Category Archives: Inspiration

Endless Inspiration at Princess Street Gallery

There is much to love about Princess Street Gallery on Harbour Island in the Bahamas. The stunning collection of photography, drawings, paintings, books, jewelry, shells, and decorative wares beautifully captures island life. There are prints and pieces that one can slip into luggage for a reminder of this place after returning home. There are also museum level artists, such as Stephen Scott Young and Amos Ferguson, whose work is in collections around the globe.

Amos Ferguson, A Family Around the Dinner Table

What fascinates me most are the various ways artists from all over the world approach creating artwork influenced by Harbour Island in one way or another. There are realistic landscapes, abstractions, loosely painted figures, graphically drawn portraits, black and white photographs, traditional oil paintings, conceptual pieces, and mixed media works.

Some of the artists are Bahamian, some are not. Many live in the area which provides an intimate insider perspective; many live far away which provides fresh eyes and observations of a visitor. I find it interesting to consider how ones’ own place inevitably alters perspective and choices when creating artwork.

Visiting artists are more likely to see things as new. Whether valid or not, we get the feeling we are making a discovery and want to create artwork to share the discovery with others. We can be hyper attentive to details that are different from home…from the crisp school uniforms to the wild cemeteries to the vibrancy of the poinsana tree. DSC_0582I live in a land-locked state in the U.S., so the abundance of water continues to amaze me. Noticing the artwork here, I am not alone in my awe of the water. For artists who live elsewhere, there is an automatic (conscious or subconscious) comparison to other places. Perhaps this is why details here grab our attention and endlessly delight. They are different than what we are used to seeing and the prolific beauty can be stunning.

The local artists seem to capture images of community, of familiar faces, and of daily life. Their art can give us insight to life in the islands, to the people, places and things that are both exquisite as well as common.

Stephen Scott Young, Independence Day

I suspect I am oversimplifying by placing artists in two categories: local and visiting. Inevitably, my mind gravitates toward these thoughts because, for years, I have considered the role of the visitor in a community and the ethical questions that form when an “outsider” tries to document a place and people.

After talking at length about these ponderings with the manager of Princess Street Gallery, I came to more clearly understand some important guidelines for the visiting artists: be respectful, listen more than talk, don’t make assumptions, and ask permission before drawing or photographing people. (Thank you, Donna!)

I am now sifting through sketches and photos as I begin work on a new group of paintings inspired by the island and the people here. In the meantime, if you find yourself strolling the pink sands of Harbour Island, be sure to cool off at the Princess Street Gallery. You are sure to enjoy the sites – and insights the artists provide – of a very special place.

Thanks for reading!
LauraIMG_1261

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From Creating to Admiring Art in a Matter of Minutes

I’d only been sketching a few minutes when a friendly voice approached. “Whatcha doin’?” he said as he sat on the bench. After spelling his name, Theophilus said, “Most people call me “T.” I’d been here so many times as a child, and thought I’d met every person and explored every detail of the island. But there are always people to meet and learn about and there is always more to see and consider.

I’d been drawn to this social corner store for several days, sometimes snagging a seat on the shady bench across from Terrie’s Take-Away and other times, sitting the sun on the side deck of the liquor store. Though this spot was hot, I loved the view of the Terrie’s, cloaked in sea grapes, surrounded by chickens, cats and people. From here, I can also see Uncle Ralph’s house and tableau, a group of items on a glass table that for years Ralph has arranged – and rearranged – with found items: shoes, conch shells, beer bottles, crumpled paper bags. I’ve never seen an artist or art professor arrange a still life with as much flair or cohesion of disparate items as Ralph who explained, “That table I work on and this whole corner – the store, the license plates, the colors – is a result of my own creative expression. We are all creative and this is my way of showing it.”

Uncle Ralph’s Still Life, 2015

Uncle Ralph’s Still Life, 2018

With his words in mind, I considered the act of photographing, sketching and painting Ralph’s corner. In my art, I am copying another person’s art. Ralph composed this corner and I am simply presenting it from one view. So much art is like this, especially two dimensional work which must be why my friend Angela half jokingly calls two dimensional artists “flat-eye” indicating that all we do is copy while 3D artists CREATE. She’s got a point, I admit. But copy I continue because the magic of drawing and painting is in creating a little portal to show the viewer a place, color, idea, memory, or person. It can be a reminder or a window presenting a person or place we have known or a painting can introduce an idea or place not yet imagined by the viewer. I believe there is value to the prompts two dimensional art becomes. So with due credit, and permission from Ralph, I find myself drawing at his corner frequently on a recent trip to Harbour Island. And talking with people like T.

