1. How did you decide to become an artist?
I always felt a strong attraction to music, but I didn't consider pursuing it as a profession until I was encouraged to do so by the faculty of the New Jersey Governor's School for the Arts. I attended the program during the summer of my junior year of high school and it was the most important factor in my decision to attend school for music.
2. What kind of work as an artist have you done so far, and what other work have you done?
While at UNCSA I performed in numerous operatic productions and even had the privilege of being the first person to sing the role of Mr. Collins in Kirk Mechem's Pride and Prejudice. I've recently set up a private voice studio in northern New Jersey.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Fellowship gave me new methods for appreciating art. I really value the experiential approach to art I learned there, and I've been implementing it not only in my own appreciation of art, but in my teaching as well. The Kenan Fellowship also allowed me the opportunity to find and benefit from the instruction of some of the most respected professional artists in New York. If not for the fellowship, I never would've studied voice with the baritone Mark Oswald or had the confidence to take on some of the auditions that I sang.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
Participating in some of the dance workshops was a bizarre and thrilling experience for me. It was extemporaneous and highly choreographed at the same time.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
I didn't get much time in the classroom due to difficulties in scheduling. My mentor suffered a physical injury, which was a contributing factor to the loss of time.
6. What are you planning to do next in your artistic career?
I've decide to pursue a legal education. It was a very personal decision, but I believe that my experiences as a fellow will continue to enrich my life. I think that living close to great art for a long time is truly beneficial, no matter which career you ultimately choose.
7. How does your art relate to your family and community life?
Most of my family knew nothing about opera before I became seriously interested in it. Now many of them have become fans of opera, and classical music in general, and have developed strong opinions of different singers, composers, conductors, and stage directors. Also, as a voice teacher in the community I try to expose my students to great works of art that they're not likely to encounter in the public school system. I play recordings for them and recommend singer for them to research. I think that as a teacher you have more responsibility than just the training of the instrument; you have to share great art.
Friday, August 21, 2009
Wednesday, July 22, 2009
Krassen Karagiozov
1. How did you decide to become an artist?
I've been my entire life studying and doing music since I was 6, so it was natural for me to continue in that direction.
2. What kind of work as an artist have you done so far, and what other work have you done?
I'm performing with Local and national Opera companies different roles and for the first time this May I'm going to Bulgaria to sing a concert performance of La Boheme. It is the first time singing actually at home. I also teach at High Point University and serve as a music director at Trinity Presbyterian Church in Winston-Salem.
3. How did the Kenan Fellowship contribute to your development as an artist?
By introducing me to high caliber artists and performers.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
Working with my colleagues on the stage and working with Julius Rudel who is a very famous conductor and being able to perform.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
It needed to be more specified of what we were supposed to do the first year and wanted to be involved more in singing opportunities the first year.
6. What are you planning to do next in your artistic career?
I'm having more performances coming up , so I'm continuing pursuing my career as an artist.
7. How does your art relate to your family and community life?
I will see how my art relate to my family when I go this May to BG and see since all of them live there. they are not directly involved to my art here. To the community I think directly through my performances and teaching experience to the students as well as serving at a church which a straight contact to the community service.
I've been my entire life studying and doing music since I was 6, so it was natural for me to continue in that direction.
2. What kind of work as an artist have you done so far, and what other work have you done?
I'm performing with Local and national Opera companies different roles and for the first time this May I'm going to Bulgaria to sing a concert performance of La Boheme. It is the first time singing actually at home. I also teach at High Point University and serve as a music director at Trinity Presbyterian Church in Winston-Salem.
3. How did the Kenan Fellowship contribute to your development as an artist?
By introducing me to high caliber artists and performers.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
Working with my colleagues on the stage and working with Julius Rudel who is a very famous conductor and being able to perform.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
It needed to be more specified of what we were supposed to do the first year and wanted to be involved more in singing opportunities the first year.
6. What are you planning to do next in your artistic career?
I'm having more performances coming up , so I'm continuing pursuing my career as an artist.
7. How does your art relate to your family and community life?
I will see how my art relate to my family when I go this May to BG and see since all of them live there. they are not directly involved to my art here. To the community I think directly through my performances and teaching experience to the students as well as serving at a church which a straight contact to the community service.
Andrew Cissna
1. How did you decide to become an artist?
My connection to the theatre began with my mother, who got her Bachelors in Theatre and therefore placed me within it at young age. Besides working with the local community theatre, I also showed up on stage at my elementary school’s production of Oliver as the Artful Dodger. My turn into design began during my freshman year of high school when I started getting more opportunities to flex my artistic vision.
