Form Structure and Interactions at the White House.

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The Timucua White House (2001 Hamilton Ln, Orlando, FL 32806) hosts weekly concerts in their spacious living room that rivals some concert halls. Benoit Glazer built his home around this pitch perfect sound proofed space. This concert featured original compositions for trumpet and electronics. Most of the composers were in the audience. Besides the main performance, an artist usually creates on stage as well. On this evening, a sculptor named Diego Inkusual worked on a life sized bust of a young poised dancer named Megan Crawford. I’m pretty sure I sketched Megan at some dance rehearsal, because I recognized her. I decided to sit down at a back patio table, and my chair tumbled over backwards, thankfully with out me in it. As we all waited to get into the concert hall, Diego kissed Megan’s neck and she smiled at the distraction.

Benoit’s wife Elaine Corriveu, Wendy Wallenberg and others bustled in the kitchen. Guests usually bring a bottle of wine or a side dish, turning the evening into a community potluck. Strange, the program doesn’t list the Trumpet player’s name. That is a strange oversight. Anyway, he was quite good as was the sculptor, also not listed.

Diego had several life sized sculpture on stage, and another in The entry-potluck area. Fabrics flowed from their semi nude bodies. It was impressive work. Diego was quite active as was his model, Megan. He would often ask her to rotate in her seat so he could sculpt her from a different angle. He would often stand and he would gouge deep grooves in the sculpted hair. The facial features had been delicately refined back at his studio. He was feeling the music and it influenced his movements. Megan kept perfect still.

One composer wasn’t in the audience. He was at an inspirational seminar. The concert was being shared with him and another audience with him at the seminar. Most composers got on stage to introduce their original music, he called in to talk to us all. Charles Griffin composed Between Islands this year. He told both audiences, that when he moved to Orlando, his creative urge dried up. He tried to work through it, but he was stuck. He had never experienced this before. The support and contact with other creative people finally reversed the stagnancy. This composition was the first he wrote as he got back on track. He spoke about his mother’s death, loss and the need to remember. It is a theme that has hit home with me many times as I sketch people affected by Pulse. I try to remain in business mode, but often it sinks in. Charles used the sounds of ocean bells clanging quietly on the waves. the somber music hit a chord with me and the pencil stopped dancing on the page, so I could stop to close my eyes and truly listen.

The next White House concert is, Tonight 10/16/16 at 7:30 pm. It is Contemporary Classical, featuring Elizabeth Baker, Toy Piano and electronics, Art is by Gladiola Sotomayor.

The Timucua White House is granted a Conditional Use Permit.

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Benoit Glazer and The Timucua Arts Foundation has been providing world class art and music to the Orlando community free of charge for a long while. In 2007 Benoit built a custom home that was built around an acoustically perfect music hall with two levels of balconies overlooking the stage. The living room concert venue is completely soundproof so that neighbors never hear the music. Dozens of performances happen each year, most of them free of charge. Guests bring wine and food to the venue for each concert which cultivates a true sense of a community potluck. The Timucua Arts Foundation, is a benefactor to cutting edge music organizations like the Accidental Music Festival and the Civic Minded 5. The White House has established itself as a culture beacon for the Central Florida Music scene.

The home is in an area zoned for residential use, so the Orlando Municipal Planning Board demanded that Benoit apply for a conditional use permit. That type of permit is typically issued when the city wants to allow an
activity beneficial to the community despite zoning restrictions. Without the permit, one of the
most enlightened cultural lights in Orlando
would be be extinguished. An online petition was established to try and save the White House. Over one hundred people signed it in the first hour. In all 832 people signed the petition.

At 8:30am on April 19th, Benoit and his wife Elaine Corrivev, sat in the City Counsel Chambers to hear the Planning Board’s verdict. The Chambers were packed full of supporters for this home spun cultural institution. Jeremy Seghers sat in the row in front of me and Diana Rodriguez Portillo sat next to me to chat. There were so many friends of the arts in the room. The chair, Jason Searl, said he had to abstain from the vote since his little daughter takes piano lessons at the Benoit’s house. He clearly couldn’t be impartial. With in a matter of minutes, the Conditional Use Permit was granted. There was an audible sigh of relief and then most of the people in the room got up to leave. Exited conversations began and the celebration continued just outside the chamber doors. The concerts will continue with some conditions: Glazer will have to
formalize a parking agreement with the city for use of nearby spaces at
Wadeview Park, limit attendance to 99 guests and guarantee events end by
10:30 p.m. In some small measure, the bureaucrats won, but music and art will continue to shine at the White House. 