Sometimes, when sketching, it occurs to me that I don’t get much accomplished. People are friendly and curious and I end up in deep conversation more than I end up drawing. It also occurs to me that I can sketch at home but I can’t talk with Ersley, Donna, T, Ralph, Bernadine, and Bernadette at home. Being with them now is my only chance to hear their stories, their views, and their wisdom. In paying attention to people, I learn about a place that, though distant and not my place, has been in my heart since I first visited as an 8 year old. My hope is that the stories of the people here are conveyed in my paintings and one way to start this process is to listen closely…which brings me back to T.

T told me about his work as a fishing guide and about the people he meets from all over the world. He also told me, with intense passion, about his brother’s artwork. He went into great detail about the driftwood his brother and sister-in-law prepare for paintings and about the colorful scenes and people the talented couple, Ersley and Maxine Wilson, are able to create. The pride, admiration and support in his voice was contagious so I packed up and headed down to the shop, following T’s instructions.

Along the way, however, I was temporarily distracted by the church were Stephen and I married 22 years ago. It was being decorated for a wedding and I had to stop for a quick sketch. I’d barely begun when a man approached asking about my drawing. After several questions, he described his own artwork and his self taught methods. Before I could respond, a golf cart flew by with T hanging off the back yelling, “Laura, That’s my brother! That’s my brother!”

I am delighted by the multiple coincidences but shouldn’t be surprised. This is how things go here with people who are willing to help each other and talk to each other. The lives here are a part of a tightly woven web and if a visitor is lucky, she can find herself caught in the web and a part of the connected community…at least on the periphery for a magical moment. Again abandoning the sketch, I walked briskly to the bayside and found the Wilson’s store. But not before saying good-bye to Ersley who gave me a bonus tip: “My 13 year old, Madison, will be working in the shop. Be sure you ask her to sing you a song, her own song.”

Some 13 year olds might clam up if a stranger approaches and requests a song out of the blue, but as I stood in the middle of the store, Madison sang a song about summertime and I knew I was in the most special spot in the world at that very moment.

I’m not sure what I expected after each of the Wilson brother’s passionate descriptions of the paintings, but I was immediately enamored with the work hanging in the space. Coming in all shapes and sizes, there is a definite cohesion to the group due to the use of color and the intimate portrayal of island life: Maxine and Ersley are able to beautifully capture the water, the sky, the greenery, the people, the animals and the architecture in a way that a visitor, like myself, can not do. Calling the artwork simple is not quite the right word. As an artist who tends to overcomplicate compositions and scenes, I greatly admire the straightforward approach in the Wilson’s work. In one last stroke of luck on our final evening on the island, I happened to meet Maxine (thank you, for the introduction, Charles!). She explained that often the couple collaborates on the pieces, with Ersley doing the drawing and Maxine doing the painting. I wish I’d been able to talk with Maxine more and get to know that family better – within a few chance encounters, I learned of multiple talents. And it all started with meeting T down at Terrie’s Take-Away. Perhaps next time, I’ll learn even more about the Wilson’s.

Next up: endless sources of inspiration everywhere including, of course, the Princess Street Gallery. Thank you for reading! Laura

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Inspiration in Washington, DC: A Captivating Art Tour

A five-day visit to our nation’s capital, with the unusual circumstance of time on my hands, means visiting exhibits and museums at a leisurely pace. What a treat to read each description, sit in front of work and dwell to my heart’s content, and circle back around to displays I want to reconsider. My first stop is the National Portrait Gallery. After a joyful reunion with my Rollins College Writing Center co-worker and friend, we periodically pause feverish talk of politics and focus our attention on the galleries.

Some highlights include one of my favorites by Cecilia Beaux. Look at that hand, so unfussy, so gestural, so perfect. And the controversial Richard Prince with his snarky sense of humor. I am intrigued by Mark Bradford’s “Amendment #8” because of my own use of text in layers of paint. The artist renders the words illegible and the only way we recognize the meaning is through the title of the work. The loss of meaning in language is something I have had on my mind lately, in listening to language used by politicians.

