my newborn nephew. There are pieces given to me at a workshop I took with Gee’s Bend Quilters Mary Ann Pettway and China Pettway. And there is fabric onto which I screen printed patterns in a natural dye workshop I took with Donna Brown who founded the Janice Ford Memorial Dye Garden in Denver. When I look at these scraps stitched together I can’t help but see the interconnection of a larger community—those mentioned above but also the unknown workers who manufactured the various fabrics. (continued below) Inspiration, patterns created by Acorn Woodpeckers. Inspiration manifests in Mary Robinson's work. Ovals carved into matrices which were used to create her relief monoprint series, Chorus. Dawn Hunter: Your inspiration often comes from the rhythms and patterns of nature. Is there a specific instance in nature that inspired you recently, and how did it manifest in your work? Mary Robinson: In 2017 I had a 3-week residency in Inverness, California at the Lucid Art Foundation. Every day from dawn to dusk I saw and heard acorn woodpeckers persistently creating hundreds of holes for storing the nuts they gathered. I had previously used a pattern of ovals to represent humans, linking the ephemerality of human lives to musical notes. Inspired by the woodpeckers and taking advantage of the reproducibility in printmaking, I carved many small ovals on multiple matrices and printed them in a variety of ways at the residency. I continue to use this pattern regularly, and it can be seen in the previously mentioned work, Pieced: Brown Small; in the printed, hand-bound books I created for the permanent collection at the Global Seed Vault in Svalbad, Norway; in many of the Regeneration works; and in the Chorus series of large woodcut prints. Mary Robinson, Regeneration 4 Handmade paper, thread, collagraph, relief print, gouache and glue on mulberry paper, 13”x 10.5”, 2021. Courtesy of the artist. Mary Robinson, Chorus 3, Relief monoprint on Shiramine paper, 46”x 38”, 2021. Courtesy of the artist. Dawn Hunter: As an artist, you've led various workshops and taught at a Kids Camp during your residency at Breck Create. How do you feel teaching influences your own work, and what do you hope your students take away from these experiences? ​ Mary Robinson: I have really enjoyed teaching a broad range of students over the years in terms of age, experience and cultural background. I believe that the flexibility and openness I have brought to teaching has made me more relaxed and open as an artist and human over the years. I sometimes see a fear of failing in students that I used to experience. Helping students to embrace process and flexibility has helped me get past rigidity and tightness in my own work. Printmaking is often a very collaborative process, so through many years of teaching printmaking I believe that I have also become more communally oriented. This summer I have been inspired by the wild and beautiful imaginations of 4- to 12-year-olds I have been working with. (One 8-year-old made a portrait of “Mr. Toast” and wove a sweater for him without worrying about whether or not this made sense.) ​ Dawn Hunter: You've spoken about your gratitude for the ongoing donations of fabric and yarn for your project at Breck Create. Could you describe how community involvement enhances your artistic process and impacts the resulting artwork? Mary Robinson: Involving interested participants in a community art project can make members feel more connected and invested in their community. This summer’s Invitation project at Breck Create has stimulated dialogue about art, home, community, environmental sustainability, and material waste. For me, the donated materials become creative prompts that trigger new ideas. The challenge of not buying anything new for the project has propelled me to use materials in ways different than what I’m used to. It has been exciting to see both kids and adults transform simple triangles of magazine paper into beautiful paper beads, and to see their perceptions of the material change. Mary Robinson, Regeneration 3 Relief print, screen print, digital print, gouache and glue on mulberry paper, 14”x 10.5”, 2021. Courtesy of the artist. Dawn Hunter: Having studied both Studio Art and Art History, how do you feel your understanding of historical contexts and movements has shaped your own artistic voice, particularly your focus on sustainability and repurposing materials? Mary Robinson: First of all, I credit a part-time instructor from my freshman year of college, in large part, for my pursuing a life and career in art. She drove from Denver to Boulder twice a week to teach our small art appreciation class, taking us to the studios and homes of artists. Before that, I didn’t really know that you could choose art as a career and, more importantly, as a way of life. The artists we visited