Come From Away

Posted on by Thor

I had a chance to sketch Come from Away at the Orlando Shakespeare Theater (812 E. Rollins St., Orlando , FL) and I have to say it was an absolutely thrilling production. The music will have you bobbing your head and darn near stomping your feet.

Come from Away is a 2017 musical, with book, music and lyrics by Irene Sankoff and David Hein. It is based on the events in the Newfoundland town of Gander during the week following the September 11 attacks, when 39 planes, carrying approximately 7,000 passengers, were ordered to land unexpectedly at Gander International Airport. The characters in the musical are based on actual Gander residents and the stranded travelers they housed and fed.

Working on the poster was a challenge. I started by showing a plane with the title lying on the runway in perspective. That was fine, but it didn’t say much visually. I then switched to having an islander in a plaid long sleeve shirt welcoming the same plane. I liked the spreading of the wing’s analogy, but it could be interpreted as someone trying to stop or warn the plane. I hadn’t seen that interpretation coming.

I switched my focus to showing a long line of planes on a runway. I saw a sample of dashed lines that indicated the flight paths of planes and tried that on for size. It seemed like the solution was too graphic. The kissing of the fish scene was really fun, so I tried that as well, but that is just an isolated scene in the much larger story. I am a sucker for romance, so when the couple were drawn together by the tragedy, my heart soared.

I thought I hit gold when I showed the title overtaking a large airport timetable board. The problem however is that the play does not take place in an airport. It takes place in the community rooms and homes of the Gander residents. I started researching what Gander looks like but any attempt to show the island town started to look like a travel brochure.

Finally, Jim Helsinger said something like “less is more, try simplifying to just clouds in an open sky”. It was with this simplified mindset that I pulled away from crowds of people and lines of planes to focus instead of hands making the symbol I had seen so often in Orlando after the Pulse Nightclub shooting. Two cupped hands could create a human heart. I then started looking at sunsets and felt the heart created by a welcoming community should glow as if cupping the setting sun. I then put a small line of people at the bottom of the poster waving. This was the first time I showed the people facing front. They could be the Gander residents, or they could be the passengers.

The painting of the poster was rough and spontaneous since it had been done so fast. I like the human touch that is evident in how fast it was painted. If the art was created with AI it would be polished and mechanically smooth. I prefer to see the roughness of the sketch.  This final version of the art sings. The struggle to find a solution sometimes pays off in spades.

You really need to see this show. It is so timely. It shows what can happen when a community comes together rather than being divisive. There will be a performance on September 11th and that show is a fundraiser. I was considering getting tickets for that night myself. It is bound to be an emotional evening. There are only a few tickets left.

Come from Away

In the Orlando Shakes, Margeson Theater (812 E Rollins Street Orlando, FL)

Tickets

Hand Art Center of Stetson University Deland Florida

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Stella Arbeláez Tascón had been invited to exhibit at the Homer and Dolly Hand Art Center at Stetson University (139 E. Michigan Avenue DeLand, FL) for Looks Good On Paper: Second Edition in the Foyer and Gary R. Libby Gallery.

The public was invited to the exhibit featuring Fine Art Prints from the Central Florida Printmakers and Handmade Books from the Book Arts Guild of Central Florida.

Central Florida Printmakers included Stella Arbeláez, Marina Burgner, Meg Carroll, Katy Farmer, Jennifer Harper, David Hunter, Mindy Lighthipe, Bronwyn Merritt, Trent Mouton, Rhonda Peyton, Fontaine Rodgers, Mary Wentzel and Mori Olowu.

Book Arts Guild of Central Florida artists included Holly Jefferies, Meghan Medina, Rachel Simmons, Catherine Cross Tsintzos, Marie Patrick, Rachel Jerusha Kinbar, and Stephanie Rodriguez.

