November 2020

'A MOVEABLE FEAST' IN HOME DÉCOR RAPID RIVER MAGAZINE’S A R T S & C U LT U R E RAPIDRIVERMAGAZINE.COM November 2020 • Vol. 24, Number 3 Celebrating Our 24th Year Publishing THE OLDEST AND MOST to READ ARTS & CULTURE MAGAZINE IN WNC

GALLERY AND STUDIOS OPEN! FRIDAY THROUGH MONDAY 11am-5pm VISIT US DURING STROLL Saturday-Sunday, November 14-15 Check our website for new opening updates Also open by appointment through our website We are following CDC and Buncombe County guidelines. Face coverings are required. a clay community of 40+ working artists 238 Clingman Avenue • 828-505-8707 odysseycoopgallery.com 2 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

This November “Opening Up to Art” a multi-member show Nov 1-30 NOW OPEN Thursday - Sunday noon-5pm

On The Cover • November 2020 9 RAPID RIVER MAGAZINE Ceramic Sculpture \"The Three Amigos\" by, Libba Tracy A Moveable Feast PUBLISHER/LAYOUT AND DESIGN/EDITOR \"But sometimes when I was starting a new story, and I Dennis Ray could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of RAPID RIVER MEDIA the flame and watch the sputter of blue that they made. 85 N. Main St. Canton, NC 28716 I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before, and EMAIL you will write now. All you have to do is write one true [email protected] sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on PHONE from there.\" (828) 712-4752 • (office) 828-646-0071 — Ernest Hemingway, A Moveable Feast ADVERTISING SALES Dennis Ray (828) 712-4752 All Materials contained herein are owned and copyrighted © by Rapid River Media and Rapid River’s Arts & Culture Magazine and the individual contributors unless otherwise stated. Opinions expressed in this magazine do not necessarily reflect the opinions of Rapid River Media, this publication, or the advertisers herein. © Rapid River’s Arts & Culture Magazine November 2020 • Vol. 24, No.3

NOVEMBER ART TABLE OF CONTENTS 9 60 Odyssey Gallery serves up a PASTEL: What it is and what it Moveable Feast is not by Deborah Squire 26 64 Anne Allen examines flora in a Trackside Studios: Art Moves feast of color 39 70 \"Networks 2\" Asheville \"A Moveable Feast” RAD art by Printmakers' Group Show Catherine Cervas Heaton 43 73 New Show \"Extraordinary \"Opening Up to Art\" at Finds and Times\" at the Asheville Gallery of Art Red House Gallery in Black Mountain 78DEPARTMENTS: BOOKS • 46 HEALTH • POLITICS • ZEN • MORE New Challenges, New Opportunities with art classes 80 53 Remembering John Cram Shop American Handmade December 2020 Art Theme is this November at Grovewood “Youthfull Expressions\" Deadline is November 19. Gallery VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 5

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“The Kite” Acrylic, 20x20“ Cheryl Keefer Fine Art Newest paintings! Please sign up for my monthly newsletter www.cherylkeefer.com/email-newsletter (828) 450-1104 • www.CherylKeefer.com



COVER GALLERY INTERVIEW with BETH BOND of ODYSSEY GALLERY Ceramic arts / crafts Odyssey Co-op Gallery showroom. Open and welcoming to visitors. Odyssey Co-op Gallery odysseycoopgallery.com VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 9

RRM Exclusive Interview One-on-One By Dennis Ray Odyssey Gallery serves up a Moveable Feast Functional and creative ceramics to feast your eyes upon this November Beth Bond, “Flock of Birds Mugs” \"The showroom is curated by the Co-op's display committee that is composed of members of the Co-op. All 25 members are represented and are given an equal amount of display space based on the works' dimensions.,\" —Beth Bond O dyssey Co-op Gallery has both the home items, such as lamps, mirrors, We also have artists who combine functional pottery as well as and wall hangings. We have artists who sculptural components into their ceramic art. Tell us a little about the make functional ware that can be used functional wares. types and styles of work available. daily, like mugs, bowls, and sushi trays. The common thread between us all BB: The gallery features 25 different The sculptors in the gallery each have is that we all work in clay. The gallery is artists, each with their voice in what their unique style, and viewers can an incredible place to see the variety of they make. We have artists who make find figurative realism, whimsical, and directions the medium can lend itself to. contemporary works of sculpture.

