Shifting Gears

As you may have noticed, I deleted the “Events This Week” posts and have altogether skipped posting anything for this week. The reason is this: this blog has quickly become too much of a chore and I have decided to stop updating it so that I can focus elsewhere.

Since I still believe in and care about the arts in this area, I will continue to write about them, but that writing will (hopefully) begin occupying other digital and printed venues. (This week I am planning to send a revised version of the review I wrote for Taylor Norris’ show to Numbers.)

Perhaps someday I will venture into a quarterly zine or start a FB page. For now, I have to re-adjust my dispersal of time and energy.

If you’re not sure where to learn about events in the Tri-Cities, there are MANY resources for that. Granted, none that I’ve noticed are totally comprehensive (it’s a harder task than you might think – I know, I’ve tried it), but they are worth checking in on.

Plus, most places now have Facebook pages and they post updates regarding their events (The Hideaway, Mecca Lounge, Galaxy Lounge, The Bonnie Kate) or they have websites with frequently updated calendars (William King Museum, The Hands On Museum, International Storytelling Center, The Down Home, The Acoustic Coffeehouse).

I hope you are enjoying our fantastic weather and get out this weekend to see some shows.



Where I Was Found: Exhibition by Taylor Norris


Over the past few years ETSU art students have experienced growing opportunities to investigate various mediums and artistic genres, though the options available have long been quite eclectic: paper-making, encaustic painting, weaving, lithography, bookmaking, digital and film photography, dyeing, various firing techniques for ceramics, and so on. (The challenge I found at ETSU was narrowing my focus enough to fulfill a “concentration”, which I’ve heard many other students and alumni in the arts comment on similarly.) Sound, performance, and installation art has been creeping in as well.

If I am correct, Taylor Norris’ Where I Was Found painting and installation exhibition in the SUBmarine Gallery, an entirely student focused exhibition space on campus, came about because of a class that she’s taking at ETSU. Whether all the students will have mini-exhibitions as part of the class, I’m not sure, but it wouldn’t surprise me if Norris simply made enough cohesive work to merit a small exhibition. She seems fairly prolific and highly interested in experimentation. (Update: I have been informed that students can sign up for the space and scheduling is on a first come, first-served basis.)

Joyce Pensanto came to mind after looking over the images Norris posted on Facebook of her exhibition. Not to mention a quick mental slideshow of other images I’ve seen by artists using American pop culture references, specifically relating to cartoons and comics, of which there have been many. This kind of work has never particularly interested me, though seeing Pensanto’s Batman Returns early last year and now Norris’ recent work has had an illuminating effect.


The first mixed media painting on the left is both dark and radiant with color. Given the gesture of the cartoon hand and the dangling tethers (yes, tethers), this felt very appropriate as an entry piece. I walked in, looked around, and immediately felt pulled over into this corner. I feel invited. Coerced might be more accurate. The action’s immediacy becomes dull after a moment, and the piece settles less active, less alive. But more on that later.

This painting also sets the tone for the rest of the show. The “tone” being of one akin to consuming too much candy on Halloween night, with colorful wrappers strewn about on the floor, crinkling in that slick, special way that only paper coated in plastic can do. Your teeth feel gritty, your tongue is multicolored mud, your insides heavy, your blood syrupy, and your head spins with jubilation. You may never sleep again. You may die right there after slipping momentarily into a coma.

When I first looked at this piece (the image immediately above, title unknown), I interpreted it as a window. Later, while scribbling some notes into my journal, I looked up at it and saw a canvas stretcher. In both interpretations, which are in a sense the same interpretation, it was difficult not to think of myself as looking  through it, inside of it, and outside of it. “It” being an imagined barrier that is permeable like skin, represented by the transparent sometimes pink, sometimes red plastic wrapped, scorched, and stretched across the frame. My perspective, as I imagined it, slipped back and forth through the plastic, and I could see myself as this cartoon, see myself through this cartoon.


There’s an excess of material sensation and messiness in this painting, which threads throughout every other piece in the show. Moldy Marill, a peculiar, circular specimen that is actually acrylic on a Pokemon toy, looks like a long-neglected toy or candy designed by the same people who came up with gummy brains, sour eyeballs, or absurdly large gobstoppers. The taste bud texture combined with the weathered snow cone colors haphazardly bleeding into each other makes a very touchable (lickable?) yet grotesque object.