Stella attended the exhibit opening and I tagged along. Before exploring the whole show, I sat in the second gallery where there was a bench to get a quick sketch done. The artist who created the 2 by 4 installation piece was on hand along with his family. His wife was taking photos, and I managed to get his teenage daughter and son in my sketch. I think the kids knew I was sketching so they lingered as they looked at the art. The installation had a deflated mylar weather balloon, a tiny snail shell and some boxes with blinking diodes. Bricks were stacked inside the 2 by 4 supports. What it all meant I can not be sure but it felt extra-terrestrial. The artist was explaining to someone about how he hoards things in his studio certain that someday they will make it into an installation. He talked about obsessively poking holes in a fuel can, which must have been empty and sure enough the hole filled can was in the piece.

On the wall across from the installation was a series of small black and white prints by artist Oscar Bluemner who lived from 1867 to 1938. Oscar worked as an architect, initially in Germany and later in the United States, before turning to painting full time in 1911. One of the prints was of the little red lighthouse that was in Washington Heights below the George Washington Bridge. I have sketched the same lighthouse from my old neighborhood. I identified with his work because these small sketched felt like they were right out of his daily sketchbook. Oscars work is in the Whitney Museum of Art along as at Stetson University. I love discovering an artists work that I identify with.

There were some gorgeous prints in the next rooms. Stella shared her favorites as I explored the rooms for the first time. Also exciting were the handmade books by artists. The exhibit was so inspiring and was sponsored in part by the State of Florida through the Division of Arts and Culture and the National Endowment for the Arts.

The Looks Good On Paper Exhibit ran from January 20, 2026 to March 21, 2026.

Dr. Drips Coffee

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I joined the Orlando Urban Sketchers for a sketch outing to Dr. Drips Coffee (1618 North Orange Avenue
Orlando, FL 32804) in the hip Ivanhoe Village Neighborhood. I am always impressed with how many artists show up to these sketch outings. I found a spot on a couch and started sketching immediately. There was a long line of people ordering coffee the whole time, so I never actually tasted the coffee. I kept thinking that I would order when the line died down, but it never did.

Greg Bryla, who is another awesome Urban Sketcher, sat next to me and we got to catch up while we sketched. There were urban sketchers seated all through the coffee shop. I was astonished at how popular the coffee was. It must be delicious. The room also had vintage items like old typewriters, and lava lamps. Games were scattered around on the tables and people were playing.

I clearly have to return and order a drip coffee to get the whole experience. I am honestly intimidated by all the options. But ordering a simple drip should give be a true sense of what all the hubbub is about.

I was given an Orlando Urban Sketching print to put on the sketch with a deep purple ink. The throw down when everyone shares their work is always amazing. All the work was put on the coffee table in front of where Greg and I were sketching.

Now that I am living back in Downtown Orlando, I hope to get to Orlando Urban Sketching outings more often.

Last visit to Ho

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The last time I visited Doctor Angel Ho on Mills Avenue, I was told by the receptionist that she was no longer my doctor through my Ambetter Insurance. I needed to fill out a form that stated that another male doctor was in charge, but then I could see Dr. Ho. Having just returned from Europe after 3 months I wanted to be sure the new insurance was working and I could get the meds I am issued for high blood pressure. I ran out of the meds in Europe, but I was fine without them for the final month.

A Christmas wreath was still on the door for the patient entry. Though there were several small American flags, I didn’t understand what most of the patients were saying. I believe most were Vietnamese. When I went back to the exam room I was asked to remove my socks, and I was given a sonogram on my ankles. When a woman is pregnant she gets a sonogram to bear the baby’s heartbeat. In this case I could hear my own whooshing and pulsing heartbeat. It turns out, I do have a heart.

Since Angel Ho is no longer officially my doctor, I never returned. She refilled my prescriptions and they haven’t run out yet. I sill get weekly texts reminding me to go to the office for a check up. I always respond that “Angel Ho is not my doctor.” I don’t think they read the texts. Probably robots or AI keep sending out the messages.