2. What kind of work as an artist have you done so far, and what other work have you done?
I am predominately a lighting designer, although the classes in college that I took to develop those skills have led me to pursue some sculpting on the side. Ultimately, I believe, the visual arts are only separated by physical skills (painting, sculpting, etc…), the vision is all based in the same rules and mindset.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Fellowship gave me my grounds and roots in the Washington DC theatre world and allowed me to meet and work with all of the best people without having to seriously worry about my career as a whole. Thanks to that focus, the latter has come along on its own.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
In the first few months as a fellow I was sent out to design a production of Noises Off for Perseverance Theatre in Juneau, AK. I have traveled for work before, many times, but this was my first long distance design trip. Not only was the location beautiful, but it felt like a foreshadowing of a path for my career and oh the places it can go.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
There were not many down points overall. There were certainly some times when I found myself without much to do and at the time that seemed wrong or at some fault. I realize now, after two more years working, that it is perfectly normal and actually a quite welcome respite.
6. What are you planning to do next in your artistic career?
I have recently been nominated for an award in Washington and I am hoping that this will lead to a growth in my opportunities in the local and national theatre communities. I also have a couple of carvings planned to start this summer, one in alabaster and one in Montana soapstone.
7. How does your art relate to your family and community life?
My art is mostly community based, although the support and inspiration comes from my family.
My connection to the theatre began with my mother, who got her Bachelors in Theatre and therefore placed me within it at young age. Besides working with the local community theatre, I also showed up on stage at my elementary school’s production of Oliver as the Artful Dodger. My turn into design began during my freshman year of high school when I started getting more opportunities to flex my artistic vision.
2. What kind of work as an artist have you done so far, and what other work have you done?
I am predominately a lighting designer, although the classes in college that I took to develop those skills have led me to pursue some sculpting on the side. Ultimately, I believe, the visual arts are only separated by physical skills (painting, sculpting, etc…), the vision is all based in the same rules and mindset.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Fellowship gave me my grounds and roots in the Washington DC theatre world and allowed me to meet and work with all of the best people without having to seriously worry about my career as a whole. Thanks to that focus, the latter has come along on its own.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
In the first few months as a fellow I was sent out to design a production of Noises Off for Perseverance Theatre in Juneau, AK. I have traveled for work before, many times, but this was my first long distance design trip. Not only was the location beautiful, but it felt like a foreshadowing of a path for my career and oh the places it can go.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
There were not many down points overall. There were certainly some times when I found myself without much to do and at the time that seemed wrong or at some fault. I realize now, after two more years working, that it is perfectly normal and actually a quite welcome respite.
6. What are you planning to do next in your artistic career?
I have recently been nominated for an award in Washington and I am hoping that this will lead to a growth in my opportunities in the local and national theatre communities. I also have a couple of carvings planned to start this summer, one in alabaster and one in Montana soapstone.
7. How does your art relate to your family and community life?
My art is mostly community based, although the support and inspiration comes from my family.
Justin Poindexter
1. How did you decide to become an artist?
I have always wanted to be an artist. I cannot remember a time when I ever wanted to be anything else. At a young age I wanted to write and illustrate children’s books. I then became interested in painting, followed by film and playmaking, jazz piano, guitar, and finally composition; which I feel is the sum of many arts and gives me license to work in any medium. My parents always encouraged my artistic pursuits without pressuring me and were supportive as I tried different things. I have always had a great appreciation for history and aesthetics, which feeds my artistic desire. I love to feel the imprint of history on an object and I enjoy trying to craft a piece of music that is evocative of something or someone, someplace in sometime.
2. What kind of work as an artist have you done so far, and what other work have you done?
I feel that as an artist, my work tends to be all across the board. As I continue to create, I find that my interests are slowly starting to form some sort of cohesive statement. I got my first real project writing music for the docudrama, The Rough South of Larry Brown. Inspired by the artistic decisions involved, I got permission to take film classes at NCSA and pursued a film composition internship in Los Angeles. Upon returning, I began coaching the NCSA High School Jazz Quintet and wrote tremendous amounts of music for them in various styles for various instrumental combinations. I wrote Three Folk Songs For Pianist and Jazz Singer, attempting to bridge the gap between concert music and more contemporary stylings. I have also collaborated with choreographers (Gudbjorg Arnolds, Casa Susanna), poets (Joe Mills, Somewhere During the Spin Cycle), playwrights (52nd Street Project, Plays That Tell All) and spent the year following graduation studying historical architecture and writing country songs for singer, Martha Bassett. My most recent project is a collaboration with percussionist Colin Tribby, in Let Freedom Ring, performed by members of the Carolina Chamber Symphony with strings, percussion, and a male and female speaker.
