Edison Peñafiel’s 3rd floor residency work,  Land Escape,  within  Reenactments of a Perpetual Cycle

Edison Peñafiel’s 3rd floor residency work, Land Escape, within Reenactments of a Perpetual Cycle

REENACTMENTS OF A PERPETUAL CYCLE

CLOSING: AUGUST 3, 11:00 - 6:00 PM | 100 W 3RD AVE, CORSICANA, TX

Experience the residency work of Edison Peñafiel (Sunrise, FL) and Rachel Wolfson Smith (AustIn, TX). To schedule a visit before August 3, please contact us.

Allison Klion studies Rachel Wolfson Smith’s work in  Reenactments of a Perpetual Cycle .

Allison Klion studies Rachel Wolfson Smith’s work in Reenactments of a Perpetual Cycle.

FINITE BODIES IN INFINITE TIME

Essay by Allison Klion on residency work by Edison Peñafiel and Rachel Wolfson Smith.

Rachel Wolfson Smith’s immersive drawings of the renowned  Dutch landscape architect, Piet Oudolf’s personal garden, Hummelo, the artist explains, reflect her interest in deconstructing complicated patterns as a way to arrive at higher truths. Working from dozens of source images taken during a visit to Hummelo last year, shortly before it closed to the public, scribbling notes and thoughts on the paper as they arrive to her, erasing selectively as she works, Wolfson Smith makes no attempt to meticulously recreate a picture of the garden exactly as it was. Instead, she writes, “the thought processes becomes marked as a record of time on the page.” More than this, each one of Wolfson Smith’s drawings does not reproduce a place in time, but is, to borrow from the art critic John Berger, “an autobiographical record of [her] discovery of an event—seen, remember, or imagined.”[1]

Best known as an art critic and writer—though he trained as a painter as well—Berger wrote extensively and passionately on drawing, articulating both the act and the object with the intimacy of a lifelong practitioner. “For the artist,” Berger reminds readers, “drawing is discovery.”[2] A drawn mark, more than recording what is, serves as a guide to lead the artist to see further. “Each confirmation or denial brings you closer to the object, until finally you are, as it that were, inside of it: the contours you have drawn no longer marking the edge of what you have seen, but the edge of what you have become.”[3] The act of drawing quite literally merges artist and drawn image together—a shared subjectivity.

Standing before these immense graphite drawings, I become acutely aware of my body in space.  I have two distinct sensations either in rapid succession or simultaneously, it’s difficult to say for sure. First—an acute awareness of perceiving a drawing and its construction. I recognize the formal techniques used to create an illusionistic space, as well as gestures that disrupt the coherence of that illusion. To put it less pretentiously, I could see that the artist had drawn that I could recognize, erased parts of the drawing, and scribbled notes on the paper’s surface at random. Second—something akin to deja vu, a sense that I had seen this place before, knew its sun-warmed smell, had once asked myself if I should push aside wide leaves and explore more deeply. But the drawing, for all its illusory facility, could not quite transport me to edge of this wildly overgrown landscape exactly, but rather to a memory of it, or a place like it. There, inside of an erased void, I can stand and see this landscape as Rachel Wolfson Smith did, and bear perpetual witness to its potential as a drawing.

If, for Rachel Wolfson Smith,  human movement  and presence in the landscape manifests itself through the restless effort to pin down a sense of the place, Edison Peñafiel is more interested in the literal movement of bodies through space. His complex installation of video projections  and collaged sound references recurrent patterns of human migrations. Looped in an endless procession, absurd, yet highly sympathetic characters trudge across an animated landscape. The terrain slowly shifts between grassland, ocean, desert, and mountain range, only for the travelers to appear back where they started again, looping back on an eternal journey to nowhere. Though Peñafiel’s masked characters continually traverse the landscapes they encounter, they leave no visible index of their passage, and as such, they seem doomed to repeat themselves again and again. At the same time, the identity of the characters remains temporally and culturally ambiguous—some seem without gender or without age. Papier-mâché masks primarily from artisans in Peñafiel’s native Ecuador, and unspecific costuming transform them into archetypal representatives of any diasporic population. The first wave of immigrants charts the path for the next, whose journey in reality might take a different shape, but the obstacles are largely the same. Though the characters rarely interact with each other, they seem to inherent some kind of spatial knowledge from their predecessors. There are no tentative steps—no one hesitates as solid ground transforms into water. Undoubtedly their bodies reveal their exhaustion, but each one—stooped old women and pigtailed children alike—drives onward relentlessly.

