We are delighted to be exhibiting a solo presentation of Kendra Frorup's most recent artworks.
A Bahamian artist that lives and works in Tampa, Florida, Kendra Frorup works primarily in sculpture and print-making. She is inspired by her sensory memories of home, The Bahamas, and refers to these familiar sounds, tastes and smells within her works. Tamarind fruit cast in bronze, resin sugar-apples and ceramic coconuts are layered on top of screen-prints and mono-prints of roosters, chickens, straw-baskets and local architecture. Each work can be compared to the experience of walking down a busy side-street in Nassau or an out-island; the artwork is an assemblage of this sensory experience into a physical object.
The title 'Tingsy', a Bahamian colloquialism to describe a person as materialistic, makes light of Frorup's prolific creation and layering of objects and material. Drawing from her interest in print-making, a process that allows an artist to create a continuous series from a single image, Frorup's motifs and objects repeat, layer and overlap seemingly endlessly. The audience may wonder where one work begins and another ends. Objects are added to objects even as the work is being hung for exhibition, Frorup's practice has no full-stop, but is dynamic, moving and experimental, beautifully oblivious to the finality of exhibition.
RED RAIN is a selection of paintings from the collection, bringing together artworks from different decades, countries and of course artists to hang side-by-side. This exhibition gives an intimate view into the journey of a collector and is a visual feast!
The D'Aguilar Art Foundation is delighted to host a fundraising party and art market. The proceeds of which will assist our incredible colleague, Letitia Pratt, to attend School of Art Institute of Chicago to study for her MFA in writing.
The exhibition will act like an art-market featuring artworks to purchase by Rashad Adderly, Melissa Alcena, Delton Barrett, Richardo Barrett, Margot Bethel, Nadia Campbell, June Collie, John Cox, Sonia Farmer, Blake Fox, Kendal Hanna, Lynn Parotti, Alessandro Sarno, Heino Schmid, Natascha Vazquez, Allan Wallace, Natalie Willis, Sofia Whitehead, Tessa Whitehead.
The D’Aguilar Art Foundation is pleased to present ‘The Likeness of Being’, an exhibition featuring the portraiture of five Bahamian artists: Keith Thompson, Kachelle Knowles, Gio Swaby, Spurgeonique Morley, and Allan Wallace. Each of their works explore the themes of preserving the body – specifically the black body – as it navigates the natural and social environments around them.
These deeply personal works all explore the artists’ individual experiences - whether it be in the Bahamian environment as a black man from a particular part of Nassau, or the Canadian environment as a black Bahamian woman – and celebrates the self in response to the people and places around them. Incorporating realism and folklore, these works present the artist’s different perspectives of self, and the unique and vibrant ways they view their individuality.
With Kachelle Knowles’ portraits, she celebrates the black male body: depicted in delicate pencil-marks, and adorned with meticulous colour and pattern, Knowles’s portraits dispel the archetype of the aggressive, sexualized black male, while inquiring into the complexity of identity and stereotype.
Keith Thompson’s series of portraits are inspired by his own experiences growing up around crime and gang culture. Entitled “Fear”, these photo-realistic self-portraits as a man being detained by a Bahamian police officer exercises his own dread of easily falling into criminality. These portraits acknowledge that his image as a black male subjects him to these expectations -- and with delicate gouache strokes, his own vulnerability and humanness are pronounced, countering the harsh perspective in which society views him.
Celebrating the sewing tradition passed down through her matriarchal lineage, Gio Swaby’s self-portraits are sewn, not drawn. She collages fabric, canvas and thread to create silhouettes of her clothed and unclothed body, distinguishable only by her signature afro hairstyle. These works are a homage to the quietness of a woman’s routine: the delicacy of self-care, the sewing of clothes, and the artistry of creating love for oneself in a foreign space. As a Bahamian living in Western Canada, Swaby’s work grapples with experiencing her blackness in a landscape that perceives her as “the other”.
Allan Wallace will create a mural that incorporates the hanging vines on the south facing wall outside of the gallery. His three portraits will suggest that the vines are towering afros. Working in an instinctive and easy manner, Wallace creates beautiful portraits from his imagination.
Spurgeonique Morley is exhibiting six paintings of a black female in lingerie inspired by a connection she made through instagram. Mimicking the instagram-selfie in which the subject can be unapologetically sensual and vulnerable, Morley creates work that explores the sexual and egotistical side of the female self. With Mermaid scales bedazzling the skin and curly blue hair, Morley’s subject becomes a creature of folklore. She pairs inspirational quotes with these aspirational portraits , a technique originating from advertising. Is she advertising herself, or is she telling her own story? Perhaps it is a combination of the two.