seemed to live holistic, creative lifestyles in beautiful, unique homes. I remember feeling on a deep level at age 18: “I want to live like this.” Over the years I have been influenced by many artists whose work doesn’t necessarily look like mine: the pulsating marks in Van Gogh’s paintings; the sense of fleetingness in Stan Brakhage’s films and Francesca Woodman’s photographs; the dedication in Frank Auerbach’s paintings of the artist trying to capture something about his small group of subjects again and again for decades; Richard Long’s use of walking as a medium; and the rough, earthy sculpture of Magdalena Abakanowicz. Studying art history has given me a sense of connection with humanity across time and geography. ​ ​ Many of my art professors at the University of Colorado encouraged us to think about the content in our work and promoted social awareness. One of my painting professors gave us the assignment of addressing a social issue in a painting. I remember painting a man from behind looking out over a city covered in trash. A few years later when writing my art history master's thesis about the work of Betye Saar, I was impressed by Saar's appreciation of material, her habit of recycling, and her recognition of the power of objects, for example when she incorporated her Aunt Hattie's belongings in Record for Hattie. About her materials Saar states: "The objects that I use, because they're old (or used, at least ), bring their own story; they bring their past with them. I have no idea what that history is. If the object is from my home or my family, I can guess. But I like the idea of not knowing, even though the story's still there. Mary Robinson, Regeneration 2, Screen print, relief print, gouache and glue on mulberry paper, 9.5”x 13”, 2021. Courtesy of the artist. Artist and USC professor, Mary Robinson in her studio. Mary Robinson | Studio

  • Darcy's White Bean Dip | Dawn Hunter | South Carolina Sunshine™

    Darcy's Inspiration, Love & Lemons' White Bean Dip! Imitation is the greatest form of flattery, and in this week's "Dish with Darcy" feature, Darcy showcases Love and Lemons' delightful white bean dip. With their keen eye for detail and a dash of creativity, they carefully penned a palette inspiring recipe. Darcy sourced the freshest ingredients, and prepared her kitchen for a fun and rewarding cooking session. For Darcy, the kitchen is a place of joy and experimentation, not just precision. She followed Love & Lemons' outline and started with cannellini beans, olive oil, and lemon, which are the heart of this dip. This mixture takes mere moments to blend in a food processor, resulting in a dip that’s both creamy and bursting with flavor. The zesty lemon enlivens the earthy beans, while olive oil lends a luxurious smoothness. Whether you're dipping carrot sticks, spreading it on a sandwich, or enjoying a spoonful right from the fridge, this recipe is a keeper. ​ For an extra layer of flavor, Darcy added the suggested fresh herbs like basil and rosemary. If you're feeling adventurous, try mixing in tarragon, parsley, thyme, mint, dill, or chives. And for a rich, mellow garlic undertone, roast a head of garlic as described, then blend the soft, golden cloves into your dip. This aromatic addition transforms the dip into a deeply flavorful treat that’s perfect for any occasion. "Chefs don't make mistakes; they make new dishes." - Elizabeth Brigg Ingredients 1 1/2 cups cooked cannellini beans, drained and rinsed 2 tablespoons extra-virgin olive oil 2 tablespoons fresh lemon juice 1/2 teaspoon lemon zest 1 small garlic clove 1/2 teaspoon sea salt freshly ground black pepper 2 to 4 tablespoons water, if needed 2 tablespoons torn fresh basil leaves 2 teaspoons fresh rosemary leaves Instructions ​​ Directions: Place the cannellini beans, olive oil, lemon juice and zest, garlic, salt, and pepper into a food processor. Pulse these ingredients until they are just mixed. While the processor is still running, gradually pour in the water and continue to process until the mixture reaches a smooth consistency. If you like, add fresh herbs of your choice at the end and give it one last blend to incorporate. “When I create any dish, literally the first thing I think of is, what is the purpose behind this dish? Why am I putting this ingredient in it?” - Esther Choi And that concludes this segment of "Dish with Darcy!" Here, culinary exploration turns into an exhilarating escapade. Whether it’s mastering the art of a silky white bean dip that promises to elevate your snack time or delving into comforting classics with a gourmet twist, Darcy ensures that every cooking session is filled with joy and discovery. Her rich, creamy, and zesty white bean dip is guaranteed to dazzle your taste buds and become a new favorite. Stay tuned for more delicious adventures on "Dish with Darcy!