This, we believe:

Art and music belong to everyone.

Art and music are the highest manifestation of our humanity.

Art and music should be enjoyed in the most intimate venue: the living room.

Every community is better when art and music are performed and nurtured within it.

Kattya Graham performed in Blue Box #5.

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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. If a police officer receives a complaint or witnesses a street
performer asking for money, that officer can “take the appropriate
action related to that issue, a warning is an option, but so is arrest.” said Sgt. Barb Jones of the Orlando Police Department. Performing outside the boxes can
result in 60 days in jail and a $500 fine. In 2002, former Orlando Mayor Glenda Hood killed a proposal to allow
street performers in downtown Orlando, saying that would be
“inconsistent” with the city’s ordinances that ban panhandling.

Kattya Graham volunteered to perform in Blue Box #5 on the Corner of Amelia Street and Orange Avenue. This corner is near the Court House parking garage. As I arrived on foot, I searched for the now familiar blue dotted lines that delineate a box about 5 by 15 feet. For the first time the were no blue lines. There were red lines and orange lines that surveyors put down as they plan where to dig for electric and plumbing pipes. I checked the City Hall issued Blue Box map and this it was the right spot. The blue lines must have been power spray washed away. There was a small blue plate above the street drainage. It said, “No dumping, all water drains into lakes.”  The spray washed blue paint must now be in Lake Eola.  The blue plate became our Blue Box.

Kattya arrived and unpacked her guitar and set up her music stand. At first she put her collection pan right on the blue plate and then she decided it made more sense to put it out behind her for pedestrians to see. As a joke she stood on her tip toes on top of the blue plate. There weren’t many pedestrians, at most three people walked by in the two hours we were on that street corner. There were however plenty of cars that had to stop at the stoplight as they waited to drive West across Orange Avenue. Kattya got to watch drivers reactions. Many drivers smiled through their closed car windows. Three women rolled down their windows to listen better while men did the opposite, by rolling up their windows. Perhaps they feared she would rush up to them and squeegee clean their windows and demand money. Only one pedestrian glanced over his shoulder at Kattya as he was waiting to cross over Orange Avenue. No one ever dropped an money in her tip pan. She has just recorded a new album of original songs and several covers at the Timucua White House. Benoit Glasier is now polishing the sound mix.

Kattya grew up in Mexico City which is the largest city in the world. She started busked in Mexico City when she was 18 years old. Crime was rampant, but she never had an incident as she performed. Here in Orlando for the past 15 years, she feels safe, but performing on a city street corner didn’t, seem appropriate. She performed beautiful Mexican ballads in Spanish. After one song, she said me, “I’m glad most people don’t understand the lyrics, the last song was about being a drunk.” I laughed. The music was soothing and lyrical, at times being drowned out by honking horns, or the sound of the Sun Rail train roaring by a block away. Her brightly embroidered blouse was the only bright note of color on the otherwise grey street corner. Had she performed on block south, closer to the entrance to the court house, there would have been a constant stream of lawyers and jurors who would pass her on their way to find lunch. There is no blue box one block south however.

Benoit Glazer at Avalon Island

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On the third Monday of each month, The Gallery at Avalon Island (39 S Magnolia Ave, Orlando Florida), hosts the In Between Series, a music series before the art goes on the wall for Third Thursday. June was a bit different because the nude photos by Yuri Maiorov  stayed on the walls until a fee the concert. Benoit Glazer usually hosts concerts in his custom built acoustic living room in the White House, he works at Cirque Du Soleil in Downtown Disney as the composer. He was on the trumpet along with Dan Jordan, Doug Matthews and Bobby Koelble some of the
greatest jazz musicians from Central Florida.

There were lofty sounds from flutes and clarinets, African flavors, and funky
odd meters, with a touch of sad ballads and angry mobs. The music related the story of a storyteller. It was about 2 boy named Abu, and his muse Lela. The music ebbed and flowed with intensity. The event was catered by Maxine’s on Shine.

Marty Morell and Michiko

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On Sunday June 2nd, Marty Morell and Michiko performed a free Jazz concert at the White House (2000 South Summerlin Avenue, Orlando FL), with many special guests and a little Latin music.

