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Scientific Inspiration, an interview with Sasha and Ella Marushchenko of Ella Maru Studio, Charleston, SC. Ella Marushchenko and her scientific illustrations inspire me. When Darcy and I set out to make South Carolina Sunshine a serious endeavor, we reached out to the Ella Maru Studio to see if they would be willing to be interviewed for a feature in our SC People section. They replied "yes" within twenty minutes of receiving our email. I was thrilled by their generosity. I have followed Ella Marushchenko's career as a scientific illustrator, often incorporating images of the Ella Maru Studio into my Color and Composition syllabus. UofSC students are in awe of the visualizations of chemistry, nano, and biological concepts coupled with the compelling artistic expression of the subjects. They are inspired by Ella's career path, particularly drawn to her social media accounts, where she is authentic about who she is and sometimes shares challenges that she overcame in her youth. Which, for them, is relatable and makes them realize that their goals are obtainable. Sasha and Ella Marushchenko in KUDU Coffee and Craft Beer, Charleston, SC. Photo by Dawn Hunter South Carolina Sunshine is honored to feature Sasha and Ella Marushchenko, the co-founders and owners of Ella Maru Studio located in Charleston, SC. The business specializes in Scientific design and animation. Artistic Background Ella was born and raised in Ufa, Russia. Art has always been part of her life. Her grandmother was an artist, and her mother, who also has artistic talent, always supported her creativity. She received excellent training while she assisted the famous Russian painter, the late Sergey Krasnov, and his assistant Vera Asanbaeva for eight years. While training with Krasnov and Asanbaeva she learned the importance of observation and honed this skill. Above, painting by Sergey Krasnov. After completing her apprenticeship, she earned her Master's degree in art from Bashkir State Pedagogical University, Ufa, Russia. She eventually moved to the Czech Republic and began to explore many different art forms like ceramics, textiles, and watercolor, but she focused primarily on interior and fashion design. She fully expected to pursue a profession in interior design upon arriving in the United States however, she met Dr. Sergiy Minko, who insisted that she create an illustration for an article he planned to publish in the prestigious peer-reviewed journal Advanced Functional Materials. Her image was selected for the cover of the journal. Above, artwork by Vera Asanbaeva. Ella Maru Studio Other scientists recognized her ability to summarize their content with the well-designed components (texture, lighting, and color) of her images, and she received more requests for work. Sasha and Ella Marushchenko founded Ella Maru Studio to meet the demand. Sasha, who holds a Ph.D. in chemistry, organized a business plan so that Ella's creativity and scientific illustrations could flourish. In the beginning, it was just the two of them, but Ella Maru Studio has grown and now employs eight people. Their team is a combination of Ph.D. scientists and professionally trained artists from the top universities throughout the United States. In each commission they implement Ph.D. level scientific insight with top art design talent to create engaging scientific images and animations. Her illustrations have been selected as cover art for numerous scientific journals, which include: Nature, Nature Physics, Nature Materials, NatureNanotechnology, Cell, Nanoletters, Angewandte Chemie, and JACS. Sasha and Ella have teamed up for other endeavors outside of Ella Maru Studio in the Charleston area. An example is the conservation of eagles and other wildlife in the low country. Recently, an eagle's nest was threatened by new construction. Sasha is passionate about eagle conservation, so during the peaceful, organized protests against disrupting the eagle's home, they created a painting to put at the site for public display. Through their creativity for conservation, anyone who passed by could be educated regarding dynamics in the region that are threatening to wildlife and endangered species. Ella also continues to develop and is devoted to her personal artistic practice. Occasionally, she accepts special commissions, like the painting featured below. It was a work created for Ella's friend. The painting took three months, and it depicts in rich colors and fine detail the Russian fairytale Lukomorye. Ella's Lukomorye painting is as fascinating and as full of wonderment as her scientific illustrations. We don't know about you, but South Carolina Sunshine is looking forward to the next cover produced by Ella Maru Studio! Ella Marushchenko with her painting about the Russian fairytale "Lukomorye." Follow the link below and visit the Maru Studio website. There you will find lots of examples of her scientific illustration and animated work. Ella Maru Studio

Culture South Carolina Sunshine™ | Special Focused Content and Listings of Cultural Events in South Carolina. Table of Contents Icons Scroll and click on an icon image below to go a Culture section you are interested in reading. Tina Williams Brewer | Stories of Grace Immerse yourself in the rich narratives of Tina Williams Brewer's story quilts at the Columbia Museum of Art. For over four decades, Brewer has woven her personal experiences, historical accounts, and vibrant textiles into her unique quilts, offering a profound exploration of African-American history and spirituality. The "Stories of Grace" exhibition, open until September 3, 2023, showcases her hand-stitched, collage mixed-media pieces that map out her heritage, the African diaspora, and the connections between past, present, and future. Journey through intricate layers of symbolism and culture, Tuesday to Sunday, with extended hours on Thursday. More Carla Gannis/ C.A.R.L.A. G.A.N. Carla Gannis' WWWunderkammer is a pioneering endeavor, challenging traditional museum narratives by reimagining the classic 'cabinet of curiosities', known as Wunderkammer. She employs cutting-edge technology to fuse physical and virtual realms seamlessly. The physical installation reflects her continuous online project found on Mozilla Hubs and high-definition desktop VR, welcoming viewers to distinct thematic 'chambers'. Each chamber explores critical facets of contemporary life - from environmental challenges to the digital revolution's impact on self-perception and language. Gannis harnesses the power of augmented reality in her gallery display, blurring the line between the virtual and the real. This approach helps her investigate the essence of human existence in the internet age while promoting universal access to knowledge. More Elizabeth Catlett Experience the captivating artistry of renowned artist Elizabeth Catlett at the Columbia Museum of Art (CMA). This significant survey exhibition comprehensively overviews Catlett's illustrious career as a printmaker and sculptor. Alongside her works, the collection includes select pieces by mentors, peers, and students who shared a personal connection with Catlett. Additionally, the installation incorporates additional artworks from the CMA Collection. Witness the profound impact of Elizabeth Catlett's artistic journey, spanning an impressive seventy years. Her art sought to give visibility and voice to underrepresented individuals, often focusing on laborers, women, and African Americans. Addressing social issues relevant to the United States and her adopted home of Mexico, Catlett's powerful figures embody resilience while acknowledging the struggles Black and Mexican working classes face. More Jordan Sheridan Introducing the winner of the prestigious 2022 701 CCA Prize, Columbia-based artist Jordan Sheridan. This biennial juried award, presented by the 701 Center for Contemporary Art in Columbia's Olympia neighborhood, recognizes the talent of South Carolina artists under 40. Jordan Sheridan is an emerging artist known for her captivating installation art. Her remarkable talent and dedication have been acknowledged with the distinction of being named an SCAC Emerging Artist for FY2022. Currently serving as a full-time faculty instructor at the University of South Carolina's School of Visual Arts and Design, she imparts her expertise to aspiring artists through her engaging painting courses. More 701 CCA Prize Finalists Welcome to the captivating 701 CCA Finalists Exhibition, now open at the esteemed 701 Center for Contemporary Art. Prepare to be mesmerized as three exceptional artists and finalists for this year's prize showcase their visionary works until January 15, 2023. Step into this exhibition and immerse yourself in a world of artistic brilliance. Each artist, including the talented Kate Hooray Osmond, Jordan Sheridan, and Brittany Watkins, pushes boundaries and invites you to explore their unique creative perspectives. From innovative techniques to thought-provoking concepts, their creations will ignite your imagination and inspire you. More Art by Krigga Enter the captivating world of the Omphalos, a convergence of time and perspective. In this exhibition, presented by the visionary artist Dogon Krigga, two distinct collections of works harmoniously blend the past and the future. Embracing the timeless beauty of Black thought and form, Dogon Krigga invites you to celebrate the resilience and boundless creativity of the Black experience in the ever-present now. Breaking away from the narrative of Black suffering that pervades historical records and art, the Omphalos seeks to cultivate a space where Blackness thrives. By highlighting the gifts, abilities, and interconnections within the Black community, Dogon Krigga's art becomes an act of rebellion and revolution. Afrofuturism is a powerful tool, reminding us of our mastery and potential in this realm while liberating our minds from societal constraints. More Tyrone Geter Step into the realm of powerful artistic expression with Tyrone Geter's exhibition at ArtFields' TRAX Visual Art Center in Lake City, South Carolina. Over the past six months, this exhibition has left an indelible mark on the art scene, showcasing Geter's masterful mixed media drawings that blend exquisite draftsmanship, torn paper, and found objects into visually captivating statements. Each artwork is a testament to Geter's immense talent and resonates as a profound experience in its own right. Geter's creations operate on multiple levels, transcending mere aesthetics. While some pieces look into his personal journey, many images explore the complex dynamics surrounding race, gender, and economic structures within contemporary American culture. More Adrian Rhodes We are delighted to feature the enthralling realm of Adrian Rhodes, winner of the esteemed 701 CCA Prize in 2020. Celebrated for her artistry in printmaking and mixed media installations, Adrian's solo exhibition "How to Untie a Tight Knot" was a result of her dedicated six-week residency at the 701 CCA. With academic roots in Rock Hill's Winthrop University, Adrian has gained recognition in the Carolinas and beyond. Her work, exploring the paradox of longing for and escaping the past, provides a captivating lens into the human psyche, using recurring motifs to express the intricacies of relationships. More Ginny Merret Meet Ginny Merett, a dynamic artist and passionate art educator, who has been a vibrant part of Columbia's art community for over thirty years. Known for her striking, graphic collages, Merett's art may seem playful and whimsical at first, but it carries profound undertones addressing societal norms, cultural, gender and racial identities. Currently, she holds the distinguished position of Artist-in-Residence at The Jasper Project. Her intriguing creations can be appreciated at Sound Bites, nestled in the heart of historic downtown Columbia, at 1425 Sumter St, Columbia, SC 29201. Don't miss the opportunity to experience her captivating work, which will remain on display until the end of July 2022. More Margaret Curtis Welcome to the world of Margaret Curtis, a prominent figure among contemporary American artists. Known for her distinctive and ground-breaking art, she is currently represented by the esteemed Tracy Morgan