Peñafiel’s installation occupies a room in 100W once used for secret rites and performances by the Independent Order of the Odd Fellows, including reenactments of Old Testament stories and the Royal Purple Degree—a highly theatrical ritual designed to gently shepherd blindfolded initiates through an elaborate mock pilgrimage to a High Priest, metaphorically representing their triumphant passage through the “journey of life.”[4] Great pains are taken by the Order, to assure that their candidates appear triumphant and remain safe during the entire ritual, despite loaded warnings of dire troubles ahead.[5] The pilgrims in in the Royal Purple Degree, however, always complete their journey, victorious over vice and conveniently protected from the perils natural world. Peñafiel’s travelers have no oak tree of hospitality or “bright rainbow of promise” to remind them of their “covenant-keeping Father.”[6] Though there are no provisions against rough roads  or annoyingly suspended rushes on their journey, Peñafiel’s travelers appear to walk on water.

[1] John Berger, "The Basis of All Painting and Sculpture Is Drawing," in Landscapes: John Berger on Art (London: Verso, 2016), 39-40. [2] Ibid., 39. [3] Ibid.. [4] Independent Order of Odd Fellows., Revised Odd-fellowship Illustrated. The Complete Revised Ritual of the Lodge, Encampment and Rebekah Degrees, with the Secret "work" Added; Profusely Illustrated, by a past Grand Patriarch. With an Historical Sketch of the Order, and an Introduction and Critical Analysis of the Character of Each Degree by President J. Blanchard of Wheaton College., 47th ed. (Chicago, IL: E.A. Cook, 1930), 248.  https://hdl.handle.net/2027/uva.x001476795 [5] Odd Fellows, 254-6. https://hdl.handle.net/2027/uva.x001476795 [6] Odd Fellows, 259. https://hdl.handle.net/2027/uva.x001476795


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TOXIC: A KENDRA GREENE

MAY 18 - JUNE 22, THE READING ROOM, 3715 PARRY AVE. DALLAS, TX

TOXIC, an exhibition of letterpress broadsides by 100W resident A. Kendra Greene. Greene's source material is  Shadows from the Walls of Death  published by the Michigan Board of Health in 1874 to educate the public about the dangers of arsenic content in wallpaper.  Toxic  also happens to be the 2018 word of the year chosen by OED.  Greene is an essayist, printer and maker of artist's books. Her chapbooks and broadsides are held in the special collections of Yale University, Carnegie Mellon, School of the Art Institute of Chicago, University of Florida and University of Iowa, among others. She holds an MFA in Nonfiction Writing from the University of Iowa and received a Fulbright scholarship to teach English in South Korea.

TOXIC, an exhibition of letterpress broadsides by 100W resident A. Kendra Greene. Greene's source material is Shadows from the Walls of Death published by the Michigan Board of Health in 1874 to educate the public about the dangers of arsenic content in wallpaper. Toxic also happens to be the 2018 word of the year chosen by OED.

Greene is an essayist, printer and maker of artist's books. Her chapbooks and broadsides are held in the special collections of Yale University, Carnegie Mellon, School of the Art Institute of Chicago, University of Florida and University of Iowa, among others. She holds an MFA in Nonfiction Writing from the University of Iowa and received a Fulbright scholarship to teach English in South Korea.

 

3rd Floor Studio view and a selection of works by Amanda Valdez, Feb-March 2019, to be shown at The Landing Gallery in Los Angeles.  Embroidery, hand-dyed fabric, fabric, acrylic, oil stick on mounted paper, black gesso, and canvas

3rd Floor Studio view and a selection of works by Amanda Valdez, Feb-March 2019, to be shown at The Landing Gallery in Los Angeles.