BlueFire MacMahon “Owl Person INTERVIEW with BETH BOND of ODYSSEY GALLERY and the Nesting Beauty Birds” VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 11

Anna Koloseike, “Still in the Game”INTERVIEW with BETH BOND of ODYSSEY GALLERY Trish Salmon, “Contemplating a New Beginning” 12 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

Trish Salmon “Earthskin Bowl” INTERVIEW with BETH BOND of ODYSSEY GALLERY RRM: Your gallery is beautiful. On location on Riverside Drive. Later, it open-air feeling inside the gallery. the warm days, it can open up and was converted into a gallery space, is quite inviting. What is the history and five years ago, the Co-op was RRM: What is the difference between behind this building, and how did offered the opportunity to rent the fine art and craft pottery? such a unique design for a showroom space. come about? BB: Fine art is considered work that The storage bay's large garage is created to express emotion and BB: The gallery used to be a storage doors remain and are left open philosophical ideas that give the bay for Highwater Clays before when the weather is agreeable. Our viewer something to contemplate. the company moved to its current visitors often comment on how Craft is created through a means lovely it is to have an expansive VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 13

INTERVIEW with BETH BOND of ODYSSEY GALLERY Reiko Myagi \"Rabbit Moon Plate\" of tradition, using tools and with combines the concept of fine art represented, and what determines function in mind. The crossover atop the surface of functional, which pieces are shown? from fine art to craft has been and utilitarian objects. continues to be widely debated. In BB: The showroom is curated by the the Odyssey Cooperative Gallery, RRM: How is your showroom Co-op's display committee that is one can view ceramic work that curated? Are all 25 artists' work composed of members of the Co- 14 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

op. All 25 members are represented and are given an INTERVIEW with BETH BOND of ODYSSEY GALLERY equal amount of display space based on the works' dimensions. Each artist chooses their work to be displayed, and the display committee curates the show. The gallery displays change every 1-2 months, depending on the time of year, so the work and the displays are continually being refreshed. This makes the gallery a joy to come back to because there is always something new to see. Before the pandemic, the Co-op would feature three artists per month. Each featured artist would be given a larger area to display their work. The featured artist's month would be selected at random, and each member would be allowed to showcase more work. RRM: Tell us about your visitors and their experience with the gallery during COVID-19, and what visitors can come to expect as the temperature drops and winter moves in. BB: Visitors have appreciated the fact that our gallery is open and that we are practicing standard safety guidelines. Our large garage door and smaller glass door are kept open to allow proper airflow, masks are required, and a 6-foot distance is expected when viewing the gallery's work. We have installed plexiglass at the sales counter as a physical barrier to protect our workers and our customers who purchase items. There is a hand sanitizer at the checkout counter and beautiful handmade masks for sale. The restrooms are not available for public use at this time. As the weather gets colder, safety will continue to be our top priority for the Co-op members and our visitors. Any changes made to our hours and our safety procedures will be based upon the virus's status and the then recommended guidelines. It has been a challenging past seven months for Vivian Saich “Sculpted Porcelain Tiles” VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 15

