Opera can be more than what it is now, it doesn’t have to be confined to the same old classics. It can be modernized while keeping the emotional intensity that is captured in the high octaves of the performer’s voices. Tapestry Opera is creating pieces that are bringing Opera to the forefront of innovation. On February 17th Tapestry Opera released a short 5 minute film called I Can’t Breathe on YoutTube. The film depicts the conversation between a son and his father and the love that is there even in conflict. It tackles the real life events of the George Floyd protests and the fear of the ensuing pandemic. This Opera is accompanied by a talk with Andrew Moodie and Darren Fung, the creators of I Can’t Breathe, and host of Tap In, host Michael Hidetoshi Mori. They start the conversation off by discussing how the film was created and the inspiration behind it. The only way to properly express what both Andrew and Darren were experiencing during the George Floyd protests was through the mediums of opera and film – the latter which was impressively executed in one take. The whole introduction is a perfect segway into the film. However, the talk that followed the film may have been too drawn out for a virtual showing. The guest speakers discussed the film after it was shown but the dialogue slowly progressed to dissecting the art of opera, its details and nuances. Each individual topic was interesting and important to understanding the growth of opera and what it can become, but it wasn’t what I was expecting when I sat down to watch the hour long Tap In discussion – which made it easy to tap out. That being said the film was incredibly powerful and moving and can be watched without sitting through the ensuing conversation. The set of the film consists of simple unadorned household items in the centre of the space surrounded by projections depicting scenes of the protests. The camera follows the performers in a way that allows the viewer to take in everything that is happening while at the same time directing their focus to what is important. The film explores sensitive topics in a safe environment. And the words from father to son “Be mad, change the world, do things I couldn't” hit a chord that resonates with everyone. But this is not the first time we have experienced events like this and it may not be the last. The performers' voices are riveting and the subject matter will leave you speechless. I Can’t Breathe is the perfect length and reminds us that we are all, in our own way, suffocating. Watch the film, listen to the introduction, and get some insight into the depth of experiences behind this production (if you can get through the entire post-film discussion). Opera is important, it is evolving, and this film is testament of that evolution. Author: Nicole Decsey Dates: February 17, 2022 (Recording Available) Venue: Online Tickets: https://tapestryopera.com/performances/tap-in-i-cant-breathe/

What is the one social issue that your art speaks to the most? “I believe the social issue my art speaks to the most is depression. Having worked in mental health for 20 years, I try to help people by creating art that makes them happy. I utilize bright colours and try to create a beautiful world on my canvases that provides the viewer with a sort of sanctum from their stressful existence; thus, providing a visual vacation. I like to paint colorful scenes from the world that surrounds us, while incorporating the natural world to make the viewers of my art feel more connected to the earth, which, I feel, increases joy. I feel that my art is therapeutic. ” Continue reading in issue No.8. “Starry Night” by Erik Schlobohm

What inspiration do you get from artists around you? “The work of other artists is essential to cultivating new ideas. I am constantly looking at other peoples’ art, whether in person or on Instagram, and it undoubtedly drags my own work in unexpected directions. Artists do not create in a vacuum! Everyone steals from everyone else, from simple colours to overarching ideas. I’m always searching for new ways to approach a painting; I source a lot of my techniques and processes from other artists. It’s almost impossible for me to not paint more like van Gogh while being constantly confronted by larger than life imagery of his paintings!” Continue reading in issue No.8. “Sun on a Seabed” by Kasey Kania

What is the one social issue that your art speaks to the most? Mental health. I’m very open when talking about my struggles with mental illness and how it shows up quite often in the themes of my work. My work is centered around the theme of exploring the relationship and interaction of joy and pain in the same space. I started painting when I was 8 years old, and while it started as a fun, creative outlet, it eventually became a way for me to transmute my negative emotions into something pleasant and calming. Now my most effective and powerful paintings are the ones where I felt an overwhelming emotion and transformed it into an abstracted landscape. Continue reading in issue No.8.

How does it feel being a staff member and a resident artist at the same exhibit? In the summer of 2021, I searched for a long time for a job that would be creative and fulfilling to me, a recent graduate. When I got hired to work at Immersive Van Gogh Cleveland, I felt really blessed to find a job in my field and to work at a place that appreciates the arts. I feel that this was a great transition from getting my BFA in painting to working full time. Then I became the Artist-in-Residence for this wonderful job, and I felt honoured that I was chosen to represent van Gogh and his work. We celebrate the life of Vincent van Gogh by cherishing his paintings and I feel I do that when I am a host or painting at the venue. My favourite part about working here is talking about van Gogh’s life, and his paintings, with the guests and staff. Continue reading in issue No.8.

