Becoming the Student, #20: Graham Higgs

imageProfessor Graham Higgs Gloriously Lit. Digital painting, dimensions variable, 2014. Click to view LARGE.

In this post, I want Professor Higgs to speak for himself. If you have a few minutes, please read the story below. If you give the narrative time to work, I’m certain that you will sense both the great truths and the gentle spirit that animate Graham’s life.

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The Cry of the Spirit Leaving

By Graham Higgs. Posted here by permission of the author.

It was one of those blazing hot, dry days at noon in a small village in Southern Africa, where I lived as a child. Not a soul was stirring. The sky shimmered with heat, and the only sound was the empty shush of a dry breeze against the screen on the porch, where I lay on my back, shirtless against the cool concrete floor.

I watched a fly circling in slow motion and finally settling on the floor a few feet from my head. My cheek felt cool against the floor as I watched the fly brushing its wing with one of its six legs.

Suddenly, from a distance in the back yard, I heard a man’s cry, “Nyoka! Nyoka!”

This was truly startling. “Nyoka! Nyoka!” the cry rang out.

In the Swahili language, the word “Nyoka” means snake, but not just any snake. It means dangerous snake. The odd thing about this was that snakes were very rarely seen in the heat of mid-day. I heard the cry again, and I heard the back screen door slam as my father left the house. I jumped up and left the porch at the front of the house and ran around back to see what was going on. When I reached the back yard I could see my dad crossing the field behind the house toward the garden. In the middle of the field, a tall, barefooted man wearing only khaki shorts and carrying a long stick was standing and pointing in the direction of the garden.

My father reached him and stopped. They slowly advanced, and then I saw the big old king cobra that they were watching. It was slowly moving toward the garden. They followed it, and it became aware of them, suddenly rising up high off the ground and displaying its broad, golden neck with two hypnotic dark eye-shaped spots.

My father and the garden man froze. The snake dropped back to the ground and began to move more quickly toward a large pile of brush near the end of the field. Several other men arrived and all began to pursue the snake, which continued toward the brush pile and then disappeared inside. The men surrounded the huge pile of brush. With long sticks they poked into the pile, jumping back, afraid the reptile would attack. King cobras are known to be aggressive when provoked.

While all this commotion was going on, many of the villagers began to come to see what was going on and stood in the shade of the tall eucalyptus trees that lined the field. Women and girls stood and watched while curious boys ran with sticks and threw stones at the pile. Mothers called out at them and tried to get them to be careful. The men stood and watched and pondered what to do next. The day was very hot and dry, and some of the men receded to the shade of the trees. A sentry of 4 or 5 men stood guard around the brush pile watching for any sign of the snake. The crowd of onlookers swelled to include just about everyone in the village. Some of the boys kicked a soccer ball around in the dust, and a dry breeze lifted the fine dust into swirls around their ankles. Sweat ran down the cheeks of the men watching the huge pile of brush.

One of the men walked over to my father, who was standing with me in the shade. I heard him say, “Baba, we could set the brush on fire. That would surely drive the Nyoka out so we can kill it.” No sooner had he suggested this than a man came running from the village fire with a burning stick, and the brush pile was soon a blaze of heat and crackling light. Visible waves of heat radiated away from and above the fire in visible auroras. The intensity drove almost everyone away and back toward the trees and the shade. Even in the shade you could feel the heat of the fire across the field. The fire cracked and popped, but no snake appeared. An hour went by, and no snake had come from the now smoldering fire. People began to mumble, and some began to return to their huts in the village. Women took their children and said they had food to prepare.

About this time, a quiet whistling sound began to be heard coming from the pile of ash. The whistling became louder, and everyone in the near vicinity could hear it. It became louder still and began to sound like a woman crying in a high-pitched tone. Now the sound could be heard throughout the village, and it became an ear-splitting scream. People looked at each other, terrified. The Nyoka was crying! What could this mean?

One wise, elderly woman said that she believed that the men had tried to kill an ancestor spirit. “What Nyoka ever comes out into the heat of the day?” she asked. “It is a sign” she said, “a sign that we did not heed. In our rush to kill this Nyoka, we may have tried to kill an ancestor who was trying to talk with us. See, she does not come from the fire. She waits, and she will certainly take her anger out on us. Just you wait and see.”

