Artisan Studio Tour | Scott Wichmann | InLight Richmond (Ep. 4)
On. The arts scene watching. Artists, at work during the artisan studio tour we're really excited about the art studio. Tour this is our first year my, favorite part about it is that you actually get to come into the. Artisans, studios, it's not just a craft show you, can get in these people's studios you can see them work meet, them see the space where they work, in I think that's really important. Hanging. Out with Richmond's, own mr., Showtime well, the life of a working actor, it's anxiety. Punctuated. By other euphoria, or disappointment. Because. You might book a job and, it's, that five, minutes after you book that job that you're sort of on cloud nine and then you realize it's. Always time to get back to work making, a enlight Richmond 2019, there's, no trial. Run friendly. So the day of installation is the first is the night of in light so there's. No opportunity, to test things out and so it's really important. On. A logistical, standpoint to, talk, through whatever the challenges might be of the site. Join. Us as our team of performers, and artists celebrate the people in places that create art in central Virginia next, on the art scene. Hi. Everyone I'm, Melea Roberts, and welcome, to the art scene Chimborazo. Park, in the Churchill community of Richmond was, the site of the largest Confederate. Military hospital. During the Civil War and after. The war it became a refuge, for freed slaves as a Freedmen's community, that. History will be reflected, in the artists work for this year's enlight, Richmond, in light. Is a free, public, exhibition, of light-based art that has been curated, and organized, by 1708, gallery since 2008. That's. Later in the show but, up first for. The last 25. Years artists. In Charlottesville, and its surrounding, counties have opened, up their Studios for a weekend, of interacting, with art enthusiasts. Demonstration. Of techniques and all-around, fall, family, fun.
The. Artisan studio tour is an. Opportunity. For, the. Public to see just. What we. Artisans, are doing not, just what we make but where we make it how we make it what. Goes on in our whole lifestyles. This is like a glimpse. Behind. The scenes. 1994. When we started, we, were a small group mostly, Charlottesville. Centric, group, and we, thought this was a way to educate. The. Public, we, had about eight studios, and maybe twelve, artisans, and it grew that consistently, grew now to, be. 46. Artists in 25, studios so we're really proud. Of of, that growth. We. Used to turn artisans, for the studio tour because we, aren't doing what I call flat art I would, say painting, drawing printmaking, photography these. Are not included. What we do include a three-dimensional. Crafts, woodworking. Jewelers. Fiber. Workers, we have lots of pottery coming. Back for a second years Kathy fond and she works, in metal so she's working in copper. Last. Year was my first year at, the artisan studio tour in Charlottesville, and it, was a really wonderful experience it's. Different. From a traditional craft, show and that you are actually inside, of a artists, studio, so. You can you have an opportunity to you to see the tools that they use to make what they make you, have an opportunity for, a one-on-one conversation, it. Gives me a chance to talk, to people who are interested in my work and just be, in the company of other, artists, who are working. At a very high level I. Like. To do things that are functional, that people can use and, the. Other thing that I work with is, flat. Copper and I use, live leaves with the copper to react, to make. Images on copper something that looks a little bit like a painting. But, there's no pigment. Involved, it's all a chemical, reaction between the. Acids, that I use. Leaves themselves, and the copper and, I. Just like things that sort. Of spark joy and just inspire, people. To say I wonder how she made that. The. Artist and studio tour had been going, on for 25 years now and, we've, been a member of the, tour for about eleven years, here. At Tiber River pottery, we make functional wood-fired, stoneware. Everything. From foreign tea bowls to pour foot tall vases and they, are wood-fired, and at large on a gamla japanese-style, kiln, for, five, days to, 2400, degrees Fahrenheit. Everything. We make is functional, its food safe it's dishwasher safe it's microwave, safe some. Of it is used for serving storing, and cooking, and, some of it is used for arranging, flowers or, contemplation, or, outdoor landscaping. When. People come to cyber for, the artists or they, will see the kiln being fired will be in the midst of six. Days of fire in the kiln 24/7. They'll, have an opportunity to look in the fire box and see molten white pots as they're being fired and then. Come in the studio and see finished work and hopefully, purchase. And understand, more about why. People are, makers. Yes. Shows her a great way for us to you know be, there in person next. To our work and really kind of showcase who we are and what we do most. Of the tour artisans, do not have open studio hours, where you can just drop in so, if you want to see where. It's made how. It's made what. Tools are used where. We get our, materials. This, is a chance to talk, to the artisan. Phoenix. Handcraft is a architectural. Design firm, pretty much is how i like we're, designed built where artists, making, one-of-a-kind, objects, to fit your need be it a staircase or, a dining, room table or a hall bench or, a mosaic, backsplash or.