About the Artists:
Kachelle Knowles is a contemporary artist who explores the ideas of gender identity, cultural preservation/ production, and social relations within the black community. She received her bachelor’s degree in illustration at Emily Carr University of Art and Design in Vancouver, Canada. She is currently working as a practicing artist in Nassau, The Bahamas.
Keith Thompson is currently pursuing his AA in fine art at the University of The Bahamas. It was there where he started his profession as a full-time artist in the genres of painting, sculptor, digital art, illustration and ceramics. Through his opportunities at U.B, he has participated in numerous private and open call exhibitions. Thompson has made artwork for numerous businesses, homes, and churches.
Gio Swaby is a mixed media artist whose practice encompasses installation, textiles, collage, performance, and video. Swaby was born and raised in Nassau, The Bahamas where she obtained her Associate of Arts degree at The College of The Bahamas in 2012. In 2014, she moved to Vancouver, British Columbia to pursue a Bachelor of Fine Arts degree majoring in Film, Video and Integrated Media at Emily Carr University of Art and Design. Swaby completed the program in 2016 and is currently based in Vancouver.
Allan Pachino Wallace is a visual artist who specializes in murals and live-paintings. Wallace studied at The College of The Bahamas under the tutelage of Antonius Roberts and excelled at life-drawing, finding his niche in portrait painting. Wallace creates intricate, sometimes surrealist scenes, portraits and nudes from memory. He currently lives and works as an artist in Nassau, The Bahamas.
Spurgeonique Morley was born in Nassau, The Bahamas on the island of New Providence, and she has had a passion for art from a very young age. She graduated from The University of The Bahamas in 2017 with a Bachelor of Art Education, and she is currently an art teacher at C.H. Reeves Junior High school. Being a student and graduate from the University of The Bahamas has awarded her such great opportunities and exposure into the Art world; this is where her love of various mediums such as Ceramics and India Ink began. She has been apart of numerous exhibitions like, ‘Transforming Spaces’, ‘Issa Wybe’, Central Bank Exhibitions, and others. She is currently branching out into graphite, collage and mixed mediums.
Solo Exhibition by Lynn Parotti
A phrase used during fitness training, ‘Time Under Tension’ refers to how long a muscle is under strain during a set – referencing the stress through the mounting pain that the muscles endure to strengthen and lengthen. Lynn Parotti’s exhibition of the same name uses this phrase to bring to light the constant pressure that coral reefs endure as a result of the compounding impact of our human footprint and subsequent effects of global warming. The metaphor continues as ‘time’ is of paramount importance to the warming seas’ effect on coral.
This new series of paintings titled ‘Bahama Land’ depicts Bahamian reefs in full, exuberant color: images of a landscape that will almost certainly be lost. Created during a time when news headlines read “Major Climate Report Describes a Strong risk of Crisis as early as 2040” (7th October 2018, NY Times), Parotti’s paintings give reason to take action and protect the environment around us. Coral bleaching results in no habitat for fish and sealife, leading to no food for sustenance living in poorer communities and the eventual destruction of the food chain.
Looking to The Bahamas as her primary inspiration for this work, Parotti is particularly attuned to the vulnerability of small island states, and paints hauntingly vivid views of our seascapes that act as both love letters and epitaphs. Art Historian and curator Allison Thompson Ph.D., describes Parotti’s work as “restless landscapes”, stating that “The push and pull of oil paint, its malleable and viscous potential and heightened colour, conveys an energy which is both sensuous and unsettling, a duality which references the uncertain condition of our contemporary existence in this world, but also the potential for renewal.”
Parotti’s thick and descriptive application of oil paint depicts how it might feel to be in the ocean witnessing the distortion of the reef’s form through a series of expressive and compelling brush-marks. These alluring paintings offer spaces that envelop the viewer, affronting us with the pain of losing the crucial importance of our reefs first hand.Lynn Parotti’s TIME UNDER TENSION is an ode to the Bahamian seascape and stresses the need for environmental conservation and action on carbon emissions. Like her former series Tar Baby, Territory, Slick and Green Fuse, this new work, Bahama Land is heavy with warnings of a disappearing part of our home, ultimately encouraging reverence for a space filled with nostalgia, beauty and erosion.