Embroidery, hand-dyed fabric, fabric, acrylic, oil stick on mounted paper, black gesso, and canvas


AFTER HOURS II: TREY BURNS

MARCH 28, 6:00 - 8:00 PM | MITA’S COFFEE HOUSE: 216 N BEATON ST CORSICANA

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Resident Trey Burns will discuss his work, digitally projected, and Sweet Pass Sculpture Park, a project by Tamara Johnson and himself in a remaining parcel of landscape in West Dallas.  Paired with Mita's beverages and dinner menu.  This event is made possible in generous part by the Corsicana Art League's support of four select 100W residents in 2019.

TB - "I think the tidiest way to describe this residency for me at 100 W is as research. A meandering inquiry into the landscape and history of Corsicana and the surrounding area. I'm using video, photo, and writing as tools in order to make what McCarthy called in Satin Island the "Great Report" - or maybe even more apropos; I'm making a fruitcake. I've found particular interest in a 1948 campaign visit by Lyndon Johnson to Corsicana via helicopter. An innovation in politics at the time, LBJ created airborne spectacle all across Texas to win a highly contested Senate election. In my mind this is an interesting historical event, as Johnson (and his "credibility gap") is the progenitor to our current political realities.. but also I can't help but feel as though I'm also circling above this town, touching down for a while to say hello, shake some hands, scatter the dust and then depart shortly there after."


 

AFTER HOURS I: EVEREST PIPKIN & ALEX LUKAS

FEBRUARY 28, 6:00 - 8:00 PM | MITA’S COFFEE HOUSE: 216 N BEATON ST CORSICANA

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Collaborative Residents Everest Pipkin and Alex Lukas discuss and digitally present a selection of artworks in sculpture, technology, drawing, painting and printmaking. Their residency work Five Objects for Corsicana Sky will be exhibited. These five small sculptures document the Corsicana sky, tracking airplanes that are overhead in real time. These augmented local objects form an alternative technological interface, translating encoded airplane radio transmissions into sound and text. They reflect the sky back at itself.


SHARING OUR STORIES, MOVING FORWARD | WRITING WORKSHOP

FEBRUARY 24, 3:00 - 5:00 PM | GROUND FLOOR OF 100 W 3RD AVE CORSICANA

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Join current 100W writer and resident Pam Neal in an interactive writing workshop focusing on the subject of migration, in response to 2019’s Black History month’s theme, “Black Migrations.” Pam will guide participants in writing exercises, often beginning with a single word, in order to build what she calls memoirs.

Pam Neal joins 100W with the support of the G.W. Jackson Multicultural Society. She is a Writer, Clinical Social Worker, and Academy of Cognitive Therapy Fellow. During the workshop, Pam will share from her current project, Beat Me Dumb, a story of healing and perseverance based on Vernon Kemp, one of the first black students to graduate with honors from McGregor High School.

No writing experience necessary. All are welcome. Please bring a pen and hard surface to write on. Questions and RSVP TO INFO@100WESTCORSICANA.COM




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THE QUICK AND THE DEAD: Opening Saturday December 1, 3 - 6pm / 411 N Beaton St

An exhibition by Brian Molanphy, curated by Sofia Bastidas, across the street from 100W.

The Quick & the Dead is inspired by Kazim Ali & Yoshikawa Masamichi among many others. Instead of solemn solid elegiac containers preserving content, it bursts at the seams in irrational exuberance. Empty, it wears its content on its sleeve – the texture & drawing of the surface. The ubiquity of the blue & white tradition is the launching pad, passing particularly through the rose terra cotta & pale blue majolica of Marseille.

OPEN STUDIOS: Saturday December 1, 3 - 6 pm / 100 W 3rd Ave

Resident works by Bruce Lee Webb, Daniela Cruz, Kathleen Shafer, and Allison Bulger

Installations by Bruce Lee Webb, featuring historic Independent Order of the Odd Fellows objects placed throughout this 1890s Lodge demonstrating its use as fraternal space. Webb has also produced an interpretation of the famous and controversial, Corsicana-based fortune teller Annie Buchanan, who mounted the success of several prominent oil men in the region in the early-to-mid 20th century.