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“John” by Vincent Valdez

“American Servicemen and Women Who Have Died in Iraq and Afghanistan (But Not Including the Wounded, Nor the Iraqis nor the Afghanis)” by Emily Prince

Later, I return to see The Face of Battle: Americans at War, 9/11 to Now. One should not be rushed through this exhibit. The photographs are intimate and breathtaking. The tiny hand drawn portraits of fallen soldiers are too numerous to take in carefully, and it feels shameful not to look at each and every face, despite or because of the extreme volume of portraits. Vincent Valdez creates a haunting homage to his friend, who survived war but not his return home, in a multimedia display including photographs, film and painting.

NOTE: in reviewing this blog post, something is nagging at me about my woefully inadequate description of The Face of Battle exhibit. It deserves more than I provide in this brief summary of art museums visits. To read an insightful article about the artists and people they portray, please click HERE.

Next is a trip to the Hirshhorn Museum of Contemporary Art. The elevated annular building is a sight to behold. After circling around and underneath, admiring the surrounding sculpture gardens and the refreshing fountain in the center, I make my way inside to see the Ai Weiwei exhibit. Initially, I think I can waltz through, briskly taking in the large scale lego mats that present images of faces from around the world. But something makes me stop and read about each and every person. They are each considered political dissidents and live in places without freedom of speech. Many have disappeared, many are in jail indefinitely, many are dead or presumed dead, and few are free. In addition to wanting to learn about each person’s life and heroic actions, one might wonder, why legos? A conflict, or almost embarrassing tension, exists when learning about tragedy by viewing portraits made from a commonly known toy. It seems playful but is not. I try to imagine the installation as a large mat of photos instead of legos and how another medium would impact viewer perception. It is as if the legos keep the images from being “just another” news story and prompt viewers to think about the personal lives of the portrayed people. It is surprising how the common world wide use of legos somehow makes us feel more connected to each individual than, perhaps, photography would. 

 

 

 

 

 

 

To watch a short video of the artist speaking about the ideas presented in the installation, the methods, and the materials used, please click HERE.

Moving right along, after a good night’s sleep, is the recently renovated National Gallery of Art East Building which holds a world renowned 500 piece collection of modern and contemporary art. For first time visitors, a tip: Be sure to pick up a map and guide at the Ground Level Information desk. The design of the building can lead to disorientation and it is easy to accidentally miss certain areas such as the multiple towers. It is also easy to feel so enamored with the building, you might forget which levels, towers and corridors you have already visited, and which you have missed.

I am startled by the number of pieces in the collection that were part of my art history studies at UA Little Rock. Below is a slideshow of pieces that we discussed during my graduate program and that continue to influence my ideas about art. It is a joy to see the work in person, especially in order to closely inspect the brushwork and color used by George Condo, Wayne Thiebaud, and Cecily Brown. Seeing, up close, the line work and materials used by William Kentridge and by Sigmar Polke is so much clearer than the prints I’ve studied.

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Finally, perhaps my favorite of all: the National Museum of Women in the Arts. This is my first visit and I wonder why I haven’t prioritized it before. The collection is much larger than I realized and, again, there is no rushing through….particularly in viewing the special exhibit, “Revival.”

My former professor and friend recently expressed ambivalent feelings about the NMWA. When I asked her to explain, she said she does not want to be known as a “female artist” and would prefer to be known as an “artist.” Her questioning the benefit of this museum made me consider whether celebrating women in a separate space does perpetuate the label, “female artist.” However, like many groups of people who band together in order to create a more powerful voice, one that often goes ignored individually, I believe the NMWA exists because it is needed. As stated in the museum’s brochure and along the entry foyer wall: “Gender bias is less overt today, but contemporary women artists still face obstacles and disparities. Art by women is persistently underrepresented in museum collections and exhibitions worldwide.” I recall work at the Tate Modern that addresses this exact issue and am grateful to the museum for providing additional recognition for women in the arts.

Another unexpected thought occurs to me while visiting the museum…collectively, how is art made by women different than art made by men? Or is it? I am intrigued by this observation and notice repeated themes, some overt, some quite subtle. Much of the art is directly about being female. Many pieces are about the female body and multiple catagories within the subject of the body (how we are perceived, how we are objectified, how we cover ourselves, how we judge each other by appearance, how we are strong, how we compare to elements in nature, how we decorate ourselves. etc.).

I’ll sign off with a few favorites below. Often, I gravitate toward paintings and drawings but this time it is the sculpture that stops me in my tracks and makes me stay awhile. As always, thank you for reading!