A follow up exhibition, 2 DEGREES C, is scheduled for Volta NY, The Current: Baha Mar Gallery and Art Center, Booth B12, Pier 90 – Berths 3& 4 in New York (March 6-10, 2019).
Parotti’s work is currently included in two touring group exhibitions: Relational Undercurrents: Contemporary Art of the Caribbean Archipelago curated by Tatiana Flores and exhibited at the Museum of Latin American Art in California, and subsequently at the Wallach Art Gallery in New York and the Patricia and Phillip Frost Art Museum in Miami (2017-18); and in Arrivants: Art and Migration in the Anglophone Caribbean World, curated by Veerle Poupeye and Allison Thompson at the Barbados Museum 2018-19).
The D’Aguilar Art Foundation presents OVERWHELMED, a solo exhibition by Jordanna Kelly. Kelly transforms the gallery space into an immersive installation, weaving painting-assemblages together with trails of hundreds of painted paper dots. As in Kelly's last solo exhibition, Bugs, Blessings & Barriers, she uses the intricate paper pieces as individual works and also assembles and layers them to build the larger installations. The repetition and layering creates a landscape that appears both macro and micro; resembling terrariums, looking through a microscope or something more universal. Kelly's says of the works, “I wanted to create these environments – these little worlds – to be all-enrapturing, so when the viewer looks at the work, they are mesmerized by the many things that are going on. I want their eyes to bounce from patterns, to levels, to layers.”
Jordanna Kelly is a multimedia artist who uses ephemeral figurative patterns to create delicate assemblages. She won the Central Bank art competition in 2016 and she is currently the Creative Arts Studio and Gallery Manager at Baha Mar Art Studios.
The D’Aguilar Art Foundation is pleased to announce our upcoming exhibition, pARTicipate!, a show that aims to highlight the playfulness and accessibility of art. The exhibition intends to be a medium by which children (and fun adults) can learn to appreciate performative artworks of all kinds: from singing sculptures to painting you can walk into, pARTicipate! encourages its viewers to play with the artwork shown in the gallery.
The show features five prominent Bahamian artists: June Collie, John Cox, Kendra Frorup, Natascha Vazquez and Margot Bethel. Each artist created a piece of interactive artwork surrounding themes of play, folklore, and storytelling. Each piece displayed will encourage the viewer to participate physically with the artwork and become a part of the piece’s story. Here are the ways each artist does this:
Dollhouse expands June Collie’s well-known murals in an installation that is explores the internal architecture of her paintings. The piece encourages the viewer to interact with the home she has created.
Cox’s wearable sculpture Blessed Redeemer is a homage to his mother, who would use this phrase as a form of sigh. It perches on your shoulders in the same way a Junkanoo costume would, transforming the wearer into a superhero (like his mother).
Kendra Froup’s assemblages of beading, straw work and prints responds to your movement with sound and light. She draws from a multi-media practice that explores the iconography of Caribbean Life.
Vazquez’s six paintings all explore the story of the Lusca, a monster resembling an octopus that resides in blue holes around the Bahamas, in bold, colorful ways.
Bethel’s installation is inspired by folk storytelling through music. Her instruments create sounds with indigenous seeds in recycled containers explores the connection between music and nature.
If you would like to organize school visits to see this exhibition, visiting times are scheduled for the 24th to the 28th of September; however, if your school is interested in organizing field trips outside of that time frame, we are happy to accommodate you.
Tel: 322-2323 (during office hours Tues & Thurs 10am-4pm)
Delton Barrett's Imagined Landscape: Photographer Finds New Self in Solitude
Letitia Pratt Interviews Delton Barrett
The D’Aguilar Art Foundation’s new exhibition, “Nurture,” is the product of the most recent experiment of Delton Barrett, an emerging photographer. Hailing from the south of New Providence, Barrett’s preoccupation with creating digitally enhanced, innovative photographic stories has become the catalyst for the experimentation in his work. He often stages scenes within the environment in surreal, fantastic ways, intending to investigate the way his body blends with the space he inhabits. The images that grow out of these explorations are playful renditions of the environment that surrounds him, ultimately communicating a deep connection between his body and the natural world.
Barrett’s ultimate goal is to reflect himself within the landscape that surrounds him; to mirror his masculinity within the foliage that he blends his body into. He asserts his oneness with the roots of trees that stretch far underground. His intentional placement within the unspoilt landscape communicates a need to be seen something deeply, intrinsically apart of the land in a way that brings to the forefront the question of his own freedom – his body, like the land once colonised, now a prop for rebellion against the colonial gaze.