This prediction filled the hearts of the villagers with foreboding and fear, and those who had returned to the fire to see what the commotion was fled from the scene, taking their children and mumbling in low, fearful tones. After a few minutes the crying became quieter and slowly died away. A few men stayed with my father and watched the last of the smoldering coals. Then, as the day became long and the sun began to reach the horizon, my father and the other two men began to poke into the ashes with a long stick. At one point near the center of the ash pile, the stick hit a metal object.

With a shovel and a large stick, they found that a sheet of corrugated metal roofing was at the base of the fire. When they turned it over, the Then, as the day became long and the sun began to reach the horizon, my father and the other two men began to poke into the ashes with a long stick. At one point near the center of the ash pile, the stick hit a metal object.

With a shovel and a large stick, they found that a sheet of corrugated metal roofing was at the base of the fire. When they turned it over, they found the king cobra coiled in a circle. Its mouth was open and the fangs exposed. It had been cooked by the fire, roasted under the corrugated roofing. I recall my father thinking for a few minutes after this discovery and then saying to the two men, “It is now clear to me what has happened here. As the snake cooked, it began to boil, and the moisture in the snake steamed out of its mouth and past the fangs, which created a whistling and crying sound, much like a penny whistle does.” The men looked puzzled.

One of the men was horrified. “Oh, no, Baba, this is not the case. This sound was the cry of the ancestor spirit leaving the snake. We have certainly offended one of our ancestors, and this is a very grave thing to have happened.”

He quickly left the field and returned to his family. That night as the village gathered to eat together and drink beer and tell stories around the communal fire, the talk was about whether to consult the Nganga (witch doctor) to see how they could make reparations to the ancestor. They believed that they had ignored a natural sign. They believed they had violated an ancestor, and they would be punished. My father tried to explain that this might not be the case, but the villagers would have nothing of it. They had their animistic beliefs that kept them in balance with nature. It was an evening of low talking and fearful discussion. Many retired to their huts earlier than usual. Only a few of the older men, including my father, sat and talked late into the night.

Early the next morning a 3-week-old infant died mysteriously while she slept. It was then the people knew that they had indeed angered an ancestor. The Nganga and a spirit medium and herbalist would need to be called to perform a ceremony to placate the ancestor. Women were asked to prepare extra beer, and the herbalist retreated to his hut on the outskirts of the village and pulled out his stock of hallucinogenic herbs and tinctures. Men sat around the village fire and talked while the women served beer and food and in their own groups ate and sang and danced. A couple of drummers and mbira (thumb-piano) players worked themselves into a chanting rhythm and flow that began to persuade those who participated to sway and bob with the beat. The Nganga mixed a tincture and filled a pipe that he lit and passed around the group of men, and the tincture was swallowed by the spirit medium, a man who normally was a very odd fellow, said to possess special powers of vision and the ability to talk with the ancestors.

The spirit medium fell into a trance and passed out on the ground under the watchful eye of the Nganga, who bathed his face with cool water. The chanting and singing became more communal, and some men began to get up and dance. The women, including my mother, joined in the chanting and clapping of hands, and pretty soon, everyone was singing mournful and yet energetic songs of placation. Late into the night, the spirit medium began to speak, and the Nganga called for silence.

The spirit medium spoke in a language that no one but the Nganga understood. After listening to the strange sounds coming from the spirit medium, the Nganga conferred with the village chief, who called for a moment of reflection. Then he spoke about what the ancestor had advised. He said that tomorrow we must kill a goat and 7 chickens and prepare a feast in honor of the ancestor. In addition, we must begin to respect each other and to watch out for the children of others as well as we watch out for our own children.

We must work more regularly in the peanut fields, as the crops are almost ready, and we must always treat strangers with caution but respect. After a list of these sorts of things, some directed specifically at a few members of the community, the ancestor related that life would return to normal. Within a few days, the community had come together with a new commitment to work productively and live in peace as the ancestors intended.

