Topographies

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“Topographies” a series of sculptures by Barbara Sorenson are on exhibit in front of the Orlando Museum of Art. These bright primary colored resin and metal creations will be on exhibit through April Fool’s Day. On March 18th, “Art and Dance: A Pas de Deux” a piece inspired by Sorenson’s Work will be performed in this court yard. The piece will feature Orlando Ballet Dancers choreographed by Robert Hill and Eric Yow.

On exhibit inside the museum is “Made in Florida” featuring three exhibitions and a gallery display. Work in the exhibit features artists who were inspired by the sunshine state. Florida’s unique landscape and culture has inspired artists from all ages. The eclectic permanent collection features work of such acclaimed artists as John Singer Sargent, Cecilia Beaux and Robert Rauchenburg.

I found myself in front of the Museum at dusk with an hour to spare since I planned to attend a piano recital across the parking lot at 7pm at the Margison Theater in the Shakes. This recital, which was part of ArtsFest, was to feature Hyung-Min Suh, the third place winner of the second Florida International Piano Competition. There weren’t many cars in the parking lot. At 7pm I walked into the empty theater. The building was deserted. I checked out the intricate set that was built for “Romeo and Juliet“. The set was gorgeous with a root-like structure holding up an isolated platform as well as the infamous balcony. Now, I really want to see, and sketch the play. This was the second time an ArtsFest event I planned to sketch was MIA. This year’s Fest must be in some disarray after United Arts lost Margot Knight and Cory Warren. An unexpected disadvantage of drawing on a tablet at night is that big beetle and tiny gnats were attracted to the screen’s light.

City Arts Factory

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As part of ArtsFest, City Arts Factory opened its doors for free. Actually, I’m pretty sure you can walk into City Arts Factory anytime for free anyway, but they were also offering a chance to register for a chance to win gift pack including tickets for two to SAK Comedy Lab and Jazz Brunch at the Grand Bohemian Hotel. Since I had time in the afternoon before going to Full Sail, I decided to go to City Arts to sketch. Of course the place was empty.

The hallways were lined with “Youthful Expressions” from children from the Boys and Girls Club of Central Florida. It was fun to see some of the pieces awarded red, blue and yellow ribbons, just like in a Country Fair. The work was from children in the surrounding four counties. The winners of this exhibit would move on to exhibit in the Regional South Eastern competition. Winners from that would move on to a National exhibit. I still remember the thrill I had as a child when I won a blue ribbon in a county fair in New Jersey. Any one of these kids could one day become great artists if their work is valued. Perhaps one day, I can help inspire these kids.

I decided to sit in the hallway and sketch “Orlando Guitartown” created by Munte Olinger. The large Guitar was inspired by Counting Crows and contributed to the space by Ford Keane and Jennifer Quigley. I remembered that Ford Keane is the owner of the building that houses Avalon Gallery and he is the President and CEO of City Beverages. Jennifer Quigley is Principal of WBQ Engineering. Children’s art consisted of, a bowl of spaghetti, a sea monster, and a series of colorful circles.

I was most intrigued by hand prints in cement in an indentation in the tile floor. These were hand prints of Mayor Buddy Dyer, Ford Keane and Jennifer Quigley. This must have come about when Orlando had lofty ambitions of becoming Hollywood East. A pair of pliers and some nails were placed on the cement and then the hole was filled with a piss yellow resin. The only people that entered the hall were searching for the restrooms in the back. A husband fingered his cell phone as his wife was in the bathroom.

Rite of Spring

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As part of Arts Fest, the Orlando Philharmonic Orchestra opened up the Bob Carr so anyone could see them as they rehearsed Igor Stravinski’s “Rite of Spring” as well as Beethoven’s Symphony Number 6 “Pastorale“. I sat near the front row with a view off into the deep off stage wings. During any actual performance, sound panels are set up which block a view off stage. Cole Nesmith was there with some of his friends seated one row behind me in the center of the auditorium. He looked a bit ragged and worn with exhaustion from having set up and dismantled his 20 foot high “Tree of Light”. After a heavy tree branch broke off and crashed to the ground, he is having a 3D model made and getting a structural engineer to check the tree’s stability. I admire the huge Live Oak trees I see around town now all the more. Any tree is a marvel of engineering.

Conductor Chris Wilkins introduced “Rite of Spring” to the sparse audience. He said that in the ballet, a woman danced to the music in a pagan ritual to the point of exhaustion and beyond. He wouldn’t say more since children might be present. The music war raw and primal. I had never heard it performed live and the dissonance and complexity of the piece were exhilarating and unexpected. I only knew of the music thanks to Fantasia. This is the pop cultural image of primordial creation that has been burned into our collective memory.