This past Monday, Barrett visited the Foundation to talk about how he manages to capture this magic of freedom in a photograph. We sat among his photos and thought about them for a while.
Letitia Pratt: I want you to tell me of the process of creating these photos, first of all.
Delton Barrett: Okay. The process starts with an idea. And from there is looking for location. After I find the location it’s about setting up how it should look and all that.
LM: So, how do you find the location? How do you decide …
DB: …which is the right one?
DB: Based on the concept. If, for example, I have a nature theme I would look for a place with a lot of foliage, and place myself within the negative space within the area. That way I could stand out more within the photo and blend in at the same time.
LM: So you’re placing your body in this negative space – it’s usually your face I see within your work – this emphasis on your face and your gaze. Why do you think it’s important to place yourself in your photographs? What are you confronting when you are looking into the camera that way?
DB: It would defeat the purpose if I don’t [show my face] because I am making self-portraits. And as the subject I want you to see what type of mood I am in. The feeling…the expression… all of that.
LM: So the foliage is indicative of your mood most of the time?
DB: Basically, yes. It’s me adapting to the surroundings. It’s calm. Green is so calm. You can’t be around green and not be calm. I want to capture that calmness.
LM: You told me when we were setting up this exhibition, that it was your intention to become one with green. Why is that important to you? I guess, like you just said that it reflects your mood.
DB: Exactly…expression, it builds the mood, and basically puts more emphasis on the idea. Whatever the idea may be.
LM: So landscape for you means something considerably different for you than, let’s say, the usual tourism photos of serene beaches and scenes of downtown Nassau, right?
DB: Yes. I like the solitude. You don’t have a lot of people around, distracting you from doing…or creating what you’re trying to do. I find it’s best that I take pictures when no one is around because it actually helps make a better photo. A lot of people comment that they hve never seen places like this before, and that’s the kind of reaction that I want. I don’t want the picture to be something you see every day, like downtown. Well, unless I do want it to. Certain ideas require different spaces.
LM: But most of them you need solitude.
LM: What are these ideas?
DB: Okay, for example, Failed Attempts to Fly, is a photo of me ‘attempting’ to fly on the beach. I needed to be on the shore alone in order to keep the focus on me as the subject. That way the picture would be stronger. But if I wanted to go to a populated area for a photo…like ….
LM: Goodman’s Bay.
DB: Like Goodman’s Bay, it would be different. If I wanted that reaction, I would do that, I would engage with people, crowded areas and the public. But for most of the work in this exhibition, it isn't necessary.
LM: So you don’t want the reaction from anybody when you’re in the solitude of nature.
DB: I want the reaction, but not in the present. I want the reaction after I take the photo.
LM: When I think of land, especially regarding the connection you have created between it and your body within your work, I think about ownership, and this history of colonisation of both land and the Black body. How do you think your process reclaims both of these things? Because I do find your photos as a sort of reclamation in a way.
DB: That’s actually one of the reasons why I like going in nature. It actually feels free. You know. Living in the south, where I do my photoshoots, a lot of people aren’t on that particular beach. It’s basically just the sea, breeze, and there might be some birds, dogs, or one or two people running on the shore but it’s just nature, nature, nature. And I think that’s where most of my ideas come from; being in solitude. In the natural space you get to see a lot of things in nature that transform into ideas, along with random props like bottles, cans, buckets and tires, you know how people dump their trash.
LM: Yes, you use them a lot in your photos, especially in Media Intoxication.
DB: And most of them are on the spot and untouched photos; I really don’t have to stage anything. And then, viewers comment “how you get that on the beach”? Well, it was always on the beach, I just highlighted and played with it. It’s just now a part of my scene. I feel like everywhere I shoot I have ownership of the place because it’s now my setting and I can do whatever I want to it and have control over the environment. I have the freedom to.
The D’Aguilar Art Foundation is delighted to announce that we are taking part in Transforming Spaces weekend on March 17th & 18th, 2018. We will exhibit new paintings by contemporary Bahamian artist Allan Pachino Wallace alongside a selection of works by the late Brent Malone in an exhibition entitled ‘MUSE’.
For this exhibition, Pachino will respond to specific paintings by Malone to highlight the practice of working from the figure as muse over the past half-century in The Bahamas: from the 1960’s to present day.