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Ryan Thayer Davis in front of works in progress, 2nd Floor

Ryan Thayer Davis in front of works in progress, 2nd Floor

 
Aymeric Ebrard, installed through Summer 2018

Aymeric Ebrard, installed through Summer 2018

 

 
NorthPark Center’s Fall/Winter Magazine paired the talent of photographer Shayna Fontana and stylist Carlos Alonso-Parada within 100W for a fashion shoot backdropped by this 1890s Lodge turned studio space, and the residency works of artist Sarah Boyts Yoder. Produced by Banowetz + Company, Inc. and Seaminx&Co. Hard copies available at the NorthPark Center in Dallas, Texas.  Online version here at this link.

NorthPark Center’s Fall/Winter Magazine paired the talent of photographer Shayna Fontana and stylist Carlos Alonso-Parada within 100W for a fashion shoot backdropped by this 1890s Lodge turned studio space, and the residency works of artist Sarah Boyts Yoder. Produced by Banowetz + Company, Inc. and Seaminx&Co. Hard copies available at the NorthPark Center in Dallas, Texas. Online version here at this link.

 
O.K. Pedersen , a 100W resident and Midwest-based photographer and writer, investigates the aesthetic and spiritual aspects of outskirt communities and their gatherings. Her most recent work,   What Humble Place As This     (2018), a newsprint photo book and photo essay, documents the 42nd-Annual Derrick Days Festival held in Corsicana Texas, which celebrates the town's oil history. She returned to Corsicana for this event following her residency at 100W earlier this year.

O.K. Pedersen, a 100W resident and Midwest-based photographer and writer, investigates the aesthetic and spiritual aspects of outskirt communities and their gatherings. Her most recent work, What Humble Place As This (2018), a newsprint photo book and photo essay, documents the 42nd-Annual Derrick Days Festival held in Corsicana Texas, which celebrates the town's oil history. She returned to Corsicana for this event following her residency at 100W earlier this year.


 

SPRING 2018

Sarah Boyts Yoder

Sarah Boyts Yoder

David Marvin Graham, Jaye Rhee, Aymeric Ebrard

David Marvin Graham, Jaye Rhee, Aymeric Ebrard

AYMERIC EBRARD /  PARIS Aymeric is focused on the mutual relationships between territories and communities. In Corsicana, and within this decommissioned Odd Fellows Lodge, he is interrogating local history through the set design lens active in Pier Paolo Pasolini's 1975 film,  Salò  - specifically, the set's modernist carpet designed by Marion Dorn. Aymeric's re-creation echoes the city grid of Corsicana, and serves as a stage for the display of fraternal objects and local artifacts of charged histories that he has collected, studied, and placed. Aymeric is a Paris-based artist, former fellow of the Camargo Foundation and of the IFM, winner of the Villa Medicis HORS LES MURS Program of the FRENCH INSTITUTE (French Ministery of Culture), Grand Price of the 55th Salon de Montrouge (Paris), and the Grand Price LVMH. He has shown his workinternationally, including FRAC Grand Large, Palais de Tokyo, Friche de la Belle de Mai (France), and KCCC (Lithuania).  Aymeric Ebrard

AYMERIC EBRARD / PARIS
Aymeric is focused on the mutual relationships between territories and communities. In Corsicana, and within this decommissioned Odd Fellows Lodge, he is interrogating local history through the set design lens active in Pier Paolo Pasolini's 1975 film, Salò - specifically, the set's modernist carpet designed by Marion Dorn. Aymeric's re-creation echoes the city grid of Corsicana, and serves as a stage for the display of fraternal objects and local artifacts of charged histories that he has collected, studied, and placed. Aymeric is a Paris-based artist, former fellow of the Camargo Foundation and of the IFM, winner of the Villa Medicis HORS LES MURS Program of the FRENCH INSTITUTE (French Ministery of Culture), Grand Price of the 55th Salon de Montrouge (Paris), and the Grand Price LVMH. He has shown his workinternationally, including FRAC Grand Large, Palais de Tokyo, Friche de la Belle de Mai (France), and KCCC (Lithuania).
Aymeric Ebrard

