Bulls Island Cape Romain Refuge is an untamed marine forest, pristine beaches and serene trails. A Charleston ferry ride with the possibly of spotting dolphins. Botany Bay Heritage Preserve in South Carolina awaits discovery. The Botany Bay Plantation Heritage Preserve and Wildlife Management Area on Edisto Island provides visitors with a view of South Carolina's untouched coastal wilderness. The preserve spans 4,600 acres a site that is a unique combination of natural beauty and historical significance which annually attracts visitors who love nature and history. A Journey Through Time “I loved these salt rivers more than I loved the sea; I loved the movement of tides more than I loved the fury of surf. Something in me was congruent with this land, something affirmed when I witnessed the startled, piping rush of shrimp or the flash of starlight on the scales of mullet. I could feel myself relax and change whenever I returned to the lowcountry and saw the vast green expanses of marsh, feminine as lace, delicate as calligraphy. The lowcountry had its own special ache and sting.” — Pat Conroy, The Lords of Discipline Botany Bay's landscape exposes its complicated history, which includes, the lives of those who once worked and lived on this land, including the enslaved Africans whose contributions are integral to its history. Formed from the merger of the Bleak Hall and Sea Cloud plantations in the 1930s, the area was once a hub for Sea Island cotton production. Today, visitors can explore remnants of this bygone era, including 19th-century Gothic Revival outbuildings and the foundations of antebellum homes, historical structures and silent witnesses. Botany Bay Hertitage Preserve Photo Gallery The photo gallery reveals the untamed natural beauty of Botany Bay Plantation which spans 4,600 acres on Edisto Island. The maritime forests and tidal creeks lead to one of the most beautiful beaches in the Lowcountry where weathered trees emerge from the sand like natural sculptures. The coastal sanctuary provides diverse wildlife and more than 100 bird species while offering walking trails and serene sunrises that reveal South Carolina's ecological and cultural heritage. Nature's Masterpiece The "boneyard beach" stands out as a major attraction because weathered trees form sculptural shapes against the Atlantic Ocean view. The preserve features maritime forests together with tidal creeks and freshwater ponds and three miles of untouched beachfront. The hauntingly beautiful shoreline provides photographers and beachcombers with a distinctive peaceful environment. The area supports wildlife populations which include deer and alligators and sea turtles and multiple bird species including painted buntings and least terns. The preserve dedicates itself to conservation practices which protect these habitats for future generations. Botany Bay Heritage Preserve Website Plan Your Visit The park operates from sunrise half an hour before opening until sunset half an hour after closing time every day except Tuesdays and scheduled hunting days. The park offers free admission to visitors who need to pick up day-use passes at the entrance kiosk. The park offers self-guided driving tours as well as hiking on the Pockoy Island Trail and beach relaxation opportunities. The site maintains a prohibition on shell collection because it serves to protect the natural environment. The beach causeway provides wheelchair accessibility to visitors. The preserve prohibits visitors from bringing pets and alcohol and drones and metal detectors. The site management requests visitors to refrain from taking any natural or historical objects from the site. Getting There The location of Botany Bay exists on SC Highway 174 within Edisto Island. The entrance becomes accessible after driving two miles down Botany Bay Road. The preserve has clear directional signs which lead visitors to their destination. South Carolina Tourism Website Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link

Conversation: Exploring Art, Life, and Education with Sara Schneckloth, Nakisa Abdollahbeigi, and Stephanie Allen – Insights into their Artistic Journey, Experiences at the University of South Carolina, Teaching Perspectives, and Post-Graduation Pathways. 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

Spoleto Festival USA is a major annual celebration of the performing arts in Charleston, established in 1977. Its programming spans opera, theater, dance, and a wide range of musical forms, from chamber and symphonic works to jazz. Each year, the festival draws internationally recognized artists along with audiences from across the United States and beyond. Charleston’s historic district is reactivated as performance spaces, integrate the city’s architectural heritage with artistic production. Spoleto Festival USA by Dawn Hunter Spoleto Festival USA is an annual performing arts festival held in Charleston, South Carolina. Founded in 1977, it showcases opera, theater, dance, chamber, symphonic, and jazz music. The event attracts international artists and visitors throughout the South East and beyond. Charleston’s historic district transforms its venues into performance stages for the performances. Key facts • Location: Charleston, South Carolina, United States • Founded: 1977 by Gian Carlo Menotti • Timing: Late May through early June each year • Genres: Opera, theater, dance, classical, and jazz music • Sister Festival: Festival dei Due Mondi (Spoleto, Italy) Origins and mission