As for its placement, I suspect it was not a lazy choice of convenience for Norris. She could have easily found a small, rectangular pedestal to place Moldy Marill unceremoniously on top of, but instead she chose a tall, slender, circular object that has obviously been painted black, and rather roughly at that. The height of it (making the piece about chest level or higher for viewers), the slick, reflective quality of its surface, the “useful accident” of its spatially sectioned out interior, and the gloppy dull black paint job all tie into the show as a whole. I don’t love this curious little piece, but I appreciate its detail and how it relates to everything else in the gallery.


Moldy Marill, acrylic on Pokemon toy


Loose Wires, acrylic and chandelier




Gonzo, ink wash on paper + Alf Inhaling, pen and colored pencil on paper

The exhibition has a rather “homey” feeling, like a “family friendly” sitcom in the 1980’s designed by Bill Murray’s character in Scrooged prior to his Christmas miracle transformation. It’s bright, excessive, bold, dramatic, and ever so vaguely threatening. There’s a “window”, a “television”, a “family”, an oddly and grossly food-like item, and a light fixture, albeit a broken one. I am disappointed not to have seen an old couch that no one ever wants to sit on because it’s caked, coated, sliced, stitched, and all manner of other activities into an entirely Other object.

Is this a space where fictional beings and “real” beings can converge on the same point?


Where I Was Found, installation


I may or may not have been allowed to do this, but I stepped inside the installation. It wasn’t as overwhelming as I had expected or hoped it to be while standing upright, which may explain why I really wanted to lay on the floor. The experience could have been stronger if perhaps the space felt entirely composed from floor to ceiling. The space is too strictly rectangular to be womb-like, but certainly tomb-like. (It may have been an accident, but the papers roughly stop at about 6 feet.) Looking at it from outside the installation, as it was probably intended, it reminds me of old homicide crime scene photographs or Otaku bedrooms. I suppose some combination thereof.

Since I saw a bag of more papers, drawings, and paintings beside the door, I don’t think Norris had any shortage of items to attach to the walls, which makes me wonder based on what parameters or goals did she determine where to crowd the space and where to leave it relatively empty. It looks a bit less thought out than other pieces in the show, which isn’t necessarily a bad thing, but suggests that it could stand to be reconsidered and possibly altered in the event of another installation.





Upon further reflection, various points in this exhibition made me think of death or endings. Is the extended hand actually a fallen hand? Are the tethers broken, leading to nothing except the realization of loss? Or perhaps worse, a change that is already happening? The cartoons and puppet theatre this exhibition references were all created by adults. (Is there a show made for children created by children? Seems unlikely.) They become the friends and inspirations of children, but they are first imagined, realized, and cherished by adults. Adults who can sometimes manage to create characters that outlive them (Walt Disney, Jim Henson, Charles Schulz to name a few). What does that mean?

“Where I was found”, the title of the exhibition and the installation, can also be interpreted as relating to death. “The body was found…” is the beginning of a sentence heard in many televised news reports as well as fictional programs about homicide detectives and CSI investigators. Norris adopting the voice of the witness, she places herself outside of death in the linear, fleshy sense. Nurtured by cartoons, she becomes a cartoon. Well, sort of.

I could be reading this into the work, and Norris might totally roll her eyes if she ever reads this post. That’s okay. At the risk of sounding apologetic, this post is just my interpretation and the show itself was compelling enough to merit sharing that interpretation, if only to encourage disagreement or discussion. Hopefully there will be more of these small shows. If they are treated with the same enthusiasm as Norris, this bitty gallery could host some interesting tangents.

Second Saturday: At PROJEXx w/ Joseph Riner, Sterlin Hammon, Joybang, & Nerve Endings

As I typed “Second Saturday” into the title space, I stopped momentarily because I don’t know if Second Saturday on Walnut St will continue and grow without Nikki Hamblin in Johnson City. I hope it does (though obviously not for PROJEXx). And I hope that title reads like a talk show intro.


2012 Holiday Sales

Holiday shopping is pretty awful, considering all the crowds and the traffic and the sensation of being trapped in that moment when Charlie Brown feels alone and dismal about the ugly “obligatory” plasticity of Christmas, but these local art sales are truly a beacon of light. The people who make these items really put their heart into it. Regardless of what you celebrate or believe, this is an opportunity for you to acquire a beautiful item and support a local artist who, frankly, could really benefit from your support.