Just Decorative. Art that you want in your home to make your walls look better. I'm. Really excited about this particular project, that Kyle and I are doing because it's. Something that's very unique to our company we. Have. This little tagline under, our logo this has metal mosaics and wood because, it's the only way that we could figure out to wrap it all up what. Do we do who are we, so. This particular project, we're making a set of drawer poles that. Are made out of fennel and they. Have a mosaic, inlay so in the end we'll, have what, is a very colorful. Tactile. Object, for something that's not usually. We're. Really excited about the artisan studio, tour this is our first year my, favorite part about it is that you actually get to come into the. Artisans, studios, and see. Where they work see, what they do see, their tools get. Like a first person, experience. Of what it's like to be the artisan it's not just a craft show you, can get in these people's studios you can see them work meet them see the space where they work, in I think that's really important, and it's an opportunity for a, dialogue, to take, place between, consumers. And we make work that this doesn't happen in in a, retail experience. There's. Also a big, difference. Between looking, at a photo of something online or on our website or social media and actually. Seeing it in person and. Then. It's just nice to talk to people and sort. Of create. More community and in-person. Connections, I. Think. That working, in Virginia, as an artist is a really, wonderful. Thing because, there are so many people, in the community in, Charlottesville. And Richmond. Just. All over the state who are very, interested, in art they're. Very interested, in seeing. And, supporting. What people do in the community. The. Tour is free, and it's, open to the public and you can bring your kids and. You can expose your children to something, they won't see every day they won't see when they go to the mall, they won't see when they walk downtown. Come, for the weekend see all of us don't try to do it in one day it's too much to cover there are 25. Studios this year for our 25th, anniversary tour. And. 46. Artisans. That's. A lot to see. To. Learn more about the artisan studio tour and who's participating, this November check, out their website. If you've, dipped a toe in, the Richmond theatre community there's no doubt you've heard of actor Scott Whitman who's been a performer in the area for over 20, years we sat down with mr. Showtime, to talk about his career and acting directing, and writing. I. Prefer. Roles. In a compelling story so. When you're younger I think you look for these showcase, things that are great, but I, always love when there's a really wonderful story. And. There's a really great role in the, wonderful story if. It's a comedy if it's, a drama it's like kind of like asking somebody. If they like steak better than they like ice cream like you love them both, but you don't want to eat them all the time except, for ice cream. I. Was. A very impressionistic, kid, I was like a sponge I took pop culture in, television. And I immediately, started, spitting, impressions, of TV. Characters, back, out and it was the 70s, and you know, so there was like three channels, and I was, one of the channels for my family I think. That's one of my family, knew that, yeah. I think we have a performer, here and he's the only one in the family now, that of course my teachers would say you know if he would just buckle down if you'd just buckle down so. Much energy I. Was. In. The fourth, grade and I lived in Bellows Falls Vermont. And I. Went to school with Claudia. Williams, who, was the daughter of Red. Sox hall-of-famer Ted Williams and she. Was Alice and Alice in Wonderland, and it, was a musical, and I got cast as the Cheshire. Cat so. My, grandparents. Came up of course not, to see me but to see Claudia Williams, so. But. I had to sing this song twas, brillig and I, just. Owned. It. It. Was like a bird. Found, out it could fly is the probably, the closest. Feeling. That I can you, know it's just when you know that something is right and, the. Great thing is that nobody. In my family, put. A lid on it I've been very fortunate to have the kind of parents and family, that have been like very, encouraging, all, through my entire, life even when I said I wanted to do this for a living. I think. That it's important, for young people to have an outlet. And have. People around him that believe in. Them, when. I was a sophomore in high school we, moved back to Massachusetts, and when you move when you're a sophomore it's, really tough and my.