Most of the audience cleared out during the break after “Rite of Spring” was performed. They missed the second half of the rehearsal. I had plenty of work still to do on the sketch so I worked right through the orchestra’s break. When “Pastorale” began to play, I began splashing pools of color on my sketch. Of course “Pastorale” also was in Fantasia. This music evokes feelings of a much more peaceful time perhaps on a country estate. Walking back to my truck, the music gradually was overwhelmed by honking horns, and the rush of traffic as people hurried about downtown.

txt at the Telephone Museum

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As part of ArtsFest, Brian Feldman held a performance of “txt” at the Telephone Museum in Maitland (221 West Packwood Avenue). The very first time I sketched Feldman, he was performing “txt” at the Kerouac House. Brian specifically grew his beard back for this one performance. I found my vantage point in the front row before anyone else arrived. I also set up my video camera which recorded the performance from the back of the room next to a telephone booth. Ancient phones loomed above Feldman’s head and photos of switchboard operators were on the walls. There were perhaps thirty or so folding chairs set up in front of the large oak desk where he sat.

The idea of “txt” is that the audience supplies every line of dialogue that is spoken. Fifty protected Twitter accounts are set up so that each audience member can send a tweet directly to Brian’s show account, all of which are redirected to his phone thus keeping every entry completely private. Before the performance space was opened, Feldman crawled under the desk to wait for his entrance. When the fifteen or so people were seated, he crawled back out and sat in the leather chair causing laughter.

The young couple across from me immediately started tapping on their phones. The girl resembled actress Julianne Moore. She kept glancing at her boyfriend’s phone, not sure what she should type. She kept laughing at his entries. Brian’s phone vibrated and he picked it up. He read, “Football may be America’s pastime, but basketball players sweat much more.” I glanced around thinking I knew where the text came from. For this performance, Feldman acted out and dramatized his readings. One text read, “The man in the front row blushes whenever he laughs.” I was one of three men in a front row seat. I was certainly laughing. Was I blushing? Could people see emotion and expression just from the involuntary rush of blood through my veins?

I focused more intently on the drawing. Remarks were made about the corporate looking portrait above Feldman’s head, and about a creepy mannequin dressed as a telephone repairman. An early text warned against using profane language since women and children were in the audience. Surprisingly everyone complied. I consider “txt“ to be Feldman’s signature performance piece and it would be great to see it performed in a larger venue. There is something interesting in clandestine, anonymous communication that indicates where we are moving as an interconnected society.

Anne Frank & Me

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As part of ArtsFest I decided to go to the Orlando Repertory Theater to see Anne Frank & Me. At the box office I asked about ArtsFest free tickets and I was put on a waiting list. I stood around with six or seven other people waiting. If the performance sold out, we wouldn’t get a seat. Soon enough I was called back to the box office and given a ticket. The young ticket taker at the theater door abandoned his post when his family arrived and he went in with them to be seated. Since there was no one to take my ticket, I wandered in and found a seat. The seats were perhaps half full.

The play started out in Nicole’s bedroom as she and her girlfriends practiced dance moves for an upcoming high school dance. The girls discuss Anne Frank’s diary which is required reading at school. Nicole’s mom believed that the horrors of Nazi concentration camps must be blown out of proportion. Nicole lets slip the fact that she has a crush on a boy at school. The other girls tease her. The scene is frivolous and care free. At the school dance this boy pulled her aside to talk. She anticipated his declaration of love, but instead he asked her if she thinks her girlfriend likes him. He asks Nicole to be a buddy and find out. Crushed, she runs across the road without looking and ends up being struck by a car.

What followed is a cross between Back to the Future and the Wizard of Oz. She woke up in Paris 1942. Her family is now Jewish and fearful of the Nazi invasion. Ultimately her family has to go into hiding. The boy she had a crush on ends up giving away her family’s hiding place. They were shoved into a packed cattle car heading to Auschwitz and she meets Anne Frank face to face. The final scenes are gruesome and tear jerking. Fierce spotlights blazed through the cattle car doors directly into the audiences eyes. Angry German guards shouted and pushed. The ten year old girls seated near me were curled up in a fetal position. This was a hard hitting play that left my nerves frazzled. The past never leaves us and we must bear witness to never allow prejudice and cruelty to gain a foothold.

The Skill Crane Kid

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As part of ArtsFest, Brian Feldman purchased a skill crane machine, stuffed it full of plush toys and then crawled inside where he remained for 16 hours. The machine was set up in Stardust Video and Coffee. When I arrived with Terry, Brian had already been inside for over six hours. Children especially loved the performance, often begging their parents for more change so they could try the skill crane again. Some people took pleasure in dropping the metallic skill crane claws on Brian’s head. For me the performance once again had a Kafkaesque quality reminding me of the Hunger Artist. Brian’s presence also reminded me of carnival barkers at the fair whose main objective is to keep the rubes from winning a prize. Brian acted as a sort of anti-carnie, actually placing a plush toy in the claws of the feeble skill crane to satiate each child’s greed and desire.