  • Yayoi Kusama Pumpkin Pie

    Darcy's Kusama Pumpkin Pie In celebration of her favorite artist, Darcy made drawings of and decorated pumpkins. She capped off the activity with homemade pumpkin pie, an unexpected treat in July. Japanese artist Yayoi Kusama is known in the art world as the 'Princess of Polka Dots.' She has dazzled museum visitors with her infinity rooms that have featured some of her objects, like her pumpkin sculptures. Featured in this section is a Yayoi Kusama 'My Love for the Eternal Pumpkin' sculpture when it was on view at the Hirshhorn Museum, Washington, D.C. The photo essay below contains a mix of images from Kusama exhibits, Darcy's creative process, and her pumpkin pies! Who is Yayoi Kusama? Yayoi Kusama was born on March 22, 1929, in Japan. She is a famous artist known for her sculptures and infinity mirror rooms. Kusama is very talented and makes all kinds of art like paintings, performances, videos, poems, and stories. Her art is very creative and includes ideas about feminism, minimalism, surrealism, pop art, and abstract expressionism. A lot of her work is about her own life and feelings, and she often includes psychological and sexual themes. Kusama is one of the most important artists alive today and the best-selling female artist in the world. ​ Kusama grew up in Matsumoto and studied traditional Japanese painting, called nihonga, at Kyoto City University of Arts for a year. She was inspired by American Abstract Expressionism and moved to New York City in 1958. There, she became a big part of the 1960s avant-garde scene and the pop-art movement. In the late 1960s, she became well-known for organizing events where people, often naked, were covered in bright polka dots during the hippie counterculture. Her work became less famous in the 1970s but had a big comeback in the 1980s. Kusama has kept making and showing her art in top museums worldwide, staying influential from the 1950s until now. “A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” ​ - Yayoi Kusama Unique Twist By finding inspiration in Yayoi Kusama's art, Darcy was able to create a unique activity for herself. By creating her own 'eternal pumpkins,' she was able to develop a deeper understanding of Kusama's artwork. While Yayoi may not bake a pie after the creation of each pumpkin, Darcy took her pumpkin inspiration a step further and made one of her favorite desserts that is a year-round favorite. Pumpkin pie in July? For us, it is a typical summer treat! ​ “Polka dots can't stay alone. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environments.” ​ - Yayoi Kusama Silver Jubilee Pumpkin Pie Recipe Pumpkin Pie ​ Ingredients: 1/2 recipe Standard Pastry (page 362) 1 cup brown sugar 1/2 teaspoon ginger 1 teaspoon cinnamon 1/2 teaspoon salt 2 eggs, slightly beaten 1 1/2 cups milk 1/2 cup thin cream 1 1/2 cups cooked or canned pumpkin ​ Instructions: Line a 9-inch pie pan with pastry. Mix sugar, spices, and salt. Add slightly beaten eggs, milk, cream, and pumpkin. Mix well. Pour into unbaked pastry shell, and bake in a moderately hot oven (425°F) for 40 to 45 minutes, until an inserted knife comes out clean. Yield: 1 9-inch pie. ​ Note: If desired, 2 cups of undiluted evaporated milk may replace the milk and cream. Pumpkin pie may be covered with whipped cream flavored with sherry, maple syrup, or honey.

  • Sara Schneckloth | Dawn Hunter | South Carolina Sunshine™

    Welcome to CONVERSATION, interviews with Sara Schneckloth, Nakisa Abdollahbeigi and Stephanie Allen. SARA SCHNECKLOTH is passionate about teaching. Her excellence in the classroom was recognized this past spring when she was awarded USC's prestigious Michael J. Mungo Teaching Award - for the second time during the past ten years! The first was for her undergraduate teaching and the second was for her Graduate teaching. Professor Sara Schneckloth has been teaching at UofSC since 2007. She has a reputation among the student population as a great motivator who is prone to incorporating the unexpected and innovation in the art classroom experience. Students find her classes exciting, rigorous, and rewarding. South Carolina Sunshine has interviewed Sara and two of her recently graduated students: undergraduate Stephanie Allen and MFA graduate Nakisa Abdollahbeigi. Image above, by artist and UofSC professor, Sara Schneckloth from her Topographies series: Earth pigments, graphite, colored pencil, wax on Yupo, 2021. Dawn Hunter: Teaching is a great passion of yours. How did you become interested in teaching? Sara Schneckloth: It is indeed a driving passion! I had the pleasure of teaching for the first time in Cape Town, South Africa at the Community Arts Project from 2000-2002, where I discovered how grounding and satisfying it is to be in a studio classroom with people who are focused, engaged, and motivated – it has grown and expanded ever since, whether at the University of Wisconsin as a grad student and instructor, and here at Carolina since 2007. Dawn Hunter: You have won two Mungo teaching awards, one for undergraduate teaching and one for graduate teaching, what are your perceptions of similarities and differences among those student populations? Sara Schneckloth: Our students all bring different levels of experience into the classroom, and I believe it’s important to meet people at whatever level they are starting. In any level of drawing course, we engage with the questions, techniques, and processes that can help bridge the gap between what they aspire to create and a growing bank of skills and resources they have at their disposal. Like many of us teaching studio art courses to undergraduates, SVAD classes attract both art majors and students from across the university who are keen to bring artmaking into their lives – it’s these interdisciplinary conversations that can really take an undergraduate project in exciting directions, as students look to combine their other academic interests and cares with drawing. SVAD graduate students bring a host of life experiences with them as they engage in three years of creative