Laura

 

 

 

Beating the Heat in Arkansas: A Super Cool Art Scene (Part 2)

I visit as often as I can, and have blogged about Crystal Bridges Museum of American Art several times.  As the museum continues to showcase visiting world renowned exhibits, and reorganize the permanent collection, there is always something new to see and more to say about this special place in Bentonville, Arkansas.

I get to visit this time with a dear childhood friend who has never been to the museum.  I try to give her space and not interrupt our outing with my own perspective and excitement about this place. What a treat it is to hear the amazement of a first time visitor who has seen countless museums elsewhere but can’t help to be impressed and delighted by this one.  It makes me proud all over again and deeply grateful to Alice Walton for providing this resource for her community, home state, and beyond.

We arrive during mid day summer heat and decide to start with the inside tour, postponing a visit through the expanded trail system and “Chihuly in the Forest” until the next morning. The collection is a world class wonder, and I am drawn to my favorites again and again: Thomas Eakins, John Singer Sargent, Robert Henri, Max Ferguson, Fairfield Porter, Helen Frankenthaler, Joan Mitchell, Alexander Calder, Donald Judd, Wayne Thiebaud, Alice Neel, Kara Walker…the list goes on and on.

One aspect of the museum experience I’ve been considering lately, is that of community outreach and education.  In other words, what good does it do to have all this great work here? So often, visitors wander through and don’t feel connected or informed by artwork. Crystal Bridges has established a strong education program for the community, reaching out to all types of visitors through targeted events and programming. Instead of wandering aimlessly, visitors really learn about the work, whether it be through the extremely friendly and informed attendants, through school visits, through guided tours, through accessible displays and explanations, or through the many interactive tablets mounted throughout the museum. What does this mean? To me, it means the museum can reveal to visitors the perspective of another person. What a powerful gift! And don’t we desperately need ways to see perspectives different from our own?

After walking through the main galleries, we enter the “Chihuly in the Gallery” exhibit. As usual, learning about the artist, his background, and his various influences made me appreciate the work more than I did before this visit. Perhaps because I am a 2D artist, one of the highlights are the sketches by the artist. While the glass blowing process sometimes alters from the original plan, usually the pieces were produced exactly as described in the sketches, which is impressive.

We then check into a nearby hotel and explore the town square. The food scene in Bentonville is bustling and picking a place for dinner is difficult because of the multiple options. After rave reviews from a friend (thank you, Terri!) we decide on the Italian restaurant, Tavola Trattoria, which is excellent and affordable. Before retiring after a big day, there is more art to see…the always provocative exhibit at 21c Hotel. I’m starting to think a famous artist is following me. OK, if not the man, his art. For those who have read this blog before, you’ll know I am ecstatic to find the work of, you got it, Hank Willis Thomas!

“Raise Up” by Hank Willis Thomas

His work is part of a group exhibit, “Seeing Now” of which Alice Gray Stites, Chief Curator, states, “This multi-media selection of works by over two dozen artists explores what and how we see today, revealing the visible and hidden forces shaping both what the contemporary world looks like, and how we consume and interpret that information—how visual and psychological perception are evolving in the 21st-century.” 

While I want to believe tolerance, integration and acceptance is a growing part of this booming area, I know there is more progress to make to battle racism. Perhaps the work of this brilliant artist can open the minds of people who are still stuck in hate and fear. Willis Thomas is able to take simple-seeming images and allow viewers to understand another person’s perspective, to sense the consequences of our actions, to see how our beliefs can be problematic, and to grasp that ambivalence is actually negligence.

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For example, the two photos above are part of an interactive photography display. Using a phone, viewers can choose to snap pics with the flash on, which exposes details in the image, allowing us to look closely at what is really happening in the photos. Or, visitors can walk on by vaguely aware of the activities and pain occurring in the historic photographs. Brilliant. The artist, in such a simple way, evokes a powerful conclusion: racism will continue in this country if all “races” do not work together as the artist and viewer work together to see and acknowledge what is happening. If white people continue to look away, we will not heal or progress as a society….at least that’s my take-away from another thought-provoking display by Hank Willis Thomas.