I seldom had an unobstructed view of the skill crane. More often than not families blocked my view as they took pictures and stuffed quarters in the machine. A friend of Brian’s named Helen Henny was shooting photos the whole time I was sketching. Sultana Ali, Brian’s girlfriend, was in the next room and she seemed to be updating Brian’s Twitter and Facebook accounts as the performance progressed. I heard the performance was streamed live. Terry and Sultana had lunch while I sketched. Several hours later when the sketch was finished, I walked up to the skill crane to say goodbye to Brian. He gestured from inside saying I had to try my hand at the skill crane. I refused, until Terry lent me the dollar to play. Several people in the room egged me on so I gave in and decided to play. I maneuvered the crane over a small teddy bear right near the exit chute of the machine figuring that if the crane didn’t grab the bear, it might just get knocked loose. I really didn’t need a teddy bear, and I didn’t want to play the game, but once the machine took the money, then the stakes were high. I had two tries and both times the poorly designed claw picked up nothing but air. With this failure I suddenly realized I was upset, not at the machine but at Brian. I had seen him coax the toys into the claw for child after child as I sketched. He even coaxed a toy out for Genevieve Bernard. Everyone was a winner but me! His passivity as I played made him just like any loud mouthed carnival barker who coaxed money from people at the fair using insults and dark sinister humor. I felt robbed.

As a child I once dreamed of getting a huge balloon that was for sale on an ice cream truck that wandered my neighborhood. Inflated, the balloon was larger than me . By the time I had convinced my mom to give me the change needed, the truck was long gone. I ran down the street for many blocks before finally giving up. I was devastated. The next day the balloon was forgotten. I had new obsessions. The night after Brian exited the skill crane, I met him in Stardust video and coffee to get my video camera back which had recorded most of his performance. Brian took me out to Sultana’s truck and presented me with the palm sized bear I had tried to win. I refused at first, but he insisted. At home my pet cockatoo was scared of the little stuffed bear at first, his crest rose in surprise, but then he ripped out its eyes and eviscerated its stomach playfully.

Albin Polasek Museum

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On the final day of of Arts Fest, the Albin Polasek museum was open with free admission for a day. I was informed that some plein air panters would be on the property painting that day. The painters were there to help promote the Winter Park Paint Out which will be happening between April 23rd and April 30th. I decided that was my cue to sketch some painters at work. It was a beautiful sunny day and the gardens surrounding the historic building were in full bloom. I walked around hunting for artists at work. There was one artist set up on the large lawn behind the home but as I approached he started to dismantle his easel. Just my luck, he was finished. I walked down to the benehes which sat right on the lake then walked back to the house. When I passed the chapel, and stood in the portico, I noticed that Hal Stringer was set up in the driveway working on a small painting. An Albin Polasek sculpture titled “Mother” stood with its back to me. Something about how the warm light filled in the shadows appealed to me.

Guests of the museum often approached Hal and he was very generous with his feed back. For instance he asked a little girl if she liked to make art. When she said she did, he told her to never stop making art if she enjoyed it. I later discovered that Berto Ortega was working on a painting inside the museum. He stopped out to say hello and unfortunately was called away because of a family emergency. I never got to see the painting he was working on. When I finished my sketch I rushed over to Rollin’s College’s Annie Russel Theater hoping to get into a play that had just started. There were no Arts Fest tickets left so I abandoned the idea of sketching the play.

RIFF

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As part of Arts Fest, DRIP dance company unveiled a work in progress for an upcoming show titled RIFF, at the Cameo Theater (1013 East Colonial Drive). Dubbed, a Night of Music, The DRlP performance was preceded by four bands. The first band on the line up featured Britt Daley with her unique brand of electro pop. Next up was Telethon, then The Pauses and Peter Baldwin. Between acts and beers I spoke with Andy Matchett. I had heard of him a number of times and he let me know that I had sketched his wife and child once when I did a sketch at Dawn Schreiner’s “Doodles” opening at Seven Sisters Coffee house. I was fascinated by some club kids who filmed every moment of their experience, voguing in front of their iPhone cameras. I suppose I am not much different as moments of my daily experience are documented with a sketch.

Andy Matchett & the Minks performance was a perfect match to the DRIP experience. The act began with a colorful whirlwind of confetti which was kept alive with fans and hair driers by members of the audience. I already had finished two sketches so I resigned myself to enjoy the experience by dancing and laughing. For the final songs a huge parachute was unfurled over the audience and Andy jumped off the stage to perform in the heart of the maelstrom. This was pure unbridled childlike fun and I’m glad I put my pen down long enough to simply experience it. Now Andy Matchett & the Minks is on my radar and I will follow them until I do a definitive sketch.