~

I broke some of my rules while working on Graham’s portrait. I really wanted it to live up to the power of his story and the quality of his deep, quiet mind… so I spent a lot more than 2 or 4 or 6 hours on it. While drawing him in his office at Columbia College, I had the advantage of seeing him silhouetted against a bright spring scene, the intense near-white greens illuminating his head as if with a halo. I worked this portrait back and fourth in Sketchbook Pro and Art Rage v3, with some editing and shifting in Afterlight, for several months. I used both the Adonit Jot Touch 4 and the fiftythree Pencil to do the work. I’m thankful for the conversations I’ve had with Graham and I hope to have more in the future.

VINCENT

Andrew Vincent was one of my favorite students. He has a quiet presence, a quirky sense of humor, and the uniqueness that comes from arriving in middle America from somewhere else. In his case, it was South Africa. His father, a scientist and professor at Mizzou, brought his family to the US in time for Andrew to start 3rd grade. In many ways he retains a beneficial sort of otherness in spite of having lived much of his life here in Missouri.

Andrew made some amazing work for me in my Color Drawing classes, work that I have shown to several semesters of students. Here are a few of his pieces:

DSC07844Andrew Vincent, Spilled Milk, Oil Pastel on Paper, 15 by 30 inches. Drawn from an image created in Autodesk 3Ds Max. 2011.

DSC07025Andrew Vincent, Study After Vermeer’s The Milkmaid. Oil pastel on paper. 30 by 22 inches. 2011.

VincentA-Grid1-S11Andrew Vincent, Grid Study #1, Chalk Pastel on paper. 24 by 18 inches. 2011.

Also a gifted digital artist, Andrew has worked with Autodesk’s 3Ds Max for a while. Here is a render he created for a recent project:

10677326_10152670991425049_971583360_oAndrew Vincent, Naivety. Autodesk 3Ds Max. 1920 x 1080 PPI. Output dimensions variable. 2013.

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Andrew has taken the opportunity to move to Auburn, AL to work at the Jule Collins Smith Museum as a preparator. He’s aiming to enroll at Auburn sometime in the near future. The guy is on his way to an awesome future. I’m thankful I got to know him in my classes and in the time after he graduated… and I’m certainly looking forward to witnessing what he gets up to in his ongoing education and career. Here’s a portrait I created of him when he visited my office/studio before he left town:

VincentVINCENT, digital drawing created in ArtRage and Sketchbook Pro on an iPad. 2048 x 1536 PPI. Output dimensions variable, 2014.

I’ve always enjoyed my conversations with Andrew, and they have always been far-ranging. We have discussed, faith, meaning, culture, humor, analog and digital drawing/painting tools and concepts, and so much more. I have the feeling we’ll have the chance for more conversation and mutual encouragement going forward.

One of the best parts of my job as an educator is getting to see my students go on to become colleagues and truly function as fellow artists. Keep going forward, Vincent!

Becoming The Student #17: Mike Seat

photoMike, Pastel on Paper. 14 by 13 inches, 2014.

Mike Seat is a pillar of the community here in Columbia, MO. He’s deeply embedded in the art world here, and has a gentle and calming presence. I’m lucky enough to get to hang out with Mike on the Board of the Columbia Art League where we both serve. He is really a wonderful man who is generous with his time. I always feel recharged after a few minutes with him. When beginning my Becoming the Student series, I knew I’d get Mike in there. Our conversation while he sat for me was so pleasant – and he always feeds me well when I visit! If you’re in central Missouri, get to know this guy.

On What Made Him Come To Art

“As a kid growing up, my dad was a painter and a photographer. I think I picked up a lot of respect for art through him. Then in high school I made art and thought about going to Art School but that didn’t work out. After that I went out into the world, started making a living… and art seemed like just a luxury for me. I didn’t have time to do it. But it was always something that was working within me. I loved aviation and went into air traffic controlling; that was the main thing for me for a long time. In the back of my mind was always a deep respect for painters and sculptors – artists in general – and that stuck with me. After retiring and moving here to Columbia – and one reason we moved here was the art culture here -  I just threw myself into the art community here. One thing I never thought I’d learn to do was wheel throwing pots, but I got to do that right away at Access Arts. That reignited it all for me. I got to sense again that great experience of making art. So after a couple years, especially while volunteering at the Columbia Art League, I started making my own work more seriously. At the At League I got to see really fine artists’ work along side amateurs aspiring to that higher level. That inspired me.”