I have turned the age where I had to switch hover to Medicare. An agent walked me through the process but after the first visit I once again feel that I am struggling with 3rd world care when I go to the Doctor’s office. When I got to that office a sign on the door said the staff was out. The door was locked. The sign had a clock to show a return time but 8Pm could not be right. I was a little early, so I decided to wait in the sun. A woman driving by in the parking lot stopped and said, “They are not in!” I asked if she knew when they would be back and she said, “No they were gone when I got here a hour ago.” She drove off, but I stood fast. Eventually the front desk receptionist opened the door and offered a chipper “hello”. I wasn’t impressed. The doctor Raquel Alexandra Michel checked my pulse and breathing. Since there was no sonogram, I felt it was a move in the right direction. An Eco-cardiogram test was ordered but when I went to get it, I was told by the receptionist that the test was “Not Authorized.” I had wasted an hour drive there and back. The lab keeps calling, but no one returns my call when I ask if the test is “Authorized”.

Definitely this was not a good first impression. This low-cost Freedom Health Medicare may be a nightmare.

Behind the Scenes: The Work of Inspiration, An Evening with British painter Emily Ball

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This was my first time going to the McRae Art Studios Arlington Arts Building (1000 Arlington Street Orlando FL 32805).

The title of the evening’s presentation interested me, The Work of Inspiration.

British painter Emily Ball will was joined by her daughter, Eve Stuart, a costume design student at Wimbledon College of Art in London. Together, they shared the unfolding dialogue between paint and cloth, mother and daughter, idea and form, history and modernity — an intimate collaboration which shaped Emily’s newest work. The series of works they were creating together became known as Viluptuous Punk.

Through drawings, collages, painted studies, and works in progress, Emily opened her studio door, revealing how inspiration sparks, gathers, and takes shape. She revealed a process that was layered and visceral, a dance between intuition and intention.

What I loved that there were an entire series of large drawings that Emily did of her daughter who was dressed in period costumes. The drawings were powerful in their gesture and experimental use of line and value. It was clear that the drawings were done quickly in an attempt to capture a moment and make it larger than life.

The mother’s and daughters materials differed — paint and textiles — the questions they explored belonged to all who create: how do we dial in, respond, and follow the work as it becomes. A power pint presentation was shown on a large TV screen but it really want needed since the bold drawings clearly spoke for themselves.

In the question and answer session that followed the power point presentation, Eve answered a question about inspiration and the strength that it takes to constantly create. She spoke of her mother and got choked up when she began to point out how inspiring her mother was. It was a precious moment. The art of bold gestural direct observation is very much alive in the work of Emily and Eve. It gives me hope that artistic collaborations can produce incredible results.

The evening left me wanting to do large gestural drawn and painted studies but I need to find my muse.

Disney Animation Desk in a Museum

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The Orange County Regional History Center had an exhibit celebrating the art of Animation called, Animation-Land. The exhibit ran from January 17, 2026, to May 3, 2026.

Hosting the exhibit were Tracey the pencil dog and her quirky crew – Rooth, Drop, Inky, Uno, and Kari. They lead visitors on an immersive journey into the art and science of storytelling. Families and fans of all ages could dive into hands-on activities such as story boarding, sketching, and stop-motion filmmaking while discovering how animated features are brought to life. The exhibit featured colorful characters and interactive stations, Animation-land empowered everyone to experiment, play, and create their own stories through the magic of animation.

The exhibit also celebrated a remarkable local chapter in animation history. Drawing Magic: Walt Disney Feature Animation Florida explored the groundbreaking studio that operated at Disney-MGM Studios from 1989 to 2004. Visitors discovered how Florida artists contributed to such beloved films as Beauty and the Beast, The Lion King, Pocahontas, Mulan, Lilo & Stitch, and Brother Bear to name a few, and how the studio helped define Disney’s animation renaissance. Through artifacts, stories, and artwork, this section revealed the creative community that once flourished right here in Central Florida.

This exhibit at the end of the exhibit caught my eye. It shows a Disney Feature Animation desk in what the animators once called The Fishbowl. I worked at a desk exactly like this in the Fishbowl. My desk was right below a bank of windows that allowed tourists to look down and see how the art of Disney Animation happened. It was my first week on the job and I definitely felt some imposter syndrome since the lead animators were sequestered away in their private offices truly creating animation magic.

