The Dishwasher.

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Brian Feldman’s first-ever job was as an actor with Orlando
Shakespeare Theater. His second was as a dishwasher at a fast-food restaurant
chain in Winter Springs.

Award-winning performance artist Brian Feldman brought his
one-of-a-kind “Dishwasher” performance back to Orange County.

This performance, which I sketched, was at Flying Horse Editions (500 W. Livingston Street,

Orlando, FL 32801)

at the downtown UCF Center of Emerging Media building across from the future site of the Creative Village. 

Brian hand-washed the dirty dishes in the print shop’s sink
using the hottest water he could endure. A friend of Brian stood behind him to keep a close eye on his dish washing techniques. 

Once completed, he was given
a monologue by Sarah Segal which he cold read on the spot for the small audience gathered at the print shop.
Finally, Brian asked a simple question of the audience: “Am I a better actor or
dishwasher?” After receiving the answer, he posted the verdict on social media. His friends were rather harsh on his performance saying be was a better dishwasher, but everyone else in the audience decided he was a better actor. 

Wynwood at Art Basel.

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Plans to go to Art Basel on Saturday were Shanghaied when I went to a gallery in New Smyrna Beach. I couldn’t sketch at this opening, so there isn’t much to report. I kept my hands in my pockets except when sipping a Coke or eating pretzels. Occasionally shrimp circulated around the room on a tray. The show consisted of small paintings competitively priced for the holidays.

I made the three-and-a-half hour drive down to Miami on Sunday instead. After parking in the Wynwood District I only had to walk one block before I saw a graffiti artist at work. This NYC artist was named Cortez. I couldn’t make out what the letters were in the tag, but now after the fact, I’m thinking it might be his name. I got lost sketching the tag, so don’t expect to read it in my sketch. It became an abstraction of bright colors, valves and shapes. The artist’s girlfriend videotaped me as I sketched, and I asked the artist to sign my sketch when I was done. Art tourists kept taking photos of the wall in progress. For some people, the only way to experience art is to photograph it.

I explored the Wynwood Walls and several galleries before heading over to the convention center, which is at the heart of Art Basel. Tickets to get in are like $45. I got there at the end of the day so paying for a few hours of browsing seemed like a waste. Instead I went to Ink, which consisted of galleries specializing in limited edition artists prints. Flying Horse Editions from UCF here in Orlando was on site. Each gallery had a quaint motel room surrounding a courtyard with a long central fountain. Since I am searching for a rental apartment, I desperately wanted to convert one of these small units into a studio.

I went to a public park near the convention center where sculptures we scattered in the grass. Long- legged camels walked above a shimmering mirage reflection. Jesus had open avocados on his head, shoulders and forearms. Perhaps he as actually the patron saint of avocados. A black hula hoop was plopped on top of a pile of road tar, and the crowning glory was a pile of six-foot-high brightly colored pebbles that looked like the cheery painted rocks you might find in a fish tank.

I stopped at Maxine’s on Collins Avenue for a bite to eat. It isn’t as good as the Maxine’s in Orlando, but I went in h honor. Afterwards I followed the long line of red taillights that inched towards I-95 to drive north into the night.

Brian Feldman presents, Dishwasher.

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Flying Horse Editions located in the UCF Center for Emerging Media campus across from the Bob Carr, held an open house with wine and cheese.

Flying Horse Editions is a collaborative research studio for visual
artists at the University of Central Florida. A non-profit publisher of
limited-edition prints, artist books, and art objects by
internationally renowned artists, FHE offers unique opportunities for
artists, students, and the Central Florida community.

Flying Horse Editions offers visiting artists the opportunity to work
with FHE technicians to push the boundaries of their work while
providing a unique educational experience for UCF students.

At part of the open house Brian Feldman presented Dishwasher. The premise is simple; Brian washed dishes for the first half of the evening and then gave a cold reading of a monologue from a play. Sara Segal , who booked the performance, picked the script. After his reading, the audience was asked if Brian was a better actor or dish washer. Brian began h is acting career when he was just 10 years old at the Shakespeare Theater at Lake Eola Park. His first non-acting job however, was as a dishwasher. So he has experience with both career paths. Several of Brian’s friends were at the open house and they joked with Brian as he did the dishes. When it came time to vote, they decided he was a better dishwasher. The rest of the audience voted for his acting.