What is the one social issue that your art speaks to the most? PG - It’s no secret that our world is divided. The pandemic created a disconnect. As an artist, I am bringing society together one painting at a time. Each brush stroke symbolizing a piece of humanity. One’s own relative truth shines through in this inclusive environment. My art dives deeper into the intrinsic thoughts of humans and our primal emotions. Not only are we disconnected from each other, but from nature as well. My use of zoomorphic art creates a beautiful fusion of nature and humanity. Through my piece New Fire, I witnessed emotions overflow. We are innately connected to nature, and I intend to be a key to unlock these primal feelings. Continue reading in Issue No.8.

What is your takeaway from the experience of working in-studio at Immersive Van Gogh Minneapolis? A major takeaway is that I really enjoy working on bigger pieces! I tend to create small pieces, out of both convenience and time constraints, and most of the canvases I keep around are only a few inches across. This residency gave me the opportunity to work, non-stop, for hours on larger pieces and it felt incredibly rewarding! Finishing small pieces is great, but I’m glad I took the opportunity to really immerse myself in the process of creating a couple large pieces. Continue reading in issue No.8.

What inspiration do you get from artists around you? Each and every artist that we have worked with—either at the residency or in the greater Charlotte arts community—each and every one has their own style that speaks to the people. So I’m truly inspired by their confidence, boldness, and ability to attract newer and newer audiences to their work. Like with Naji for example. We created a variety of test prints, some came out perfect and some not so perfect. We even had a printer issue that was spitting out transparencies that were less than perfect themselves. But Naji was able to take those beautiful mistakes and turn them into a collage piece that happened to be one of the dopest mixed media pieces in his residency. Continue reading in issue No.8

How do you think this program fits into the artist community in Charlotte? The AiR Program fits into the local artist community by involving local artists throughout many aspects of the exhibition itself. Certainly through the artists in residence program, but also through the wayfinding elements and signage murals, which were done by local artists here in Charlotte. Even the speed hump outside the entrance was decorated with sunflowers, announcing to visitors that they had arrived at the venue! It also allowed artists to connect with a broader audience by providing the opportunity to interact with art patrons from the greater region. Continue reading in issue No.8

What do you hope to accomplish in your residency? We are so excited to bring some of our local JIGGY artists into the incredible Immersive Van Gogh space to create art on such a unique vehicle—a puzzle! We are both so aligned in our missions of inspiring people to experience art in a whole new way, and to empower artists, so this is a very organic partnership for us. We hope to honor the work of van Gogh with our artists creating original pieces inspired by him, bringing an interactive and modern touch to the experience, and giving emerging artists a platform to showcase their work. ​ Continue reading here

The Lighthouse Immersive Artist in Residence program was designed to give visual artists a unique opportunity to showcase their work within Immersive Van Gogh exhibitions across North America. Artists are invited to create work during their residency around the theme of Vincent van Gogh all whilst surrounded by a community of art enthusiasts at the onsite venue. This gives local artists an opportunity to build connections, create networks, collaborate, and share work with other artists and the general public. We spoke with the Project Coordinator Kelsey Sewell about the motivations behind the project, and Jun Yang, San Francisco’s outgoing resident artist about his experience over the course of his residency. Continue reading here

How do you think this program fits into Charlotte’s tight-knit artist community? It's very exciting that a visual arts show is the biggest deal in town. It gave many artists the opportunity to "jam with the band," so to speak. So many artists have been able to produce or sell artwork, sell merch, and participate in artist residencies as a result. The exhibit also revealed to us that this kind of digital experience with art was even a possibility, and I'm sure we'll see local artists start to use immersive techniques in their work to come. I know I'm excited to build my own mini immersive experience with my own work in the near future. This is truly a time of art in the age of digital immersion. Continue reading in issue No.7

What is one social issue that your art speaks to the most? During my residency I created the Your Good Neighbour CLT portrait project. IVG visitors and @yourgoodneighborclt Instagram followers are invited to nominate a good person by sending a photo and description of what makes this person exceptional. I have drawn a charcoal portrait every day with the goal of emphasizing the good among us, to show the core humanness of each of us, to encourage compassion, to lay down the trappings of judgement, and pick up the mantle of empathy. Continue reading in issue No.7

One social issue that your art speaks to the most? My art explores a personal connection with my culture, family, community, and environment in this deeply divided and isolating world. However, as an immigrant and a woman of colour, I also ponder upon issues of womanhood, identity, and belonging, weaving these emotions into my work through symbolism and abstraction. Continue reading in issue No.7