INTERVIEW with BETH BOND of ODYSSEY GALLERY Libba Tracy “Rabbit Contemplating the Radish” 16 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

many local businesses and area artists. Laura Peery “Bloomer” INTERVIEW with BETH BOND of ODYSSEY GALLERY I would imagine the transition from full- Yellow Teapot time to being shut-down to reopening with adjusted hours had to be extremely Nick Lafone “Saggar-Fired Lidded Jar” hard on everyone. RRM: Tell us a little about this experience and how Odyssey Co-op Gallery handled all of this considering this is a co-op with 25 artists. The sudden closure in March was indeed a hit to our business as it was to all businesses. As a Co-op, we met and waited during the time out and had a plan set for when we would be able to reopen. Before the pandemic, each member would work 2-3 shifts per month, which kept our doors open full time. In June, we reopened with limited hours and created policies and procedures based on the CDC's recommendations that serve to keep our members and visitors as safe as possible. We have been operating with only 12 members who are comfortable with working in public. We started with limited hours and have since been able to increase our days open because a few more people have been willing to work. We are currently open from 11-5 pm on Friday, Saturday, Sunday, and Monday. RRM: What are your plans moving forward regarding hours and days open, and do you see any changes in these times before next spring? BB: We will remain open for as many days as our members are willing to work, and we can assure that we can VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 17

Libba TracyINTERVIEW with BETH BOND of ODYSSEY GALLERY “Goose with the Golden Egg” 18 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

Cat Jarosz “Stoneware Olive Oil w/ INTERVIEW with BETH BOND of ODYSSEY GALLERY Saucer Set” Anne Jerman “Ramen Bowls” maintain a safe indoor environment move forward. more online, or will you mainly keep it in the colder weather. As for any as an in-person gallery? specific timelines, we don't have a RRM: I love shopping locally for the definite answer at this time; however, holidays, and I love to do it online. BB: We have been working out we hope to increase our hours as we Will Odyssey Co-op Gallery be moving the logistics of having a more VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 19

INTERVIEW with BETH BOND of ODYSSEY GALLERY Anne Jerman, spread of different pieces substantial online presence. they can contact the gallery either adapt our online presence, we will Currently, we have our website, by calling the gallery during the open post our website's announcements www.odysseycoopgallery.com, and hours (828) 505-8707 or by writing and social media platforms' changes. people can follow us on social media to us through our website. We will platforms such as Instagram and connect the customer directly to the RRM: The fall-time studio stroll is Facebook. If people would like to artist to arrange a meeting or have coming up Saturday and Sunday, purchase something they see online, the work shipped. Once we further November 14-15, 10-5 pm both days. 20 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

MaryJane Findley “From Earth INTERVIEW with BETH BOND of ODYSSEY GALLERY to Sky” (Vase), “Blooming Bowl” (bowl) VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 21

INTERVIEW with BETH BOND of ODYSSEY GALLERY Denise Baker “Marbleous Pasta Dishes and Mug” Tell us what Odyssey Co-op Gallery safe mask-wearing, and with the past spring and summer had been will be offering that weekend. beautiful summer and autumn we've canceled. It is a beautiful time of year so far had? to visit Asheville. BB: We will be open for Studio Stroll with a new display up for November. BB: We have had busy weekends, www.odysseycoopgallery.com We will have impressive displays of but it is a bit quieter on weekdays. 238 Clingman Ave Ext, work from Co-op members and non- Because of the limited hours, sales Co-op artists in addition to the work are not quite back to \"normal.\" Asheville(828)-505-8707 of many other artists who have studio Facebook: Odyssey Co-op Gallery- space at Odyssey. Our customers are compliant with the safety standards that we are Ceramic Art RRM: Have sales gotten back to requiring. We presume that visitors Instagram: @odysseycoopgallery normal now that people are practicing are coming to Asheville because vacations planned for over the 22 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

Beth Bond, “Brightly Colored Box”INTERVIEW with BETH BOND of ODYSSEY GALLERY Anna Koloseike “Chrysalis” Laura Peery “Sanctuary” VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 23

Sahar Fakhoury Fine Art Works by Sahar Fakhoury can be seen at: Asheville Gallery of Art 82 Pattion Ave., downtown Asheville Trackside Studios 375 Depot St., River Arts District, Asheville Figurative • Still Life • Landscape