Encouraging cross-cultural exchange between established and emerging artists the festival showcases the most innovative and experimental music, dance and theatre. Founded in 1956 by Italian composer Gian Carlo Menotti, the festival is regarded as the American equivalent to Italy's Festival dei Due Mondi. Menotti chose Charleston because of its "old world" architecture - the most European city in the USA - which he felt provided the perfect setting for such an occasion as the festival grows and the city becomes a more and more thriving arts community. Artistic scope and programming Performances at the festival range from multidisciplinary new works to fully staged operas, presented in a variety of venues from the Dock Street Theatre to outdoor venues, churches and other pop-up spaces. As the festival has grown in popularity it has attracted the biggest stars in the music world, from singer Renée Fleming to cellist Yo-Yo Ma and string quartet Emerson String Quartet. Many new operas are commissioned for the festival and there are many opportunities for young performers to appear alongside leading artists. Economic and cultural impact The Spoleto Festival USA is the premier cultural event for our city, drawing tens of thousands of guests each year and generating tens of millions of dollars for Charleston. The Festival still exerts considerable influence on the programming of the city’s arts organizations, and Charleston remains one of the best places in the country to encounter great art of almost all disciplines. Spoleto Festival USA home

Experience the intricate, story-rich quilts of Tina Williams Brewer at Columbia Museum of Art's "Stories of Grace." Brewer's hand-stitched creations explore themes from African diasporic history to spiritual connections, capturing the resilience and grace of African American culture. Tina Williams Brewer Stories of Grace, June 10 -September 3 , 2023 Tina Williams Brewer, a West Virginia native, has a career spanning more than four decades, during which she has skillfully intertwined personal experiences, historical narratives, and vibrant textiles to create her signature story quilts. Her dynamic, hand-stitched pieces are often richly inspired by her extensive travels, including significant time on St. Helena Island in South Carolina. These inspirations infuse her work with diverse themes reflecting African diasporic history, spiritual connection, shared lineage, and migratory patterns. "My intention is to give dignity to human suffering, finding rhythms that are both mind-stirring and soul-soothing." - Tina Williams Brewer A remarkable collection of her work, the "Stories of Grace" exhibition, can be appreciated at the Columbia Museum of Art through September 3, 2023. The museum's doors are open Tuesday to Sunday from 10 AM until 5 PM, extending their hours to 8 PM every Thursday. Born in 1949 in Huntington, West Virginia, Brewer now resides and creates in Pittsburgh, Pennsylvania. She holds a Bachelor of Arts degree from the Columbus College of Art and Design, honing her unique artistic voice over 40 years. Her story quilts weave together symbolism, textiles, and an exploration of African-American history and spirituality, reflecting themes of generational healing and cultural resilience. Her work narrates stories, channeling ancestral wisdom. It expresses the profound joy of communal gathering, spiritual strength, the sting of racial prejudice, and the steps toward progress. Her art captures the tenacity of African American families and the light that elevates them. She aspires to bring honor to human suffering, finding rhythms that are thought provoking and comforting. Tina Williams Brewer, continued: Primarily hand-quilted, Brewer's artwork incorporates collage mixed-media, such as photo transfers, printmaking, and hand-beading. Each piece is adorned with symbols from African cultures and vibrant patterns that echo cultural and personal narratives, creating intricate, layered compositions that map out her heritage, the African diaspora, and the interconnection of past, present, and future. Her creations have found homes in both domestic and international exhibits, including the United States Embassy in Ghana and the American Craft Museum in New York City. Brewer has enjoyed recognition from the American Arts in Embassy Program for over two decades and has received the prestigious Commonwealth of Pennsylvania Governor's Awards for the Arts. Her pieces are also part of the permanent collections at the Westmoreland Museum of American Art, The State Museum of Pennsylvania, and The African American Museum of Dallas. Brewer's recent showcases include the 1-54 Contemporary Art Fair in NYC, selected by Omar Berrada, EXPO Chicago's Curated Selection by Eric Shiner, Christies, Rockefeller Plaza, NYC, "Knotted Ties" at DeBuck Gallery NYC, and "Threaded Memories" at the Untitled Art Fair, Miami Beach, 2021, selected by Natasha Becker, Curator, DeYoung Museum, San Francisco, CA. About the Columbia Museum of Art Situated in the vibrant downtown district of Columbia, South Carolina, the Columbia Museum of Art stands as a cultural beacon for the city. Boasting an extensive permanent collection along with intriguing temporary exhibitions, the museum establishes itself as a central hub for community engagement. With a dedication to lifelong learning, it offers comprehensive educational programs tailored for all age groups, from children to adults. Each exhibition is enriched by supplementary programming, emphasizing the museum's commitment to crafting an inclusive and enriching experience for every visitor. Museum hours: Tuesday through Sunday, 10AM - 5PM Extended hours every Thursday until 8PM More