The RIFF dance performance happened in a hallway that was created by hanging a huge bolt of clear plastic from the ceiling. Jessica Mariko, Drips founder, CEO and Creative Director announced that the plastic had arrived only moments before the opening of the show thus the dancers would be performing within its limitations for the first time. Nikki Serra choreographed the Hallway piece.At one end of this plastic hall was a fan and buckets of colored salts were waiting for the performers. I knew the dance performance was less than five minutes long so I resisted the urge to sketch. The dancers entered the space and performed a sensual dance that involved tossing the colored salt in the air and showering themselves in pure color. The RIFF band performed the equally sensual music composed by David Traver.

Voci Dance – iMove_2.0: iCandy Rehearsal

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iMove_2.0: iCandy was built around the theme of love. Naomi Rhema and McClaine Timmeran started writing love notes on long strips of paper and envelopes as they waited for the dance rehearsal to start. The long strips of paper were used to construct a paper chandelier which hung in the center of the performance space much like an upside down wedding cake. Full Sail students were busy hanging lights and setting up a second installation with light bulbs hanging from long wires and flexible PVC zip tied to the rafters.
Actually, a female student was at the top of the ladder the whole time doing all the work while the male student stood at the bottom of the ladder checking instant messages on his cell phone. The Full Sail students all volunteered their time to get all the lighting and high tech projections in place. They may have worked several all-nighters to get this show up in time for ArtsFest.
Genevieve Bernard explained that this installation was all about technology and how it affects romance. I loved an act between dances when McClaine acted like a high school girl talking on a Touch-Tone phone. She danced around excitedly stepping over the cord and then wrapping herself up in the cords embrace. This was lighthearted fun in keeping with much of the show. There were also cell phones hung with care and some very old computers and video games.
The dancers went through a routine in which they all wear LED-head lamps. There was something haunting and tribal about this performance. Periodically, I would be blinded by a dancer,s high beam if she turned her head in my direction. When the warehouse is dark, this dance should looked amazing.
In the several rehearsals I sat in on, I only saw a small fraction of the final show. This keeps me hungry, always wanting to stick around for one more sketch as the drama in motion unfolds. This was one of my favorite ArtsFest events, and it required a whole lot of love and commitment to bring it to life.

Woman Playwrights’ Initiative

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Sarah Lockhart told about a performance of the Women Playwright’s Initiative that was going to happen at Stardust Video and Coffee as part of Arts Fest. I had another commitment at the time of the actual performance, but the director, Aradhana Tiwari told me I could stop in when the cast first got to Stardust and rehearsed just before the nights performance. I arrived early because I had gotten out of class at Full Sail a bit early. I ordered a Coke and sat in the room facing the tiny stage with its red metal streamers and red Christmas lights for illumination. Although not planned, this small stage with it’s red atmosphere offered a womb like feeling of intimacy and enclosure. The play, or monologues, I had been told, was about women and how they faced pregnancy.
When the whole cast arrived, they went in the other room with the bar and large tables made from doors, to go over lines. The tables and chairs were then moved to make room for an audience. I started a sketch lightly in pencil of the cast going over lines at the table, but I couldn’t bring myself to commit to the sketch. Aradhana only had the cast go over lines for maybe 15 minutes and then she moved everybody back to the stage. I was thankful I had held back on this first sketch. It is always hardest to know when to strike. Aradhana was constantly using the camera she got for Christmas to document this intimate show.
On the stage all 5 actresses paced nervously on a grid each of them lost in thought. A loud ticking of a clock filled the space. I only got to see small sections of the performance but I left wishing I had seem more. In the sketch Sarah Lockhard is coaching a woman, curled up in a fetal position, who has just given birth and refused to hold her new born child. Sarah said,” You just have to pull yourself up by your bootstraps.” Of course nothing Sarah says consoles the woman.
In another scene Lindsay Cohen and Sarah slowly walk to the front of the stage, each stopping in their own corner. Both of them are holding a pregnancy test strips and they kneel down to read them. Sarah’s face lit up with joy when she saw the reading on the strip. She was quietly overjoyed and radiant. Lindsey on the other hand remained stone faced. The finding caused her hand to simply go limp and she dropped the test strip as her world turned black.
There was a mad rush to find a light to help illuminate the stage. Someone went home and grabbed a floor lamp. Then it turns out that the outlets around the stage didn’t work. Finally an outlet was found and the stage was perfectly illuminated. I had to step out just as the performance was about to start. The room was packed. I am certain this was a hell of a show.