RRM Exclusive Interview One-on-One By Dennis Ray Anne Allen examines flora in a feast of color Pastel art transfixes the beauty and elegance of our natural world (Detail) \"Sanctuary,\" 19 x 15 inches, pastel \"I find joy in painting trees. Like sentinels, the canopy of a tree is sheltering. The tree is full of symbolism for many people, including me. A grove of trees in Celtic circles is sacred, like a sanctuary.\" — Anne Allen T ell a little about yourself and why garden from my studio window, the feelings AA: I love to draw. Pastel is a dry medium you have chosen pastel as your are the same. Gardens are the \"here and now\" consisting of pure pigment and a binder. primary medium. for me. Gardens teach me to be present. Formed into various shapes and degrees of Painting allows me to record the interludes. hardness, pastel allows me to draw, paint, or AA: I am a painter and a gardener. combine both in my artworks. With a single Garden spaces have always been my muse. RRM: What is it about pastel that made stroke of a pastel stick, the small crystals of Whether I am walking the pathways in a you chose soft pastel as your primary pigment catch light. Layers of color often historic public garden or overlooking the rock medium? glow. It's musical.

\"Seasons are to Bridge,\" Ukiyo-e, INTERVIEW with ANNE ALLEN 12 x 9 inches, pastel Ukiyo-e Ukiyo-e is a Japanese art genre that flourished from the seventeenth through nineteenth centuries in Edo, the city we now call Tokyo. The life of the artist Hiroshige spans the last years of the Edo period. His work provides one of the most engaging records of the city – a treasury of several thousand images, in which he explores the life and landscape of Japan and its diverse people. The artworks are set against the background of Japanese philosophy, history, and poetry. The term Ukiyo-e translates as pictures of the floating world. To read more about the Japanese woodblock print history, read The Floating World of Edo, Hiroshige in Tokyo, a book by Julian Bicknell, published by Pomegranate Artbooks. RRM: What about genres? Do you AA: The landscape is my first love as a painting. The red cliffs, rendered in see your paintings as a collection of pastel painter. In Abiquiu, New Mexico, pastel, are all about fire. Over several images or compilations? I discovered the dry pigment of pastel summers, I spent three weeks in the matches my emotion for landscape high desert at Ghost Ranch. It is an VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 27

IINTERVIEW with ANNE ALLEN \"Japanese Water Garden,\" detail, 8 x 8 inches, pastel 28 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

artist's retreat and conference center in INTERVIEW with ANNE ALLEN northern New Mexico. I joined a group of spirited painters with each visit, carrying wooden easels into the desert, exploring the Southwest landscape's rock formations and flora. Today, I find joy in painting trees. Like benevolent sentinels, the canopy of a tree is sheltering. The tree is full of symbolism for many people, including me. A grove of trees in Celtic circles is sacred, like a sanctuary. I like to think that I can communicate that sense of place when I paint a tree. Several of my trees are now in private collections. A treasured tree painting of mine is Deep Calling, inspired by the woods around me in Western North Carolina. I believe it is my mark-making with pastel that makes a tree sing. The miniature 6 x 6-inch painting was juried into the Southeastern Pastel Society 18th Annual International Exhibition (2017) in the Oglethorpe Museum of Art, Atlanta, GA. Deep Calling is now in a private collection in Asheville. And then there is Sanctuary, a 20 x 16-inch pastel, which is the largest tree painting in the collection. I love using staccato strokes to paint the canopy of a tree. I finish each picture using a stick of pastel, twisting and turning the pastel in different directions, as if I am using a piece of charcoal. \"Moved by Music,\" 8 x 5 inches, pastel  (part of the Poetry and Pastel Collection) Blossoms at night,  and the faces of people moved by music. — Haiku by Yosa Buson, a poet and painter VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 29