and academic study and studio work, and I am perpetually inspired by the strides these artists and scholars take in bringing their creative visions to light while in the MFA program and beyond. Above: Sara Schneckloth working at her summer studio in New Mexico. Photo by Megan Clark. Dawn Hunter: When you pursued your MFA at the University of Wisconsin, Madison, at the time, did you envision teaching becoming such a big part of your life and studio practice? Sara Schneckloth: I did, if only because of recognizing early on the excitement and joy I feel when working with a group of inspiring and motivated students – that dynamic energy, the flow of ideas, the deep immersion in creative process – all of it elevates my overall approach to making artwork. There is a cyclical flow between what happens in my studio and what happens in the classroom – each feeds and inspires the other and I honestly and simply love working with people as they bring a vision to light. Dawn Hunter: Describe your teaching style. Sara Schneckloth: My approach to teaching combines rigorous attention to a range of traditional and contemporary drawing methodologies, encouragement of self-discovery, and active engagement in peer critique. I believe that every student brings a unique set of personal experiences to the university environment, and that one of my roles is to support undergraduate and graduate students in investigating and translating those diverse experiences into meaningful works of art, through drawing, writing, and speaking, becoming artists who move fluidly between ideas and images. ​ ​ From teaching to mentoring and advising, I work with graduate students to build solid technical skills in visual artmaking, confidence with materials and processes, and a critical and incisive language for talking about their work and the work of others. Students move forward with a better understanding of themselves as thoughtful practitioners they learn to ask questions of their artwork, each other, and of the enterprise of art making as it manifests across disciplines. In my career at UofSC, I am dedicated to training a generation of artists, scholars, and future educators who embody principles of open exploration and expression of ideas, and care for the aesthetic dimensions of being in the world. Dawn Hunter to Nakisa Abdollahbeigi: How or why did you decide to work with Sara Schneckloth as your mentor? ​ Nakisa Abdollahbeigi: Professor Schneckloth is a very kind and supportive person—also highly professional and experienced in studio art with main focus on Drawing. Since Drawing is my primary major, I have decided to work with Professor Schneckloth as my thesis mentor. Dawn Hunter to Stephanie Allen: How or why did you decide to work with Sara Schneckloth as your mentor? Stephanie Allen: I've worked closely with Sara since I was a sophomore. Even before I had asked her to be my thesis director, she had mentored me more than any other professor I had worked with. She understands my goals as an artist, knows my range of skills and where to push me. Choosing her just made sense. She was always willing to go above and beyond to support me and I am so indescribably grateful for how she's helped shape my undergraduate experience. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Dawn Hunter to Sara Schneckloth: How does teaching a class or working one-on-one with a student in a classroom setting manifest differently from mentoring a long-term project? Sara Schneckloth: When working with any student on a project, long- or short-term, my hope is that they allow their thinking and processes to be fluid and evolve. That evolution can take on many forms, whether in how they approach the act of seeing, the drawing techniques and materials they use, or how they invent new conceptual challenges and questions for themselves. Being able to work with a student over an extended period of time is so rewarding, as often the project will go through a period of radical reinvention, as the person goes deeper into what is really motivating them to make the work. It’s that blend of discovery and excitement that can propel a project to even greater success, with momentum to keep making more work going forward. One of many mural walls created by Marius Valdes at the Richland County Public Library, Columbia, South Carolina. Dawn Hunter to Nakisa Abdollahbeigi: What qualities did Sara bring to the relationship that helped you progress your thesis in the right direction? Nakisa Abdollahbeigi: One of the most important qualities I admire in Professor Schneckloth is her organized and detail-oriented personality. As my thesis mentor, she played a key role in helping me coordinate committee meetings routinely and provided excellent mentorship for developing the idea, implementation, and management of my thesis project. She also evaluated my performance in the program and provided thoughtful feedback on each step of my project to help me complete it with the best quality. Dawn Hunter to Stephanie Allen: What qualities did Sara bring to the relationship that helped you progress your thesis in the right direction? Stephanie Allen: Sara has a knack for finding the most interesting and unconventional mediums and surfaces. I knew she would be a great resource to have when working on a project that required unusual materials. I wasn't sure what the pieces would be made of or how they would be hung, and she provided resources that allowed the project to look professional while staying within budget. ​ She has a great eye for abstraction. This show features some of my very first exclusively abstract pieces that would not have been conceptualized without her guidance on materials, abstraction, and the intuitive mark. Sara has worked with similar interview-based projects before— she knew where to look for weak spots in interviewing ethics and how to create successful visual narratives. While I technically have a drawing concentration, Sara has a very expansive definition of what a "drawing" is. I knew that this perspective would give me the creative