Someday My Gallery Will Come
by Marley Healy
As the Audience Engagement Curator for San Diego Repertory Theatre, in addition to coordinating our Engagement Events I also curate both of our onsite art galleries. Last season we had an eclectic combination of artists display in our galleries which included paintings from a Tibetan Lama, youth photography from the AjA Project, and art inspired by our production of Outside Mullingar. However, if you visited San Diego REP within the past eight months, you are sure to have noticed that our regular gallery spaces are hidden behind construction walls. The renovations to both the upper and lower lobbies, along with other areas of the Lyceum Theatre, are scheduled to be complete in January 2017, but in the meantime, we are working hard to ensure that our gallery spaces are ready for the influx of artists who will join us for Season 41 and beyond!
Prior to the beginning of the construction in our upper and lower lobbies, The REP’s gallery spaces boasted a diverse rotation of talented artists and enthusiastic arts organizations from San Diego. We have always endeavored to create a forum for distinctive artistic voices and a unique environment for showcasing visual art, be it framed photographic prints, large scale paintings, or sculptural installations. Moving forward, once the renovation is complete, we intend to honor those same principles and utilize our new facilities to the best of their capabilities to enhance the experience of not only our exhibiting artists, but also REP audiences.
What excites me the most about the future of our gallery spaces is that the possibilities of programming around exhibitions are endless! We want to enroll our artists and exhibiting organizations further in our Audience Engagement initiatives by hosting opening receptions for their exhibitions, having guided gallery talks led by the artists themselves, and creating other opportunities for local artists to mingle with our audience in an environment that helps to contextualize the visual art and performance art on stage. Besides visiting artists, we are also developing plans for rotating exhibits that focus internally on the work of The REP.
There are definitely days in which it is hard to imagine beyond the sound of jackhammers and construction corridors that sometime in the not-so-distant future, beautiful pieces of art will adorn the walls of our spectacularly refurbished lobby art galleries. In the meantime, we are keeping our eye out for local artists and working on plans to use our lobby spaces to bring our audiences closer to the work on stage. Stay tuned!
Rapture, Blister, Burn Art Gallery: Mariza Sanchez
San Diego Repertory Theatre has had a long tradition of showcasing local artist’s work alongside the productions on stage. Unfortunately, due to the construction currently happening in The REP’s lobby areas, our art gallery spaces have been inaccessible for the past several months. This minor inconvenience, however, did not stop a talented group of artists from realizing their diverse and passionate interpretations of our recently closed play, Rapture, Blister, Burn. Women artists from CIAAC the International Center of the Arts (School of Arts & Crafts) were invited to read the script and be inspired by this show to create multi-media pieces that represented their personal connection with the play’s themes. These artists were organized by longtime friend of The REP, artist and curator Mariza Sánchez, and Francisco Godínez Estrada of CIAAC. While we may not currently have physical gallery space to show these evocative and poignant works of art, we are pleased to share them with our audience here on our blog! Please have a look at the work of these wonderful artists and read about their inspiration and techniques in their visual art interpretations of Rapture, Blister, Burn. We would like to thank these artists for sharing their talents with us, and we look forward to future collaborations with CIAAC!
CIAAC The International Center of the Arts (School of Arts and Crafts) A.C. works since 2001 as integrated professionals with a focus on management , marketing, promotion , art education , goods and services; with international projection linking the artwork, artists and the business sector through projects , education programs , agency and consultation to be a marketing tool that leads to institutions, organizations, foundations and socially responsible companies , committed with the development of art, social structure and product positioning and corporate image ; through impact plan.
Our commitment is to the artistic community and the different audiences that direct our actions, services and professionalism; affecting the development of the art and the business sector in the international platform.
Francisco Godínez Estrada
President and director of CIAAC the International Center for the Arts (School of Arts and Crafts)
China Lamadein graduated from the School of Arts at the University of B. C (2002-2008). China has participated in numerous group exhibitions and individual projects. China works in the department of art and design Machina Factory Project with colleagues Laura White and PERRAFIUCHA in the experimentation of Arts, through Textiles, everyday objects and unconventional materials to explore the energies and stadiums machines human creating a visual record in each of its aesthetic proposals. "We are a tiny reflection of the Universe."
British born and educated, Ingrid Hoffmeister is a retired Marriage & Family Therapist whose work expresses the narrative of her inner landscape. She is a self-taught artist moved by emotion and impulse. The shapes and colors on her canvas often reflect themes about the complexities of metamorphosis. Hoffmeister is married with 11 grandchildren.
Throughout her professional career, Mariza Sanchez has worked simultaneously in several arenas:
In Baja California Mexico as a Political advisor for the three levels of government; in the USA as a Marketing and strategic alliances (Binational) consultant; Former executive director at the IMAC for the City of Tijuana (Arts + Culture affairs). She is an artist advocate, teacher and visual artist.From 1985-89 attends Universidad Iberoamericana del Noroeste-Tijuana Campus to study fine arts; under the teaching of Masters: Ernesto Vazquez; academia; Guillermo Sierra; Color Techniques; and Juan Zúñiga: Painting Movements; abstraction, Expressionism (etc).
Nubia Velazquez performed the Bachelor of Visual Arts at the School of Visual Arts in Tijuana (2007) where he experimented with flexible materials such as wire and various textiles. Currently these are a fundamental part of his sculptural work and the human form mixed with organic forms is a constant element in his work. He has worked as a professor at various institutions such as universities, and both middle and high schools in subjects focused on different artistic disciplines. To date, he is serving as tallerista providing pottery and craft piñatas in several community development centers in some vulnerable colonies in the city of Tijuana.