IINTERVIEW with ANNE ALLEN \"La Primavera, The Four Seasons,\" 27 x 21 inches, pastel 30 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

RRM: You say you are also a gardener. Do \"Waterfalls Fresh Bath,\" you ever use flowers from your garden in a 9 x 4 inches, pastel  painting? (part of the Poetry and Pastel Collection) AA: Yes, I love arranging flowers from the garden and placing the cuttings in unusual INTERVIEW with ANNE ALLEN vases. An antique moon glass vase was given to me in memory of a woman who loved flowers. I have painted several arrangements in that opalescent vase. Another source of inspiration is a visit to see the fresh flower arrangements placed throughout the historic Biltmore Estate manor home. It is a still-life painter's dream! RRM: You have mentioned painters like Vincent van Gogh has influenced your art. Tell us more. AA: The art of Vincent van Gogh, Raoul Dufy, and Joaquin Sorolla influence the way I think about art. Post-Impressionist artist Vincent van Gogh (1853-1890) used color to express emotion powerfully. His drive for using immense color and painting radiant landscapes resonates with me. An untold story about Van Gogh is his fascination with Japanese art. Arriving in Paris in the middle of the nineteenth century, Japanese art significantly impacted artists like Van Gogh, Monet, and Degas. Van Gogh collected 660 colorful Japanese woodblock prints during his brief lifetime. The imagery from Japanese art added an exciting and colorful direction to his work. I relish seeing how he crops the image of a tree, like the tight compositions seen in master woodblock prints. French Fauvist painter Raoul Dufy (1877-1953) had an undeniable brushstroke, almost lyrical. Painting hydrangeas in the spirit of Dufy is captured in my La Primavera, a still life pastel based on the music of Antonio Vivaldi's The VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 31

IIINTERVIEW with ANNE ALLEN \"Sanctuary\" 20 x 16 inches, pastel 32 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

\"My Floating World\" 4 x 3 inches, pastel (Part of the Pastel and Poetry Collection) \"Kenilworth Garden\" 12 x 12 inches, pastel INTERVIEW with ANNE ALLEN Four Seasons. next to his easel. The artwork measures by studying the art of the Japanese Master of color and light is Joaquin 59 x 88 inches. woodblock print. Sorolla (1863-1923). The pioneer of RRM: This summer, you began Since the virus precautions kept me Spanish Impressionism is known for studying Japanese woodblock prints. distanced from face-to-face classroom colorfully painted gardens, country Talk a little more about Japanese art studies, I connected with the Kline estates, and Spanish architecture. and why it speaks to you. Academy of Fine Art in Los Angeles, My favorite Sorolla oil painting is a CA. I enrolled in The Artist's Workshop, monumental portrait of Louis Comfort AA: I've discovered new imagery in a weekly zoom-based classroom with Tiffany. The picture shows Tiffany holding my pastel paintings. It is revealed founder and owner, Cheryl Kline. a palette and sitting in a splendid garden Following a presentation on the VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 33

IINTERVIEW with ANNE ALLEN \"Reverie,\" inspired by French composer Claude Debussy, father of music Impressionism 8 x 6 inches, pastel 34 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