Discover the captivating blend of real and virtual in Carla Gannis' WWWUNDERKAMMER exhibition. Unearth a new reality through our photo essay and insightful feature on this groundbreaking digital artist. Carla Gannis / C.A.R.L.A G.A.N. WWWUNDERKAMMER, May 19 -July 15, 2023 Up until July 15, visitors are encouraged to explore the uniquely captivating exhibition by Carla Gannis, known as C.A.R.L.A G.A.N. WWWUNDERKAMMER, hosted at the esteemed Halsey Institute of Contemporary Art, located at the College of Charleston, Charleston, SC. We highly encourage local residents and visitors to make a trip down. "One of the most compelling (and sometimes daunting) aspects of digital narrative is how it can traverse electronic pathways and physical spaces in more adaptive ways than traditional mono mediums." - Carla Gannis from Lume Prize interview . What is WWWunderkammer? WWWunderkammer, a project by Carla Gannis, is an inventive project aimed to redefine the traditional concept of Wunderkammer or the 'cabinet of curiosities', thus challenging the conventional norms of a museum. Through innovative applications of technology, she seamlessly blends tangible reality with the virtual world. Her installation, mirroring her ongoing online project available on Mozilla Hubs and in high-resolution desktop VR, introduces audiences to various thematic "chambers" - each exploring a unique element of our modern existence, from environmental concerns to the digital metamorphosis of self-perception and language. The in-person exhibit leverages augmented reality to blur the boundary between real and virtual, a technique Gannis employs to delve into the human experience in the digital age, while ensuring knowledge remains accessible for everyone. Carla Gannis, continued: Initiated in 2019, WWWunderkammer serves as an ever-evolving project that advances as our understanding of our surroundings deepens. Historically, artists have employed illusions to obscure the demarcation between fact and fiction, constantly encouraging audiences to re-interpret visual content. Gannis invites viewers to embrace a learning and questioning mindset anew, challenging accepted narratives and conventional outlooks, and fostering an understanding of overlooked histories and possible futures. A renowned American transmedia artist, Carla Gannis spent years teaching at the Pratt Institute's Department of Digital Arts in New York before transitioning to New York University in 2019. Her oeuvre melds digital designs with celebrated artworks, such as those by Pieter Bruegel the Elder, gaining significant acclaim in 2013 for her emoji reimagining of Hieronymus Bosch's painting, The Garden of Earthly Delights. About the Halsey Institute of Contemporary Art Situated within the College of Charleston S chool of the Arts, the Halsey Institute of Contemporary Art is an innovative platform fostering dialogue between groundbreaking visual artists from across the globe and diverse communities. As a non-collecting institution, it focuses on the development, display, interpretation, and sharing of thought-provoking ideas, underscoring the historical, societal, and cultural significance of contemporary art. Free Admission GALLERY HOURS (during exhibitions) Monday - Saturday, 11am – 4pm Open Thursdays until 7pm More

South Carolina Sunshine Presents: Celebrating the Artistic Accomplishments of Marius Valdes – Award-Winning Illustrator, Renowned Public Art Muralist, and Author of Bird Break. South Carolina Sunshine is honored to feature Award Winning ZOO Valdes Illustrator, recognized public art muralist, and author of Bird Break, Marius Valdes. Marius Valdes is an artist currently based in Columbia, South Carolina. He is a Professor in Studio Art concentrating on Design and Illustration at The University of South Carolina. He lives in Forest Acres, South Carolina with his wife Beth and daughter Emma. Valdes' artwork has been exhibited and published in throughout the United States and Europe. His work has been featured in several books about contemporary graphic design and illustration. Design publications such as Graphic Design USA, HOW, Print, Communication Arts, Creative Boom, Creative Quarterly, STEP, and industry competitions including American Illustration, World Illustration Awards, AIGA InShow, AIGA SEED Awards, and The South Carolina Advertising Federation Addy Awards have recognized Valdes' work. In 2017, Valdes completed a one year residency as the inaugural visual Artist-in-Residence at the award-winning and innovative Richland Library. In 2020, he completed a series of commissioned artworks and murals for MUSC's Children's Hospital located in Charleston, SC. Above, Dogs and Frogs sketchbook drawing by Marius Valdes. Q & A with Marius Valdes Dawn Hunter: Why did you become a Graphic Designer/Illustrator? Do you consider yourself both, or do you consider yourself an illustrator? Marius Valdes: I started college as a Psychology major and took an art class (my1st art class ever) as an “easy” elective. What I found was that I could sit in a 3-hour drawing class and never lose interest, but a 50-minute Psychology class was torture. I was a little worried about telling my father I wanted to be an art major (since I had no training) but he told me to go for it. He talked to a colleague at his job that was