JAYE RHEE /  NYC  Jaye investigates the dynamics of memories and actual experiences, as well as the mechanisms of fantasy, through narratives showing rather forthright images with unembellished objects in performance. Her project, “The Perfect Moment,” features an old dancer in present time telling her story from the past. That work examines how we experience perfection through one approach: memory. It took Jaye years to develop the understanding that she is trying to uncover the mechanisms of memory and imagination, and how together, they create a meaningful present. Currently, she is working on the Project, "Expired Futures” which considers, through the lens of the past and the present, how the future had been imagined in the mid-20th Century.  www.jrhee.com

JAYE RHEE / NYC

Jaye investigates the dynamics of memories and actual experiences, as well as the mechanisms of fantasy, through narratives showing rather forthright images with unembellished objects in performance. Her project, “The Perfect Moment,” features an old dancer in present time telling her story from the past. That work examines how we experience perfection through one approach: memory. It took Jaye years to develop the understanding that she is trying to uncover the mechanisms of memory and imagination, and how together, they create a meaningful present. Currently, she is working on the Project, "Expired Futures” which considers, through the lens of the past and the present, how the future had been imagined in the mid-20th Century.
www.jrhee.com

DAVID GRAHAM /  NYC New York City-based street photographer and location scout, David Graham, will be working on his second book entitled "Locations From a Movie I Never Made", a photographic survey of imagery culled from years a location scouting and travel. The Dallas, Texas native has visualized ideas, locations and style on the street for more than two decades working with many directors and photographers including Patrick Demarchelier, Paul Greengrass, Todd Haynes, Steven Klein, Ang Lee, Peter Lindbergh, Michael Mann, Steven Spielberg, and Gus Van Sant.  www.davidmarvingrahamphotography.com

DAVID GRAHAM / NYC
New York City-based street photographer and location scout, David Graham, will be working on his second book entitled "Locations From a Movie I Never Made", a photographic survey of imagery culled from years a location scouting and travel. The Dallas, Texas native has visualized ideas, locations and style on the street for more than two decades working with many directors and photographers including Patrick Demarchelier, Paul Greengrass, Todd Haynes, Steven Klein, Ang Lee, Peter Lindbergh, Michael Mann, Steven Spielberg, and Gus Van Sant.
www.davidmarvingrahamphotography.com


 
Maake Magazine interviews 100W  In  Maake's  most recent publication, Emily Burns interviews 100W founders Kyle Hobratschk and Travis LaMothe.  Maake Magazine  is an independent, artist-run, limited edition print publication and online resource showcasing the work of contemporary artists. You can read our feature at:  www.maakemagazine.com/100-w-corsicana .

Maake Magazine interviews 100W
In Maake's most recent publication, Emily Burns interviews 100W founders Kyle Hobratschk and Travis LaMothe. Maake Magazine is an independent, artist-run, limited edition print publication and online resource showcasing the work of contemporary artists. You can read our feature at: www.maakemagazine.com/100-w-corsicana.

 
 

 

FILM SCREENING

EVERYTHING BEAUTIFUL IS FAR AWAY

SATURDAY, DECEMBER 9, 7:00 PM, 3RD FLOOR BALLROOM STUDIO

Former resident Pete Ohs wrote, directed and produced this recent, full-length feature about a guy, a girl, and a robot head hiking across a desert planet looking for a mythical lake.
Everything Beautiful is Far Away stars Julia Garner and Joseph Cross, and has received several awards including: Winner of Best Cinematography at the 2017 Los Angeles Film Festival, Winner of Best Director & Best Cinematography at the 2017 Tacoma Film Festival, and Winner of Best Feature at the 2017 Eastern Oregon Film Festival.

 

 
PAPERCITY  featured 100W in the July/August issue.  www.papercity.com

PAPERCITY featured 100W in the July/August issue. www.papercity.com

 

Resident Poet Alysia Harris wrote this piece, "No Poems Inside the Victorian House," while at 100W in May, 2017.