The guest visual artist was Lorraine Turner. Lorraine didn’t paint live on stage because there were so many musicians. There just wasn’t enough room. Steve Rodney was shooting a documentary, so Benoit Glazer in his introduction advised us all to look enthralled. Richard Drexler was at the piano, Carlo Garcia was on the drums, Jeff Rupert on saxophone, Benoit Glazer stepped in on trumpet, and Ben Cramer was on Bass.

Marty met Michiko at a jazz festival in Japan and they have been performing together ever since. Michiko sang several of the songs. It was an up beat concert with plenty of energy. I tapped my toes and bobbed my head as I sketched. I was perched on the third floor balcony. I like getting this bird’s eye view, but it means standing for the duration as I sketch so I can see over the railings. By the end of the concert my legs were aching. I’m always afraid that I might drop my palette on someones head, so I step back a bit as I’m painting. Having to sketch in so many people and instruments means I’m working right up to the last note in the concert.

It seems like the number of concerts held at the White House keeps accelerating. It is one of my favorite places to listen to music and let the lines dance on the page.

Chris Belt

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Christopher Belt, the creator of the Accidental Music Festival, performed on classical guitar, with Nathan Selikoff showing his artwork on April 21st at the Timucua White House (2000 South Summerlin Avenue, Orlando FL). It was a very crowded concert, but I managed to find a front row seat. Prior to Christopher taking the stage, Benoit Glazer’s daughter performed on violin along with a first chair violinist whose name I didn’t catch. They performed one piece, so I knew that my time was limited to sketch them.

A large flat screen TV was set up behind the stage. As Chris performed, Nathan Selikoff sat with his hands suspended over a laptop. Nathan interacted with and manipulated an abstract pulsating form on the screen with the movement of his hands using a new motion capture device that was reminiscent of user interfaces as used in Science Fiction films like the Minority Report or Iron Man.

On piece Chris performed was by composer J.S. Adams who was in the audience. The piece was written for guitar and tape. Much of the music had a new age flair. Much of the music was so quiet and intimate that I could hear people breathing beside me. It was a pleasant way to sketch away a Sunday afternoon.

La Femme Fondue

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Christie and Evan Miga needed time off after the mad rush to bring Dog Powered Robot to Fringe last year. They had four months of extensive rehearsals and a whole cast of cardboard robots that were built. They were constantly managing people. After the show they decided to live in Paris for two months. Fisher Miga, the dog behind Dog Powered Robot went with them. Christie said that within four days they had settled into the Parisian lifestyle. Three days a week Evan freelanced for the design firm he was working for in Orlando. Though he was living in Paris, he worked Orlando hours, sharing his work via the Internet. That left the rest of the week open for the couple to explore Paris. They discovered quirky arts outlets that few tourists visit. Christie loved a tiny Museum of Magic that had rooms filled with mechanized tin toys. Right next to the Eiffel tower was a sumptuous garden that only Parisians frequent.

 When Christie Miga returned to Orlando she started a series of paintings inspired by the trip to Paris. Though abstract, the work is autobiographical as she explains with pure color how Paris inspired her. This series explodes with rich vibrant color. The blue is the exact color of the Mediterranean and the bright magenta reminds her of tight bright magenta pants that many women were wearing in Paris. Provence inspired her use of bright yellow and orange. She mixes her own water based paints and she has some idea how the paints will interact when they are poured on the canvas side by side. The word fondue is the feminine of the French verb fondre (‘to melt’). The colors seem to melt an flow together on the canvas. The paintings are abstract yet they feel like violent storm clouds on a distant planet or the delicate vibrant colors of a butterfly wing. The black dripping motif is used often and it reminded me of a piano keyboard as I tried to sketch it. Ironically, earlier that day, I had been writing about color for a Book on Urban Sketching. Christie’s bold use of fluid primary colors offered amazing insights about how colors interact. She worked to modern pop French music.

Many of the pieces have bold urban graphic elements that look like graffiti stencils. For instance one canvas has a bold image of the Eiffel Tower that then melts into vibrant dripping colors. Subtle blue lettering in French says, “This is not the Eiffel tower.” A bright splotch of moon then drips as well. Once Christie starts one of these liquid abstracts, she has to finish it while the paint remains wet. Amazingly she finished her canvas in the same amount of time it took me to do the sketch.

La Femme Fondue is being shown at the Timucua White House, (2000 South Summerlin Avenue, Orlando FL), on March 22nd starting at 7:30PM. This reception is one night only. The artwork and prints will be for sale.The White House is a fantastic venue to see Christie’s work since the spotlight literally make her canvases glow.