in the marketing department, and he suggested I look at Advertising. I joined the Ad Club at the College of Charleston and won an internship with a local designer named Gil Shuler. I spent the whole summer in Gil’s design studio and knew that design was what I wanted to go to school for. Once I learned what illustration was, that became my real passion. These days, I have resolved myself to the fact that I am an educator 1st, artist second (because I can make art whenever I want), and I do illustration for clients when I have the time and there is interest. I love design but running a design business while teaching full time is very difficult to do properly. I use a lot of my design training in my art though from technical skills to aesthetics of my minimalist and colorful style. Marius Valdes mural installation at the reception area of the MUSC Children's Hospital, Charleston, South Carolina. Above, a commissioned painting for MUSC Children's Hospital by Marius Valdes. Dawn Hunter: This year you provided the illustrations for Columbia’s Vista Lights event. Is this the first year you collaborated on the event’s promotion? Or have you collaborated on it before? Marius Valdes: Several years ago, I was approached by Vista Lights to do some new art for them. I created a huge library of art for them, and they have used various elements from that collection over the last three years. I believe there is interest in creating a new look next year and I look forward to that. It truly makes my day to see my characters on banners, billboards, and beer cups! I was stuck in traffic on I-26 when I saw my reindeer pop up on a digital billboard. It instantly put me in a good mood. Above, and example of one of Mairus Valdes' illustrations for Vista Lights, Columbia, SC. Dawn Hunter: What are the most important skills for an illustrator? Marius Valdes: Conceptual ideas and a visual language that is your own. The technical side of it whether it be computers, software, etc. is just a tool. You need to know some of those things to produce a professional level of artwork but if you don’t have a good idea or a style that is your own, you might not make work that is that interesting to produce and that will show in the work. People are drawn to something that has a bit of personality and that comes from an illustrator who has found their voice in their image making. Dawn Hunter: You are known as Zoo Valdes, and you create many illustrations that feature animal characters. How did you get started on that path? Marius Valdes: When I first started making art, I was trying to do portraits of people and I am terrible at it. Making characters that are animals and creatures is a little more forgiving when it comes to stylizing and simplifying them. Plus, I truly love animals and am quite fascinated by them. I could watch animal reels on Instagram for hours. (Sometimes I do). Also, I originally came up with Zoo Valdes because I figured it would be easier to spell than Marius Valdes. Zoovaldes.com just sounded more memorable. I have had numerous calls over the years from people calling to see if I could bring animals to their kid’s birthday party. Dawn Hunter: Where do you find your inspiration and how do you research a project? Marius Valdes: I love books and magazines and comics. If I see an illustration in any of them that I like, I immediately try to find them online and learn more about them. I literally tear things out of magazines weekly and tape them into my sketchbooks. It might be a New Yorker cartoon or a cool photograph of a rock star. It might not necessarily be of something that I would make art of myself, but it makes me want to be creative. In the last few years I have become a bit obsessed with comic book covers. I love the art, the type, the colors, and collectability aspect. I can’t make art like that, but it makes me want to make my own art. So, I have these types of things hanging in my office to inspire me daily. Researching a project is very important because it often gives you the clues to figuring out what you will make for the client. In doing a mural for The MUSC Children’s Hospital, it was very important to meet the hospital workers, see the space, and understand how my art could be used to make the hospital a better place for their patients. Dawn Hunter: Who is your favorite artist? Marius Valdes: William Steig was a cartoonist and children’s book illustrator. He created Shrek! I love his drawings more than any other artist I have seen. Charles Schultz (Peanuts), Bill Watterson (Calvin and Hobbes) and Jack Kirby (Marvel comics) are close behind. The last contemporary artist exhibition I saw that literally knocked me back in awe was by a painter named David Bates and his exhibition called “The Katrina Portraits”. He literally paints the way I wanted to when I took my 1st art class. One of many mural walls created by Marius Valdes at the Richland County Public Library, Columbia, South Carolina. Dawn Hunter: You have a few mural projects in South Carolina. Where are the locations? Marius Valdes: MUSC Shawn Jenkins Children’s Hospital has several. Sumter Gallery of Art. Richland Library Teen and Children’s Room. West Ashley in Charleston, SC off Savannah Highway. AC Moore Elementary Library. Satchel Ford Elementary Cafeteria. I have a solo exhibition at the Koger Center in November 2023 so I am thinking hard about how I can make that my best show ever. Dawn Hunter: How did those opportunities come about? Marius Valdes: I have made a lot