On The Power of Art

“Making work is always a great experience. That alone is worth it. But having the piece left over as a record is important, too. The icing on the cake is getting to talk to people about it. What moved them. Getting their feedback. And it really is about expression, capturing a moment, sharing the moment, and trying to display the significance of the moment so that when a person walks away from a piece of art they have really experienced something.”

On The Feeling He Looks For In Art

“I really rely on the past. Art is a tradition. I often think about the artists who have made art over the thousands of years of recent history and know that a lot of them are unknown to us… (In terms of specific artists) I do tie in to the Impressionists. I identify with them a lot. They were painting quickly, capturing suggestions, capturing feeling, and opening new territory. I aspire to carry on there. That’s one thing about connecting with other artists; we’re all sort of doing the same thing. We’re all somewhat aware of this other plane of experience. So it’s hard for me to pin it down in words… but for me, sometimes, a single brushstroke can feel make me like I’m so much in the zone – like hitting a tennis ball in the sweet spot – and that immediate emotional feedback you can get from yourself can be so addicting. And what a great joy it is to savor what you see, to savor shapes and colors as they come together to manifest some beauty you’re experiencing. It is, in some ways, like having a very good meal; I could eat up that paint it’s so good sometimes.”

On What Makes A Good Portrait

“When a genuine, honest moment of humanity has been shared.”

You can see Mike’s photographic work beginning at the end of September at Imago Gallery and Cultural Center. Mike will be showing with the ceramist Yukari Kashihara and the show will be on display September 30 – November 7, 2014.  reception for the show will take place on Friday, October 10 from 6-9 PM.

Becoming The Student, #16: Gina TECHNICOLOR Ceylan

Gina Ceylan is an incredible person. Every time I’m with her, I’m amazed at her intelligence, engagement, and desire for true connection and meaning. I knew I had to include her in my Becoming The Student project.

TechnicolorGirlGina TECHNICOLOR Ceylan, Gouache and Colored Pencil on Paper mounted on Panel. 20 inches in diameter. 2014.

Click the image to see this piece larger.

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Gina has a genetic condition which has caused her eyesight to degrade over time, and she is – essentially – blind. In spite of this she has developed an extremely acute vision of where education, science, and societal conditions are and where they could be. She’s a passionate student and teacher (she holds a PhD in Science Education). She’s a lover of music and public conversation. She loves to foment deep thought in herself and others.

Part of her experience of losing her sight has meant that her brain is rewiring, taking into account the lack of external visual stimulus and creating manifestations of color and form in Gina’s mind’s eye. Because of these inner experiences, she has taken to talking about her Technicolor experience in grand terms. In some of our past discussions, the story of the blind men and the elephant has taken center stage in the Technicolor arena. I even created a psychedelic elephant for her Facebook page, as seen below:

1795397_10103821001738749_391203280_o

There is so much I could write about Gina, but I’ll let a few of her own thoughts speak for themselves (with a few key parts emphasized by me).

“I don’t like this phrase “time management” though; it doesn’t sit well. We don’t manage time; we strive for dynamic thought-task coherence through time. Let’s go with thought-task conduction. That’s better, closer to what’s really happening when we work towards our little purposes. Got to love it when the little Technicolor light bulb goes off. Understanding AND potential improved use of the scatter-mind. Score.”

“Some of us dance a little closer to chaos.”

-from Thought Patterns & Thought-task Conduction – December 17, 2013

“Ignorance isn’t something so much as it is really the lack of something [relative awareness maybe], the way darkness is the absence of light. But it behaves like a something, a disgusting kind of living evil something, because we bring it to life. Here’s the worst part: it’s not intentional. Ignorance doesn’t mean to destroy anything anymore than a wisteria vine or kudzu intends to cover the landscape and choke out all other life. The vines are often planted with good intention, and with no knowledge of how they will take root and thrive at the expense of everything.

Life is a collection of countless choices. Our reality emerges through these choices, but there’s too many of them, so our relative subconscious takes care of most of it, and we let society decide so many others. And ignorance emerges, without intention, and without anyone noticing, spreading over everything, choking the life out. Hell is real, you know; it’s a place in our minds and we bring it to life and make it real in our world. The road to hell is paved with ignorance. I think we’re getting there.