Mother Noticed. That I was a little remote so she asked my guidance counselor, to look into it my, guidance counselor mr. Plummer sent. Out these feelers. To all my teachers my high school theatre teacher mr. hemmond wrote back, you. Know Scott is doing well is there. A problem and if so how can I help and, that. Made a huge difference. Not, only did he. Provide. Me, with an opportunity to have an artistic outlet when I really needed one but, he was there and. In. A. Profoundly. Human way and my, mom never forgot that and neither did I. Well. The life of a working actor, it's interesting because I live, with a working actor my wife is an actor and. It's. Anxiety. Punctuated. By other euphoria, or disappointment. Because. You might book a job and, it's. That five minutes after you book that job that you're sort of on cloud nine and then you realized it's. Always time to get back to work there's always a show there's always an audience there's always a story to tell. There's. Always someone who can take over, the role that you're playing and, getting. A job is a privilege, and it's the exception not the rule so. Um, if. You can find an artistic community that supports you and accept. You. Then. You've kind of won the lottery. I've. Been here in the Richmond community for 20 years and when I came here it. Was as kind of an itinerant actor. Moving. Through and sort, of what I realized, that the, people, in the community, they. Really. Work at a high level you know there are people that have come from larger markets, or have come from Richmond gone to larger markets really. Gotten. Some chops and then they came back, there's. An energy here and, I think I think, you know what I'm talking about there's this creative, energy that is permeating, all of, central Virginia whether it's music, whether it's theatre whether, it's visual art whether it's the restaurant scene, whether. It's, entrepreneurship. There's a creative, sense. Here and a, sense of possibility. I. Was. Cast, as Sinatra. Opposite. Renee, Murray who's, a incredible. World-renowned. Jazz recording, artist and, of course I've been a Sinatra, fan and a fan of the Great American Songbook for years and years so. I could, created this sort of nickname, mr.. Showtime that, I think puts. All the different aspects of what I do together, and I just sort of build myself as like a one-man Rat Pack and. So, I connected, with a friend of mine Ryan Corbett, who. Runs the Westwood music club and, he. And I have been working for about ten years. And. I love it because, there's, an audience for it there's a there is a yearning. To experience, these songs and I love Sharon Lee. If. Somebody, has never seen me perform before, I'd, like them to enjoy. Themselves just, enjoy themselves I mean Joe DiMaggio, have always gave us a hundred percent because he said that this might be the, only time someone sees me play ball like I don't have those, words so I'm gonna use Joe's. Even. Though he's a Yankee. You. Know honestly I've had, so. Many incredible opportunities. At. Virginia rep and several, of the other theaters, around the town that I that. Whatever is next I know is going to be fun. And interesting I just. Want to do good work and I want to do it with people who are committed, and I also, want to see other people succeed. And be, celebrated. Even. If your name is above the marquee. There, are so many other people supporting. The storytelling, that. You. Find, the. Really sort of profound moments, or the moments when you connect with actors, on stage or maybe, when you suggest. Somebody for a role and they audition for it and they get it and all, these other things that. You, never could have predicted that, make. An artistic life fulfilling. Ooba-dooba. I'm. At orbital music park with my piece control/command. Which made its debut in New York City's Times Square the. Piece is about deciphering. Fact from fiction and whether. We can wake up to reality you. Can see it at this year's enlight, Richmond, which is at Chimborazo, Park in Light, Richmond is a free, public art exhibition, of light based works of art and performance. We. Sat down with our friends at 1708, gallery and several, of the other artists involved in the exhibition, to find out how it all comes together. When. The, work came together to think about how to celebrate 1708. Gallery to, create, an event create a moment that gave back to the community that, really, celebrated, all of the artists. And supporters, and audience members who've been a part of 1708 that entire time and we were just brainstorming not. What to do for our 30th anniversary because. We had the number of ideas that yet, had been considered. We're, also really, interested in. Inspiring. People to consider. The importance, of art in public.