Gallery in Asheville, NC. Margaret's oil paintings tell stories through their imagery, and their physicality also forms a deep, visceral connection to their underlying themes. Her widely recognized and critically acclaimed artwork has recently been bestowed with the distinguished Joan Mitchell Foundation Fellowship, an award that requires an exhaustive selection process. The fellowship, amounting to $60,000 spread over four years, has enabled Margaret to augment her studio and broaden her creative horizon. More ArtFields 10th Anniversary Exhibition ArtFields celebrated its 10th year, showcasing 369 artists from 12 Southeast states in a nine-day festival from April 22-30, 2022. We were thrilled to have "The Darcy Inventory" in the competition and equally enjoyed experiencing the festival as attendees, filled with South Carolina Sunshine. The ArtFields festival, which began in 2013, aims to honor Southeast artists with celebrations and competitions, providing over $100,000 in cash prizes. This year's winners were Noah Scalin, MyLoan Dinh, Melvin Toledo, and Jonathan Imafidor. Enjoy the photo essay and immerse yourself in the art that left us in awe. More Jasper Project 10th Anniversary Party On April 14, 2022, we celebrated the 10th Anniversary of The Jasper Project at 701 Whaley. This event paid tribute to a publication that has become a cornerstone of Columbia, SC's cultural landscape. Under the guidance of Cindi Boiter, the magazine offers invaluable insights into our vibrant community, spotlighting the lives and works of local artists, performers, dancers, musicians, and writers. The celebration evening echoed with tunes from Adam Corbett, Post-Timey String Band, DJ Preach Jacobs, and Dick Not Richard, accompanied by a spellbinding performance from the Columbia Repertory Dance Co. Explore the captured moments from the event in our photo essay featured below. More Lady Gamecock Parade Main Street was abuzz with excitement as countless UofSC WBB supporters gathered to commemorate their second historic national championship. The triumphant victory was clinched on April 3 in Minnesota, where they bested the UConn Huskies. Jump into the jubilation of the event through our photo essay to view highlights from the celebration! More Anila Quayyum Agha Anila Quayyum Agha, an American artist of Pakistani origin, brings enchanting realms to life within her exhibition spaces. Her exhibit, "Let a Million Flowers Bloom," leverages halogen bulbs nestled within meticulously crafted and lacquered steel. This technique casts mesmerizing shadows that "paint" the gallery walls, creating an immersive environment that makes us feel as though we've stepped into a chapter of Lewis Carroll's Wonderland. Our take on the exhibit? It's superb! Experience the wonder for yourself from February 19 through May 29, 2022. More

Outdoors South Carolina Sunshine™ | Places to see and things to do outside in the beautiful state of South Carolina. Table of Contents Icons Scroll and click on an icon image below to go an outdoor activity you are interested in learning more about! Congaree National Park Discover the Congaree National Park, a host to a diversity of plant and animal wild life. Its floodplain is revitalized by the waters of the Congaree and Wateree Rivers, which deliver essential nutrients and sediments. This natural process fosters a rich ecosystem and sustains the impressive national and state champion trees found within the park. More Bulls Island Bulls Island, the largest in Cape Romain National Wildlife Refuge, is a pristine 5,000-acre barrier island established in 1932. Its thriving maritime forest, diverse wildlife habitats, beautiful beach area, and numerous trails offer plenty of opportunities for exploration and wildlife observation. More Hilton Head Island Discover Hilton Head Island's year-round allure! This vibrant South Carolina hotspot shines even in winter. In February alone, the island hosts events like the 2023 Hilton Head Island Gullah Celebration, a cherished Seafood Festival, and the prestigious Darius Rucker Intercollegiate Golf Tournament hosted by the University of South Carolina. Craving more? Explore Hilton Head Island's vibrant culture with our photo essay. More Riverbanks Zoo and Garden Delight in the engaging attractions at Riverbanks Zoo & Garden in Columbia, SC. From the captivating Western Lowland Gorilla, Sea Lion, and White Rhino exhibits to the tranquil botanical gardens and fun-filled Waterfall Junction splash pad, there's something for everyone. The venue, offering rentable spaces for events, makes learning fun across all ages, with educational aspects woven into every exhibit. Exciting events for summer 2023 include Members' Night Out and Brew at the Zoo. More Lake Jocasse Discover the enchanting Lake Jocassee, a gem nestled in the secluded northwest corner of South Carolina within Devils Fork State Park, Oconee County. Perfect for local getaways and out-of-state explorations, this family and dog-friendly haven offers refreshing, crystal-clear waters fed by Appalachian rivers - an ideal retreat on the hottest days. Embrace serene solitude or engage in thrilling adventures with many activities, including flatwater kayaking, paddleboarding, fishing, scuba diving, and hiking. Lake Jocassee - your destination for a memorable escapade! More South Carolina State Fair Hosted annually in Columbia, the South Carolina State Fair is a cherished local tradition managed by the South Carolina Agricultural and Mechanical Society. With rides, tempting food, and exciting games brought to you by North American Midway Entertainment, it's the perfect gathering spot for community fun. Revel in this delightful event, an ideal setting for a memorable day with loved ones. Soak up the amusement, indulge in delectable treats, and engage in lively games! More Field Trip | South Carolina in New Mexico Join acclaimed artist and the University of South Carolina Professor Sara Schneckloth for an enriching drawing residency in New Mexico's high desert. Immerse yourself in the mesmerizing landscape that inspired Agnes Martin. Discover the sensory richness of piñon, juniper, and Milky Way skies, as you create artwork with handcrafted charcoal and natural paints. This unique experience combines land, creativity, and tutorials to deepen your drawing insights and foster independent studio practice. More Soda City Market Every Saturday, come rain or shine, the Soda City Market in downtown Columbia, SC, welcomes visitors from 9 am to 1 pm all year round. An ideal experience for Midlands residents or those seeking weekend fun, this producers-only market hosts an average of 150 vendors weekly, with a rotating database of 400. From fresh produce, handcrafted jewelry, baked delights, and art to trendy clothing and accessories, there's something for everyone. Food trucks and LIVE music add to the vibrant atmosphere, making it a must-visit destination! More South Carolina Aquarium Embark on a journey through the South Carolina Aquarium, with a special focus on the Zucker Family Sea Turtle Recovery™ exhibit and the Sea Turtle Care Center™. It is devoted to preserving sea turtles, and the center's efforts are crucial in protecting all seven endangered or threatened species. 'Dive' into our photo essay tour of the visit with images captured by Dawn Hunter (unless noted otherwise). More Pumpkin Carving with Baby Goats Embrace the outdoors at Flowertown Charm in Summerville, SC, where we enjoyed an unforgettable pumpkin carving experience amidst a delightful farm setting. With pumpkins, tools, and stencils provided for up to sixteen guests, we bonded over carving and interacting with various farm animals, planning to turn this into an annual tradition. Beyond this seasonal delight, Flowertown Charm offers cozy accommodations and unique activities like Goat Yoga, Farm Snuggle Sessions, Marshmallow Roasting with Goats in Sweaters, and more. The warm hospitality of farmers Chris and Jenna Pelayo makes every visit special. We wholeheartedly endorse Flowertown Charm for fellow animal enthusiasts! More

Tina Williams Brewer Stories of Grace, June 10 -September 3 , 2023 Tina Williams Brewer, a West Virginia native, has a career spanning more than four decades, during which she has skillfully intertwined personal experiences, historical narratives, and vibrant textiles to create her signature story quilts. Her dynamic, hand-stitched pieces are often richly inspired by her extensive travels, including significant time on St. Helena Island in South Carolina. These inspirations infuse her work with diverse themes reflecting African diasporic history, spiritual connection, shared lineage, and migratory patterns. "My intention is to give dignity to human suffering, finding rhythms that are both mind-stirring and soul-soothing." - Tina Williams Brewer A remarkable collection of her work, the "Stories of Grace" exhibition, can be appreciated at the Columbia Museum of Art through September 3, 2023. The museum's doors are open Tuesday to Sunday from 10 AM until 5 PM, extending their hours to 8 PM every Thursday. Born in 1949 in Huntington, West Virginia, Brewer now resides and creates in Pittsburgh, Pennsylvania. She holds a Bachelor of Arts degree from the Columbus College of Art and Design, honing her unique artistic voice over 40 years. Her story quilts weave together symbolism, textiles, and an exploration of African-American history and spirituality, reflecting themes of generational healing and cultural resilience. Her work narrates stories, channeling ancestral wisdom. It expresses the profound joy of communal gathering, spiritual strength, the sting of racial prejudice, and the steps toward progress. Her art captures the tenacity of African American families and the light that elevates them. She aspires to bring honor to human suffering, finding rhythms that are thought provoking and comforting. Tina Williams Brewer, continued: Primarily hand-quilted, Brewer's artwork incorporates collage mixed-media, such as photo transfers, printmaking, and hand-beading. Each piece is adorned with symbols from African cultures and vibrant patterns that echo cultural and personal narratives, creating intricate, layered compositions that map out her heritage, the African diaspora, and the interconnection of past, present, and future. Her creations have found homes in both domestic and international exhibits, including the United States Embassy in Ghana and the American Craft Museum in New York City. Brewer has enjoyed recognition from the American Arts in Embassy Program for over two decades and has received the prestigious Commonwealth of Pennsylvania Governor's Awards for the Arts. Her pieces are also part of the permanent collections at the Westmoreland Museum of American Art, The State Museum of Pennsylvania, and The African American Museum of Dallas. Brewer's recent showcases include the 1-54 Contemporary Art Fair in NYC, selected by Omar Berrada, EXPO Chicago's Curated Selection by Eric Shiner, Christies, Rockefeller Plaza, NYC, "Knotted Ties" at DeBuck Gallery NYC, and "Threaded Memories" at the Untitled Art Fair, Miami Beach, 2021, selected by Natasha Becker, Curator, DeYoung Museum, San Francisco, CA. About the Columbia Museum of Art Situated in the vibrant downtown district of Columbia, South Carolina, the Columbia Museum of Art stands as a cultural beacon for the city. Boasting an extensive permanent collection along with intriguing temporary exhibitions, the museum establishes itself as a central hub for community engagement. With a dedication to lifelong learning, it offers comprehensive educational programs tailored for all age groups, from children to adults. Each exhibition is enriched by supplementary programming, emphasizing the museum's commitment to crafting an inclusive and enriching experience for every visitor. Museum hours: Tuesday through Sunday, 10AM - 5PM Extended hours every Thursday until 8PM More