Boris Nzebo paintings at The Pressroom in Bentonville

Boris Nzebo painting in the Manchester Art Gallery

Wiped out from long walks and art overload (is that even possible?), we get to sleep early and are ready the next day to hit the trails. First, we visit The Pressroom for breakfast. In addition to the excellent food, I am delighted to spot these three paintings by Nigerian artist, Boris Nzebo. The graphic lines are quite recognizable and I was surprised to see the work in the small Arkansas town – I wrote last summer about admiring his work in a museum exhibit in Manchester, England! It is so strange how, once one pays close attention and develops a a list of  art elements to admire, the world becomes small and repeat finds happen often. Seeing a piece of art by artists we deeply admire feels like seeing an old friend or famous figure. I never tire from the excitement of exploring for this reason.

One could spend hours on the trails around Crystal Bridges but we have to head home soon so we don’t venture far. We enjoy a walk through the exhibit “Chihuly in the Forest,” peek at the Frank Lloyd Wright house, and head for the car. It is helpful to move around before the three hour drive back to Little Rock. Admittedly, the hours fly by as we chat endlessly about art, the ability to incite change through art, and how we can each apply to our own jobs and projects what we learned during our quick adventure. As I drive toward home, my mind is a whirl of ideas and thoughts for upcoming days in the studio. And I think of Chihuly who stated, “I don’t think much about the past. I think more about the future. I prefer to be thinking about what I want to be doing tomorrow.” I completely understand.

Up next, Beating the Heat in Arkansas: A Super Cool Art Scene (Part 3) which will focus on the current “Nasty Woman” exhibit at UA Little Rock. Thank you for reading!

Laura

 

 

 

Painting Exhibit Opening at Argenta Library, North Little Rock, AR

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Thank you to all who came out Friday night for the exhibit opening! To learn more about these paintings and the sources of inspiration, search this blog using key words “Harbour Island.” You can also visit http://arttalkkabf.blogspot.com or click here to listen to artist, curator and radio host, Rachel Trusty, interview Laura about her work and about the current exhibit.

The inspiration and ideas behind upcoming exhibit,”Island Dreams and Memories”

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Island Dreams, 2016, oil on wood panel, 24×32″

I think often of an island that fills my childhood memories. My mind goes straight to certain places there: a sweaty dance floor at Sea Grapes before it was rebuilt and then after, the overturned beached dingy with a litter of puppies underneath, a horse named Francis in the living room of a house, Sunday breakfast at Pink Sands before Hurricane Andrew hit, the old Greek magnet’s burned down yet palatial ruins. I remember certain people and realize they are frozen in my memory untouched by time. Larry Cleary singing Night Shift, Dawson kindly walking me home, Gus behind the bar and at the pool table, Carol and Roger in their library, Angela barking orders. Sometimes we presume the people and places in our memories to be accurate accounts in the present. But time does not reach and alter places or people in our memories. They are frozen there until our minds can no longer play that slide show.

Mistakingly, I thought I was a part of this place. But it was and is a place of its own – I was just a shadow passing through. Now, after many years, I look back and ask, how can a place be so important to me, yet I am not important to that place? This is a question to ask ourselves as visitors when we do not contribute to a community with long term commitment, when we are not there through the good and bad, through the reality of living. When we visit a place, we are experiencing an alternate realm, that of a tourist. There is a closed door to the real life there. Considering the local people, their history, lives, families, work, personal struggles and celebrations, we realize how inconsequential we are as visitors. Fondness does not equal belonging.

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“Looking Back,” 2016, image transfer, collage and acrylic on paper, 14 1/4 x 21

Despite my fleeting time there, I started a group of paintings about a year and a half ago after visiting Harbour Island for the first time in over 20 years. Returning to a place after many years can be jarring because the present can show us the flaws in our memories, how we romanticize or selectively choose to store certain details and discard others. How we recreate the truth, rewriting our past to fit a script we want to believe. Even when our memories are relatively clear, the passage of time changes a place so we realize what we remember does not really exist anymore, except in our minds.

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Entry Point, 2016, oil on wood panel, 21×24 1/4″

In some ways, I started working on this group of paintings when I was 8 years old…I remember being obsessed as a child with the disheveled graveyards sprinkled around the island, with their cracked headstones, and overgrown wildness. Some of my first drawings and paintings were of those headstones, entangled in vines and home to flocks of chickens.dsc_0415

Using memories, photos and sketches from the island has become a vehicle to articulate ideas I’ve tried to convey for years through painting: that everything we see is a partial image altered by individual perception, that all things fade as time passes, and that our memories are altered by our minds plus the passage of time. This group of work is also influenced by the writings of Dr. Alan Lightman. Lightman is unique in that he has dual tenureship at MIT, in the Writing and in the Physics departments. Perhaps he is able to so eloquently write about memory and time because he understands it, not like most of us, in a vague and abstract way, but from a scientific perspective.

