I have become addicted to attending McRae Art Studios (904 Railroad Avenue) open houses. Some of these open houses offer the public the chance to watch the artists at work. The studios are located in a large warehouse and the space has been compartmentalized into working studios for 21 artists. The last open house I had attended, I found John Whipple working on a series of black and white illustrations which were rich and deep in tone. At the time I didn’t have the time to do another sketch. I returned with the hope of catching him at work. Unfortunately this open house just gave the public a chance to view the artists finished works and wander the studios.
John told me that he had just cleaned up his work space. This room is filled with antiques and assorted odds and ends for his many quirky and fun sculptures. I fell in love with this old animatronic monkey. John told me that he had bought the monkey at an estate sale when the Bubble Room closed down. For those of you who have been in Orlando for some time you might remember that the Bubble Room was a quirky restaurant with tons of antique toys and animatronics like this monkey. John explained that the monkey had been the drummer for an animatronic band. I love that this character has a string tied around its thumb as if he was intent on remembering something. Even more interesting is the fact that the monkeys other thumb is missing like he had tied that string to tight and the thumb just snapped off.
The entirely naked animatronic to the left was once a Santa Clause. The gears and leavers are simply designed like an old fashioned wind up wrist watch. Santa’s mask has been removed showing a lumpy malformed ball of Styrofoam. The arms also have Styrofoam tied down with twine. I have no doubt that when the lights go out, these characters live out a nightly drama before freezing in place the next morning. Also crammed in the space are old iron fireplace grills and aging yellow boxes. The bright red logo reminds me of the final scene in Citizen Kane when the sleigh is thrown in the fire with the name, Rose Bud.
John isn’t sure yet what is in store for the Bubble Room Monkey. He doesn’t want to alter the characters look until he is sure he has the proper artistic vision for it’s future. Prior to the clean up, the monkey wasn’t even visible. Now the space has a feeling of organized chaos. I asked John if he would allow me to sit in and sketch when he starts on the sculpture that the Bubble Room Monkey was meant for. I would love to see that piece find it’s final form.
After I finished this sketch I then went to visit Don Sondag who is a local portrait artist. Don told me about a Sunday morning painting group. I expressed an interest in getting out and doing some plein air paintings with that group, but both times something came up which kept me from going. I need to call Don, it would be nice to do some thick paintings using large blocks of color rather than the line work I use every day to complete my sketches.
Juneteenth – Jazz Jam
Juneteenth is the oldest known celebration commemorating the ending of slavery in the United States. In honor of this holiday the Grand Bohemian (325 South Orange Avenue) hosted a Jazz Session Jam. Yvonne Coleman, the coorfinator of the event said, “Our Jazz Session Jam has been going on every Monday for almost two years and was selected to be a part of the Juneteenth event. The founder was the late keyboardist Billy Hall along with co-founder, saxophonist Don Black. The purpose of starting this awesome night of music was to have a venue to bring musicians together so that people could enjoy great music. Most important, proceeds in the tip jar goes toward needy families, and charities. ”
I dressed up for the occasion and headed downtown. The jazz was to be flowing from 8 to 11 PM. I parked across from City Hall and walked down Orange Avenue to the Hotel, my dress shoes snapping crisply on the pavement. I entered the Bossendorfer piano lounge and asked where I could find the Jazz. I was led to the bar area. I didn’t hesitate to find a place up front from which I could sketch. There was an empty table but it was being reserved for Dick Batchelor, a notable former Congressman and businessman and community leader, and his friends. I decided to place my small tripod camping chair next to a thick pillar and leaned back to start sketching.
There was much shuffling as people moved chairs from one table to another and at times photographers would stand in front of me to get their shots of the performers. Patience and perseverance paid off. I get a visceral thrill out of drawing while listening to jazz. The beat and rhythms add a spontaneous flow to the line work. The whole time I drew I was tapping my feet and swinging my body as I quietly let go to fully experience the flow and surge of the music.
People kept coming over to compliment me on the sketch. I’m always surprised to be complimented on something the is only half finished. I was talking to a woman on my right when someone tapped me on the shoulder making me swing around to my left. As I looked up at her my body kept falling to the left. My left leg had fallen asleep and I crashed to the floor. The woman tried to catch me but I went down anyway. I then tried to stand up to get some circulation back in my leg but then I stumbled again and began hopping up and down on my one good leg until I could do a sort of shuffle step to the beat of the music. When I had stopped my contortions, the woman said she had been watching me work the whole time I was sketching and she was amazed. I thanked her and then sat down to finish what I had started. I tapped both feet to the music to be sure not to loose them again.