I know only myself [pretty big accomplishment]; I’m a fool’s fool. I know nothing else. Which is to say I have a great many well-founded, poorly articulated suspicions that shed just enough light for me to see my ignorance. At least I’m a happy fool, and not in the false bliss of ignorance but in my knowledge of it, and in my pleasure in tearing it up by its roots, possibly burning it just for good measure. It’s a ridiculous effort, the task is too big, but it’s fun.”

-from Ignorance, Intentionality & The Road to Hell – December 8, 2013

Girl at gym: “I want to go to med school and be a pediatrician, but…”
Me: “Well, why not go for it?”
Girl: “I’m scared… scared I’m not smart enough”
Me: “That’s crap! Someone lied to you about the nature of intelligence!”

“What kind of education system teaches people to be afraid of learning to be what they want!? [To hell with] a system that instills this kind of fear in people! We ought to be smarter than that.”

-from a Facebook Rant, April 15, 2014

“Think of The Future possible pathways, sprawled out in front of us in all their dendritic splendor… Yes, for all the same reasons. One choice at a time, travelers.”

-a Facebook Status, December 31, 2013

~

Keep dancing close to that chaos, Gina. Thank you for grabbing some of us off the sidelines and getting us to dance, too.

To learn more about her, read this article about her life and work. It’s a fantastic read.

Becoming The Student, #14: JJ

I’ve been teaching at The University of Missouri for seven years. In that time I’ve served on many graduate thesis committees and developed a number of great, long-lasting relationships with grads. But it wasn’t until Jane Jun arrived three years ago that I was a “Main Advisor” or “Head of Committee”. The opportunity to work closely with Jane for those years was a huge benefit to me. As Jane progressed through the program she made huge changes in her work and found ways to grow that were both necessary and surprising. She rose to meet difficult challenges when she really needed to. Her thesis work – which dealt with female Asian identity, diaspora/immigration, stereotypes, societal (and personal) expectations, as well as the ways portraiture and self-portraiture have been transformed in recent years – was illuminating and meaningful. Her thesis writing was excellent and was important for me, as the father of an adopted daughter from China, to spend time thinking and dialoguing about on so many levels. It was a privilege to be up close and see all of her work come together.

enchanter-whatgradclassisJJ and me at Shakespeare’s way back in her first year of grad school.

Now JJ is heading back to South Korea to begin her post-grad school life. I have to admit that the annual exodus of grads is hard for me. So much mental and emotional energy goes into working with my students, so much hope and desire for them to do well. Add to that my sentimental nature and you can probably imagine my mindset each May.

2014-05-18 23.02.38JJ and me at our last Shakespeare’s hangout last month. We point off into the heights of a glorious future.

In creating my Becoming the Student portrait of JJ, I wanted to maintain my method – a short session from observation, with only minor changes after the fact – while at the same time celebrating her achievement. I’m glad she agreed to pose in her cap and was willing to maintain a calm – if a tad pensive and sad – expression. If you know anything about her work (click here if not), you know that the seriousness of her pose and quietude of her face here are nothing like what you’d normally see in an image of her.

JJportraitJJ, MFA. Oil on panel, 8 inches in diameter, 2014.

I’ll sure miss her shouting “SIRRRRRR!” when she sees me.

I already do.

Inspiration: Students

I started this blog five years and two days ago, and one of the things I’ve enjoyed most about it is sharing the work of my students. I never try to over-sell it. Most of my students are not Art majors. Many of them have had very little art-making experience before they take my classes. Yet they always make transformational movements, always end up showing themselves things they never imagined doing. I want to share a few of my Spring 2014 students’ works and words below. They were inspirational to me this semester. All images and words shared with permission.

photo 1Tayler Newcomer, Undeclared Major. Self Portrait Study, 14 by 11 inches, Graphite.