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Childhood Escape, 2016, oil on canvas, 36×24″

In the NYT article, “Ghost House of My Childhood,” Lightman writes, “Some philosophers claim that we know nothing of the external world outside our minds – nothing compared to what sways in our minds, in the long, twisting corridors of memory, the vast mental rooms with half-open doors, the ghosts chattering beneath the chandeliers of imagination.”

Some of the pieces in this exhibit are snapshots, like a frozen moment captured that can never be seen again in just that way. Some of the paintings reference nature overtaking a manmade structure, which alludes to the passage of time. And some of the paintings combine images like our memories smooshing together poignant moments into one illogical snapshot that we accept as a true moment in the past. For example:

Thank you for reading and I hope you enjoy the paintings and the ideas that inspired this group of work. Laura dsc_0781

 

 

 

 

 

Returning to Winter Park, Florida Among Memories and Art: Part 3

Winter Park continued….

Another Rollins memory that brings me joy is thinking back on bike rides to the numerous parks in the area. I loved escaping campus and just plunging forward on an adventure through Mead Botanical Garden, Leu Gardens, and Kraft Azalea Park. My first photography course was sophomore year and my big manual Pentax was with always strapped on for these outings. This trip, I decided to visit each of these magical wonderlands. Some days I struck out on a bike borrowed from the Winter Park Library (thank you!) and some days on foot. One day, after a great night of sleep, a hearty breakfast, and plenty of coffee, I decided to walk from the Alfond Inn to Rollins, to Kraft Azalea Garden, to Crealde School of Art, to Polasek Sculpture Garden, back to the Alfond Inn to recuperateDSC_0131, to Rollins to pick up my daughter at tennis, to dinner, and finally, back to the hotel room where I would fall into an 10 hour slumber. IT WAS THE BEST DAY.

The Kraft Azalea Garden in the morning is just as I remembered: full of flickering light and watery reflections. I tried to emulate my artistic photographic efforts from my college DSC_0181days but realized my efforts were in vain. Capturing the serenity of the park proved difficult but it was fun to try. Next, I worked my way through several beautiful neighborhoods until I made it to the Crealde School of Art. It was a long way and an iced coffee from Whole Foods gave me just the burst I needed to make it there. Thankfully it was still early in the day and most of the walk was shaded.

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“Retired” by Lynne Polley

Upon arrival at the school’s office, I met Jan Hurt who was gracious and welcoming. She answered all my questions about the school, the teachers and the classes and was very helpful as I asked about possibly teaching a mixed media workshop there someday. As I toured the onsite gallery and admired two exhibitions, it became clear that the school hosts many talented students and faculty. There are beginner, intermediate and advanced classes which draw all types of artists ranging from new hobbyists to professionals. There is a long list of classes offered in a variety of mediums: fiber arts, ceramics, sculpture, jewelry, glass, photography, painting, and drawing.

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Between the beautiful grounds, the extensive class schedule and the friendly, professional staff, Crealde School of Art is a heavenly artistic oasis. I certainly hope to return, whether it be as a teacher or a student.

DSC_0190Choosing the shadiest side of busy Aloma Avenue, I headed for the Albin Polasek Museum and Sculpture Garden. One of my favorite aspects of the tour was the staff. A docent guided tour departed just a few minutes before my arrival and the woman at the front desk insisted I catch up with the group. When the guide finished showing us the living quarters and sculpture studios of Albin Polasek, he insisted on circling back to the beginning and repeating the initial few minutes I missed. He was so engaging that one couple asked to return with us so they could hear it again! IMG_9026Out in the garden, I met two employees who started as volunteers and have since then been hired. Their passion for art and their expertise in landscaping make the two valuable assets to the property. One even contributes to the sculpture on the grounds (see garden hose chair below), though his materials are quite different from the wood, bronze and plaster used by Polasek. IMG_9032The staff almost outshines the studio and artwork due to their dedication, friendliness and enthusiasm for this special place. It is interesting what art can teach us, but when cared for and presented by passionate people, it takes on a higher level of impact on visitors. For this reason, I highly suggest a visit to the Polasek Museum and Sculpture Garden. To read more about the artist, visit: http://www.polasek.org.

That wraps up this three part series on beautiful Winter Park, Florida. As always, thank you for reading!  Laura