of art since 2000 and people come across it and think “oh, this would be perfect for us”. So, it usually starts with an email from someone who has just seen my art and wants to discuss a project. The 1st big mural I did was for Richland Library, and it helps potential clients to see what my work looks like in a real environment. So doing larger installations is a newer medium for me but I love it. It’s so rewarding that people let me transform a space for them with my characters. I take it very seriously because I know it will be in their space for a long time. Dawn Hunter: What piece of advice would you give your younger self? Marius Valdes: Make more work but be patient about your career. I graduated college and wanted to be a famous artist on day one. I was restless and impatient to have my work be seen. I was not ready to do client work. I needed to find my own voice and that took a few years and a few hundred paintings. 24 years later, I am still figuring it out! But perhaps most important, do what comes natural to you and don’t compare yourself to others even though it’s really hard not to. Visiting Artist, Marius Valdes with attendees of his Secret Species solo exhibition at Miami University. Visit Marius' website, click on the underlined link below Marius Valdes | ZOO Valdes

Katlin Jeffcoat’s Foundations Curriculum Arc follows her path from ARTS 103 inventories to ARTS 107 color harmonies and an ARTS 266 merch brand—uniting observation, Itten’s theory, and design craft. To play, press and hold the enter key. To stop, release the enter key. Bridging Intuition and Analysis: Tactile Technology in ARTS 107, USC SVAD's Color and Composition Course by Dawn Hunter “Where technology is simple, the tool is an extension of the body; the shuttle elongates and refines the finger, the mallet is a harder and more powerful fist. The tool follows the rhythm of the body; it enhances and intensifies but it does not replace and does not introduce anything basically different.” — Margaret Mead One of the most important aspects of ARTS 107’s conceptual understanding of color forms is the use of handheld technology and the creation of 'blobbies.' The intended use of technology in ARTS 107 is to enhance learning quality, foster technological agility, and improve efficiency in artistic production and learning outcomes. Project example by AidanWokurka: top, completed Complementary Contrast final painting; and, bottom, Complementary Contrast preliminary painting. Memory, Intuition and Physical Touch The Adobe Ideas app serves as our primary tool in ARTS 107 because it provides the most authentic digital experience for working with color forms by hand. The touch-based interface of the app enables students to connect digital learning with physical interaction through direct contact instead of using a stylus. Through this activity students can use their sensorimotor systems to color form relationships in a way that mirrors traditional material handling which strengthens their artistic intuition and their knowledge of the physical aspects of color mixing. Memory Formation and Second Nature The Adobe Ideas app’s design includes a deliberate process of alternating between analytical left-brain activities and intuitive right-brain activities. The transition between following color theory rules and developing color forms through alternating neuro instinct creates a sense of complexity in what appears to be a basic application. The alternating process between planning and execution through technology develops neural integration which enables students over time to develop agility in their use of digital tools, thus becoming natural extensions of their hands just like paintbrushes. The color ‘blobbies” and digital iPad sketches are some of the most important activities of the course. They are a digital sketchbook paramount to their development of recognizing and understanding color forms. The motor cortex and cerebellum and basal ganglia brain regions become active when students perform embodied digital tasks that require motor skills and procedural memory development. The hippocampus functions to transform new motor-visual learning experiences into permanent storage in memory. Students develop technical skills while building an intuitive ability to use technology through this embodied digital learning approach which creates sustained creative potential. The artists of ARTS 107 use technology to advance their creative work instead of replacing their traditional artistic tools which enhances users' procedural memory and their ability to perceive and work with intuition. Students develop brain hemisphere. The process of using Adobe Ideas to drag and shape digital colors on a screen creates an embodied experience coordination through their ongoing exchange between analytical color theory and spontaneous exploration which activates cerebellum and basal ganglia and motor cortex and hippocampus regions for motion-based learning and memory development. The combination of technology with creative thinking enables artists to develop their perception skills while gaining deeper knowledge and achieving digital artistic independence. The blobbies and preliminary digital sketches are used throughout the course before creating a final painting. This example demonstrates Complementary Contrast. On the far left are six sets of complementary colors in light–dark contrast, in the middle is a preliminary digital sketch, and on the far right is the final acrylic painting.