Inspired by Malone’s extensive work with live models, Allan Pachino Wallace takes on the tradition of finding his own models to work with for this exhibition. This is quite the separation from his own artistic habits: up until recently, Pachino mastered the human form by practicing out of his own imagination, rarely looking to a live-model to reference for ideas. Using a model as a muse is a long-standing artistic tradition; often the reciprocity between the artist and model influences the artist to consider aspects of their work that they would not have otherwise explored.This is best exemplified by one of the paintings Pachino created for this project (see above article) for it, Pachino works directly from his wife Kereen, resulting in a piece that emanates an intimacy that is just not found in the Malone painting that inspired it. MUSE will explore this complex artist-muse relationship developed through the live-model process.
The artist-muse relationship is so important to the creative process that the very word muse derives from the goddesses artists worshipped in exchange for inspiration. The Muses, (derived from the latin Musa or greek Moisa) were thought to be the protectors of the arts, and were originally inspiring goddesses of poets in particular, although their symbolism has grown to represent inspiration for a range of visual arts and sciences. The sentiment still remains the same, however: a beautiful being, usually a woman, providing ideas that inspire great artists to do their best work.
It is quite a romantic notion. The religious symbolism has not dwindled in it’s modern iteration: current artists like Pachino also assert that their inspiration comes from a higher power. “I look above to get my inspiration,” Pachino claims in an interview with the Central Bank of the Bahamas. “My inspiration comes completely from God.” This is not dissimilar to greek poets praying to their Muse for melodic ideas; Pachino’s reliance on a religious figure to provide him with inspiration aligns his practice among artistic masters throughout history.
The artists’ search for ideas outside themselves gave way to lore surrounding the very inspiration. Thus, creators also sought to find their muse within their own environment: such is the case with poets, crafting melodies from sounds of the wind among trees; or scientists, who search for their muse in answers to the question why. Brent Malone was no different. His interest in history is visible through his capture of historic peoples and events, but his portrayal of historic tradition always grounds itself in his capture of figure, and he still looks to the physicality of the models he chose for inspiration. Often accompanied by heavy movement and great symbolic detail of historical events, these pieces are centered by Malone’s mastery of the human form.
The complexity of inspiration in Malone’s work is not lost to Pachino; his own interest in history has also blended with the ideas his God/Muse has provided him with. He similarly looks to his environment for inspiration:“I look at everything around me,” he says, explaining what this means to his practice. “I believe everything was created [by God]...and that inspires me a great deal.” As a result, Pachino’s paintings depicting historical narratives are softer, almost dream-like; signifying the spiritual influence they were born out of.
For Pachino, Brent Malone’s work has become a muse in and of itself, inspiring him to create in ways that he would not have previously considered. Fascinated by Malone’s process, Pachino uses this exhibition to explore the relationships Malone developed with his many muses. The result is a show that highlights the figure as an element that grounds the work of both artists. The exhibition brings together paintings of Malone and Pachino that showcase this intimate and reliant artist-muse relationship. MUSE forces Pachino to blend practices with a master, resulting, hopefully, in oevers that are as complex as the Muses that inspired them.
MUSE opens next week Thursday, the 17th and 18th of March for TS weekend.You can visit the gallery on the TS bus tour, or on your own, but you must buy a ticket. Please visit www.tsbahamas.com to find out more.
An Interview with Heino Schmid
The conception of ‘wait. I saw something’ grew out of few obsessions: preoccupations with figure, minute moments of touch, and the emotional conversation that grows out of small exchanges. Heino Schmid’s recent work magnifies the subtlety of the way we move in the world. His pieces are massive renderings of little moments; with them he narrates stories that are told silently, between the brush of fingertips and shared glances across crowded rooms.
I visited Schmid’s studio late on a Thursday so that he could tell me these stories. He eventually presents me with a parable. “Honor the small things,” He says this carefully, choosing words with calculated reverence. “If you honor those smaller things, good things will come out of your work. Your life.”
Schmid’s artwork has grown out of this idea. He understands art – maybe life – through a macro-lens, in which smaller things fill the entire space. This preoccupation first manifested into a focus on technicality; eventually though, Schmid’s subject matter became the catalyst by which his obsessions are displayed. ‘wait. I saw something’ is just a snapshot in this artistic history. In this particular exhibition, the audience is invited to peer into the private exchanges between the subjects within his paintings.
LETITIA PRATT: First, I want to understand you as an artist. What has been the primary focus of your work during your career and how does it shape your point of view?