Did you ever wonder how the trees got their scarves? An interview with Bohumila Augustinova, by Dawn Hunter. An interview feature with 2021 Jefferson Award recipient, Cola City Yarnbombing leader and Columbia Art Center Director, Bohumila Augustinova. Above, Bohumila Augustinova, Director of the Columbia Art Center. Photo by Dawn Hunter. Q & A with Bohumila Augustinova Introduction: While aesthetically improving the forefront of a local business five years ago, Bohumila Augustinova, unwittingly launched a Cola City art installation winter staple by YarnBombers of Columbia on Main Street and beyond. The Yarnbombers of Columbia is a group that Bohumila spearheaded brings together over one hundred local artists who create unique, brightly colored, and patterned crocheted and knitted forms that they wrap around trees or parking meters during the winter months. The project evolved beyond aesthetics with the emergence of the “Giving Tree” located on the corner of Main and Taylor, downtown Columbia. As part of the tradition, artists hang hundreds of scarfs, hats, and gloves for anyone to take and use from that tree. This past December, Bohumila was recognized for her hard work and community investment with a Jefferson Service Award. Yarnbombers of Columbia art, downtown Columbia, SC. Photo by Bohumila Augustinova. Dawn Hunter: How did the "Giving Tree" get started? Bohumila Augustinova: Our first installation by the Yarnbombers of Columbia was on Main Street, and it was during the winter. At the end of our first installation day, an artist noticed a man "stealing" part of an installation wrapped around the bottom of a tree. Later, we saw him walking downtown, and he was wearing it as a scarf, and then we realized that it was not an act of theft but necessity. After that, the group created scarfs, hats, and gloves and offered them free at the tree site to anyone who needed them. It is now an annual tradition. Items are installed during November and are up until mid-March. Yarnbombers of Columbia art, downtown Columbia, SC. Photo by Bohumila Augustinova. Dawn Hunter: Your Jefferson Award is incredible and well deserved. The Jefferson Award, also known as Multiplying Good, recognizes members in the community who selflessly give of their time, embrace service to others as an essential part of life, and have a positive impact on the community. What are other initiatives that you participate in, other than Yarnbombing? Bohumila Augustinova: I have volunteered at Transitions for years. In that capacity I have offered classes in crafts, like teaching others how to crochet. I also collaborated in workshops with Brenda Oliver, the former Columbia Art Center Director, at Transitions and we were part of a team of volunteers. I haven't been able to volunteer as much as I would like to during the pandemic. I am able to continue community service and outreach through my role as director at the Columbia Art Center. Scraffito ceramic bowl by Bohumila Augustinova. Photo by Dawn Hunter. Dawn Hunter: Tell me more about that. Bohumila Augustinova: Other than our regular roster of classes that we offer at the Columbia Art Center, we work with members and organized groups from the community. Examples of groups that we work with are veterans, the Girls Scouts, homeless, and international groups. We also have a partnership with Sister Care, a national organization that assists women who are trying to escape abusive relationships. There are other initiatives that we participate in, too, like, Art Along the Trail, a dynamic visual and performing arts experience that occurs at Columbia's Riverfront Park. Scraffito ceramic bowl by Bohumila Augustinova. Photo by Bohumila Augustinova. Dawn Hunter: What is the most rewarding part of your job? Bohumila Augustinova: All of it. There are so many examples. I love our international programming because the event is for an entire family, and I witness multiple generations conceive of and create a collaborative art project on those occasions. Our programming features fantastic teachers who are dynamic members of the local art community. I am always looking for people who want to volunteer or participate in some capacity. It is exciting because it is a community-driven job, and my day-to-day activities change based on needs - so it is unpredictable. We offer Open Studio memberships to local artists who utilize the work studio space to create ceramic work. Through their membership, artists are given a 25-pound bag of clay, use of the studio, a shelf for storage, access to various glazes, and use of our kilns. They are able to hand build work or throw pottery on the wheel. Scraffito ceramic bowl by Bohumila Augustinova. Photo by Bohumila Augustinova. Dawn Hunter: Tell me about your art. Have you always created ceramics? Bohumila Augustinova: No, but I have always been creative. All of my life, I was sewing my own clothes as a young child - when I was the same age as Darcy! Dawn Hunter: Didn't you win the Columbia Design League's Runaway Runway twice? Bohumila Augustinova: Yes. Dawn Hunter: How do you decide what materials to use? Bohumila Augustinova: My mom was always making something creative, and she was very innovative. I didn't think it was unusual. Making things was just part of life, and it really didn't matter what the material was. I went to college for fashion design, but when I was done with school, I knew I didn't want to pursue a career in the industry. I have never felt afraid to try new forms of expression, and I have made a lot of art work from recycled materials, and I teach classes that focus on sustainability and use recycled materials, too. Dawn Hunter: You used wire for many projects, too, right? Bohumila Augustinova: Yes, that is correct. I am originally from Czechoslavakia, now known as the Czech Republic. One summer, when I was visiting home after moving to South Carolina, I borrowed my niece and took a class structured for mothers with small children. Not all of the projects were collaborative, and they offered workshops that were just for adults. One of the workshops was in traditional Slovakia tinkering. That is a tradition where experts in the craft travel from town to town to create a wire cover, or casing, for the clay cooking pots. It prevents them from cracking or breaking during use. I took to the medium naturally, and when I returned to the United States, I started making jewelry, too. I expanded the language of the wire beyond its traditional use, and I have created many projects out of it, including my Supper Table setting for Jasper. That table setting was symbolic and expressive of the late Elizabeth Evelyn Wright's life. Dawn Hunter: Your current sgraffito work in clay is expressive, too. How do you come up with the color and patterns? Bohumila Augustinova: When I first started, I found inspiration in mid-century design. Now I find inspiration from the natural outdoor surroundings of my home, like patterns and colors from my garden or ripples from the fish swimming in the pond. Dawn Hunter: What's next? Bohumila Augustinova: Well, this week I am participating in the Cottontown Art Crawl on March 12th, and as things slowly open up more, I hope to expand my volunteer work - both personally and professionally. The pandemic has made it challenging to gather in the numbers that some outreach initiatives require. Outreach has been a big part of my life and artistic practice, and I am looking forward to future projects. When I came to Columbia, I immediately felt a sense of community and belonging. I love my work at the Columbia Art Center, and it is rewarding to be part of the process that enables people to be inspired and create. That inspires me. Yarnbombers of Coulumbia art. Photo by Bohumila Augustinova.

To play, press and hold the enter key. To stop, release the enter key. Artist Spotlight: Diana Farfán "My advocacy is something that I learned to use as I felt the need to implement strategies that elevate my Latino community and educate others about us." Featured in this section is a portrait of Diana Farfán in her studio taken by Will Cooks. A native of Bogotá, Colombia, our artist spotlight Diana Farfán's lifelong affinity for ceramic sculpture was sparked by pre-Hispanic figures and colonial architecture. After finishing her BFA at Universidad Nacional de Colombia in 1999, Diana expanded her horizons, gaining new perspectives at universities in Alaska and Taiwan. In 2010, she added an MFA from the University of South Carolina to her academic credentials. Now settled in the heart of Greenville, South Carolina, Diana expertly juggles multiple roles. She's not just a sculptor but also an instructor and a passionate advocate for Latino artists. From orchestrating art exhibitions to drafting strategic plans, she's got a lot on her plate but manages it all with aplomb. Known statewide for her community involvement, she's a Liberty Fellowship alumna and Aspen Global Leadership Network member. Diana's work, noted for its whimsical, thought-provoking figures, has received multiple accolades, including the Best in Show at the South Carolina State Museum's 30th Anniversary Juried Exhibition in 2018 and the First Place Award at the 2015 Pickens County Museum Artists Exhibition. Her installations, such as "The Dream Life of Broken Toys" and "The Toy Republic," revealed biting social and political commentary through seemingly innocent toys and puppets. Linthead by Diana Farfán Q & A with Diana Farfán Dawn Hunter: Diana, your work often features dolls, puppets, and toys with deep, meaningful narratives hidden beneath their playful exteriors. What initially inspired you to choose these forms as a medium for your social and political commentary? Diana Farfán: Since I can remember, anthropo-zoomorphic forms have come out of my mind and hands easily. At an early age, I perceived that I could create my stories and that my body was always available for anatomical references. I enjoyed making fabric and paper puppets that embodied my characters and staging short plays to parody family and friend situations. Bogota, where I grew up, experienced many social conflicts due to the civil war and the anti-narco battle in Colombia, so it was usual to hear hostile descriptions of violent events broadcast on the news. I remember playing with my toys, dramatizing scenes from those disturbances while giving a sense of the national and world chaos in those years with my playful characters. Years later, after finishing my BFA, I worked as an art teacher in public schools in Bogotá, Colombia, and I came across the reality of many children who came from families displaced from the countryside to the city, fleeing from social conflicts derived from those wars I used to hear from the radio. This experience redirected my gaze toward the issue of manipulation when observing these young lives in vulnerable conditions. In 2002, I began to develop a visual proposal based on marionettes, puppets, and ceramic dolls that served me well to exemplify the theme of reverie, innocence, and control. Consecutively my work was expanding in a more human-nature sense. In a capitalist and consumerist system, in which everyone is manipulated but also manipulative, we play the game of action and reaction, give and take, pull and push, victim and victimized. We are part of a social fabric with invisible strings that connect us. When our purposes are positive and collective, we are constructive and grow. When our goals are ambitious and selfish, sadly, we become destructive and obstructive. Although my social and political commentaries hold desperation and sadness, I intentionally leave traces to find light and hope in my sculptures. 