When I started work on Pocahontas,  desk did not face the wall of tourists, but rather my desk faced away from the phalanx of distraction. However, on my first day on the job, tourists kept knocking on the thick glass to get my attention. When I turned towards them and looked up they would smile and give me a thumbs up. It was a nightmare. I felt like a gorilla in a zoo.

Eventually the Disney Guard who worked in the tourist corridor also wanted my attention. He knocked on the glass. He was saying something, but the glass was too thick to hear him. He was pointing down into my workspace and I finally realized he was pointing at the lower ledge of the tourist windows. I reached up and felt around with my finger tips and finally found an edge to some white artist tape. I pulled the tape up and there was writing on it. It  said, “Hi, My Name is Tom, if you like my sketch, please knock on the glass and give me a thumbs up!” An animator seated deeper in the fishbowl was laughing out loud when he saw me groan and roll my eyes. This was an initiation for new hires.

Now the Disney desk I once sat at between 1994 and 2004 is a long-lost analog example of a time when artists drew on paper with pencils to create movie magic. In our digital age, computers have long replaced the magic of drawing lines on a page to breathe life into a character. AI further threatens to eliminate the need for any human talent.

Come From Away

Posted on by Thor

Come From Away at the Orlando Shakespeare Theater is a 2017 musical, with the book, music and lyrics by Irene Sankoff and David Hein. It is based on the events in the Newfoundland town of Gander during the week following the September 11 attacks, when 39 planes carrying approximately 7,000 passengers, were ordered to land unexpectedly at Gander International Airport. This influx of passengers into Gander effectively doubled the population of the town.

Passengers were exhausted and many had been in the air for over 24 hours. Cell phone were rare back then and so one were fully aware of what had happened in America on that fateful day. Residents of Gander pulled together to house and feed so many passengers who ultimately stayed in the town for five days. All air traffic had been shut down.

The characters in the musical are based on hundreds of interviews with actual Gander residents and the stranded travelers they housed and fed. The funniest line in the show has to be the Gander check out girl at Walmart who said to a passenger, “Welcome to Walmart, would you like to come to my place for a shower?”

The show is so heartwarming. Amongst the chaos, friendships and love blossomed. On the other hand, one passenger was Muslim and he was treated as suspect and strip searched. Hatred and animosity for others began on 9-11 and continue today.

Working on the poster for this show was a challenge. I did so many versions that incorporated planes and attempted to show the open arms of the Gander residents welcoming the passengers yet it is challenging to pull off visually. After several approval sessions where I knew I needed to find a new direction, I finally settled on the symbol I had seen so often in Orlando after the Pulse Nightclub Massacre. That symbol was two hands making the heart sign. I simply took that idea and added multiple hands making the symbol. This demonstrated what the show was truly about which is empathy, supporting one another and love.The show demonstrates what a community can accomplish when they pull together. These themes are so important now in America which has lost its way, favoring suspicion, anger and hatred.

You need to see this show. It will move you to tears and ultimately uplift you. I cannot recommend the show enough. I fell in love with every passenger and the townspeople who threw their doors open.

Come From Away

Margeson Theater 812 East Rollins Street Fl 32803

August 26 to September 27, 2026

Tickets range from $55 to $69

Judith Segal Opening

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Judith Segal is an advocate for all women artists in Central Florida. She had an opening in a group show in Mount Dora. The gallery was in the Mount Dora Center for the Arts in a former vintage mid-century service station (847 E. 5th Avenue, Mount Dora FL).

The exhibit by the Florida Sculptors Guild was called Hazards. Inside the gallery was packed. It felt too claustrophobic to get a sketch in there, so once I walked around and saw all the art, I went outside to do this sketch. In the rush to get to the gallery I had forgotten my hiking boots. I was wearing slippers to the show but didn’t notice until I got there with Stella Arbeláez Tascón. Bonnie Sprung shot a photo of me doing this sketch and sure enough, I was caught red handed wearing slippers to an art opening.