HEINO SCHMID: The focus...has shifted. I’ve been lucky to always consider art … as a way of participating in life and in the world. So as I change, my focus changes. Like anything. Like any relationship it just…It just evolves. When I was younger, it was just proficiency. That was really important to me. I always found it kind of ridiculous that artists would spend a year on a painting or something like that.
HS: When I was younger, yeah. It was romantic but, I wanted to make something every day. Getting older I have slowed down a bit. When I was seventeen-eighteen and just started making work I used to draw every day and I would, you know, make two-three pieces and I thought they were good. That was also ignorance because I didn’t see how repetitious or overly simplified my work was then. But eventually that evolved into technical proficiency. So alright, I got some practice in, that’s good. Now let’s really learn this thing. Look at other artists. Look at material. Learn at how to mix your paint. Learn about drawing. Learn what I am interested in. Then the technical side of things sort of slowed down. And recently I have been blurring the two of them…I don’t focus as much on technical proficiency anymore and I’ve kind of…gone back to this idea of immediacy – but with a slower, older brain. Making sure that even though the approach can sometimes be immediate, the content is meaningful – and slow. If that makes sense.
LP: It does. What have been the themes of your work, though, as they developed in your artistic history?
HS: It usually revolves around – very loosely around a bit of narrative – and the figure. I go back to [it] all the time. The first time art really made sense to me was in a figure drawing class actually. Its something I tell students now – and it sounds very simple – but it’s the skeleton that you have to be aware of. I don’t know if you have been in any figure drawing classes or ...
LP: [snorts] ah….no, I haven’t.
HS: Well if you have a figure… its different than if you draw a bowl - you render it. you just shade it, you catch the light, and the rest of it. But with the figure you can have that outcome but you don’t – it doesn’t happen unless you understand that there is meat on bone. The skeleton has to be the undercurrent. That was the first time art made sense to me. This is the same way I look at all art. I could be looking at the most minimalist installation…a sound piece or something like that and I would be wondering …where is your skeleton? Are you just rendering? What is your core… and is that meaty?
LP: And does this bleed into the work that you’re doing now?
HS: It does, it does. I was saying that to say that I draw the figure quite often when I get stuck. I don’t always work with the figure but…when stuff gets really formal that thinking has always been beneficial and, by extension, the figure has always creeped in.
LP: To help your Artist’s block.
HS: Right. And also like, little narratives…like odd things.
LP: Tell me about the narratives.
HS: Umm… I don’t know, it’s odd things. It is never really big moments – I don’t remember the big moments. People say to me, [quoting] ‘remember that time we were on a roller coaster and there was an explosion and we all thought we were gonna die?’ and I actually don’t remember that at all. Like the painting on the invite of the family [holding hands, praying]… I remember being out to dinner – at The Poop Deck or something – and there was a family that just decided to say grace publicly…and it was such an odd thing, it made me smile because everyone – almost all of the restaurant – kind of, noticed and let them do them. I like that, that was nice. That was years ago and it just stuck in my brain and I thought it was important. So you know …little things. I think everybody’s the same.
LP: Well I think artists do that a lot. Artists…I think have to be a little bit obsessive…to really notice the minute ways people interact with each other and that would inform your work. When I was viewing your work, I found it to be very intimate, and the process of viewing seemed almost voyeuristic in a way…like I’m spying on something private.
HS: I could see that. Yeah, it’s just the little things. But I think they’re big things.
LP: Is that why you make them big?
HS: Maybe. [pauses] Um…good question actually. Is that number three?
LP: Well I think it is now. [laughs]
HS: [laughs] I do think there is something to be said for…again just like meat on bone. All those little things that define the way people move in the world. I find that quite interesting. Like the way you and I are sharing oxygen right now. There are lots of those moments and sometimes they’re very profound...but they’re few and far between. I think good things come out of smaller moments and I guess my philosophy is that…if you honor the smaller things, then good things will come out of the work, in life, in a way, in a big way. Lately it’s become quite specific in that regard…sometimes little moments can be really aggressive and you have to be responsible for how you portray them….and sometimes they can be really soft.
LP: Which is most of the show.
HS: I hope so, yeah.
LM: Okay one last thing: why the name?
HS: Same reasons I told you. “wait. I saw something…” I think that’s where the work is going right now. It’s just I saw…little moments…that just…stick.
‘wait. I saw something.’ Opens this Thursday on February 8th, 2018.