freedom to work however I needed to and would allow me to take an untraditional approach to drawing. Above, Strive, a mixed media drawing by Stephanie Allen. Below, Stephanie Allen's BFA thesis exhibition titled, In My Skin, Her Skin. Both photos by Stephanie Allen. Image above, by artist and UofSC professor, Sara Schneckloth from her Topographies series: Earth pigments, graphite, colored pencil, wax on Yupo, 2021. Dawn Hunter to Stephanie Allen: Your thesis exhibition is a personal and biographical (of you and others) show. What did you want the viewers to learn, understand or experience from the show? Stephanie Allen: The ways in which the spoken word and the creation of art can lead to a larger understanding of self was deeply considered in the creation of this project: by understanding other queer stories, I could more clearly engage with my own. This exhibition is an artistic investigation of queer femininity and body image. As our bodies and identities are so deeply intertwined, this project explores the way in which the body and presentation create and structure perceptions of queerness, gender, and beauty. Each portrait represents a queer woman or non-binary person that I interviewed, directly rendering their appearance and abstractly interpreting their relationship with their body and queer identity. This project aims to visually record the feeling of being seen and one’s developing knowledge of their identity. Specifically, by realistically showing a variety of different body types that all relate to queerness and femininity in some way, we may expand our presupposed notions about the body enforcing identity. Additionally, despite these varying appearances of the body, the throughlines of body insecurity, navigating queer expression, and learning self-love unify these differences to reinforce the idea that the person is so much more than the body. Understanding that the body is art and art is the person is a key component of my work. In extending our definition of art to include the body, we can shift out of a sense of moralizing critique to one of understanding, appreciation, and respect for both the self and others. Dawn Hunter to Nakisa Abdollahbeigi: Your thesis exhibition, Carry On, was a personal/autobiographical show. What did you want the viewers to learn, understand or experience from the show? Nakisa Abdollahbeigi: One of the most important aspects of my thesis exhibitio n was to help the viewers feel and communicate with the emotional challenges immigrants face during and after immigration. Most importantly, I aimed to show them how feelings of living far away from loved ones, like parents, siblings, best childhood friends, and family members can have personal and emotional impacts on an immigrant’s life. Another aspect was to show how the sense of disconnection from the original culture, language, memorable moments, and nostalgic places in life can affect an immigrant’s personal identity. Lastly, my goal was to reflect on challenges that immigrants experience after moving to a new country such as adapting to a different culture and learning a new language. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Below, Nakisa (center) with guests at her exhibition opening. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Below, Nakisa (center) with guests at her exhibition opening. Dawn Hunter to Stephanie Allen: The work is created in layers, and each piece is a complete experience on its own, but the entire show works as an installation. Was that intentional, or did it synchronize in the installation process? Was that intentional when creating the works for the show? How did the choices in the installation evolve? Stephanie Allen: These pieces are what I have come to describe as "floating collages." The question of materials was something that long haunted me in the beginning stages of this project. More specifically, the question of how to hang said materials was one of the biggest early challenges that I faced. I was set on the pieces being larger than life and knew that the show had to function in layers. I wanted to have a layer that realistically described the body, and another layer to describe the person's relationship with their body femininity, and queer identity. This made it difficult for traditional materials (canvas, board, frames, etc.) to practically function. Acetate was light but durable, and had the transparent quality that I wanted. Ultimately, the installation came together because it had to. Once I had created the pieces, they needed to go up however would work. Based on the advice of Sara Schneckloth and my second reader, Brent Dedas, I used magnets and metal plates to hang the drawings. I wanted the pieces to invade the viewers' space, have intricate cast shadows, and have distinctly separate layers (i.e. I didn't want them stacked flatly on top of each other). The choices I made for installation then followed these requirements that I had established for myself. Above, BFA Thesis exhibition, In My Skin, Her Skin, by Stephanie Allen. Photo by Dawn Hunter Below, closing reception for In My Skin, Her Skin. Photo by Rachel Kaiser. Dawn Hunter to Stephanie Allen: You selected unconventional drawing materials for the works, and the figures are larger than life in scale. Why did you decide to use unconventional materials, and what was the process that led to the large-scale figures? Stephanie Allen: A big part of the show was subverting the expectation that the body dictates identity and expression. It was the perceived difference between these two things —body and identity— that I wanted to focus on. Because the two exist in different spheres, I wanted the visual representations of each aspect of the subject to have separate spaces on the piece. Yet, because they are combined to create one person, they had to exist within a singular composition. I didn't want to create separate pieces (one about the body of the subject and one about the identity of the subject) because that would strip the body of personhood and the person of body. Our identities and