1+1=3 by Diana Farfán Detail of Linthead by Diana Farfán Dawn Hunter: You've truly made a mark on the Latino arts community through your art and your advocacy work. Can you recall a specific moment when you felt your contributions really made a difference? Why does that memory stand out to you? Diana Farfán: In 2012 I joined Palmetto Luna Arts' Board of Directors, an organization based in Columbia, SC, whose mission is to foster an understanding of the Hispanic/Latino culture by promoting artistic creation and providing opportunities for cultural expression for the community in the state. It was my first experience working for a non-profit, and I needed a clear path to advocate for my community, but eventually, things started working well. I learned about cultural agency and how to use art as a tool to open dialogues among diverse groups. For example, we, Latinos, are often stereotyped as loud, colorful, party people who eat tacos, beans, and rice; and wear flower-printed clothes, braided hair, long mustaches, and sombreros. However, we are much more than that. There are 20 countries and 14 territories in Latin America, each with specific idiosyncrasies and a vast diversity of body looks, ideologies, traditions, folklore, heritage, and cultural expressions. To illustrate that, here are two examples. In 2016, 12 Greenville-area Hispano-Latino artists from 8 countries participated in Feeling Latino, an art exhibition held at the Metropolitan Arts Council whose purpose was the celebration of the different nationalities sharing the same language and territory. The opening night was a great hit, and the gallery was utterly packed with Latinos and people from elsewhere exchanging experiences regarding cultures, art, and life. Another successful event was Ecos (Echoes), conceived by The Citadel Oral History Program and orchestrated by PLA. In 2018, a group of nineteen artists from SC was tasked with listening to real stories of immigrants told by their protagonists to create artwork based on their interpretations. The creation process took approximately ten months, and every artist was asked to report the progress of their works before submitting the final pieces. I witnessed how the commotional stories profoundly touched every artist. I was surprised at the chain effect when the artists' relatives, friends, colleagues, etc., got engaged with the processes and felt identified by the works' narratives. The Columbia Arts Museum's Community Gallery was the first space to host Ecos, and once again, the opening reception was a big turnout. It was the first time for several of the attendees to visit a museum that day. It was significant for the artists' families, grandparents, aunts, uncles, etc., to feel proud of their heritage and, most importantly, included in such an important art institution. Ecos was planned as a tour exhibition for two years, but until 2021 it was visiting cities in other states, including NC and OH. My advocacy is something that I learned to use as I felt the need to implement strategies that elevate my Latino community and educate others about us. Linthead Installation by Diana Farfán in the Mill District, Columbia, SC Dawn Hunter: Your body of work is quite diverse, ranging from your earlier creations to your recent series "Bread and Circus". How would you describe the evolution of your art and what has influenced this journey? Diana Farfán: My first pieces, during the last years of my undergraduate program, were based on my interpretation of Bogota's citizens and our way of navigating a chaotic society. Aesthetically, my ceramic pieces evoked armatures and shields, as if human bodies were unearthed or hidden and protected by an impenetrable breastplate. They were large-scale with an industrial look and earthy colors, possessing a nostalgic urban presence. Then, while I worked as an art teacher for the public school system in my hometown, my ceramic production was based on my student's lives. I used babies and child-like shapes to make them articulated puppets and marionettes, joined with rusty nuts and bolts, hung from strings with movable armatures, conveying a fragile but resilient look. I wanted these ceramic bodies to communicate control, manipulation, and hope. I felt the need to speak about my home country's social and political situation, Colombia, which also reflected what was happening globally. During my graduate program, I intended to communicate my thoughts more efficiently, playfully, and poetically with casted shadows, soundtracks, built stages, and display devices such as rusty metallic swings, stools, and sandboxes made from found steel machinery or disposed of wooden components. My original puppet style branched into many toys that gained a dramatic and powerful dimension, narrating childhood innocence and the intrinsic and complex possibilities of adulthood in politics, religion, and education. The meaning of toys as objects or channels of entertainment, training, and learning is what I felt compelled to use. More recently, the human anatomy I used in my figures comes back and forth. I create specific anatomical measurements for my characters depending on the story I want to pursue, where the use of the body ranges from the classic cannon to abstract and conceptual representations. My latest ceramic production involves my concerns about the human relationship with animals and the environment and my preoccupation with overpopulation and our unstoppable consumerism. Pursuit of Happiness by Diana Farfán Dawn Hunter: Your artwork is absolutely unique and full of character. I'm curious, what does your creative journey look like? How does an idea in your mind transform into one of your distinctive sculptures? Diana Farfán: Before I start a body of work, an installation, or a singular piece, the content and physicality are the elements I define first. I enjoy exploring techniques, materials, and styles and combining different approaches to create my figures. My daily experiences are the portals to stimulate my mind, create projects, transform clay into shapes, and adjust my figures. I find inspiration in occurring that enables me intellectually and emotionally. The stories of the people around me, news of my home country, international affairs, art, a song, a movie, a conversation, a memory, and many other subjects touch my soul. For instance, my love for animals led me to volunteer for the Greenville Animal Shelter in 2019. Still, I learned quickly about the sad side of inhumane animal treatment in my area, in SC, and beyond, such as unregulated animal breeding for profit and the cruel dog and cock fights. I needed to educate myself and the kids on animal issues to prevent animal injustice in my community. That journey taught me about a particular field called Humane Education, which is an action-oriented field of study that draws connections between human rights, animal protection, and environmental sustainability. I got excited to know that HE is taught as a subject and curriculum in various US states, but unfortunately, not in SC. So, I decided to use my two preferred art mediums, ceramic sculpture, and education, to address my concerns and advocate for the voiceless. My recent body of work -Conversation Starters, Constellations, and Pursuit of Happiness- is oriented to speak out about humans' scary impact on nature, the environment, and all living creatures. I need to externalize my concerns because it burns inside if I don’t do it. Dawn Hunter: You've been recognized with several awards and exhibited at numerous prestigious venues. What would you consider your proudest moment as an artist so far and why? Diana Farfán: To be recognized is something I don't think about. However, when I achieve a goal, an award, or any accomplishment, I take it as an opportunity to grow, educate others on ceramic art, and practice to be humble. Perhaps my proudest moment achieved as an artist was my MFA graduation day because my parents flew from Bogota, Colombia, and my sisters with in-laws came from far to celebrate with me. My family and husband, all my most loyal supporters, felt my graduate degree was a mutual effort. They knew how challenging it was for me to successfully culminate three years of an academic program as an international student when I had to improve my English, develop a cohesive body of work, cultivate relationships, learn how to navigate a new city, and adjust to the American culture, all together at "the speed of light." Diana Farfán's Website dianafarfan.com Share this interview! Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Artist: Diana Farán| LOCATION: Greenville, SC Title: The Last Kiss. 2023 Competition Year. The Last Kiss by Diana Farfán

Dis h w it h D arcy™ South Carolina Sunshine™ | Dawn Hunter's daughter, Darcy, takes you with her on cuisine adventures. Sometimes they are with friends or regional talent from South Carolina. Table of Contents Icons Scroll and click on an icon image below to go to the Dish with Darcy section you are interested in reading. Yayoi Kusama Pumpkin Pie Celebrate the art of Yayoi Kusama, the "Princess of Polka Dots," and Darcy’s inspired creations. Discover Kusama’s 'My Love for the Eternal Pumpkin' sculpture at the Hirshhorn Museum and explore Darcy’s creative journey, drawing and decorating her own pumpkins. The photo essay showcases images from Kusama exhibits, Darcy's art process, and her delicious homemade pumpkin pies, adding a culinary twist to the artistic tribute. This webpage blends visual and culinary arts, highlighting the influence of Kusama’s work on personal creativity and expression. Join us in this vibrant celebration of art, inspiration, and delightful treats! More White Bean Dip with Lemon and Rosemary Darcy explores the delightful world of simple and yummy snacks! The white bean dip photo essay highlights Darcy’s effortless and tasty dip, enhanced with lemon and her favorite choice of fresh herbs. This dip is a harmonious blend of tangy and savory flavors, making it the perfect partner for crunchy vegetables, assorted chips, or creatively sliced pita bread. It is super easy to create this wonderful dip in just a few steps and shine as a culinary star! Experience the excitement of cooking with Darcy’s lively and inviting style, exclusively on 'Dish with Darcy.' More Sour Cream Dip with Parsley and Dill Join us on 'Dish with Darcy' as we jump into the world of quick and tasty treats! This photo essay features Darcy's easy-to-make, delicious Sour Cream dip with parsley and dill. This dip is perfectly balanced in flavor and the perfect companion to fresh veggies, chips, or creatively cut pita bread. It's tangy, creamy, and crafted with love, making it an ideal recipe for tweens looking to explore their culinary skills. Whip up this delightful dip in mere minutes and become a kitchen superstar! Discover the joy of cooking with Darcy's fun, engaging approach only on 'Dish with Darcy.' More Teacher Appreciation Cupcakes "with" Dolly Parton Discover the joy of creative cupcake decorating! Witness the thoughtful and artistic gesture of Darcy, who intricately decorated unique cupcakes for her teachers as a token of appreciation. This fun and imaginative activity allows children to express their creativity and build connections while enjoying delicious treats. Adding an extra twist, Darcy incorporated a limited, 1st edition chocolate Frosting created by Duncan Hines and Dolly Parton . As a devoted Dolly Parton fan, this playful inclusion made the cupcakes even more special and personal. The connection to an esteemed celebrity like Dolly Parton added a touch of excitement and made the experience of creating and giving the gift more meaningful. More Homemade Soft Serve Ice Cream We are introducing our new ice cream adventure! We're thrilled to have acquired a stylish and affordable ice cream maker by Tasty, allowing us to unleash our creativity. Darcy personalized it with a sticker from her adored YouTuber, Moriah Elizabeth , who inspires her culinary creations on Dish with Darcy™. While attempting to make ice cream the traditional way using a plastic bag, Darcy encountered less-than-desired results despite her efforts. Seeking a more reliable approach, we opted for a recommended ice cream mix: Junket Ice Cream mix. With simple instructions and available ingredients in our kitchen, we finally achieved the dreamy, smooth soft-serve ice cream we craved after a few trial-and-error attempts. More Inspiration from Patz Fowle Welcome to our Lake City art excursion! Join us as we explore the inspiring Onward and Upward exhibition at the Jones-Carter Gallery . This mesmerizing showcase celebrates the artistry of Patz Fowle (1954-2021) and Mike Fowle. Our visit left us in awe, so much so that we couldn't resist the impulse purchase of Patz Fowle's exquisite clay artwork titled "Every Artist...Has a Story." This artwork is crafted with meticulous detail; the whimsical piece is composed of hand-sculpted stoneware, porcelain, oxides, underglaze, stains, and luster. It showcases references to iconic artworks by visionaries like Dali, Picasso, and Munch while incorporating significant readings of Art History. The tactile surfaces of this ceramic masterpiece rival the painted surface qualities found in Matthias Grünewald's renowned Isenheim Altarpiece (1512–1516), creating a truly awe-inspiring