Click the play button above to watch and listen Alysia read this work.

www.alysiaharris.com

 
TVGOV  is an artist-led initiative and think tank lead by Sofia Bastidas, Peter Fend, Guillermo Leon Gomez, and Agustina Woodgate. While in Corsicana, TVGOV is producing a short film on Eco-Tax and the implication of real estate speculation. Image: TVGOV - Eco-Tax Assessment of Downtown Tel Aviv

TVGOV is an artist-led initiative and think tank lead by Sofia Bastidas, Peter Fend, Guillermo Leon Gomez, and Agustina Woodgate. While in Corsicana, TVGOV is producing a short film on Eco-Tax and the implication of real estate speculation. Image: TVGOV - Eco-Tax Assessment of Downtown Tel Aviv

 
May 2017: Resident Armin Mühsam and his paintings.

May 2017: Resident Armin Mühsam and his paintings.

 
RESURRECTION   THE SPIRITUAL QUALITIES OF TRASH : Wayne Hall A collection of works created from the debris of daily life by local outsider artist Wayne Hall exhibited at 100W March - June. David Searcy writes about Hall's mysterious and obsessive studio practice and the reason we must now examine his work. Searcy's essay appears in the March issue of  Oxford American .

RESURRECTION THE SPIRITUAL QUALITIES OF TRASH: Wayne Hall
A collection of works created from the debris of daily life by local outsider artist Wayne Hall exhibited at 100W March - June. David Searcy writes about Hall's mysterious and obsessive studio practice and the reason we must now examine his work. Searcy's essay appears in the March issue of Oxford American.

 
February 2017: Residents Heidi Laura, Katie Ford and Adam Raymont

February 2017: Residents Heidi Laura, Katie Ford and Adam Raymont

 
Resident Adam Raymont in the studio.  His recent interview with Marty Walker can be found in her latest podcast series,   Expat Sandwich  .   Expat Sandwich  features an eclectic mix of American expats who share stories of the best, weirdest and worst experiences of living abroad. We strive to reveal lesser known cultural collisions such as the "American yes and the French no"  (episode 001)  memorable language mishaps, and a few reality checks such as visas or the sometimes mind-boggling complications of simply getting internet installed. Expat Sandwich is created and hosted by Marty Walker, produced in a makeshift recording studio in her walk-in closet in Dallas, Texas.

Resident Adam Raymont in the studio.

His recent interview with Marty Walker can be found in her latest podcast series, Expat Sandwich.

Expat Sandwich features an eclectic mix of American expats who share stories of the best, weirdest and worst experiences of living abroad. We strive to reveal lesser known cultural collisions such as the "American yes and the French no" (episode 001) memorable language mishaps, and a few reality checks such as visas or the sometimes mind-boggling complications of simply getting internet installed. Expat Sandwich is created and hosted by Marty Walker, produced in a makeshift recording studio in her walk-in closet in Dallas, Texas.

 
January 2017: Resident Bradley Kerl in the Third Floor Studio

January 2017: Resident Bradley Kerl in the Third Floor Studio

 
Resident Edmund Eva has been utilising a 1980’s pen plotter - a defunct cousin of the modern printer which he has altered to be able to draw with a variety of tools. Fascinated by the grids and repetition of the American urbanscape, Eva used these as the raw data for his plotter drawings. The result is a mass of abstracted drawings, of grids, parking lots, floor tiles and architecture.

Resident Edmund Eva has been utilising a 1980’s pen plotter - a defunct cousin of the modern printer which he has altered to be able to draw with a variety of tools. Fascinated by the grids and repetition of the American urbanscape, Eva used these as the raw data for his plotter drawings. The result is a mass of abstracted drawings, of grids, parking lots, floor tiles and architecture.

 
 
Resident Andreana Donahue's hand stitched quilt, from a spectrum of denim jeans thrifted locally in Corsicana, and used mechanics' oil rags.  "Lone Star", denim, oil rags, 8 x 8'

Resident Andreana Donahue's hand stitched quilt, from a spectrum of denim jeans thrifted locally in Corsicana, and used mechanics' oil rags.