\"Dancing in Sun,\" 7 x 5 inches, pastel   (part of the Poetry and Pastel Collection) symbolism in art, Cheryl asked me why I INTERVIEW with ANNE ALLEN thought Japanese imagery appeared in my artworks. Cheryl queried, \"What is your story as an artist? What are you trying to communicate with your art?\" The prompt was powerful. Poetic Japanese-inspired landscape painting using pastel was waiting to be defined. It was \"sheltering in place\" that gave me the space to read about the history, culture, and traditions of Japan. I learned it is beautifully preserved in the old woodblock print. Best known is the art of Ukiyo-e. These colorful prints and illustrations flourished in seventeenth-century Edo as Tokyo was called. Ukiyo-e prints were often paired with poetry and sometimes called Haiku paintings. I read about impermanence. In Japan, artists and printmakers were illustrating the \"here and now.\" I am learning to use the dry pigments of pastel, alcohol, and a natural bristle fan brush to interpret miniature landscapes in the style of master printmaker Utagawa Hiroshige. I layer pastel pigment over an underpainting made with dark pastel pigment and an alcohol wash. The small artworks are framed under glass to preserve the pastel. RRM: You have a new collection of pastel paintings, which you call Haiku: Poetry and Pastel. Tell us more about this new body of work. AA: This new collection of artworks is called Haiku: Poetry and Pastel. Paired with poetry, Japanese prints were often presented as gifts. It is the perfect pairing. First in the series is My Floating World, Four Variations. I painted four miniature pastels, each measuring 4 x 3 inches, mounting the artworks horizontally in a VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 35

\"Deep Calling,\" 6 x 6 inches, pastel, in a private collection IINTERVIEW with ANNE ALLEN single cream-colored silk mat, and framed and painter of the seventeenth century. \"Blossoms at night, them as one piece. Each petite landscape and the faces of people uses a different color palette to illustrate Standing with her French half-box easel, Anne Allen moved by music.\" the Japanese black pine, wisteria, a paints trees footsteps from her studio window. — Haiku by Yosa Buson, a poet and bridge, and a water feature. One includes painter rain, also seen in delicate Ukiyo-e prints. I decided that each artwork in the A favorite artwork in the collection is collection will be paired with a haiku. my Moved by Music, a poetic moonscape paired with a haiku by Yosa Buson, a poet 36 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

The group is displayed at BlackBird Frame & Art in Asheville. The source material for Haiku, Poetry, and Pastel, is gathered from visits to Japanese Portland Garden, Oregon. I have also spent time in the Japanese- themed garden at The Huntington Botanical Gardens, California; a Japanese water garden at Gibbs Garden, Georgia; and Butchart Garden in Victoria, British Columbia. Rarely without a camera, I photograph the gardens I encounter for studio painting. RRM: Tell us more about yourself and where collectors can see your artwork. AA: After satisfying careers in marketing and arts \"Every Leaf is a Flower,\" 7 x 5 inches. pastel INTERVIEW with ANNE ALLEN administration, I relocated from Southwest Florida and focused my energies on the fine arts of Western Anne Allen North Carolina. I study painting, show my pastel anneallenart.com paintings in Asheville, and teach in my studio. Each For additional information or to arrange an appointment in the session, I learn that teaching challenges the student and teacher. It is all about framing an encounter with gallery, contact art that instructs. [email protected] Volunteerism is essential to me. I serve on the Appalachian Pastel Society board, a regional arts organization with 170 members, and chair APS non- juried group exhibitions. Memberships also include the International Association of Pastel Societies and Southeastern Pastel Society. My paintings have been juried in group exhibitions in Florida, Georgia, and North Carolina. Selected works are displayed at BlackBird Frame & Art, an independent framer and art source located at 365 Merrimon Avenue, Asheville, and 310ART, a contemporary fine arts gallery and teaching venue featuring the works of 27 local artists, located at 191 Lyman Street in Asheville's River Arts District. Each gallery has enabled me to grow as an artist and participate in the arts and culture of Western North Carolina. Artists reinvent their work when they journey forward. Remembering to pause and to ask \"how and why I paint\" enables me to reach beyond my grasp. VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 37