experience. More Lake City Re-Visited Discover the charm of Lake City, South Carolina, a delightful weekend destination that provided us with unforgettable experiences. Situated 90 miles east of Columbia, SC, and 60 miles west of Myrtle Beach, this picturesque city offers a diverse range of attractions. Indulge in the culinary delights of terrific restaurants, immerse yourself in the vibrant contemporary art scene at local galleries, and explore the serene beauty of the Moore Farms Botanical Gardens . And remember to visit our personal favorite, Baker's Sweets! Lake City becomes a hub of artistic excitement each spring as thousands gather for the renowned ArtFields and ArtFields Junior Competitions. This annual event showcases artists' exceptional creativity and talent from near and far, offering a truly enriching experience. More Mom's Baked Chicken Introducing a cherished recipe that holds a special place in the culinary repertoire in our kitchen. This delectable dish is a treasured creation of Darcy's mother, crafted during her culinary adventures at the tender age of twelve. Passed down to the next generation, it has become a favorite family mealtime tradition. The recipe is so ingrained in their cooking routine that measuring spoons has become obsolete, allowing creative freedom and personalization. Although Darcy has thoughtfully written down the recipe, embracing improvisation and adding personal twists to make it your own is highly encouraged. More Publix "Hamburger" Cake Welcome to a mouthwatering Memorial Day Weekend treat! As Darcy aptly puts it, "It's small, it's cute, it's from Publix, it's delicious - so go get it!" Indulge in the festive spirit with special edition holiday cakes from Publix, designed to elevate your celebrations. These delightful novelty cakes come in various summertime and Memorial Day themes, adding a touch of whimsy to your festivities. Not only are they reasonably priced, but they also offer a delectable taste experience that will satisfy every sweet tooth. These cakes are perfect for kids and those young at heart and promise a delightful and fun-filled treat for all More Darcy and the Donut Welcome to The Donut Guy , a delightful haven nestled in the heart of The Vista at 1215 Lincoln St, Columbia, SC. Indulge in the ultimate donut experience as we offer a delectable assortment of freshly crafted treats that are made with love and care right here. Step into our casual and friendly atmosphere, where you can choose to relax indoors or bask in the sunshine at our outdoor seating area. The Donut Guy is about creating a welcoming space to enjoy every bite. From classic glazed delights to innovative toppings like Fruit Loops, toffee, and melted chocolate, we have something to satisfy every craving and delight your senses. One of our popular picks is the strawberry icing sprinkled donut, a personal favorite of Darcy. More Darcy and the Cake Visit Baker's Sweets , a bustling culinary gem located at 129 E Main St, Lake City, SC. Known for its delectable lunch options and mouthwatering homemade cakes, this charming establishment is a must-visit in Lake City. Prepare to be enchanted as you feast your eyes upon the top of the display cases adorned with tempting slices of homemade cake. Inside, a delightful assortment of sticky buns, cupcakes, tortes, and cheesecakes awaits, each crafted with love and attention to detail. We succumbed to the irresistible allure of a torte and a triple chocolate cake during our visit. Indulging in each delectable bite, we found it impossible to pick a favorite, as both desserts were absolute delights to our taste buds. More St. Patrick's Day Rice Krispie Treats Get ready to celebrate St. Patrick's Day in style! As the festivities approached, Darcy embarked on a delicious adventure by creating mouthwatering Rice Krispies Treats™ for her Dish with Darcy "Tumblr." While the traditional recipe initially left her craving for more flavor, Darcy's ingenious twist took the second batch to new heights. She achieved perfection by adding a delightful touch of store-bought vanilla icing and a pinch of salt. Peruse the delightful photos that capture her recipe journey, showcasing each step of this delectable creation. Accompanied by a charming drawing by Darcy, the recipe comes to life, enticing you to embark on your culinary escapade. More Baby's Best Buttermilk Biscuits Simplicity meets classic charm in our kitchen with an old-fashioned biscuit recipe. We take a traditional approach by incorporating shortening into the biscuit base, but we add a delightful twist by spiking the mix with butter. We brush the tops with butter to enhance the golden goodness before baking. Maintaining the proper proportion of shortening to butter is critical to achieving the perfect balance of flavors. This ensures the biscuits retain their rich taste without overwhelming burnt butter notes. While you have the freedom to brush your biscuits with butter at any time, we recommend waiting until halfway through the baking process for optimal results. More Silver Jubilee Cookies Welcome to our cookie haven! We're here to spread joy with our beloved cookies all year round—our secret lies in the classic Silver Jubilee Cookbook Sugar Cookie Recipe, infused with a delightful twist. Adding 1/4 cup of flour and chilling the dough creates the perfect canvas for rolling and cutting. Our pantry is always stocked with cookie essentials to fuel our delicious adventures. Playdates often end with a vibrant cookie decorating fiesta, where each creation becomes a masterpiece as creative as an art class. The Silver Jubilee Cookbook is special in our hearts, offering more than just a coveted sugar cookie recipe. It is a trusted resource in our culinary repertoire, from basic cakes to expert meat, poultry, fish, and vegetable dishes. More

Inspiration from Patz Fowle PHOTO ESSAY BY DAWN HUNTER AND DARCY PHELPS, 9-7-2022 During our most recent Lake City excursion, Darcy and I went to the Onward and Upward exhibition at the Jones-Carter Gallery. The show featured artwork by Patz Fowle (1954-2021) and Mike Fowle. We were taken and awe-struck by the artwork, which led to an impulse buy of Patz Fowle's whimsical and exquisite clay work Every Artist...Has a Story. The piece is comprised of hand sculpted stoneware, porcelain, oxides, underglaze, stains, and luster. The ceramic work contains references to famous works of art by artists like Dali, Picasso, and Munch, and seminal readings of Art History. The tactile surfaces rival the painted surface qualities of The Isenheim Altarpiece by Matthias Grünewald (1512–1516) and inspired Darcy's cookie bake off! “It is good to love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is well done.” ― Vincent Van Gogh Who was Patz Fowle? Born 1954 Ringgold, Georgia Died 2021 EDUCATION Parsons School of Design, New York City, New York Adelphi University, Garden City, New York Savannah College of Art and Design, Savannah, Georgia Patz Fowle was renowned for her illustrative, handmade ceramic sculptures, which were glazed with bright low-fire colors. Her works often featured anthropomorphic animals, such as zoo animals taking a taxi or a fish walking to work with a briefcase. She developed unique sculptural techniques, known as the "Patz Process Ceramic Technique," which were recognized by the American Ceramic Society and featured in art textbooks. In collaboration with her husband, Mike Fowle, she created large-scale metal public art sculptures. Jones Carter Gallery Patz Fowle Mike Fowle Patz Fowle's work inspires a cookie bake-off. The best location for this artwork in our house? The kitchen table, of course. Our meal times are now rich with discussions about art, history, and Patz's work. There are so many layers of references in the artwork. What a wonderful gift for our home! The work served as inspiration for Darcy's and Eva's sleepover cookie bake-off this past weekend. The greatest challenge? The icing and cookie cutters could not translate the fine detail of the elephant. All photos by Dawn Hunter, click on the photos to activate a slideshow. “I dream my painting and I paint my dream.” ― Vincent Willem van Gogh Pat Fowle Public Collections American Museum of Ceramic Art, Pomona, California Big Bleu Birdnanna, public art sculpture, commissioned by city of Florence, South Carolina Dr. Ronald E. McNair Life History Center, Lake City, South Carolina McLeod Regional Medical Center/ McLeod Family Medicine Center, Florence, South Carolina Recipe: Sugar Cookies Ingredients: 3 cups sifted flour 2 teaspoons baking powder 1/2 teaspoon salt 2/3 cup shortening 1 cup sugar 2 eggs (well beaten) 1/2 teaspoon vanilla extract 1/4 cup of milk Directions: Mix and sift flour, baking powder, and salt. Cream shortening, add sugar slowly, and cream until fluffy. Stir in well-beaten eggs and vanilla extract. Add sifted dry ingredients with the milk. Blend well and chill. Roll 1/4 inch thick on a lightly floured board. Cut cookies into desired shapes. Bake at 375°F for 10-12 minutes.

Darcy's Kusama Pumpkin Pie In celebration of her favorite artist, Darcy made drawings of and decorated pumpkins. She capped off the activity with homemade pumpkin pie, an unexpected treat in July. Japanese artist Yayoi Kusama is known in the art world as the 'Princess of Polka Dots.' She has dazzled museum visitors with her infinity rooms that have featured some of her objects, like her pumpkin sculptures. Featured in this section is a Yayoi Kusama 'My Love for the Eternal Pumpkin' sculpture when it was on view at the Hirshhorn Museum, Washington, D.C. The photo essay below contains a mix of images from Kusama exhibits, Darcy's creative process, and her pumpkin pies! Who is Yayoi Kusama? Yayoi Kusama was born on March 22, 1929, in Japan. She is a famous artist known for her sculptures and infinity mirror rooms. Kusama is very talented and makes all kinds of art like paintings, performances, videos, poems, and stories. Her art is very creative and includes ideas about feminism, minimalism, surrealism, pop art, and abstract expressionism. A lot of her work is about her own life and feelings, and she often includes psychological and sexual themes. Kusama is one of the most important artists alive today and the best-selling female artist in the world. Kusama grew up in Matsumoto and studied traditional Japanese painting, called nihonga, at Kyoto City University of Arts for a year. She was inspired by American Abstract Expressionism and moved to New York City in 1958. There, she became a big part of the 1960s avant-garde scene and the pop-art movement. In the late 1960s, she became well-known for organizing events where people, often naked, were covered in bright polka dots during the hippie counterculture. Her work became less famous in the 1970s but had a big comeback in the 1980s. Kusama has kept making and showing her art in top museums worldwide, staying influential from the 1950s until now. “A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” - Yayoi Kusama Unique Twist By finding inspiration in Yayoi Kusama's art, Darcy was able to create a unique activity for herself. By creating her own 'eternal pumpkins,' she was able to develop a deeper understanding of Kusama's artwork. While Yayoi may not bake a pie after the creation of each pumpkin, Darcy took her pumpkin inspiration a step further and made one of her favorite desserts that is a year-round favorite. Pumpkin pie in July? For us, it is a typical summer treat! “Polka dots can't stay alone. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environments.” - Yayoi Kusama Silver Jubilee Pumpkin Pie Recipe Pumpkin Pie Ingredients: 1/2 recipe Standard Pastry (page 362) 1 cup brown sugar 1/2 teaspoon ginger 1 teaspoon cinnamon 1/2 teaspoon salt 2 eggs, slightly beaten 1 1/2 cups milk 1/2 cup thin cream 1 1/2 cups cooked or canned pumpkin Instructions: Line a 9-inch pie pan with pastry. Mix sugar, spices, and salt. Add slightly beaten eggs, milk, cream, and pumpkin. Mix well. Pour into unbaked pastry shell, and bake in a moderately hot oven (425°F) for 40 to 45 minutes, until an inserted knife comes out clean. Yield: 1 9-inch pie. Note: If desired, 2 cups of undiluted evaporated milk may replace the milk and cream. Pumpkin pie may be covered with whipped cream flavored with sherry, maple syrup, or honey.