There have already been three big local craft sales — Artlandia, Mistletoe Markert, and Kingsport’s — but there’s still more to come. If I’ve missed anything, I’ll add them to the list later, so you might want to check back periodically. There are also local businesses that sell artists’ work year ’round, but I feel less confident in my ability to comprehensively list them. I highly recommend looking in the downtown area to start, where you’ll find many such businesses, like Venus & Fur, Nelson Fine Art Center, Bernina In Stitches, and Unique Treasures.

The SCA Holiday Sale takes place on November 28-29, opening each day at 10 AM and closing at 7 PM in the Culp Center (top floor) of ETSU. Although in the past this sale has welcomed all media from students, faculty, and local artists, the current SCA group has decided to focus the sale to ceramic artists and SCA members both past and present. So, this is a great opportunity to buy some beautiful handmade cups, vases, platters, and other ceramic goods inexpensively. For more information, contact Daniel Huxtable at

The Kingsport Farmers Market annual holiday craft sale is Saturday, December 1st. I heard about it through Good Fork Farm, who will apparently be there with all sorts of goodies. I’m sure there will be other great vendors as well. To my knowledge, this special December market is open in the same place with the same hours as normal Saturday Kingsport Farmers Markets.

The Slocumb Holiday Art Sale and Silent Auction is a yearly fundraiser for Slocumb Galleries that features the work of student groups and local artists (though individual artists can still earn money for themselves through this sale). The sale will be up December 3-13 in Slocumb Galleries at ETSU. Gallery hours are, I believe, 8 AM to 5 PM. This sale typically includes a varied mix of items: jewelry, pottery, paintings, prints, and fiber art. More than likely you’ll find something fantastic AND help out local artists/the gallery. For more information, you can email Karlota Contreras-Koterbay at

The Barely Designs Holiday Craft Show is happening Saturday, December 8th from 9 AM to 3 PM at The Bristol Grind House. I’ll share more details soon. (I’ve sent them an email.)

Handmade Trade Holiday Craft Fare at Earth Fare will be on Saturday, December 15, 11 AM – 4 PM. A selection of local crafters will be set up in the foyer and in the cafe at Earth Fare in Johnson City. Purses, aprons, knit scarves, brooches, prints, dolls — you name it, it’ll probably be there. Of the crafters I’ve seen affiliated with Handmade Trade, all of them have been super talented and more than reasonable about their prices.

I’ve also heard that Shakti in the Mountains and Milligan College are hosting holiday sales, but I’m not sure when those dates are yet.

Catherine Murray’s Letter to Mrs. Ramsay

“The Edge of Things”, 2009. Bronze, wood, lead, and paint.

I finally made it over to Catherine Murray’s Letter to Mrs. Ramsay at the Johnson City Area Arts Council Gallery. In case you haven’t been there, it’s a nice little space that’s easily accessible downtown (in the same building as Main Street Pizza). I haven’t been to many exhibitions there because, for whatever reason, it’s a bit off my radar. I don’t often know what’s in there. The only four times I’ve been to the gallery it was because a friend or acquaintance was involved with an exhibition. I suspect this gallery might have the issue multiple venues in this area experience as well — lack of exposure.

“Artemis”, 2012 + “Demeter”, 1997 + “Aphrodite”, 2012.

Perhaps most recognized as a sculptor, Murray actually began her artistic studies as a painter. I’m not exactly sure why or when she moved over to sculpture as her primary medium, but encaustic seems like a good bridge between the two. The medium lends itself well to being layered, built up, and carved into. The surface texture feels a bit mysterious, but very physical. Perhaps it’s the shifting opacity, the way the surface looks tranquil yet sticky, physically and psychically sensitive. The affectation feels mutual between object and viewer.

“Erebus”, 2012. Encaustic and mica on wood panel.

“Blossom”, 2012. Alabaster and cast iron.

It usually annoys me when people make artwork and title it a word that is heavy with meaning like Artemis, Demeter, etc. because it creates issues for both the artist and the viewer. If the artist making the work attempts to describe this word in an iconic, broadly applicable way, they tend to fail miserably. The task is too hard. The work suffers. If the work is a conscious attempt to spin a “twist” on the common perception of the word, it tends to be trite. Successful attempts tend to be more personal, less self-conscious. Or humorous.