Spaces And to, talk about art freely, and make it a part of their world. You. Had been to Paris, and seeing the we've. Launched it. Was just all over the city it's like it enlightens, all over Paris and. And. Brought. That idea to. The board and I was reviewing right, exhaling, also, the team and that's the one where, we decided, to. To. Commit, to this. Event but we didn't have a name for it. The. Second, year we had the lantern parade yes. Yes. Yeah. Yes and that's important, to talk about because, it, involves families right, and we, had community, groups. At viz. Arts and the MFA in various places the, children would be and also at First Fridays, and children. Would make lanterns, and. And, then they brought them that the children the families brought volantis and had a lantern braid in the earlier part of the evening it, was truly an, opportunity, to, engage. Communities. And populations that, would normally be engaged, and in, art and contemporary art. And. Then I remember, so. Well Amy, you, and Lucy and eyes talking, about what the next. Year would be and you and I were advocating, for. Continuing. On Broad Street again, to like learn from the first year, to develop, off of the framework with the first year and Lucy was like no no no this thing needs to move around the city and and we can use contemporary, art to engage our parts of the city needless, to say we. C won that argument we did the turning Bay sign and, that, the Riverwalk, we've. Done Scott's edition we even be about Vienna they twice. Yeah. We've. Been all over town we. Came around. There's. No trial. Run for in light so the day of installation is the first is the night of in light so there's, no opportunity to test things out and so it's really important. On. A logistical, standpoint to, talk, through whatever the challenges might be of the site to, make sure that we identify, lights. That are gonna meet me to be turned out where there might be power sources, where. There might be issues, that we need to think about in advance. This. Year in, like 2019, taking place in Chimborazo we have 11. Artists who we've invited to, either, create, brand new works that directly. Engage Chimborazo and some of its narratives, and histories or have work that really. Closely aligns with some of those narratives and histories. Rachel. Peter and Richmond story house there's a crew, over there that's working, on an oral. History project, on the Churchill tunnel, collapse. Milk. River Arts partnered, with them to create a kind of visual. Way. Of telling, that story and expressing, that story that involves several local, artists, I am. An artist mentor here at Mill River Arts, and milk. Roberts is a neuro-diverse, community. Of, artists, with, and without special needs. Usually. An, individual, artist with special needs is paired with an artist without special needs from their own community and they kind of work together in this one-on-one, mentor, relationship. Can, you show me the bus louder. Can, you show me with paint or, with, pencil. And, they like, they look at a tight space they, come up and they look up close okay. So we're gonna do a tight little brush, its.
Castaways, Lantern project, as part of in lights larger, lantern, parade that happens, with every, in light festival and so, there's, gonna be a workshops. Where. People will be creating, these kind, of railroad. Milk. Carton Lantern, to contribute, to the Castaway project, which will then civil, process through the streets and then be hung on to, this. Tunnel. That the. Giant. Illuminated, boxcar, theater, will then be parked underneath so, there's a lot of literally. Moving, parts, to the project. My. Name is Malcolm peacock I'm an artist I live in New Orleans Louisiana for. Enlight Richmond this year I'm making a foam with seven of my friends that. Sort. Of conceives of thoughts, and, modalities. And processes, that respond. To the, Richmond's. Freedmen's. Bureau so. The. Bureau that was created, by lincoln. Post-emancipation. So. I hope, that when people come, to in light this year that they're. Exposed. To a different way of thinking about contacts. And about space and, about their relationships, to people that may or may not be like them. I. Think. Back to conversations that, we had around. Year for and year 5 about, how we didn't want in like to like run its course and we didn't want it to just. Sort of exhaust, its audience, and that maybe 10 years would be like that's, what it would be moving to 10 and we. Are clearly blowing, past that 10 I knew right away that we would have our own version of a, new we launched and it would evolve as, 1708. Has evolved. It's. Just grown to be this this, magnificent. Thing and people love it and it's. Part of our. Past. It's part of our present, part of our future and it feels really good to have, been part of it. If. You want to know more about any of the artists or organizations. Or events that we've profiled go. To their websites or follow, them on social media for more information, if you. Have an event or story idea that you'd like to see on the art scene connect, with us on social media or send, us an email thanks. For watching join, us next time for more stories about the amazing, art in your area, and remember. Whether, you see it hear, it or make it it's a part of the art scene.