“Everything changed when I walked in this classroom at the beginning of this semester. This class has changed the way I thought of drawing, and even my perspective on life. I found myself more focused and calm when I drew instead of anxious and judged. It helped to bring back this hope and urge to draw that I used to have when I was a little kid and I’m not sure if I can even fully explain what that means to me. What I’ve taken from this class is honestly a little more uncertainty, but I know that’s not a bad thing… I just had thought to myself that I could never be an artist or a musician or a writer. Yet I still draw, still play music, and I still write on that novel I’m almost sure I’ll never finish. I want to go out and appreciate this wonderful gift of life that has been bestowed upon us.” – Tayler Newcomer.
imageTayler Newcomer, Undeclared Major. Self Portrait Study, 18 by 24 inches, Graphite.
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2014-05-03 16.00.51Emily Crane, Graphic Design Major, Softball. Master Copy after LeRoy Neiman, 24 by 18 inches, Pastel.
“I want to see things through others’ eyes and be open to change! In the rest of my life I want to keep trying to be slow to anger and quick to love, and care as Jesus would. I pray my life will be a light for people in one way or another!” – Emily Crane.
2014-05-03 15.55.14Emily Crane, Graphic Design Major, Softball. Self Portrait Off Third Base, from a M, 24 by 18 inches, Pastel.
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image[1]Blessing Ikoro, Psychology Major. Self Portrait Study, 14 by 11 inches, Colored Pencil.
“If it were not for a sense of the whole I would not be me when I draw my self portraits. I would not be such a pronounced image within the scene that I draw; it is the universe itself that helps pronounce my image. The drawing then has a sense of the whole as well.” – Blessing Ikoro.
image[2]Blessing Ikoro, Psychology Major. Study of Busts of Caesar and Apollo, 24 by 18 inches, Charcoal.
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2014-05-03 16.00.58Amanda Bradley, Art Major. Master Copy after Dutch Master, 24 by 18 inches, Colored Pencil.
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2014-05-03 16.00.38Shayna Painter, Business Administration Major. Master Copy after Kupka, 18 by 18 inches, Colored Pencil.
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“The way you see something and the way you experience it are so different. The visual aspect of anything isn’t more important than what you learned from it or now it made you feel.” – Hunter Whitt, Elementary Education Major.
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These young women were just a few of the outstanding students I had this semester. Here’s hoping they continue on with the art impulse.

#montanniversary

A year ago today I got to participate in one of the most amazing events of my life – I officiated the wedding of two of my former students, Amanda and Keith. They are awesome. The wedding was incredible. I was just honored to be involved (and get to quote some Hafez, too!).

8917217604_3b7ac9c6fd_oHere I am preparing for the ceremony. Photo by Keith Montgomery, June 1, 2013.

One of the gifts the new couple gave me was an awesome sculpture made of graphite, created by Batle Studios in San Francisco (click there to see the objects – they’re beautiful). To honor them on their anniversary, I decided to draw a small picture with the sculpture itself. Though not quite as easy to use as a standard pencil, my graphite shell was perfect for the task. I drew a small china plate with a chunk of bread on it – a tableau I had seen at the wedding (Keith and Amanda shared Eucharist together during their wedding).

2014-03-02 20.26.07Here I am beginning the drawing, back on March 3, 2014. Below is the final product:

keith-main

Congratulations on your first anniversary, Amanda and Keith! Thank you for all that you are!

~

 

 

Becoming the Student, #13: Kevin Stark

Way back on St Patrick’s Day Kevin Stark and I sat down to share some Guinness and make a portrait. After a long while I’m finally posting it. It’s one of my favorites of the Becoming the Student series, and I am very happy I documented its creation in a video. See that video at the bottom of this post.

2014-03-18 17_17_11Kevin Stark. Digital drawing created with Adonit Jot Touch 4 in Sketchbook Pro on iPad Air, 2014. Click for enlargement.

On Shared Experiences

“I try to be present. I don’t like it when I’m not. That’s why I’ve been doing this game night thing. The games themselves are a blast – I love the strategy and going for the win and all – but I really love the way that games reveal things about people and you get to know them. I’ve always been big on shared experiences. I derive quite a bit of joy from knowing and being with people. Like, I’m not so interested in going to see a movie with someone. But, for instance, going to the True/False festival with someone – doing something you have to journey through together – is something I love. You’re participating in it together, sharing it together, and every connection between you is growing. Those are the kind of things I’m big on.”