Dawn Hunter's travel drawings from Atlanta capture moments at the High Museum and Midtown’s Politan Row. From studies of Kim Chong Hak’s vibrant canvases to portraits of everyday encounters, my sketchbook practice transforms observation into lasting form. To play, press and hold the enter key. To stop, release the enter key. Travel Drawings: Midtown, Atlanta by Dawn Hunter “I love the seasons—spring, summer, autumn, winter. I love them for what they are and for the idea they evoke, that of permanent change. They embody life, renewal, energy." by Kim Chong Hak I brought my sketchbook with me on my recent trip to Atlanta in order to practice life drawing. I engaged in the process at various locations including the High Museum of Art, the Politan Row at Colony Square and the Atlanta Botanical Garden. Travel drawing functions as an artistic practice which helps me both create art and grasp the meaning of my experiences. Drawing serves as my method to observe the world while I slow down and convert brief experiences into enduring artistic creations no matter where I am. High Museum of Art At the High Museum of Art, I sketched two works by South Korean painter Kim Chong Hak—Autumn (2023) and Pandemonium (2018).These large-scale acrylic paintings are part of the Kim Chong Hak Foundation’s collection and were included in Kim Chong Hak: Painter of Seoraksan, the artist’s first U.S. museum exhibition (April 11–November 2, 2025). Kim’s work, is vibrant and features floral and mountain imagery. It resonates deeply with me.His ability to sustain a sense of childlike wonder while rendering nature with expressive intensity creates a dialogue between immediacy and permanence. My sketches of his work became a study not only in line and form but also in the way perception shifts when responding to another artist’s vision. Title: detail of Pandemonium, 2018, by Kim Chong Hak, Acrylic on canvas Courtesy of the artist and the Kim Chong Hak Foundation Title: sketch of Kim Chong Hak's detail of Pandemonium by Dawn Hunter, color pencil, marker and pen on paper, 11" x 17" Drawing in the City Outside the museum, I turned to the city itself. At Politan Row at Colony Square, a food hall and bar in Midtown near the High Museum, I immersed myself in drawing the people who were around me. The space is elegant and casual, and it is a setting that attracts visitors out for the evening, decompressing from work and even wedding parties. The crowded environment lent itself to caricature-like drawings that captured gesture and expression. Among these sketches, one subject stood out: Kree, a young pregnant nursing student on a staycation with her boyfriend. I was struck by her presence, which was restful, grounded, and contemplative amid the busy scene. My portrait of her became a more sustained drawing, balancing spontaneity with careful observation. Title: sketch of guests at Politan Row at Colony Square, Midtown, Atlanta by Dawn Hunter, marker and pen on paper, 11" x 14" Politan Row Community The caricature drawings made at Politan Row in Atlanta showcase the dynamic nature of people who gather in this active social environment. I use quick layered lines to create expressive drawings that focus on capturing gestures and personality traits instead of exact details. The drawings showcase both the natural observation process and the active communal environment through their range of detailed work from basic impressions to fully realized portraits. The collection of drawings presents a dynamic visual documentation of people who interact with each other while showing their unique characteristics. Title: Portrait of Brandon by Dawn Hunter, pen and ink on paper, 11" x 14" Title: Portrait of Kree by Dawn Hunter, pen and ink on paper, 11" x 14" Title: sketch of guests at Politan Row at Colony Square, Midtown, Atlanta by Dawn Hunter, marker and pen on paper, 11" x 14" Title: sketch of guests at Politan Row at Colony Square, Midtown, Atlanta by Dawn Hunter, marker and pen on paper, 11" x 14" Title: sketch of Kim Chong Hak's detail of Autumn by Dawn Hunter, color pencil, marker and pen on paper, 11" x 17" Off the Wall and into the World My drawings of the Atlanta Botanical Garden present an energetic and interactive interpretation of nature which draws inspiration from Kim Chong Hak's dense and rhythmic compositions of his paintings on display at the High Museum. In my sketches I aim to depict the garden's thick vegetation with lines and colors to represent the vibrant plant life. The drawings follow Kim Chong Hak's expressive and action oriented painting and drawing style by emphasizing tempo, movement and abundance of a densely packed landscape. Title: Atlanta Botanical Garden 1, by Dawn Hunter, marker and pen on paper, 11" x 17" Title: Japanese Garden, Atlanta Botanical Garden, by Dawn Hunter, marker and pen on paper, 11" x 17" Process and Purpose My sketchbook practice is rooted in perceptual drawing. The practice of this type of focused observation activates both emotional and intellectual mental operations. Through direct observation of life I establish a dynamic relationship with the artistic elements of line, shape, value, texture, space, color and form. The process provides more than visual study. Through drawing people can focus their minds while developing their spatial reasoning abilities and their skills in working with proportions and gestures. The steady observation of my hand movement across the page creates a meditative state which helps me reduce my anxiety and stress while creating a connection with my environment. Through travel drawing I transform the present moment into lasting marks which transcend the current instant as I draw both Kim Chong Hak's whimsically rich paintings, the people in a crowded food hall or the rich landscape of the Atlanta Botanical Garden. Title: Atlanta Botanical Garden 2, by Dawn Hunter, marker and pen on paper, 11" x 17"