ART SHOW Prints \"Networks 2\" Asheville Printmakers' Group Show November – December and discuss insights into their work. Unfortunately, this is not a typical (Due to pandemic, there will be no public year, so for the viewers' benefit, each piece on display will be accompanied Artists' Reception) by a statement of the artist's intent and the media and techniques T hrough November and Untitled Monoprint by Dave Ladendorf employed in the process. BLACKBIRD FRAME & ART December, BlackBird Frame & Art will present work by members As noted above, the prints will Asheville Printmakers was formed of Asheville Printmakers, a group be displayed unframed. They are in 2014 to encourage printmaking of local artists expressing their made on paper or other non-rigid in the arts community and share ideas through various print media. material; prints are usually framed experiences among members. Networks 2 reprises a 2019 show for protection from the elements The group has adopted a broad inspired by a TED Radio Hour and presentation in a viewable definition of the print to include podcast examining the networks format. These unframed prints will most work in which artists are surrounding and sustaining us. As in be shown alongside a small selection engaged hands-on in producing the original show, artists have used of frames to illustrate the effect a their work. Thus, members employ a range of printmaking techniques frame and mat will have on the final various relief and intaglio methods to explore the connections between presentation. As tastes vary, there such as woodblocks, linocuts, nature, technology, the human is no single \"correct\" way to frame a engravings, etchings, collographs, body, relationships, and the digital print, although there are important and photogravure, monotypes, and ecosystem. The group has chosen considerations to ensure long-term alternative photographic printing to limit print sizes to a 12\" x 12\" preservation. The ability to \"try out\" processes. Asheville Printmakers is format for Networks 2, and as with each print in the context of different an open group – interested artists past Asheville Printmakers shows at frame designs has proven in past are encouraged to explore and BlackBird, the prints will be displayed shows to be an exciting exercise for contact them through their website, unframed. experienced and new collectors alike. ashevilleprintmakers.org. These are original prints, typically small editions made from a single Typically, an artists' reception at BlackBird Frame & Art is a custom printing plate distinguished from the beginning of the show would framing studio that features fine art prints such as giclee and offset allow an opportunity to meet artists lithography that are reproductions of prints. 365 Merrimon Ave, ¾ mile a single original work. For many art north of downtown Asheville. collectors, the most appealing aspects of original prints are their relative 10-6pm weekdays, and 10-3pm, affordability and the intimate viewing Saturdays. If you would like more experience. The artist and printer (often the same) are challenged information about this topic to use specialized skills, inventive (828) 225-3117 or go to techniques, and multiple processes to blackbirdframe.com. achieve the desired artistic outcome. VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 39

November - December Weekdays 10-6 Saturdays 10-3 Untitled Monoprint by Dave Ladendorf 828-225-3117 BlackBirdFrame.com





BLACK MOUNTAIN ART SWANNANOA VALLEY FINE ARTS LEAGUE Fine Art \"Cracked Shell\" by Alexandra Bloch 8 x 10 inches, oil — $350 New Show \"Extraordinary Finds and Times\" at the Red House Gallery in Black Mountain T reat yourself to a day filled with beauty. You may visit the heart of SVFAL, tour working studios, and enjoy gallery exhibits at THE RED HOUSE. They offer painting, sculpture, photography, ceramics, fiber art, jewelry, and prints & cards. VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 43

SWANNANOA VALLEY FINE ARTS LEAGUE The Swannanoa Valley Fine Arts League, at the Red House Studios and Gallery, is pleased to announce their new exhibit: \"Extraordinary Finds and Times.\" Artists have been letting their imaginations run wild while quarantining, so watch out. This show is extra special. You will find holiday-friendly items, small artworks easy and affordable to give as gifts, and unique holiday ornaments, as well as a variety of other things. The show opened October 30 and runs through January 31, 2021. There will be no opening reception. Please visit the Red House any Friday, Saturday, or Sunday from 11-4 pm or go to their website to view the virtual show and shop online. They look forward to sharing their extraordinary finds with you. \"Miami Beach\" by Lisa Steffens 18 x 23 inches, Monotype — $450 44 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