While looking at Murray’s mixed media paintings, I got the impression that each work was a meditation on something in particular, but not weighed down by it. Each one feels like a conversation that she had with herself, with her memories yet it was really readable to a viewer. When looking at Aphrodite, for example, moments in the painting struck me as being revealing without force, such as the small deer in an obscured forest, the seashell, and the vulvic green shape slightly off center.

“Aether”, 2012. Encaustic and gold leaf on wood panel.

“Aphrodite”, 2012. Encaustic and paper on wood panel.

The work feels very much like the beginning of a new phase in Murray’s career, which is always an exciting thing to witness. At least for me. I remember being in my art classes and seeing that a fellow student made some great leap, and even where there were problems with his or her piece, the energy and potential was there to enable more growth and experimentation. But let’s not over think it. Momentum is momentum, and now is a good time for that.

“Honeybee”, 2012. Encaustic, cloth, and paper on wood panel.

“Queen Bee”, 1993 + “Honeybee”, 2012.

“Sanibel”, 2012 + “Hercules”, 1993 + “Red Deer”, 2012.

Two Way Dream: Paintings by Mira Gerard

Since Mira Gerard was my painting professor at ETSU and we have remained in touch, I’m pretty well acquainted with her paintings. I’ve seen them online and in person, whether it’s her studio, a gallery, or the floor of her living room. It has been an on-going pleasure to see her work continue to develop, and to see it in a variety of places. Recently, I was able to see a grouping of her recent paintings titled Two Way Dream in the Panorama Gallery of William King Museum.

Something I’ve noticed before is that after seeing them digitally, there’s this expectation that the paintings will be larger than they are in life. They seem like they must be large to contain so much energy, so much action and nuance. The painting above, which has temporarily lost its Title, is only 10″ x 15″. Many others are about the same size, give or take a few inches. The intensity of desire, both forceful and lush, slow-burning and flashing, comes across in the digital images, but truly shines when looked upon directly.

“Object Ophelia 5″, 2011. Oil on linen. 16″ x 12”.

So, as you can imagine, I was disappointed in the lighting of the Panorama Gallery. It was dark in that space, with only some cold overhead lights, and although it didn’t prevent me from enjoying the paintings, it certainly reduced their splendor. But this is an issue the museum is aware of already. Proper lighting installation is very expensive. Still, it’s a bit aggravating. I didn’t spend as much time with the paintings as I normally would, although to be fair, that’s in part because there was a reception going on. Two, actually.

Mira posing for Marie in front of “River for Forgetting” (see image below).

“River of Forgetting”, 2012. Oil on linen. 30″ x 58″.

And you know how it is at receptions, especially when two coincide. It’s a bit noisy with chatter, people stand in front of artwork to talk, and there’s concern about wine and whether there are any of those delicious brownies left. God help us if there’s more than three cheese options. While I was trying to see Mira’s painting on the back wall, which I hadn’t seen before, there were about three people who didn’t seem to grasp what I was doing. After a few minutes of me standing awkwardly near them, they shifted to the left. But then more people moved in, attempting to access the dessert side of the table. Basically, receptions are not really the time to see the work — unless you get there early or are just kind of “previewing” it.

Panorama Gallery, William King Museum.

However, I did overhear people commenting on Mira’s paintings, and pointing out this or that favourite. People seemed drawn to the sensual, dripping, vivid, at times muddy, physicality of the paint. The paintings that are pretty don’t have the quality of being “only pretty”, as so often pretty images do. I get a sense when I am looking at these figures that they are moving, but toward what end is often unclear. Isolated in their own little worlds yet still looked upon, they appear almost hypnotized and caught. But not waiting. Not anymore.

It was really great to see another grouping of her paintings, even with the issues present, because I’m always curious about how interpretations and experiences change according to context. And with Mira’s paintings especially, undulation is invited.

“Object Ophelia 2″, 2011. Oil on linen. 16″ x 12”.

Former students, Marie and Amanda, posing in front of rainbow paintings with moustaches from the Dali reception downstairs.

“Sunburst and Snowblind”, 2012. Oil on linen. 24″ x 30″.

Feeling silly at the Dali reception with Mira and her husband William.

PROJEXx + Too Much Awesome

Below is a pictorial interview with a house on West Walnut Street in Johnson City, commonly known as PROJEXx Studio & Gallery. The Too Much Awesome show was still up, featuring work by a few artists from Knoxville. Curl Up & Dye — Justin and Liz — were also preparing for band practice.