"Dive into Ella Marushchenko's world, where art meets science in detailed scientific illustrations influencing academia and inspiring students. Her work and candid social media presence serve as a testament that personal goals are within reach." Scientific Inspiration, an interview with Sasha and Ella Marushchenko of Ella Maru Studio, Charleston, SC. Ella Marushchenko and her scientific illustrations inspire me. When Darcy and I set out to make South Carolina Sunshine a serious endeavor, we reached out to the Ella Maru Studio to see if they would be willing to be interviewed for a feature in our SC People section. They replied "yes" within twenty minutes of receiving our email. I was thrilled by their generosity. I have followed Ella Marushchenko's career as a scientific illustrator, often incorporating images of the Ella Maru Studio into my Color and Composition syllabus. UofSC students are in awe of the visualizations of chemistry, nano, and biological concepts coupled with the compelling artistic expression of the subjects. They are inspired by Ella's career path, particularly drawn to her social media accounts, where she is authentic about who she is and sometimes shares challenges that she overcame in her youth. Which, for them, is relatable and makes them realize that their goals are obtainable. Sasha and Ella Marushchenko in KUDU Coffee and Craft Beer, Charleston, SC. Photo by Dawn Hunter South Carolina Sunshine is honored to feature Sasha and Ella Marushchenko, the co-founders and owners of Ella Maru Studio located in Charleston, SC. The business specializes in Scientific design and animation. Artistic Background Ella was born and raised in Ufa, Russia. Art has always been part of her life. Her grandmother was an artist, and her mother, who also has artistic talent, always supported her creativity. She received excellent training while she assisted the famous Russian painter, the late Sergey Krasnov, and his assistant Vera Asanbaeva for eight years. While training with Krasnov and Asanbaeva she learned the importance of observation and honed this skill. Above, painting by Sergey Krasnov. After completing her apprenticeship, she earned her Master's degree in art from Bashkir State Pedagogical University, Ufa, Russia. She eventually moved to the Czech Republic and began to explore many different art forms like ceramics, textiles, and watercolor, but she focused primarily on interior and fashion design. She fully expected to pursue a profession in interior design upon arriving in the United States however, she met Dr. Sergiy Minko, who insisted that she create an illustration for an article he planned to publish in the prestigious peer-reviewed journal Advanced Functional Materials. Her image was selected for the cover of the journal. Above, artwork by Vera Asanbaeva. Ella Maru Studio Other scientists recognized her ability to summarize their content with the well-designed components (texture, lighting, and color) of her images, and she received more requests for work. Sasha and Ella Marushchenko founded Ella Maru Studio to meet the demand. Sasha, who holds a Ph.D. in chemistry, organized a business plan so that Ella's creativity and scientific illustrations could flourish. In the beginning, it was just the two of them, but Ella Maru Studio has grown and now employs eight people. Their team is a combination of Ph.D. scientists and professionally trained artists from the top universities throughout the United States. In each commission they implement Ph.D. level scientific insight with top art design talent to create engaging scientific images and animations. Her illustrations have been selected as cover art for numerous scientific journals, which include: Nature, Nature Physics, Nature Materials, NatureNanotechnology, Cell, Nanoletters, Angewandte Chemie, and JACS. Sasha and Ella have teamed up for other endeavors outside of Ella Maru Studio in the Charleston area. An example is the conservation of eagles and other wildlife in the low country. Recently, an eagle's nest was threatened by new construction. Sasha is passionate about eagle conservation, so during the peaceful, organized protests against disrupting the eagle's home, they created a painting to put at the site for public display. Through their creativity for conservation, anyone who passed by could be educated regarding dynamics in the region that are threatening to wildlife and endangered species. Ella also continues to develop and is devoted to her personal artistic practice. Occasionally, she accepts special commissions, like the painting featured below. It was a work created for Ella's friend. The painting took three months, and it depicts in rich colors and fine detail the Russian fairytale Lukomorye. Ella's Lukomorye painting is as fascinating and as full of wonderment as her scientific illustrations. We don't know about you, but South Carolina Sunshine is looking forward to the next cover produced by Ella Maru Studio! Ella Marushchenko with her painting about the Russian fairytale "Lukomorye." Follow the link below and visit the Maru Studio website. There you will find lots of examples of her scientific illustration and animated work. Ella Maru Studio

Experience the intricate, story-rich quilts of Tina Williams Brewer at Columbia Museum of Art's "Stories of Grace." Brewer's hand-stitched creations explore themes from African diasporic history to spiritual connections, capturing the resilience and grace of African American culture. Walking Peace Through South Carolina January 2025 Near year's end in 2025, a handful of Buddhist monks left Fort Worth, walking slowly toward unknown towns, each step echoing a quiet truth: peace grows through effort, not waiting. Their journey, named the Walk for Peace, stretches about 2,300 miles southward, aimed at reaching Washington, D.C., come early spring. Instead of noise or fame, they find calm in steady motion, passing through cities without fanfare or banners. Rather than words or petitions, their message spreads by showing up - day after day, side by side. Photo in this section courtesy of Perry McLeod. Early January saw the path enter South Carolina, where attitudes changed in quiet ways that could not be ignored. These weren’t isolated events