The Blue Boxes are disappearing but the law requiring their use is still on the books.

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27 Blue Boxes are painted on sidewalks in Downtown Orlando. These
boxes are for panhandlers and buskers. Busking is possible only during
day light hours. Although set up for panhandlers, police often insist
street performers must use the blue boxes. Performing outside the boxes
can result in 60 days in jail and a $500 fine. These Boxes represent the only places downtown where
theoretically there is freedom of speech. They are Orlando’s First Amendment Zones.

On February 29th Mandi Ilene Schiff offered to do a body painting in Blue Box number 6. On the map, the box is located near the Bob Carr Theater on West Livingston Street. Because of construction this street can only be approached from the West off of Parramore Avenue. Mandi arrived before me and was waiting in front of the UCF Center of Emerging Media. Her model, Yvonne Clar, hadn’t arrived yet. I began searching across the street for the blue box. The problem was that half of the street and sidewalk was ripped up and now fenced off due to construction.

A guard from UCF came out and asked if he could help us navigate the construction to get to downtown Orlando. My experience with people who say, “Can I help you?” is that they will be an obstruction to my completing a sketch. Though he went back inside the UCF lobby, I knew we were on his radar. Our search for the blue box was out of the ordinary. Mandi and I decided to settle in front of a large blue banner that was the logo for the construction company that was digging up this prime real estate. Mandi’s idea was to camouflage the model, so she disappeared against the Blue sign. As she unloaded her paints and brushes, the guard came out and shouted “You can’t be setting up over there!” I thought it odd that he didn’t cross the street to speak to us. He was like a dog who barked at the edge of its property. I shouted out, “Why is that?” He shouted back that he had to protect the high school kids. That is odd, I thought, UCF is a college, there are no minors. I contacted a UCF instructor I know, just to verify that this guard has no idea of the age of the students he sees everyday.

Since I was getting over a cold, I decided to walk across the street so I didn’t have to shout. I told him that I was documenting the 27 blue boxes and explained what they are for. I showed him the location of blue box number 6 on the city map figuring he might help me in locating it. “I don’t know anything about no blue boxes, all I know is that you can’t set up over there. I have to keep these kids safe. There are pimps, prostitutes and drug dealers who are always hanging around this area.” Now, If I was a prostitute I wouldn’t work this abandoned stretch of road, I thought. Did he think Mandi was a prostitute? He would definitely have a heart attack if the model took off her shirt in front of the school. This was a loosing battle, since we didn’t have the security of a blue box to stand in, I decided we needed to move to the next blue box which was half a block East near I-4. I shook the guards hand, thanked him for his help, and we headed East.

Blue Box number 7 was also torn up by construction, but there was a hint of several blue dotted lines remaining on a curb. Yellow caution tape separated us from being able to stand in the patch of dirt which had once been the blue box.  We decided instead to set up outside the rented fence near the Orlando Centroplex sign. Yvonne showed up just as Mandi was settled in. I was in the midst of blocking in my sketch, and I didn’t want to spread my cold, so I kept working. This was the first time that the performers were not protected by actually standing inside a  blue box. The stakes were high, but Mandi and the model bravely took the chance. City codes on indecent exposure had been researched, and the model could have legally been painted in nothing but pasties and panties, but Nix Herrera another body painter, had advised Mandi against taking the chance. It could have resulted in regulations for an art form that has so far stayed off the city commissioners radars.

With a liberating flourish, the model took of her shirt and her black bra defied any notion of indecent exposure. The race was on to complete the sketch and body painting before we were caught. Mandi began by painting a blue box on Yvonne’s belly, then she began painting iconic Orlando imagery, like a swan, the fountain, an orange breast, and the skyline wedged in Yvonne’s cleavage. Ten minutes into the sketch, I felt that art had won. I had enough on the page, so that even if police or security stopped us, I could finish the sketch back at the studio. A construction worker asked what are were doing. I discussed the blue boxes and explained that we would be done within an hour. “I don’t mind.” he said with a smile.  Theo Lotz, the Flying Horse Editions director from UCF also asked about our project and I quickly explained the Blue Box Initiative. I get excited, having the chance to explain the need for free artistic expression. His bus arrived and he had to run off mid sentence.