Welcome to CONVERSATION, interviews with Sara Schneckloth, Nakisa Abdollahbeigi and Stephanie Allen. SARA SCHNECKLOTH is passionate about teaching. Her excellence in the classroom was recognized this past spring when she was awarded USC's prestigious Michael J. Mungo Teaching Award - for the second time during the past ten years! The first was for her undergraduate teaching and the second was for her Graduate teaching. Professor Sara Schneckloth has been teaching at UofSC since 2007. She has a reputation among the student population as a great motivator who is prone to incorporating the unexpected and innovation in the art classroom experience. Students find her classes exciting, rigorous, and rewarding. South Carolina Sunshine has interviewed Sara and two of her recently graduated students: undergraduate Stephanie Allen and MFA graduate Nakisa Abdollahbeigi. Image above, by artist and UofSC professor, Sara Schneckloth from her Topographies series: Earth pigments, graphite, colored pencil, wax on Yupo, 2021. Dawn Hunter: Teaching is a great passion of yours. How did you become interested in teaching? Sara Schneckloth: It is indeed a driving passion! I had the pleasure of teaching for the first time in Cape Town, South Africa at the Community Arts Project from 2000-2002, where I discovered how grounding and satisfying it is to be in a studio classroom with people who are focused, engaged, and motivated – it has grown and expanded ever since, whether at the University of Wisconsin as a grad student and instructor, and here at Carolina since 2007. Dawn Hunter: You have won two Mungo teaching awards, one for undergraduate teaching and one for graduate teaching, what are your perceptions of similarities and differences among those student populations? Sara Schneckloth: Our students all bring different levels of experience into the classroom, and I believe it’s important to meet people at whatever level they are starting. In any level of drawing course, we engage with the questions, techniques, and processes that can help bridge the gap between what they aspire to create and a growing bank of skills and resources they have at their disposal. Like many of us teaching studio art courses to undergraduates, SVAD classes attract both art majors and students from across the university who are keen to bring artmaking into their lives – it’s these interdisciplinary conversations that can really take an undergraduate project in exciting directions, as students look to combine their other academic interests and cares with drawing. SVAD graduate students bring a host of life experiences with them as they engage in three years of creative and academic study and studio work, and I am perpetually inspired by the strides these artists and scholars take in bringing their creative visions to light while in the MFA program and beyond. Above: Sara Schneckloth working at her summer studio in New Mexico. Photo by Megan Clark. Dawn Hunter: When you pursued your MFA at the University of Wisconsin, Madison, at the time, did you envision teaching becoming such a big part of your life and studio practice? Sara Schneckloth: I did, if only because of recognizing early on the excitement and joy I feel when working with a group of inspiring and motivated students – that dynamic energy, the flow of ideas, the deep immersion in creative process – all of it elevates my overall approach to making artwork. There is a cyclical flow between what happens in my studio and what happens in the classroom – each feeds and inspires the other and I honestly and simply love working with people as they bring a vision to light. Dawn Hunter: Describe your teaching style. Sara Schneckloth: My approach to teaching combines rigorous attention to a range of traditional and contemporary drawing methodologies, encouragement of self-discovery, and active engagement in peer critique. I believe that every student brings a unique set of personal experiences to the university environment, and that one of my roles is to support undergraduate and graduate students in investigating and translating those diverse experiences into meaningful works of art, through drawing, writing, and speaking, becoming artists who move fluidly between ideas and images. From teaching to mentoring and advising, I work with graduate students to build solid technical skills in visual artmaking, confidence with materials and processes, and a critical and incisive language for talking about their work and the work of others. Students move forward with a better understanding of themselves as thoughtful practitioners they learn to ask questions of their artwork, each other, and of the enterprise of art making as it manifests across disciplines. In my career at UofSC, I am dedicated to training a generation of artists, scholars, and future educators who embody principles of open exploration and expression of ideas, and care for the aesthetic dimensions of being in the world. Dawn Hunter to Nakisa Abdollahbeigi: How or why did you decide to work with Sara Schneckloth as your mentor? Nakisa Abdollahbeigi: Professor Schneckloth is a very kind and supportive person—also highly professional and experienced in studio art with main focus on Drawing. Since Drawing is my primary major, I have decided to work with Professor Schneckloth as my thesis mentor. Dawn Hunter to Stephanie Allen: How or why did you decide to work with Sara Schneckloth as your mentor? Stephanie Allen: I've worked closely with Sara since I was a sophomore. Even before I had asked her to be my thesis director, she had mentored me more than any other professor I had worked with. She understands my goals as an artist, knows my range of skills and where to push me. Choosing her just made sense. She was always willing to go above and beyond to support me and I am so indescribably grateful for how she's helped shape my undergraduate experience. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Dawn Hunter to Sara Schneckloth: How does teaching a class or working one-on-one with a student in a classroom setting manifest differently from mentoring a long-term project? Sara Schneckloth: When working with any student on a project, long- or short-term, my hope is that they allow their thinking and processes to be fluid and evolve. That evolution can take on many forms, whether in how they approach the act of seeing, the drawing techniques and materials they use, or how they invent new conceptual challenges and questions for themselves. Being able to work with a student over an extended period of time is so rewarding, as often the project will go through a period of radical reinvention, as the person goes deeper into what is really motivating them to make the work. It’s that blend of discovery and excitement that can propel a project to even greater success, with momentum to keep making more work going forward. One of many mural walls created by Marius Valdes at the Richland County Public Library, Columbia, South Carolina. Dawn Hunter to Nakisa Abdollahbeigi: What qualities did Sara bring to the relationship that helped you progress your thesis in the right direction? Nakisa Abdollahbeigi: One of the most important qualities I admire in Professor Schneckloth is her organized and detail-oriented personality. As my thesis mentor, she played a key role in helping me coordinate committee meetings routinely and provided excellent mentorship for developing the idea, implementation, and management of my thesis project. She also evaluated my performance in the program and provided thoughtful feedback on each step of my project to help me complete it with the best quality. Dawn Hunter to Stephanie Allen: What qualities did Sara bring to the relationship that helped you progress your thesis in the right direction? Stephanie Allen: Sara has a knack for finding the most interesting and unconventional mediums and surfaces. I knew she would be a great resource to have when working on a project that required unusual materials. I wasn't sure what the pieces would be made of or how they would be hung, and she provided resources that allowed the project to look professional while staying within budget. She has a great eye for abstraction. This show features some of my very first exclusively abstract pieces that would not have been conceptualized without her guidance on materials, abstraction, and the intuitive mark. Sara has worked with similar interview-based projects before— she knew where to look for weak spots in interviewing ethics and how to create successful visual narratives. While I technically have a drawing concentration, Sara has a very expansive definition of what a "drawing" is. I knew that this perspective would give me the creative freedom to work however I needed to and would allow me to take an untraditional approach to drawing. Above, Strive, a mixed media drawing by Stephanie Allen. Below, Stephanie Allen's BFA thesis exhibition titled, In My Skin, Her Skin. Both photos by Stephanie Allen. Image above, by artist and UofSC professor, Sara Schneckloth from her Topographies series: Earth pigments, graphite, colored pencil, wax on Yupo, 2021. Dawn Hunter to Stephanie Allen: Your thesis exhibition is a personal and biographical (of you and others) show. What did you want the viewers to learn, understand or experience from the show? Stephanie Allen: The ways in which the spoken word and the creation of art can lead to a larger understanding of self was deeply considered in the creation of this project: by understanding other queer stories, I could more clearly engage with my own. This exhibition is an artistic investigation of queer femininity and body image. As our bodies and identities are so deeply intertwined, this project explores the way in which the body and presentation create and structure perceptions of queerness, gender, and beauty. Each portrait represents a queer woman or non-binary person that I interviewed, directly rendering their appearance and abstractly interpreting their relationship with their body and queer identity. This project aims to visually record the feeling of being seen and one’s developing knowledge of their identity. Specifically, by realistically showing a variety of different body types that all relate to queerness and femininity in some way, we may expand our presupposed notions about the body enforcing identity. Additionally, despite these varying appearances of the body, the throughlines of body insecurity, navigating queer expression, and learning self-love unify these differences to reinforce the idea that the person is so much more than the body. Understanding that the body is art and art is the person is a key component of my work. In extending our definition of art to include the body, we can shift out of a sense of moralizing critique to one of understanding, appreciation, and respect for both the self and others. Dawn Hunter to Nakisa Abdollahbeigi: Your thesis exhibition, Carry On, was a personal/autobiographical show. What did you want the viewers to learn, understand or experience from the show? Nakisa Abdollahbeigi: One of the most important aspects of my thesis exhibitio n was to help the viewers feel and communicate with the emotional challenges immigrants face during and after immigration. Most importantly, I aimed to show them how feelings of living far away from loved ones, like parents, siblings, best childhood friends, and family members can have personal and emotional impacts on an immigrant’s life. Another aspect was to show how the sense of disconnection from the original culture, language, memorable moments, and nostalgic places in life can affect an immigrant’s personal identity. Lastly, my goal was to reflect on challenges that immigrants experience after moving to a new country such as adapting to a different culture and learning a new language. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Below, Nakisa (center) with guests at her exhibition opening. Above, image from Nakisa Abdollahbeigi's MFA thesis exhibition, Carry On. Below, Nakisa (center) with guests at her exhibition opening. Dawn Hunter to Stephanie Allen: The work is created in layers, and each piece is a complete experience on its own, but the entire show works as an installation. Was that intentional, or did it synchronize in the installation process? Was that intentional when creating the works for the show? How did the choices in the installation evolve? Stephanie Allen: These pieces are what I have come to describe as "floating collages." The question of materials was something that long haunted me in the beginning stages of this project. More specifically, the question of how to hang said materials was one of the biggest early challenges that I faced. I was set on the pieces being larger than life and knew that the show had to function in layers. I wanted to have a layer that realistically described the body, and another layer to describe the person's relationship with their body femininity, and queer identity. This made it difficult for traditional materials (canvas, board, frames, etc.) to practically function. Acetate was light but durable, and had the transparent quality that I wanted. Ultimately, the installation came together because it had to. Once I had created the pieces, they needed to go up however would work. Based on the advice of Sara Schneckloth and my second reader, Brent Dedas, I used magnets and metal plates to hang the drawings. I wanted the pieces to invade the viewers' space, have intricate cast shadows, and have distinctly separate layers (i.e. I didn't want them stacked flatly on top of each other). The choices I made for installation then followed these requirements that I had established for myself. Above, BFA Thesis exhibition, In My Skin, Her Skin, by Stephanie Allen. Photo by Dawn Hunter Below, closing reception for In My Skin, Her Skin. Photo by Rachel Kaiser. Dawn Hunter to Stephanie Allen: You selected unconventional drawing materials for the works, and the figures are larger than life in scale. Why did you decide to use unconventional materials, and what was the process that led to the large-scale figures? Stephanie Allen: A big part of the show was subverting the expectation that the body dictates identity and expression. It was the perceived difference between these two things —body and identity— that I wanted to focus on. Because the two exist in different spheres, I wanted the visual representations of each aspect of the subject to have separate spaces on the piece. Yet, because they are combined to create one person, they had to exist within a singular composition. I didn't want to create separate pieces (one about the body of the subject and one about the identity of the subject) because that would strip the body of personhood and the person of body. Our identities and bodies are deeply and personally intertwined, so the notion of a floating collage seemed like an interesting challenge that fit my thematic goals. I wanted the pieces to command attention— these drawings are about real people and their stories, so they deserve to be on a scale that appropriately describes the complexity of queer identity. Dawn Hunter to Nakisa Abdollahbeigi: There was an installation piece in the show, Memories in My Carry On. However, one could argue that the entire show is an installation with sub or "mini" structures within it - like, Family Album or the diptych Family Tree. Was that intentional when designing the show? How did the choices in the installation evolve? Nakisa Abdollahbeigi: The central idea for my exhibition was developed based upon the concept of immigration and its challenges. The components of the show were designed to reflect on different aspects of this main concept with the goal to show how personal, cultural, and emotional challenges play a critical role in an immigrant’s life. The most challenging part for setting up the exhibition was the installation of the "Memories in My Carry On" as the central component. This theme was designed by wrapping a suitcase – as a symbol of immigration – in red straps inside a wooden box and visually connecting it with photos of family, moments, and nostalgic places printed on fabric. To develop the idea for this theme, I played around with the sub-components and changed their order and composition several times. The empty space between photo installations on the wall and the suitcase on the floor was filled with red-strap loops hanging from the ceiling. This latter component was designed to create an obstacle and make it difficult for the viewers to walk in the space between components with the goal to symbolize challenges that immigrants experience during and after their transition to a new life. Above, Stephanie Allen's mixed media drawing titled Skin. Photo by Dawn Hunter. Dawn Hunter to Stephanie Allen: How did your work evolve and change while at UofSC? Stephanie Allen: The biggest change that came to my work was increasing degrees of abstraction. I was almost afraid of working abstractly when I first came to Carolina I felt that I had to "prove" my ability to work realistically before delving into the abstract. This then resulted in an interesting combination of realism and abstraction: I love creating weird abstract shapes and images that functioned realistically within their compositions without being directly representational. This project was in some ways far more representational than I have worked in a long time but is simultaneously one of the most abstract series I've done. I honestly see myself continuing to spiral into more abstract territories. My work has consistently focused on feminine and queer identity while at Carolina, and I am interested in expanding and diversifying this thematic base that I've established. Dawn Hunter to Nakisa Abdollahbeigi: How did your work evolve and change while at UofSC? Nakisa Abdollahbeigi: Studying art at UofSC was my first experience with an American educational institute after my immigration to the United States. At the beginning, I found it very different from my experience with an educational institute in my home country, Iran. I gradually adapted myself to the new environment and learned many new things about the art, culture, and language by taking different courses and working on studio art projects for my classes and the MFA thesis. The SVAD program has given me the chance to interact with amazing students and work with inspirational professors and artists who showed me how to think and work creatively and supported me along the way. In my program, I became familiar with a wide range of materials and learned many new techniques for creating art and these skills will be critical for my collaboration with other artists and exploring new things in my future career. Above, Nakisa Abdollahbeigi at the opening of her MFA thesis exhibition, Carry On. Below, detail of an installation piece. Dawn Hunter to Nakisa Abdollahbeigi: What are your future plans? Nakisa Abdollahbeigi: Personally, I enjoy working in academic environments and continuously exploring and learning from other people’s work. I also highly value teaching and am enthusiastic about having the chance to share my experience with students. As an immigrant artist with Iranian background, my plan is to continue working on projects that can help raise awareness about and promote appreciation for cross-cultural values and differences. I believe this is one possible way artists can contribute to building bridges between people from different personal, social, and cultural backgrounds. Dawn Hunter to Stephanie Allen: What are your future plans? Stephanie Allen: I majored in English and studio art while at UofSC and truly enjoyed both subjects. Right now, my career is aligning more closely with my English degree. This summer I am attending NYU's Summer Publishing Institute and I plan to pursue a career in publishing from there. However, as I'm always looking for ways to combine my passions, I am certainly keeping an eye out for publishers of illustrated books and art-based magazines. I plan on continuing my artistic practice regardless of my career path and hope to ultimately find my way back to grad school. Dawn Hunter to Sara Schneckloth: You have initiated a lot of opportunities for teaching, outreach, and community engagement. Do you have plans to develop other teaching initiatives? - like in NM, is that a program/residency you aim to grow? Sara Schneckloth: The studio work I do in the summer in New Mexico is a central part of my overall creative research, and working out here in this remote and rural location is a point of ongoing inspiration and challenge. It’s exciting for me to be able to share the kind of work I do out here with others, and I am interested in growing that in the years ahead, but slowly and with care. I just hosted a small in-person gathering for six artists keen to integrate natural materials into their practices we gathered local clay and ground it into pigments, hiked though the San Juan Basin badlands gathering visual inspiration, and created drawings to connect mark to landscape. The act of uniting material to place is one that can be revelatory, and I hope to create more opportunities to do that with others in the years to come. Dawn Hunter to Sara Schneckloth: What surprises you the most about teaching? or, What event did you experience in education that gave you the biggest surprise? Sara Schneckloth: I think I’m most surprised by how new it always feels every semester, with the rush of jumping in to a full stream of potential, and being a part of such personal exploration, development, and growth. I am grateful for being a part of hundreds of people’s creative processes over the past twenty plus years of teaching, and look forward to many more. Sara Schneckloth, final thoughts on teaching: I would say my teaching style closely mirrors how I work in the studio – I’m driven by an ethic of play and experimentation, curiosity, and a willingness to hold things lightly throughout the process, even/especially when things don’t unfold as planned. By engaging in a blend of close observation, traditional drawing approaches, and experimenting with diverse materials and processes, my hope is for students to make discoveries about their own investment in creating images and artworks, and find satisfaction in process and image alike. Learn more about Sara by visiting her website link below. saraschneckloth.com

To play, press and hold the enter key. To stop, release the enter key. The Artistic Vision of Brian Rego: Crafting Masterpieces and Nurturing Future Artists "My work is informed by where I live, and how I live out my life in these respective places. South Carolina has been the culmination of challenge and beauty." Brian Rego is a seasoned artist known for his evocative landscape and figurative works. Born and raised in the United States, Rego's formal art education was forged within the robust arts communities of Pennsylvania and South Carolina.In 2004, Brian Rego achieved a significant milestone, receiving his Bachelor of Fine Arts in Painting from the University of South Carolina. His unique talent was quickly recognized, earning him the prestigious Ed Yaghjian Award for Distinguished Undergraduate Work. Yet, for Brian, this was only the beginning. Driven by a relentless curiosity and an unwavering commitment to his craft, he pursued further studies at the highly respected Pennsylvania Academy of the Fine Arts, attaining his Master of Fine Arts in Painting in 2007. Brian's dedication, however, extends far beyond his academic accomplishments. From the outset of his career, he has demonstrated an exceptional artistic prowess. His solo exhibitions, such as "Present Memory" at the Nancy Margolis Gallery in New York in 2021, "Tiny Mirrors" at the John Davis Gallery in 2019, and "Affections" at the Southside Gallery, also in 2019, have drawn significant attention and acclaim. This acclaim not only cements his status as an accomplished artist but is also a testament to his remarkable creative vision. Furthermore, his work has been featured in various notable group exhibitions, including "Rooms For Strangers" at the Pamela Salisbury Gallery, and "Working Small | A Group Exhibition" at Nancy Margolis Gallery. Above, Dream Walking, oil on board, 15 1/8 x 18 1/2 inches by Brian Rego. Image courtesy of Nancy Margolis Gallery But Brian Rego isn't just about painting pretty pictures. He's got this passion for education that pushes him to go beyond his studio. He's taken on roles as a teacher, a critic, even a visiting artist at different places. He really puts his heart into fostering the growth of young talent, nurturing the next wave of artists who'll make their own marks in the world.. These have included the Jerusalem Studio School in Israel and the University of Mississippi. Notably, he also returned to his alma mater, the University of South Carolina (2008-2019) serving as an Adjunct Professor in 2-D Design Foundations, Figure Drawing and Painting. In 2022, he taught a course, "Considering the Masters: Cezanne and The Organizing Principles of Design," at the Penn Studio School of Art. In recognition of his contributions to the field, Rego received the Blackwell Prize in Painting Award from the University of West Georgia in 2023. This honor underscores the potency and originality of his work. His artistic vision and technique have also made their way into print. In 2022, his thoughts and creative process were shared in "Art In The Making, Essays by