Eladio Sharron and Carrie Wiesinger

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On November 11th, as part of the Accidental Music Festival, Eladio Sharron and Carrie Wiesinger performed Latin American works for flute and guitar, including Cronicas Del Descrumbiento by Robert Sierra, Fantasia by Inocente Carreno and Histoire du Tango by Astor Piazolla at the Timucua White House (200 Summerlin Ave). There was no visual artist on stage that day.

I tend to like to sketch from the second or third floor balcony, so I climbed the spiral staircase and found a spot to sit. Wendy Wallenberg was busy setting  up the snack and wine table in the next room. She signaled me from the entry gesturing to let me know I didn’t greet her properly.  Paintings by Christie Miga were on display and a large painting with 3D objects sticking out of it was right next to me. I stood and leaned against the wall overlooking the railing as I sketched. I was afraid that I might nudge Christies painting as I struggled with my sketch, sending the painting toppling down hitting audience members below. I don’t know why I always imagine the worst. Nothing horrible happened. Instead I experienced beautiful music in an intimate setting.

Ghost in the Machine

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Timothy Stulman the president of Central Florida Composers Forum invited me  to be part of a concert on November 10. I suggested I could do a digital sketch live of the performers and project it during the performance at the White House November 10th. I figured that a sketch being created with the hand unseen would tie in well with the Ghost in the Machine title. I arrived early to set up. Timothy greeted Terry and myself at the door. He had a square three foot white canvas on the stage with an easel. The problem was there were computers and sound mixers in the way of the projector. I wanted the projection to be bigger, so I took the tablet and projector to the second floor. The projected image filled the ceiling. The color would be a bit off, but the audience could see themselves and the performers appear on the ceiling from this God’s eye view. At one point I panicked because I couldn’t find the brushes window. In the digital world, things always seem to crash or disappear into the ether. I tend to work slower digitally since I’m constantly trying to find windows and tools. Too much time is spent searching instead of sketching. At least in the real world, I can leave a brush in my lap and I’ll know where to find it. I felt I ran out of time before I was done, then again, that is why it is a sketch. Of course it will always be fun to brag that I’ve drawn at the White House.

All compositions in the concert contained an electronic element, ranging from interactive computer patches, to surround sound, to recorded ambient noises. One composition was affected by people’s tweets which scrolled across the top of the flat screen TV. I couldn’t help but be reminded of Brian Feldman‘s performances of TXT. People laughed at the tweets as they scrolled. One read, “This is my first tweet, ever!” The concert featured several premieres, including Charles Griffin’s Enfold Us Beneath Open Wings, John Alvarez’s Fermions and Gauge Bosons, and a new work by Thomas Owen. Other featured composers are Thad Anderson, Keith Lay, and Timothy Stulman. The concert also featured the talents of vocalist Michelle Amato and Julie Bateman, saxophonist Timothy Rosenberg, and percussionist Nick Strange.

The concert was part of the Accidental Music Festival, and was free and open to the public. As is the White House tradition, audience members were encouraged to bring a beverage or snack to enjoy before or after the concert. After the concert, several people asked me what software I had used, as if it was the machine that had created the image.

Melinda Wagner

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Composer, Melinda Wagner, gave a talk about her music and creative process at the Timucua White House (2000  South Summerlin Avenue, Orlando). She won the 1999 Pulitzer Prize for music. Her laptop was open so she could play her compositions for us. Besides composing music she is also a house wife in New Jersey. The other house wives don’t really understand what she does. When Melinda explained to one woman that she was a composer, the woman responded, “I thought all the composers were dead.”

Melinda explained that anytime she starts a composition, there is a period of angst and worry where the music is in absolute chaos. Then the piece reaches a stage where she realized it is all going to fall into place. Then she can relax and enjoy the process. When she played her music for us, she closed her eyes and listened. She explained that an artist’s roll is to take risks for the sake of beauty. She is listening and looking for a piece with heart. As she said, “Music offers composers an immeasurably rich and
generous sonic landscape in which to explore the ‘life story’ of each
musical idea — its dramas, intrigues, joys and sorrows — a life. I
strive to find various and persuasive ways of moving through the
resulting temporal narrative, and to traverse a wide spectrum of
expression and color on the way. Ultimately, I want listeners to know me; I want them to hear that while I enjoy the cerebral exercise, I am led principally by my ear, and by my heart.”