Sultana Fatima Ali showed up for the final set, dressed in a black sequin dress. She and Washington-based Jazz musician, Marcus Johnson, both sat tapping on their respective cell phones with the warm glows from the screens illuminating their faces. I assumed they were tweeting or updating their Facebook statuses. I was shocked and delighted when I found out she had been inspired by the art-themed environment to write, and she shared her musings with me. I believe through the visual elements and written word, an experience can truly be captured.
Something Worth Going To – The Cameo
Katie Windish the owner of Frames Forever & Art Gallery helped get me a press pass for this show held at the Cameo Theater (1013 East Colonial Drive). Twenty two artists from around the country were featured in this show. Each artist was given a large drywall slab on which to work their magic. Many of the panels were painted the day before in the parking lot of Frames Forever & Art Gallery. When Katie and I arrived, music was blasting in the back of the ground floor space. The DJs this night were SJ Supershot, DJ SPS, Rubeox and Divinci of Solillaquists of Sound.
It was hard to choose a spot to sketch from since the space was broken up with all the drywall panels. I finally settled onto a comfortable red couch with a view of a bicycle that was covered with graffiti. The bike was decorated by Chico who is one of the earliest NYC graffiti artists. On the base of many of the spray cans that were mounted on the bike, Chico had painted his self portrait.
Across from me a New York City artist was painting an amazing mural of skulls. I had watched him start the mural the day before and I was fascinated to see how he was finishing up the process. Much of the work in the exhibit had a pop cultural hard edged feel. A friend of Katie’s named Tobar had a panel that featured a man in a gas mask. This iconic image appears again and again in his work. What really struck me was the fact that he had 2 security cameras mounted on the top edge of the display. It left me feeling a little uncomfortable like Big Brother might be watching.
Chico stopped over to see what I was working on. He offered me a signed print of one of his paintings which he gladly signed. It was a relief to see so much urban art. This show really was worth going to.
Something Worth Going To
The parking lot behind Frames Forever & Art Gallery became a large outdoor working studio for the Urban artist who came to Orlando from all over the country to showcase their work. In Progress Urban Arts Magazine hosted the event which would ultimately be staged at the Cameo Theater (1013 East Colonial Drive). In this sketch, local Urban Artist, Swamburger is seen working on a large sheet of Drywall. The old trees offer a perfect easel for the large works.
It was exhilarating to watch artists from all over the country all working together. While I was working on this sketch, a third panel was started just to the left of my view. This work of art was started with bold sharpies to block in the basic shapes. Then spray paint was used to throw in the dark’s and more drawing was added. Finally a wide brush was used to add bold drybrush highlights to the skulls which had taken form. I had a fantastic time watching this bold execution and I would have stayed longer if I didn’t have another event to sketch lined up. It is exciting to see this vibrant Urban Art being created right in white bread Orlando. The city and its art scene seem to be growing up. As I packed up to leave Katie Windish explained that she might be able to get me a press pass to the actual show the following night. I most certainly had to see the final results.
Riff
DRIP is currently developing an exciting new rock show called Riff, “a wet, raw, sexy Rock and Roll experience.” The event is happening in the DRIP warehouse (4502 Old Winter Garden Road); which is now easy to find because out by the sidewalk there are huge Styrofoam letters spelling out DRIP. After parking, arrows lead me to the entry at the back of the warehouse. A makeshift bar was set up and people were mingling before the show started. Tony Corbitt, speed painter, had his easel set up right in front of the entrance. He slipped his shirt up over his head and started attacking the black board with bold strokes of white paint. Each painting took less than five minutes to finish, so I had to work extra fast to catch him in action. I had talked to Tony the night before and learned that he dreams of one day studying drawing and painting in Florence, Italy. Before the conversation was over I found myself with the same longing. Another artist stood beside me and sketched the painting in progress. Before my sketch was really complete, the stage door was opened and people filed into the warehouse. There was an area right by the door where people could check their shoes since all areas of the warehouse were considered a splash zone. The room was packed and I had some trouble finding a spot from which to sketch. I finally settled on a spot close to the band right next to the speakers.