Artists About What They Do," where he was featured on pages 228 - 231. From long nights in the studio to countless hours in the classroom, Brian Rego's journey through the art world is a shining example of how grit, imagination, and a love for teaching can shape a successful career. Every brushstroke tells a story, and Brian's art, full of beauty and depth, reflects his unique take on the world around him. But what's really cool is that his work doesn't just hang on gallery walls - it also lights a spark in young artists who dream of following in his footsteps. Pair that with his impressive list of exhibitions and teaching roles, and it's no wonder Brian is making waves in the modern art scene. Above, Swimmer, oil on board, 14 1/4 x 18 1/2 inches by Brian Rego. Private Collection Q & A with Brian Rego Dawn Hunter: What initially sparked your interest in art, and how has your upbringing in South Carolina shaped your artistic style and career? Brian Rego: From the time that I can remember, I had an interest in drawing. Looking back, it seemed like a natural thing to do. There are certain people who have temperaments that compel them to record their experiences to understand the significance of them, and to tell their stories. I grew up reading and drawing Sunday comics and followed the styles of Berkely Breathed, Bill Watterson, and Jim Davis. I was overtaken by how real the characters felt, and how easy it was for me to relate to them. I engendered a deep affection for these illustrators, for treating with such care and attention, their ability for, and dedication to storytelling. For a moment, I found a place to belong. I soon developed my own characters, and told my own stories. My grandmother was an artist, a painter. When she was in her twenties and thirties, she painted in oils, but by the time I had come to know her, she was a watercolorist. I loved her work as a boy, and I wanted to emulate her. I didn’t relate to art as an ideology, but I understood it through my grandmother. I was in awe of the non-diminishing return of her work, how the power of her paintings intensified the more time I spent with them. But I wouldn’t try my hand at painting until my twenties. (continued below) Brian Rego painting en Plein air. Girl in Garden, oil on canvas, 20 x 29 inches, oil on canvas by Brian Rego. Courtesy of Nancy Margolis Gallery. Brian Rego: (continued) I completed my BFA in painting at the University of South Carolina, and as a student, I had two professors who made a huge impact in my artistic development. One was in figure drawing, the other was in painting. Together, they pushed me to be my best while providing me the room to experiment, to struggle, to fail. If I managed to succeed in one area, it was met with brief acknowledgement and the demand to do it better; they were constantly looking ahead. I am grateful for that now because any time I am met with success, I treat it the same way, and that allows me to focus on the work instead of the results. I learned that failure and success are just a part of life, but given too much attention, they become detrimental to the growth of one’s work. My work is informed by where I live, and how I live out my life in these respective places. South Carolina has been the culmination of challenge and beauty. I paint from life, so the heat of the South is always a barrier to my work, but because I struggle against it to paint in the landscape, the work is neither sluggish nor indulgent, but urgent and direct. I have taken to the discipline of working in the studio once the painting is developed enough to sustain the use of memory as a resource. My blessed wife and four children have contributed to the necessity of this development in the process of making paintings, and I have grown to love it. Memory has a limitless capacity for engaging the imagination, and as I learn to channel that powerful interaction through my sensibilities, the expression through the material, as a consequence, has shown itself to be something of a personal style. But I don’t give much attention to that; I focus more on the accuracy or the tone of the gestural expression of form through paint. Artist Brian Rego working in his Charleston, SC studio. East Bay Street, oil on linen, 20 x 24 inches, by Brian Rego. Courtesy of the artist. Dawn Hunter: Your solo exhibitions, including Present Memory; Tiny Mirrors; and Affections; have garnered a lot of attention. Could you give us a glimpse into the creative journey that led to these pieces and what they represent for you? Brian Rego: Each piece of every body of work is a visual accounting of my life in a certain place, in a certain time. But the paintings are about themselves, they are not about me. I just use what is around me and how I engage with those things as material to make the work. I have my own attachments to the work, my own entry points, but those will be different for someone else and what I have to say will only hinder their relationship to the painting. Each painting needs its autonomy. I need to keep looking ahead to what is next, not because I know what to look for, but to keep myself moving, one step at a time. Dawn Hunter: Alongside creating your own art, you’re passionate about teaching and nurturing the next generation of artists. How has this commitment to education shaped your own artistic workand the way you view your role as an artist? Brian Rego: I believe in giving back. I have had many people contribute their time, energy, knowledge, and love, to my development as a person and as a painter. The biggest influences in my life, aside from my family, have been teachers. I am grateful for the ability to teach, but even more so for the desire to do it. It brings me satisfaction to share something that I consider to be so good and so rich with other people. I love to see people struggle and grow, to see them enriched; I never tire of it. This attitude has fostered within me an ardent love for what I do, and in a way, it justifies what I do. If I painted exclusively for myself, I don’t think I would do it. Pineapple Fountain, oil on canvas, 22 x 28 inches by Brian Rego. Courtesy of Nancy Magolis Gallery. Dawn Hunter: You’ve been honored with several awards, like the Ed Yaghjian Award and the Blackwell Prize in Painting. What influence have these recognitions had on your artistic perspective, and what words of wisdom would you share with budding artists aiming for such honors? Brian Rego: Awards are wonderful because they represent someone believing in the value of your work, but whether the work is received favorably or unfavorably, the focus must be set upon the needs and demands of the work, which are established solely between you and what you make. Do not aim for honors, it is a distraction. The people who honor you will also dishonor you the moment you and your work cease to represent the values they hold dear. If you, especially as a budding artist, give that level of influence to someone else, you will lose your way. Expect there to be good times and bad times, but remember that each does not last. Listen to your heart, follow your gut, and move onward. It is not about you, it is about the work. Dawn Hunter: What do you hope viewers will experience or understand when they interact with your art? Looking forward, are there any new themes or techniques you’re looking forward to incorporating in your upcoming works? Brian Rego: Ideally, my hope is for a viewer to enter into the compressed space of the painting, slowly expanding, finding themselves immersed in another world. One that connects deeply to the viewer’s interior world, to their sensibilities, and form a connection to it. My hope is for the viewer to understand that the painting is there to be seen and that it reveals itself in layers, that it imparts something of value, but that it takes time. Regarding my upcoming work, I want to paint on bigger surfaces. I want to learn how to make large paintings, really get into things. I am working out the practical aspects of making large paintings on location, and then of course, how to paint them. Above, Woman Sunrise at the Park, oil on line, 22 x 26 inches, by Brian Rego. Courtesy of Nancy Margolis Gallery. Nancy Margolis Gallery | Brian Rego

Bulls Island Bulls Island is a pristine, untouched barrier island, the largest among four islands in the Cape Romain National Wildlife Refuge. Established in 1932, the refuge primarily aims to protect and conserve wildlife and their natural habitats. Encompassing 5,000 acres, Bulls Island is a thriving maritime forest featuring a mix of fresh and brackish water impoundments and a beautiful beach area. The island's many roads and trails offer ample opportunities for hiking and observing the diverse wildlife. What is Bulls Island? “I go to Nature to be soothed and healed, and to have my senses put together.” –John Burroughs Uninhabited and spanning 6.5 miles, Bulls Island remains largely unaltered by human activity, providing a haven for countless native and endangered species. The island is renowned for its thriving bird population, boasting over 275 species in and around the area. Situated at 5801 U.S. 17 North in Awendaw, the Cape Romain National Wildlife Refuge is approximately 20 miles north of Charleston. Access to Bulls Island is limited to private boats or ferry services. Coastal Expeditions provides a variety of tours to the island, including beach drops and sunrise expeditions. To reach the island from Charleston, take U.S. 17 North through Mount Pleasant and turn off at Garris Landing. A ferry operates twice daily during the summer season (Tuesdays, Thursdays, Fridays, and Saturdays) and on Saturdays only in the winter. Embark on a journey through the estuaries, and, with a bit of luck, you may be greeted by a pod of dolphins as you approach the island. Bulls Island Photo Gallery Explore the photo gallery below and explore all that this untamed beauty in Cape Romain Refuge; a 5,000-acre maritime forest, pristine beaches, and 275+ bird species. Discover serene trails, sunrise expeditions, and possibly spot dolphins. A natural paradise, just a ferry from Charleston. Coastal Expeditions Summer 2024 Bulls Island tour Schedule The Bulls Island Ferry is operated by Coastal Expeditions and they have an updated schedule for 2024, offering more flexible options for visitors during the Spring and Fall seasons. Coastal Expeditions’ current schedule offers visitors choices from 3.5-hour, 4-hour, or 6-hour day trips to explore the island every Tuesday, Thursday, Friday, and Saturday. The spring schedule runs from March through May, while the Fall schedule is from October through December. Morning trips depart at 9 am, with a choice of returning either at 12:30 pm or 3 pm, while afternoon trips start at 12:30 pm and end at 4:30 pm. The summer schedule runs from June-September, and it is a specialized schedule to accommodate the seasonal tides and environmental conditions of summer. The summer time day trips are 5.5 hours from the beginning to end. No need to specify the desired end time when booking a 9 am trip prepare for the duration you prefer and consult with the ferry crew on the day of your journey if you have any questions. Bulls Island Ferry Schedule What is Coastal Expeditions? Since 1992, Coastal Expeditions has been committed to guiding and sharing the beauty of South Carolina's Lowcountry: its lands and waters, plants and animals, people, history, and culture. Their mission is to put people safely and securely in the path of beauty, allowing them to experience meaningful connections with nature. As lifelong students and practitioners of environmental appreciation, they strive to create awe-inspiring moments that reveal the interconnectedness of our world. Coastal Expeditions is comprised of a passionate team of "guides, explorers, and storytellers" who continuously study Lowcountry tides, flora, fauna, and history. They work tirelessly to create new routes and maps, ensuring unique natural experiences that are awe-inspiring and tantalizing the imagination and senses. Experiencing the Lowcountry's natural, mystical, and magical aspects fosters a profound love and respect for this unique region. Their goal is to facilitate "soulful journeys" that allow individuals to become part of the beauty around them. Whether it's the shimmering sunlight on the water, an ancient shark's tooth, or the rush of air through a pelican's wings, they strive to create lasting connections between people and the natural world and believe fostering these connections cultivates a deeper understanding of our place within the universe and inspires a desire to care for our environment. Coastal Expeditions Website Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link