On His Rebellious Childhood

“Everything that I’m into now I said I hated as a kid, like Star Wars, the Red Socks, and The Beatles. My dad tried to introduce me to each one of them and I was like, ‘NOO!’ I’m glad I grew out of that ‘cause they’re pretty awesome.”

On Mellowing Out

“I’m more OK with people mellowing out. I used to be annoyed that this concept of a ‘restless youth’ thing was just a youth thing. The idea that people sometimes become confortable with things… I guess I’m mellowing out about mellowing out.”

On Music

“I’m really into discovering new music right now. There’s too much. Too much. I really like Daytrotter. It’s a download website where a bunch of bands from around the world share four song sets and they get posted.”

“And Destroyer. You ever heard Destroyer? Oh, man – it’s great! Get into Destroyer. He has two albums that have affected me greatly.”

“I’m annoyed at how much I’m a sucker for long songs.”

On His Portrait

“Thanks for not making me make a stanky face for two hours.”

Digital painting of my friend Kevin Stark. Two hours.

Two Shows Going Up Soon!

I’m involved with two really great group shows based on the landscape right now. One is at the Deines Cultural Center in Russell, KS and the other is at IMAGO in Columbia, MO. The IMAGO show – Landscape: Idea and Ideal – is the inaugural exhibition for this new downtown gallery space. It’s really beautiful and I’m honored to show with a group of friends and former students Eric Norby, Matt Rahner, Megan Schaffer, and David Spear.

imagoimageA panorama of the Imago interior – it’s a beaut! Click for enlargement.

The group show at the Deines – called Finding Balance – is also about landscape. Curated by Joel T Dugan, the show features 15 artists from around the country and the catalog for the show looks really sweet. Norby and Schaffer are also in this exhibition, as is my good friend and former student Jacob Maurice Crook, who just recently earned his MFA from Syracuse University. Glory all around!

findingbalanceNice to see Norby’s work on the cover of the catalog – Click to download it!

Becoming The Student #11: Allison Jacqueline Reinhart

Allison Reinhart (go to her website here) is a former student of mine who has been pretty instrumental in my growth as an educator over the last few years. We’ve worked together on a number of projects, each one more beneficial than the last. Her last solo exhibition was fantastic, and I was able to write about it for neotericART (click here to read the piece). Allison, as a student leader and presence on campus here at Mizzou, has had a deep impact for educational accessibility, universal design, and inclusiveness in our community (you can read about some of that here).

IMG_9291The Gaze of Allison Jacqueline Reinhart, pastel on paper mounted on panel, reclaimed oak. 18 by 18 inches, 2014. (Click for enlargement)

This portrait of Allison is one of my favorite works in a long time. Not only do I feel that it captures something of her take no BS attitude and strength, I also think the drawing has a clarity and directness that Allison also possesses. The reclaimed oak frame was something I built from a very old drawing desk that had been thrown out. When I saw the desk in the dumpster I knew I could make something substantial and beautiful from it. I think the frame really completes the piece, giving it a sense of solidity and authority.

I don’t want to go on and on, but Allison (as well as Gina Ceylan, who will be a forthcoming Becoming The Student subject) has been important in helping me to grasp the reality that affording access as broadly as possible – be that educational, social, or political – is not to be an afterthought for civilized societies. It should be front and center. It is not a special service or add-on benefit to accommodate the access and needs of my students; it should be a primary focus of my work as an educator. I’m thankful for the many conversations Allison and I have had about these issues.

On Neil deGrasse Tyson Explaining Things

“Listening to Neil deGrasse Tyson explaining things makes you realize how cool things are and could be, but also how shitty things actually are… and then I get sad. I mean, we understand all these great things about the universe but can’t even make health care affordable and universal. Makes me want to just go back to bed.”

On Her Portrait:

“Where’s my ermine?”

“That’s how I roll. This is my sitting up posture. It’s also my laying down posture.”

On the Becoming The Student Project:

“You sure know a lot of hairy men!”

On Awkwardness:

“I wish everyone understood that we’re all fucking awkward. Just go with it, people.”

To hear more from Allison – as well as other who have worked toward a better, more inclusive environment at Mizzou, watch this short film.

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