This chrome sculpture made from found parts was outside standing where a gas pump might have stood in the past. I took the artists card and wanted to sketch his studio space but I managed to loose the card. If anyone recognizes his work, please let me know. Judith’s art piece was smaller in size although it was a life sized shocking representation of a vagina. I am debating about whether it was cast from life. There was something flame like about the sculptural piece. For those who recognized what they were looking at, I bet it sparked conversation. Great art does that.

After the opening, Stella and I grabbed a bite to eat across the street. I got a text that a large number of artists were getting dinner at another restaurant in Mount Dora. When Stella and I were done eating we went over to meet the crowd who sat around a long table in the crowded restaurant.

In all it was a fun evening that made me realize that sculpture is very much alive in Central Florida.

Stella’s Print Party 2

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Stella Arbeláez Tascón was working on a commission for the Orlando Museum of Art (OMA). She was responsible for creating beautiful tablecloths for a fundraiser dinner to be held at the museum.

The overall design of the dinner was loosely based on a 1979 Judy Chicago installation called The Dinner Party. The Dinner Party was built around a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history.

To engage the public in the creative process, Stella held a Print Party where visitors to OMA could walk in and make a print on one of the tablecloths. I had already finished a sketch of the Print Party but realized I couldn’t see much of the tabletops from my seated angle, so I stood to do this second sketch. I loved watching people’s excitement as they added their personal touch to the art process.

There were about 4 or 5 volunteers who were recruited to help. Stella had to train everyone on the methods needed to make clean prints. The volunteers would then have to train each guest on how to make a print.

It was cute to watch children making what was probably the very first print they had ever made. I could see their eyes light up when they saw the results and many wanted to try and make another print. Adults exhibited just as much wonder.

Stella was very clear about making sure the ink rollers were stored face up and it was important that the guests rolled enough ink on the plates without putting too much ink down. Once a tablecloth had enough prints it was removed and put aside. Later all the finished tablecloths were moved to a classroom in the back of the museum.

Stella had purchased a simple, mechanical printing press. However, once on site, Stella preferred to use traditional hand printing methods instead, providing a more personal experience and control over the process for the guests. Flat wooden spatulas were used to burnish designs from the wood blocks with water-based inks onto the fabrics. As with Eco-Printing, there was a wide variety to the prints that were made at the print party. Some were light because the guest felt tentative, while others were bold and dark. Like all hand made art, the result reflected the spirit of the artist, even if it was their first time making a print.

In my humble opinion, the Paint Party was a smashing success.

Stella’s Print Party

Posted on by Thor

Stella Arbeláez Tascón was working on a commission for the Orlando Museum of Art (OMA). She was creating tablecloths for a fundraiser dinner that would happen at the museum which was based on the 1979 installation by Judy Chicago called The Dinner Party.

Stella decided to use the commission to create Eco-prints on the tablecloths. This tied in nicely with her UCF Masters Thesis, which outlined the effects of communing with nature while thru hiking the Florida National Scenic Trail. That hike helped foster a lasting love of nature that inspires her work.

Prior to the Print Party, she Eco-printed many of the tablecloths. Eco-printing uses natural leaves to make prints directly on the fabric. Not all the Eco-prints were complete yet, but she also carved wood and foam blocks of leaves, birds and insects for guests to use.

The public was invited to a Print Party at OMA where they could help with making prints on the many fabric tablecloths. It is nerve wracking to have complete strangers contributing to such an intricate process. Multiple folding tables were set up in the gallery space right near the entry to the museum. The tablecloths were then laid flat on the table so guests could make prints.

Stella reached out to her old friend Leanne Klein for assistance during this event. Leanne is a good friend, recent transplant to FL and former classmate from her undergtad years at the Fashion Institute of Technology in New York. She holds an MFA from NYU and teaches printmaking workshops at the Tampa Museum. Leanne was a godsend because she interacted with the guests playfully and got them excited about making an artistic contribution.

The excitement built as more and more guests arrived.