Sabine Schudel de Toledo - My approach to painting is mainly abstract expressionism, going directly on the canvas with either using a palette knife, and/or paint brush. I use acrylic and/or oil paint to create my works of art. Sometimes when I paint more figuratively, I do some sketching directly on the canvas; to get a better point of scale and dimension. In correlation with the play: Rapture, Blister, Burn, I drew my inspiration from the strength, complexity, and femininity of being a woman in today's world. From the ability of carrying and bearing a child, to the spiritual and mental strength, and beauty of a woman. We are connected and sometimes disconnected; there are interruptions and barriers, but we keep on going; there is pain and joy being near each other; we are reaching for "our essence", our goals and dreams in life.
Art Exhibit by Lauren LeVieux
January 8th – February 21, 2016
Barracks 15 Studio 203 Liberty Station
My art is a dialogue of paint to brush, form to color. For me, painting affords an irresistible freedom and a powerful way to communicate beyond the limitations of language.
For this exhibit, I had the opportunity to change my studio at Liberty Station into an art installation in response to San Diego Repertory Theatre’s Outside Mullingar, a play written by John Patrick Shanley and directed by Todd Salovey. I painted the wood floor an earthy green, the walls a sky blue and installed light curtains that would breathe with the coastal breezes. I also installed two white picket fences. This space was to define a moment of discovery, a moment when one could find a lifelong context. And the narrative paintings were to be the discovery itself as if the maze of ancestors, secrets and love found in Outside Mullingar could turn to paint.
Why the collaboration? The Audience Engagement Curator for San Diego REP visited my art studio in August 2015 and said she immediately thought of the play Outside Mullingar and asked if I would be interested. For me this was a chance to participate in a poetic exchange between expressive genres--- especially interesting when themes and visions overlap. When I read the play, I knew it would be an honor to have my art associated with San Diego REP’s Outside Mullingar since the quality of the literature and the quality of San Diego Repertory Theatre’s performances are what I work toward in my own art.
What did the curator see in my art that related to Outside Mullingar?
My art is narrative in nature and I am intrigued by ancestors providing a historical context, a generational context for individual lives.
Narrative Art? For me, narrative art implies story-based but not necessarily text-based art. For instance, I have several long narrow pieces that tell a story that begins at the left, ends at the right. When I paint, I am thinking of a particular story—usually something I have on my mind--- but what I hope is that the viewer will see their own story within.
Ancestors? “I’ve been dreaming about everyone who ever lived. Ancestors and more than that. Me at the front.” (Outside Mullingar)
Most of my oil paintings have many layers of paint, the history of the piece told through the interaction of the layers. So too in my mind, is the history of humankind told through the layers of generations, each layer dependent on the one that came before. We the living are the last layer of the painting and what we experience depends to some degree to the layers before-- the depth and richness of the painting requires time and layers. Outside Mullingar is more than a love story, it is the struggle to define the historical context of their individual lives and find a way to love in the present and allow for future layers of generations.
I have researched nine generations of my maternal ancestors and have visited the places they lived. In my studio, you will always find a few examples of these stories invaluable to me for finding my own context.
To those of you who visited this exhibit, thank you. It has been a privilege to work with San Diego Repertory Theatre. A special thank you to Marley Healy for organizing the receptions and coordinating all aspects of the exhibit, to the Celtic Echoes for their Irish tunes. And thank you also to Outside Mullingar’s Ellen Crawford and Mike Genovese who took the time and found a way to connect to my art. I look forward to more projects of this scope where the connection between viewers and art becomes art itself.
Contact: Lauren LeVieux 760-815-1556 firstname.lastname@example.org Thank you-
The REP Gallery: The AjA Project's "We Were Strangers Once, Too"
Written by Melinda Chiment
For the month of October, San Diego Repertory Theatre’s gallery space is filled with images and stories of San Diego’s undocumented youth. There are stories of hope, resilience and trepidation. Hope for a life where young people can realize dreams of attending college, resilience in the face of an often unwelcoming environment, and trepidation about the implications of an ever shifting political climate.
The AjA Project’s Youth Media Team tells the stories of their community, and captures and shares the lived experiences of those effected by issues, that for many, seem removed. In their piece “We Were Once Strangers Too: The Implications of Immigration Reform for San Diego’s Undocumented Youth” they strived to give a human face to the contentious political issue of immigration policy and reform. Featured in their story is “Luis”, a young man from Mexico with hopes of attending law school so as to advocate for the right of fellow undocumented youth. The story also profiles “Manuel”, a 17-year-old high school student who came to the United States as a young boy and has struggled with the anxiety associated with his legal status. From still image to live performance, the human experience of immigration plays out on the stage in “My Mañana Comes.” Like Luis and Manuel in San Diego, fictional characters Jorge and Pepe offer a glimpse into the lives of undocumented workers in New York City as they work tirelessly to navigate new social and cultural ‘norms’ while saving money to support a better life for themselves and their families.
Moving through the AjA Project’s exhibition “We were Strangers Once too” and into the audience of “My Mañana Comes,” one quickly realizes that the themes of immigration are universal. Indeed, while the stories differ, age range and geographic settings vary, three things remain the same: hope, resilience, and trepidation. But mostly hope.
About The AjA Project: The AjA Project is a 501c3 non-profit organization based in San Diego that uses photography as a tool for social change. At AjA, we believe youth and communities have the ability to change from within. The AjA Project exists to ignite change, break cycles of marginalization and build healthy communities.
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