We were right near a bus stop and each time a bus stopped you could see a dozen passengers with then noses pressed against the windows. A driver honked his approval. My quick rough sketches don’t do Mandi’s amazing work  justice. Be sure to check out these photos her fiance Robert Johnston took. It certainly felt like we were tempting fate on this day, but some amazing art was created.  Yvonne became a gorgeous living postcard that celebrated the City Beautiful.

Printmaking Workshop

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The Mennello Museum of American Art (900 East Princeton Street) is exhibiting IMPRINTS: 20 Years of Flying Horse Editions through August 12th. Here in Orlando for the past 20 years, the University of Central Florida has nurtured Flying Horse Editions, a collaborative research studio committed to creating significant works of art by leading and emerging artists who fuse traditional and innovative printmaking processes. Artists come to Flying Horse Editions to work in the graphic media of intaglio, woodcut, lithography, letterpress and silkscreen.The results are highly collectible, limited-edition, handcrafted fine art prints and books. There are only a dozen or so fine art presses in the country, and Flying Horse Editions is one of the most distinguished on the East Coast.

Artists from Flying Horse Press have been offering workshops at the Mennello museum. This session was about making monotypes, which is the specialty of UCF “Artists in Action” Michelle Garay and Anna Cruz. Michelle showed us Nathan Redwood’s Like Air, as an example, the print used a lino-cut for the tree trunk, collograph for the ground and a mono-print for the sky. We learned
how to manipulate printer’s ink so that it looks like brushstrokes along with other tricks of the trade that make unique, one-of-a-kind prints.We were introduced to Reductive Mono-printing. Nathan’s a print on display in the Museum.

Students were given two sheets of paper. They cut out simple shapes on one sheet. For instance the woman seated in front of me cut out a leaf shape. The negative shape, or the paper outside the leaf shape, was placed on a sheet of Plexiglas and a brayer was used to roll the ink onto the Plexiglas. When the paper was removed, only the leaf shape was inked. Q tips were used to smear and remove some ink to add texture. The positive leaf shape was then placed over the inked leaf shape and a new color ink was rolled down. When the paper was removed the printing plate was ready. A clean sheet of paper was lightly spritzed with water and placed on top of the printing plate. The plate was rolled under pressure. Then came the reveal, as the paper was pealed off. Mono means there was only one print made. One student went so far as to print a rendition of the human brain. There is an undeniable childish delight when the print is finally seen.

Printmaking is not just for kids! The museum has set up its own print studio. Enjoy coffee and pastries in the morning while you create your own art prints, . No previous experience is necessary. Cost is just $12 per person. Each class will have a different focus.

You have one more opportunity to create art and treat yourself to something new!

Get up bright and early July 17, 9-10:30am, with coffee and pastry.

Flying Horse Editions

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I had been told to sketch Flying Horse Editions by several readers. When I contacted them, Theo Lotz quickly said, “Yes, come on down!” Flying Horse Editions is located in the UCF Center of Emerging Media building right across from the Bob Carr and the old Amway Arena. For some reason there was an old steam locomotive in the parking lot of the Arena. I was happy I didn’t have to pay to park. Simple pleasures. The hallway leading to Flying Horse Editions had computer workstations for student. Right in the entry there was an old wooden press that could have been used for the Gutenberg bible. I immediately wanted to sketch, but no one was using the press so I went inside.

Theo, dressed all in black, introduced himself and showed me around. The room was immense and immaculate, filled with dozens of presses both old and new. They do limited edition fine art prints here of the highest caliber. They had just finished 2 run of 15 prints by artist Carmon Colangelo. The boxed set was bought by the Saint Lewis Museum of Art. Student Ashley Taylor was working the press right in front of me. She was experimenting on a way to reproduce some spiral patterns by artist Tom Nozkowski using relief printing techniques. Elizabeth Moorefield was in constant motion, talking on the phone and working on her laptop. Larry Cooper was building boxes that would hold prints.

Theo asked me if I wanted a scoop for my story. “Of course I do!” I said. “Well, Ashley just found out she is getting a full scholarship at the University of Florida. We are all so proud of her!” he said. Ashley smiled shyly. I was fascinated by the large trays of old letterpress leads. The typeface was an old western font. I wondered what they had been used for. Theo suggested I come back when there was an artist in residence. Things get crazy when an artist is given free reign and people stop sleeping. This place was a treasure trove of sketch opportunities and I look forward to returning. I congratulated Ashley as I left.