The room went black and then the band started to belt out a hard edged rhythmic beat. I immediately realized I was a bit too close to the speakers. My right ear was starting to hurt. I decided to take one of the erasers off the end of a pencil and I used that as an ear plug. It worked like a charm. Soon the dancers in the center of the staging area began to move. They used two ropes hanging from the metal girders of the warehouse high above to start swinging. Paint buckets full of water were thrown at the dancers as they gracefully gyrated.
The next routine involved a large platform which was used to hold a transparent “canvas.” As I sketched I realized that my sketch was getting covered with the constant rain of day-glow red and blue paint. Anyone in the audience with a white shirt suddenly glowed a mysterious blue. If my sketch were to be placed under a black light you would see clearly the red and blue day-glow paint splatters. The sketch shows Danny Millan and Nate Skaggs filling the dark space with loud music.
After the performance was over, people lingered outside and talked. Jessica Mariko was explaining that she hopes to find a hotel or similar venue that would be willing to offer DRIP permanent home.
You can still experience Riff in Orlando June 17th to 19th from 8 to 10 PM at 4502 Old Winter Garden Road. The show is also going to be in Miami July 22nd and 23rd from 8 to 10 PM at Easy Street Gallery (3501 NW 2nd Avenue Miami).
The Plaza Theater
Terry loves Cajun music. We have learned a number of the dance moves which can keep us hopping and swinging our hips to the rhythmic Cajun beat. She managed to get tickets to see BeauSoleil avec Michael Doucett at the Plaza Theater (425 North Bumby Avenue). This sketch is of the opening act that played before BeauSoleil took to the stage. They were playing when we
entered and believe it or not I never wrote down the bands name. So if you recognize this group, could you give me a shout out? They were a high energy group and they were a blast to draw.
The Plaza Theater is a great venue. While waiting outside I usually stand and watch the Ballet lessons being offered at the Russian Ballet school right next door. The school had large plate glass windows making it easy to watch as the dancers stretch and pleat. The theater space inside the Plaza is intimate and warm. While I was doing this sketch, Patricia Charpentier, introduced herself. She runs a writing workshop called “Writing your Life“. I later contacted her and arranged to sketch one of these classes.
Digital Salute
A Tibetan Monk was the second-to-last person to sit opposite Marina Abramovic as part of “The Artist is Present.” A friend from high school named Bonnie Rose had joined me, and we returned to the exhibit which was now packed. I tried to see Marina and the Tibetan Monk by jumping up to see over all the heads. I discovered I got a decent view when I stood on my camping stool. Brian wanted to see the final moments of the performance so I let him stand on the stool. When the last person walked off the exhibit floor leaving Marina alone, the audience burst into applause. Marina then started shaking hands of people who surrounded her. Everyone in the room seemed to have an iPhone, digital camera or video camera and they all raised them over their heads to take photos. To me it was an iconic sight, a sort of digital salute with all the cameras offering validation and acknowledgment that an important moment was happening.
Actress Liv Tyler pushed through the crowd with her entourage past us. Suddenly, Brian came crashing down from the camping stool I have used for years. It had had enough and ripped wide open. I asked if he could get up and he was stuck. I grabbed him under his right arm an lifted him up. I was surprised by how light he is. The room was still filled with thunderous applause. The guards were creating a break in the crowd right in front of us so Marina could be ushered out. Brian yelled out that I should get one of my sketches signed by Marina. I scrambled around looking for a pen and had just gotten ready when she passed in front of us. Her attention was diverted by some of her friends opposite us so she never noticed the sketch. I had arrived in NYC at 7:30 or so in the morning and I was flying out late that night. It was a whirlwind day that I will never forget. Next to us was a sign that read: “Today is the final day of the exhibition, “Marina Abromovic: The Artist is Present.”
The Artist is Present
As Brian Feldman got closer to the front of the line at MoMA‘s “The Artist is Present” exhibition, it was getting near the end of the day. Several times he walked out of the room and I feared that he might have given up or changed his mind. Instead, he was charging his iPhone so he could continue to text updates to people following his progress. When Brian was on deck, the next person to go on the floor, a guard stood next to him talking for some time. From my perch at a third floor window overlooking the room, I couldn’t hear what was being said. Later, Brian told me that the guard had reservations about letting Brian sit opposite Marina Abramovic in his white robe. He feared Brian might be planning something disruptive.