bodies are deeply and personally intertwined, so the notion of a floating collage seemed like an interesting challenge that fit my thematic goals. I wanted the pieces to command attention— these drawings are about real people and their stories, so they deserve to be on a scale that appropriately describes the complexity of queer identity. Dawn Hunter to Nakisa Abdollahbeigi: There was an installation piece in the show, Memories in My Carry On. However, one could argue that the entire show is an installation with sub or "mini" structures within it - like, Family Album or the diptych Family Tree. Was that intentional when designing the show? How did the choices in the installation evolve? Nakisa Abdollahbeigi: The central idea for my exhibition was developed based upon the concept of immigration and its challenges. The components of the show were designed to reflect on different aspects of this main concept with the goal to show how personal, cultural, and emotional challenges play a critical role in an immigrant’s life. The most challenging part for setting up the exhibition was the installation of the "Memories in My Carry On" as the central component. This theme was designed by wrapping a suitcase – as a symbol of immigration – in red straps inside a wooden box and visually connecting it with photos of family, moments, and nostalgic places printed on fabric. To develop the idea for this theme, I played around with the sub-components and changed their order and composition several times. The empty space between photo installations on the wall and the suitcase on the floor was filled with red-strap loops hanging from the ceiling. This latter component was designed to create an obstacle and make it difficult for the viewers to walk in the space between components with the goal to symbolize challenges that immigrants experience during and after their transition to a new life. Above, Stephanie Allen's mixed media drawing titled Skin. Photo by Dawn Hunter. Dawn Hunter to Stephanie Allen: How did your work evolve and change while at UofSC? Stephanie Allen: The biggest change that came to my work was increasing degrees of abstraction. I was almost afraid of working abstractly when I first came to Carolina I felt that I had to "prove" my ability to work realistically before delving into the abstract. This then resulted in an interesting combination of realism and abstraction: I love creating weird abstract shapes and images that functioned realistically within their compositions without being directly representational. This project was in some ways far more representational than I have worked in a long time but is simultaneously one of the most abstract series I've done. I honestly see myself continuing to spiral into more abstract territories. My work has consistently focused on feminine and queer identity while at Carolina, and I am interested in expanding and diversifying this thematic base that I've established. ​ Dawn Hunter to Nakisa Abdollahbeigi: How did your work evolve and change while at UofSC? Nakisa Abdollahbeigi: Studying art at UofSC was my first experience with an American educational institute after my immigration to the United States. At the beginning, I found it very different from my experience with an educational institute in my home country, Iran. I gradually adapted myself to the new environment and learned many new things about the art, culture, and language by taking different courses and working on studio art projects for my classes and the MFA thesis. The SVAD program has given me the chance to interact with amazing students and work with inspirational professors and artists who showed me how to think and work creatively and supported me along the way. In my program, I became familiar with a wide range of materials and learned many new techniques for creating art and these skills will be critical for my collaboration with other artists and exploring new things in my future career. Above, Nakisa Abdollahbeigi at the opening of her MFA thesis exhibition, Carry On. Below, detail of an installation piece. Dawn Hunter to Nakisa Abdollahbeigi: What are your future plans? Nakisa Abdollahbeigi: Personally, I enjoy working in academic environments and continuously exploring and learning from other people’s work. I also highly value teaching and am enthusiastic about having the chance to share my experience with students. As an immigrant artist with Iranian background, my plan is to continue working on projects that can help raise awareness about and promote appreciation for cross-cultural values and differences. I believe this is one possible way artists can contribute to building bridges between people from different personal, social, and cultural backgrounds. Dawn Hunter to Stephanie Allen: What are your future plans? Stephanie Allen: I majored in English and studio art while at UofSC and truly enjoyed both subjects. Right now, my career is aligning more closely with my English degree. This summer I am attending NYU's Summer Publishing Institute and I plan to pursue a career in publishing from there. However, as I'm always looking for ways to combine my passions, I am certainly keeping an eye out for publishers of illustrated books and art-based magazines. I plan on continuing my artistic practice regardless of my career path and hope to ultimately find my way back to grad school. ​ Dawn Hunter to Sara Schneckloth: You have initiated a lot of opportunities for teaching, outreach, and community engagement. Do you have plans to develop other teaching initiatives? - like in NM, is that a program/residency you aim to grow? Sara Schneckloth: The studio work I do in the summer in New Mexico is a central part of my overall creative research, and working out here in this remote and rural location is a point of ongoing inspiration and challenge. It’s exciting for me to be able to share the kind of work I do out here with others, and I am interested in growing that in the years ahead, but slowly and with care. I just hosted a small in-person gathering for six artists keen to integrate