\"Red-Eyed Tree Frog\" by Tina Kannapel SWANNANOA VALLEY FINE ARTS LEAGUE 15 x 12.5 inches, colored pencil — $450 \"Shades of Blue\" by Ruth Duckworth THE RED HOUSE STUDIOS & GALLERY Hand felted merino hat — $95 next to the MONTE VISTA HOTEL on US HWY 70 310 West State Street, Black Mountain (Two Blocks west of Cherry St) The gallery is open Friday, Saturday, and Sunday 11-4 pm. (828) 669-0351 svfalarts.org VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 45

310 ART Art Classes Online \"Birds\" by Miriam Hughes, gouacheresist, zoom class on Nov 20 New Challenges, New Opportunities with art classes | By Fleta Monaghan A s we approach the winter who learn art methods. As Benjamin reach more students potentially; season of this most unusual Franklin said, \"Out of adversity anyone anywhere can register and year, we can reflect and look comes opportunity.\" participate. It's another form of forward to new creative ways. connection that crosses all types of None of us anticipated this One way we have been able to borders. year's events, and taking an artist's stay connected is through new approach to challenges can always teaching and learning \"portals.\" Who would have thought we could keep our problem-solving abilities While teaching halted so suddenly be sharing a \"virtual\" classroom honed. in the classroom, the teaching with people from states all over the After all, that is what artmaking is artists scrambled around learning country and from other countries all about – Facing and tackling new new technology in a crash course of too!! challenges. We have found new necessity. As Artist/Master teacher ways to connect as artists and those Peter Roux tells us, \"Teaching Miriam Hughes elaborates on her online in live classes allows me to experiences: \"Seven months into the COVID 46 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

\"FIelds and F oothills\" by Miriam Hughes, watercolor Nov 6 class Challenge doing the same 310 ART GALLERY old thing in a new way, I am thrilled I did not succumb to the panic of not knowing what to do next. While it took several intense weeks of learning new technology, trying out new equipment (and returning a lot that was wrong for my use), this past week, as I was setting up for a class online, I realized it took me ten minutes and no nerves. Six months ago, it was at least an hour and a half of fussing about, making sure everything is running correctly and days of nerves hoping I would convey the same concepts giving participants the same quality of learning they were used to getting live. The live online workshops have been successful, and I love the focused time I can offer the participants. While class sizes vary, I can interact with every person, give feedback, and encourage active participation. Not only do I attract a lot of repeat students who crave more, but the variety of participants from around the states is fantastic. I see smaller interactions amongst the participants, drawn together online, making plans to meet locally or travel to meet once COVID allows it. Not only have I had the time to continue to pursue my creative direction, but I have been allowed, through this adversity, to recreate how I teach and how VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 47

I can still engage in the world of art and idea exchanges I thrive on. I feel enormously fortunate to be part of a group of artists, brought together at 310ART, who are challenging ourselves to reach out, learn new technology and patience, and keep thriving despite COVID.\" We are all learning. We can face unexpected challenges, continue artmaking and learning, and adjusting to circumstances as they change. That is at the essence of artmaking, too – adapting, learning, inventing new methods, solving problems, supporting one another, and staying positive. 310 ART live interactive zoom classes will continue through 2021. See current listings at 310art.com and watch for some in-person classes resumption, redesigned to conform to all safety protocols. See our web site for currently limited gallery hours and join us for the Studio Stroll Nov 14th and 15th. Masks required, of course! 310 ART GALLERY \"Three in a corner\" by Peter Roux, his class is on Nov 18 310 ART is opened Saturday from 11-4 pm for gallery visits and by appointment. Riverview Station, 191 Lyman St #310, Asheville. Email [email protected] for appointment arrangements and see our online gallery here 310art.com/contact 48 |RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | VOL. 24, NO.3 — NOVEMBER 2020

\"Angel Cat\" Paint your pet class Nov. 10 310 ART GALLERY VOL. 24, NO. 3 — NOVEMBER 2020 | RAPIDRIVERMAGAZINE.COM | RAPID RIVER’S ARTS & CULTURE | 49