I worked on this sketch for over an hour before Brian sat down. I simply left the seat empty where Brian would sit until he was finally in place. Since I was in a black suit, some people may have thought I was a guard; I was asked more than a few times about the event and was happy to answer questions. A small group of people clustered around the window I was drawing from, and wanted to know all about Brian. I couldn’t help but offer some background on this amazingly charged clash of titans.
From the moment Brian sat down, he said he felt Marina was in total control. Towards the middle of their time together, Marina placed her hand to her chest and gasped lightly. Then, she once again regained composure and remained in control. When Brian walked away, Marina leaned forward and wiped her eyes with the palms of her hands. After it all was over, MoMA visitors stopped Brian and asked him questions as he walked around the museum. He said that he was ready to stare at Marina all day, but was still grateful for the brief moment he had been granted. I think this trip to NYC made a major impression on Brian. Walking the streets afterward, he was carefree and lighthearted. I have never seen him so happy.
Brian Waits
Brian Feldman had a dream. He shared it with me months ago at a Toast to Elizabeth Maupin at the Repertory Theater in Orlando Loch Haven Park. He told me that he wanted to sit opposite Marina Abramovic, the world’s greatest living performance artist, who was having a retrospective at The Museum of Modern Art (MoMA) called “The Artist is Present.” On top of it all, Brian wanted me to join him on the quest knowing I would get a great sketch. The MoMA exhibition consisted of Marina sitting in the center of the atrium with spectators having the ability to sit opposite her and look into her eyes for as long as they could last, as an exercise in being present in the moment with another person. Brian wanted to camp out overnight outside the museum on the final day of the exhibit to be first in line to sit opposite Marina and then he hoped to sit opposite her for seven straight hours. Brian raised money to get himself to NYC through donations at his parallel performance “The Staring Contest.” One person was generous enough to actually give Brian their Delta Sky Miles. The dream was now a reality. Marina had been performing “The Artist is Present” for two and a half straight months and Brian was determined to be there on the final day, May 31st.
The day started with surprises. Upon his arrival to MoMA, Brian found out that they were allowing people to sit opposite Marina for only 10 minutes. Though disappointed, he kept moving forward rather than turning back. Though he camped outside the museum, there were 29 people who were in front of him in a line that inched forward in agonizingly slow increments. There was no guarantee that Brian would even get the chance he had planned and trained for over many months.The exhibit drew people from all over and there were many who waited patiently along with Brian for their chance to be present with Marina. Photographer Marco Anelli took photos of every person who sat opposite Marina. Shortly after the exhibit opened, a young woman in a one piece dress approached Marina and before she sat down, whipped the dress up over her head and stood naked for a split second in the center of the crowded room. Guards rushed around her and shielded the audience from getting a clear view of the woman. Crying, she was led away. As the pandemonium died down, he glanced over at me and raised his hands and shoulders in a gesture that said, “What the …?” Brian regained his focus and waited for his chance to face Marina.
Beauty
The Premiere Orlando International Beauty Event was a huge event held at the Orange County Convention Center. Sultana gave me a thick book which showcased all the vendors and offered a fold out floor plan that showed the locations of the hundreds of vendors. Just walking the showroom floor offered constant visual stimulation. Every vendor was doing whatever they could to get viewers attention. I finally realized that I just needed to sit front and center at any booth and I could sketch the many models who were there. These two models sporting Alice in Wonderland outfits stayed fairly still. Once a photographer stepped in however they would vogue and pose looking down at the photographer with a highbrow disdain. I liked that the mad hatter had on a shoulder harness made from spools of thread. That was a nice creative touch.
Next to the models, a hair stylist was busy cutting and styling another models hair. I had just blocked in the sketch when the hair stylist told the models that they could take a lunch break. I calmly closed my sketchbook and then got up to sketch somewhere else on the showroom floor. Several hours later when the sketch was finished, I returned to the Salon Tech Booth and the same two models were back at work. I sat front and center and got back to work. Lee Ann McCall a national sales manager for Salon Tech came over to see what I was working on. She seemed sincerely surprised and delighted by the sketch.
Unfortunately, a cough I had caught flying out of NYC started to take hold in my chest. I had a press pass that would have allowed me to return to the event for several more days. The sketching opportunities were limitless, but the next day I was flat on my back in bed for much needed rest and relaxation.