"Lone Star", denim, oil rags, 8 x 8'

 
 
Edmund Eva captured a recent lightning storm from the 100W rooftop

Edmund Eva captured a recent lightning storm from the 100W rooftop

 
 
Resident Poet Katy Chrisler, with poem below written at 100W:    LAY OF THE LAND  Sun shot gut shot  lull, lilt, loll more than rumor.  “I need a safe place  to keep the wire cutters.”  We have met in a church  in the mountain’s echo.  Pressed together like  flour and water. We  have met before. Tufted  as trophies, the monarch  departed with shame.  His right, a helm. Mine,  a matter of faith. I look  fixedly to raise the dust  and fumble on the way.  Debt is all around, I’m dizzy  and lightminded. I run my finger  over the key and grope for words.

Resident Poet Katy Chrisler, with poem below written at 100W:

LAY OF THE LAND

Sun shot gut shot

lull, lilt, loll more than rumor.

“I need a safe place

to keep the wire cutters.”

We have met in a church

in the mountain’s echo.

Pressed together like

flour and water. We

have met before. Tufted

as trophies, the monarch

departed with shame.

His right, a helm. Mine,

a matter of faith. I look

fixedly to raise the dust

and fumble on the way.

Debt is all around, I’m dizzy

and lightminded. I run my finger

over the key and grope for words.

 
Resident Andrew Neumann and his video projection work

Resident Andrew Neumann and his video projection work

 
 
Resident Gavin Morrison in his studio, developing his book  The Malcontents .

Resident Gavin Morrison in his studio, developing his book The Malcontents.

 
 
Resident essayist Susan Harlan is investigating Paint-by-Number history within the realm of kitsch.

Resident essayist Susan Harlan is investigating Paint-by-Number history within the realm of kitsch.

 
 
Resident Ofeigur Sigurdsson is developing a new novel.

Resident Ofeigur Sigurdsson is developing a new novel.

 
 
Resident Marcelyn McNeil in her studio.

Resident Marcelyn McNeil in her studio.

 
 
Resident Christina Hayes paints portraits of Corsicana cowboys, in comparison to the Australian concept of the cowboy.

Resident Christina Hayes paints portraits of Corsicana cowboys, in comparison to the Australian concept of the cowboy.

 
 
January/February 100W Residents: Ofeigur Sigurdsson, Marcelyn McNeil, Christina Hayes

January/February 100W Residents: Ofeigur Sigurdsson, Marcelyn McNeil, Christina Hayes

 
 

TRACY HICKS RETROSPECTIVE, October 2015

 
 

SOUTHERN INTENTIONS DINNER, Summer 2015

Photo courtesy Benjamin Hines

Photo courtesy Benjamin Hines

Southern Intentions Dinner: Three artists collaborate their mediums of ceramics, food and printmaking in a single evening event.  Chef Lindsey Byrd served homemade fried chicken and sides on porcelain dishes made exclusively for the event by Brent Pafford.  The paper lining guests' porcelain baskets was spotted and streaked by the grease, and saved by Adrienne Lichliter to process into her method for making wood lithograph prints.  Each guest received the print resulting from their basket following the dinner, as well as their three-piece Pafford porcelain dinnerware set.  For interest, please follow the Southern Intentions Dinner website for future events.  To be notified about 100W Dinners hosted seasonly, please express interest on the Contact page.

Photo courtesy Benjamin Hines

Photo courtesy Benjamin Hines

 
 
Photo courtesy Noel Camardo

Photo courtesy Noel Camardo

Noel Camardo's residency month of walking and observing Corsicana has produced a notable series titled Dusty Roses.  Noel is a photographer based in Brooklyn, NY focusing on the humor and pathos of life.  View the complete work at www.noelcamardo.com

 
 

Dome Project Underway: These tranquil structures are being designed and built by Randell Morgan and Phillip Mcvean in the 100W Woodshop to outfit meditation centers, markets, and landscapes small and large with beautiful shelters.

 
 

Caris Reid is a Brooklyn based painter and Artist in Residence painting Mandalas for an upcoming exhibition at Circuit 12 Gallery in May 2015.  100W hosted a closing exhibition and dinner for Caris Reid and Noel Camardo in the Encampment Hall.   www.carisreid.com and www.noelcamardo.com

Photo courtesy Benjamin Hines

Photo courtesy Benjamin Hines