natural materials into their practices we gathered local clay and ground it into pigments, hiked though the San Juan Basin badlands gathering visual inspiration, and created drawings to connect mark to landscape. The act of uniting material to place is one that can be revelatory, and I hope to create more opportunities to do that with others in the years to come. Dawn Hunter to Sara Schneckloth: What surprises you the most about teaching? or, What event did you experience in education that gave you the biggest surprise? Sara Schneckloth: I think I’m most surprised by how new it always feels every semester, with the rush of jumping in to a full stream of potential, and being a part of such personal exploration, development, and growth. I am grateful for being a part of hundreds of people’s creative processes over the past twenty plus years of teaching, and look forward to many more. Sara Schneckloth, final thoughts on teaching: ​I would say my teaching style closely mirrors how I work in the studio – I’m driven by an ethic of play and experimentation, curiosity, and a willingness to hold things lightly throughout the process, even/especially when things don’t unfold as planned. By engaging in a blend of close observation, traditional drawing approaches, and experimenting with diverse materials and processes, my hope is for students to make discoveries about their own investment in creating images and artworks, and find satisfaction in process and image alike. Learn more about Sara by visiting her website link below. saraschneckloth.com

  • Dish with Darcy | Dawn Hunter | South Carolina Sunshine

    Dis h w it h D arcy™ South Carolina Sunshine™ | Dawn Hunter's daughter, Darcy, takes you with her on cuisine adventures. Sometimes they are with friends or regional talent from South Carolina. Table of Contents Icons Scroll and click on an icon image below to go to the Dish with Darcy section you are interested in reading. Yayoi Kusama Pumpkin Pie Celebrate the art of Yayoi Kusama, the "Princess of Polka Dots," and Darcy’s inspired creations. Discover Kusama’s 'My Love for the Eternal Pumpkin' sculpture at the Hirshhorn Museum and explore Darcy’s creative journey, drawing and decorating her own pumpkins. The photo essay showcases images from Kusama exhibits, Darcy's art process, and her delicious homemade pumpkin pies, adding a culinary twist to the artistic tribute. This webpage blends visual and culinary arts, highlighting the influence of Kusama’s work on personal creativity and expression. Join us in this vibrant celebration of art, inspiration, and delightful treats! More White Bean Dip with Lemon and Rosemary Darcy explores the delightful world of simple and yummy snacks! The white bean dip photo essay highlights Darcy’s effortless and tasty dip, enhanced with lemon and her favorite choice of fresh herbs. This dip is a harmonious blend of tangy and savory flavors, making it the perfect partner for crunchy vegetables, assorted chips, or creatively sliced pita bread. It is super easy to create this wonderful dip in just a few steps and shine as a culinary star! Experience the excitement of cooking with Darcy’s lively and inviting style, exclusively on 'Dish with Darcy.' More Sour Cream Dip with Parsley and Dill Join us on 'Dish with Darcy' as we jump into the world of quick and tasty treats! This photo essay features Darcy's easy-to-make, delicious Sour Cream dip with parsley and dill. This dip is perfectly balanced in flavor and the perfect companion to fresh veggies, chips, or creatively cut pita bread. It's tangy, creamy, and crafted with love, making it an ideal recipe for tweens looking to explore their culinary skills. Whip up this delightful dip in mere minutes and become a kitchen superstar! Discover the joy of cooking with Darcy's fun, engaging approach only on 'Dish with Darcy.' More Teacher Appreciation Cupcakes "with" Dolly Parton Discover the joy of creative cupcake decorating! Witness the thoughtful and artistic gesture of Darcy, who intricately decorated unique cupcakes for her teachers as a token of appreciation. This fun and imaginative activity allows children to express their creativity and build connections while enjoying delicious treats. ​ Adding an extra twist, Darcy incorporated a limited, 1st edition chocolate Frosting created by Duncan Hines and Dolly Parton . As a devoted Dolly Parton fan, this playful inclusion made the cupcakes even more special and personal. The connection to an esteemed celebrity like Dolly Parton added a touch of excitement and made the experience of creating and giving the gift more meaningful. More Homemade Soft Serve Ice Cream We are introducing our new ice cream adventure! We're thrilled to have acquired a stylish and affordable ice cream maker by Tasty, allowing us to unleash our creativity. Darcy personalized it with a sticker from her adored YouTuber, Moriah Elizabeth , who inspires her culinary creations on Dish with Darcy™. While attempting to make ice cream the traditional way using a plastic bag, Darcy encountered less-than-desired results despite her efforts. Seeking a more reliable approach, we opted for a recommended ice cream mix: Junket Ice Cream mix. With simple instructions and available ingredients in our kitchen, we finally achieved the dreamy, smooth soft-serve ice cream we craved after a few trial-and-error attempts. More Inspiration from Patz Fowle Welcome to our Lake City art excursion! Join us as we explore the inspiring Onward and Upward exhibition at the Jones-Carter Gallery . This mesmerizing showcase celebrates the artistry of Patz Fowle (1954-2021) and Mike Fowle. Our visit left us in awe, so much so that we couldn't resist the impulse purchase of Patz Fowle's exquisite clay artwork titled "Every Artist...Has a Story." ​ This artwork is crafted with meticulous detail; the whimsical piece is composed of hand-sculpted stoneware, porcelain, oxides, underglaze, stains, and luster. It showcases references to iconic artworks by visionaries like Dali, Picasso, and Munch while incorporating significant readings of Art