tucked between miles - they were moments, each one real, showing how ordinary lives connected with the journey: towns slowing down, people gathering by the road, officials offering greetings, others showing unity without words. Folks stood along Saluda's streets, hands raised or heads bowed, while others met at Leesville's edge, quiet together for seconds. At highway spots meant for toilets and signs, crowds showed up - not for speeches, just to stop moving. Nothing was staged, nothing rushed past it worked. When vehicles slowed, glances crossed across pavement, and that was enough. From Fairfield County onward, the monks met villagers who stepped forward without fanfare. Local figures shook hands, then handed over small pins - quiet tokens tied to tradition. These were pinned carefully onto a long cloth strip, part symbol, part souvenir. A gesture like this often signals distance bridged, not division created. Something quiet said: this path matters because we chose it together. Photos 1, 2, 3, 4, 6 & & in this section courtesy of Perry McLeod, photo 5 courtesy of Flavia Isabella Lovatelli and photo 8 courtesy of the Official Page Walk for Peace. “In the end, only three things matter: how much you loved, how gently you lived, and how gracefully you let go of things not meant for you.” – Buddha Walk for Peace, continued: It made sense to head to Columbia next. Once past the Gervais Street Bridge, the community gathered around the monks, walking together up to the State House stairs. There, representatives from the city and state spoke, marking the moment when deep splits - in politics, culture, life itself - seem harder to avoid than ever. Instead of talking about disagreements between people, they described battles within - the usual responses, unexamined beliefs, and thought habits that feed tension. What came through wasn’t blaming or telling others what to do. It carried stillness, depth, and for quite a few present, a strange kind of clarity. Walking alongside the monks throughout the journey is Aloka, a rescue dog whose steady presence has become a symbol of companionship and gentleness. Having joined the monks during an earlier peace walk abroad, Aloka now draws smiles, conversation, and attention—often serving as an entry point for connection where words might fail. When he required veterinary surgery during the South Carolina leg of the journey, local care providers stepped in, offering treatment freely and ensuring his recovery could continue alongside the walk. After Columbia, the pilgrimage moved north again—through Ridgeway, toward Great Falls, and onward to the Carolinas beyond. The rhythm resumed: walking, resting, listening, continuing. Photo in this section courtesy of the Official Walk for Peace Facebook page. Learn more about the Walk for Peace! Visit the Official Page of Walk for Peace Facebook page to learn more about the 120-day, 2,300-mile journey by Buddhist monks — with loyal dog, Aloka — walking from Fort Worth, Texas, to Washington, D.C. to raise awareness of peace, loving kindness, and compassion across America and the world Photo in this section courtesy of the Official Walk for Peace Facebook page. More

Darcy creates cupcakes for her teachers, using limited edition Dolly Parton frosting. This gesture showcases her creativity, love for Dolly Parton, and gratitude. Darcy's Appreciation Teacher Appreciation Expressed with Cupcakes frosted with Dolly Parton's and Duncan Hines' Creamy Chocolate Buttercream Darcy created several unique cupcakes that she decorated intricately to give to her teachers at school to show that she appreciated them. It was a very thoughtful and creative gesture! Decorating cupcakes was a fun and artistic way to express herself, and giving them as gifts to show appreciation was a great way to build connections and show gratitude. Creative giving Baking and decorating cupcakes is a great way for children to express their creativity and imagination. Creating something beautiful and delicious can be very satisfying and fulfilling, and it can also be a fun way to spend time with family and friends. “You'll never do a whole lot unless you're brave enough to try.” – Dolly Parton Unique Twist She gave them an extra unique twist by using a limited, 1st edition chocolate Frosting created by Duncan Hines and Dolly Parton. Darcy is a huge Dolly Parton fan, so it was amusing to her to include the frosting in cupcake creativity! Dolly Parton is a beloved figure known for her music, acting, and philanthropy. It was nice that she found a way to incorporate a limited edition frosting created by Duncan Hines and Dolly Parton in the recipe. “Find out who you are and do it on purpose.” - Dolly Parton Silver Jubilee Cake Batter Recipe 2 cups sifted cake flour | 3 teaspoons baking powder | 1/4 teaspoon salt | 1/2 cup butter | 1 cup sugar | 2 eggs, well beaten | 3/4 cup milk | 1 teaspoon vanilla extract Mix and sift flour, baking powder & salt. Cream butter, add sugar slowly & cream until fluffy. Stir in eggs. Add dry ingredients alternately with milk, and stir well after each addition. Add vanilla. Scoop into lined cupcake tin. Bake in a 375°F/190.556°C oven for 25-30 minutes. Conclusion: Having the frosting connected to her public persona definitely made the cupcakes extra special and personal for Darcy. It made the experience of creating and giving the gift more meaningful and enjoyable. The connection to a celebrity like Dolly Parton constructed a relatable and fun endeavor for Darcy and those who received them. It was also a great way to express her personal style and interests. The second limited edition of the Dolly Parton baking collection will be released by Duncan Hines on February 8, 2023. Please see the links on the buttons below for more information.

Explore the world of Mary Robinson, a mixed-media artist inspired by nature, repurposing, and community. Based in Columbia, SC, she's an educator, director, and artist-in-residence at Breck Create, CO, using art to celebrate sustainability and unity. 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