History. The tactile surfaces of this ceramic masterpiece rival the painted surface qualities found in Matthias Grünewald's renowned Isenheim Altarpiece (1512–1516), creating a truly awe-inspiring experience. More Lake City Re-Visited Discover the charm of Lake City, South Carolina, a delightful weekend destination that provided us with unforgettable experiences. Situated 90 miles east of Columbia, SC, and 60 miles west of Myrtle Beach, this picturesque city offers a diverse range of attractions. Indulge in the culinary delights of terrific restaurants, immerse yourself in the vibrant contemporary art scene at local galleries, and explore the serene beauty of the Moore Farms Botanical Gardens . And remember to visit our personal favorite, Baker's Sweets! Lake City becomes a hub of artistic excitement each spring as thousands gather for the renowned ArtFields and ArtFields Junior Competitions. This annual event showcases artists' exceptional creativity and talent from near and far, offering a truly enriching experience. More Mom's Baked Chicken Introducing a cherished recipe that holds a special place in the culinary repertoire in our kitchen. This delectable dish is a treasured creation of Darcy's mother, crafted during her culinary adventures at the tender age of twelve. Passed down to the next generation, it has become a favorite family mealtime tradition. The recipe is so ingrained in their cooking routine that measuring spoons has become obsolete, allowing creative freedom and personalization. Although Darcy has thoughtfully written down the recipe, embracing improvisation and adding personal twists to make it your own is highly encouraged. More Publix "Hamburger" Cake Welcome to a mouthwatering Memorial Day Weekend treat! As Darcy aptly puts it, "It's small, it's cute, it's from Publix, it's delicious - so go get it!" Indulge in the festive spirit with special edition holiday cakes from Publix, designed to elevate your celebrations. These delightful novelty cakes come in various summertime and Memorial Day themes, adding a touch of whimsy to your festivities. Not only are they reasonably priced, but they also offer a delectable taste experience that will satisfy every sweet tooth. These cakes are perfect for kids and those young at heart and promise a delightful and fun-filled treat for all More Darcy and the Donut Welcome to The Donut Guy , a delightful haven nestled in the heart of The Vista at 1215 Lincoln St, Columbia, SC. Indulge in the ultimate donut experience as we offer a delectable assortment of freshly crafted treats that are made with love and care right here. Step into our casual and friendly atmosphere, where you can choose to relax indoors or bask in the sunshine at our outdoor seating area. The Donut Guy is about creating a welcoming space to enjoy every bite. From classic glazed delights to innovative toppings like Fruit Loops, toffee, and melted chocolate, we have something to satisfy every craving and delight your senses. One of our popular picks is the strawberry icing sprinkled donut, a personal favorite of Darcy. More Darcy and the Cake Visit Baker's Sweets , a bustling culinary gem located at 129 E Main St, Lake City, SC. Known for its delectable lunch options and mouthwatering homemade cakes, this charming establishment is a must-visit in Lake City. Prepare to be enchanted as you feast your eyes upon the top of the display cases adorned with tempting slices of homemade cake. Inside, a delightful assortment of sticky buns, cupcakes, tortes, and cheesecakes awaits, each crafted with love and attention to detail. ​ We succumbed to the irresistible allure of a torte and a triple chocolate cake during our visit. Indulging in each delectable bite, we found it impossible to pick a favorite, as both desserts were absolute delights to our taste buds. More St. Patrick's Day Rice Krispie Treats Get ready to celebrate St. Patrick's Day in style! As the festivities approached, Darcy embarked on a delicious adventure by creating mouthwatering Rice Krispies Treats™ for her Dish with Darcy "Tumblr." While the traditional recipe initially left her craving for more flavor, Darcy's ingenious twist took the second batch to new heights. She achieved perfection by adding a delightful touch of store-bought vanilla icing and a pinch of salt. Peruse the delightful photos that capture her recipe journey, showcasing each step of this delectable creation. Accompanied by a charming drawing by Darcy, the recipe comes to life, enticing you to embark on your culinary escapade. More Baby's Best Buttermilk Biscuits Simplicity meets classic charm in our kitchen with an old-fashioned biscuit recipe. We take a traditional approach by incorporating shortening into the biscuit base, but we add a delightful twist by spiking the mix with butter. We brush the tops with butter to enhance the golden goodness before baking. Maintaining the proper proportion of shortening to butter is critical to achieving the perfect balance of flavors. This ensures the biscuits retain their rich taste without overwhelming burnt butter notes. While you have the freedom to brush your biscuits with butter at any time, we recommend waiting until halfway through the baking process for optimal results. More Silver Jubilee Cookies Welcome to our cookie haven! We're here to spread joy with our beloved cookies all year round—our secret lies in the classic Silver Jubilee Cookbook Sugar Cookie Recipe, infused with a delightful twist. Adding 1/4 cup of flour and chilling the dough creates the perfect canvas for rolling and cutting. Our pantry is always stocked with cookie essentials to fuel our delicious adventures. Playdates often end with a vibrant cookie decorating fiesta, where each creation becomes a masterpiece as creative as an art class. The Silver Jubilee Cookbook is special in our hearts, offering more than just a coveted sugar cookie recipe. It is a trusted resource in our culinary repertoire, from basic cakes to expert meat, poultry, fish, and vegetable dishes. More

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