3. How did the Kenan Fellowship contribute to your development as an artist?
My experience as a Kenan Fellow with Lincoln Center Institute has been a tremendous opportunity for personal and artistic growth. I gained a curiosity to pursue new avenues in my art and found the courage to experiment with many different areas where I can use my musical training and knowledge. I have taken great interest in the philosophy of aesthetic education and feel a strong connection between my artistic pursuits and my teaching artist experience in the classroom.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
My most memorable experience as a Kenan Fellow was working with my mentor in the schools. The classroom is the heart of the aesthetic education practice, and the unleashing of curiosity and active problem solving in our teaching sessions inspired me. I feel strongly about encouraging younger generations to experience and discover themselves through art. It is my personal belief that an artist has a duty to help shape a future generation of artists and art lovers.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
My biggest disappointment about the Kenan Fellowship is that it ended all to soon. I had learned so much through my teaching with the Manhattan School for Children and St. John’s University and was ready to go into another session when the fellowship ended. It was difficult to adjust to a post-LCI life following the life-consuming artistic project, during which I had no time to focus on future projects or employment. It would be incredible if the Kenan’s could do another unit in the schools, possibly with more emphasis on crafting the lesson plans and teaching, following the project.
6. What are you planning to do next in your artistic career?
I worked very diligently during my fellowship networking and job searching so as not to have too much down time upon my completion. I became music director for the 52nd Street Project, writing music for a series of musicals benefiting kids ages 8-18 in the Hell’s Kitchen Neighborhood. The LCI experience gave me the desire to expand my art into education and arts administration and I found work with the education department of Jazz at Lincoln Center and began interning for the contemporary music chamber group, counter) induction. I have also recently started to do some teaching artist work with the Theater Development Fund and hope to find more of these opportunities. My next piece will be a three movement suite for soprano, piano, clarinet and strings, which will be recorded by the counter) induction ensemble.
7. How does your art relate to your family and community life?
My art is so much a part of my life at this point it seems more appropriate to consider how my family and community life relates to my art instead of vice-versa. My network of friends is primarily art-related and they are often a sounding board for new projects I am developing and may become performers or collaborators. I have a wonderful support system of friends and I consider them when working on new pieces, knowing they will be helpful and supportive. My family is very supportive of the life I have chosen and come to visit when I have larger performances.
I have always wanted to be an artist. I cannot remember a time when I ever wanted to be anything else. At a young age I wanted to write and illustrate children’s books. I then became interested in painting, followed by film and playmaking, jazz piano, guitar, and finally composition; which I feel is the sum of many arts and gives me license to work in any medium. My parents always encouraged my artistic pursuits without pressuring me and were supportive as I tried different things. I have always had a great appreciation for history and aesthetics, which feeds my artistic desire. I love to feel the imprint of history on an object and I enjoy trying to craft a piece of music that is evocative of something or someone, someplace in sometime.
2. What kind of work as an artist have you done so far, and what other work have you done?
I feel that as an artist, my work tends to be all across the board. As I continue to create, I find that my interests are slowly starting to form some sort of cohesive statement. I got my first real project writing music for the docudrama, The Rough South of Larry Brown. Inspired by the artistic decisions involved, I got permission to take film classes at NCSA and pursued a film composition internship in Los Angeles. Upon returning, I began coaching the NCSA High School Jazz Quintet and wrote tremendous amounts of music for them in various styles for various instrumental combinations. I wrote Three Folk Songs For Pianist and Jazz Singer, attempting to bridge the gap between concert music and more contemporary stylings. I have also collaborated with choreographers (Gudbjorg Arnolds, Casa Susanna), poets (Joe Mills, Somewhere During the Spin Cycle), playwrights (52nd Street Project, Plays That Tell All) and spent the year following graduation studying historical architecture and writing country songs for singer, Martha Bassett. My most recent project is a collaboration with percussionist Colin Tribby, in Let Freedom Ring, performed by members of the Carolina Chamber Symphony with strings, percussion, and a male and female speaker.
3. How did the Kenan Fellowship contribute to your development as an artist?
My experience as a Kenan Fellow with Lincoln Center Institute has been a tremendous opportunity for personal and artistic growth. I gained a curiosity to pursue new avenues in my art and found the courage to experiment with many different areas where I can use my musical training and knowledge. I have taken great interest in the philosophy of aesthetic education and feel a strong connection between my artistic pursuits and my teaching artist experience in the classroom.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
My most memorable experience as a Kenan Fellow was working with my mentor in the schools. The classroom is the heart of the aesthetic education practice, and the unleashing of curiosity and active problem solving in our teaching sessions inspired me. I feel strongly about encouraging younger generations to experience and discover themselves through art. It is my personal belief that an artist has a duty to help shape a future generation of artists and art lovers.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
My biggest disappointment about the Kenan Fellowship is that it ended all to soon. I had learned so much through my teaching with the Manhattan School for Children and St. John’s University and was ready to go into another session when the fellowship ended. It was difficult to adjust to a post-LCI life following the life-consuming artistic project, during which I had no time to focus on future projects or employment. It would be incredible if the Kenan’s could do another unit in the schools, possibly with more emphasis on crafting the lesson plans and teaching, following the project.
6. What are you planning to do next in your artistic career?
I worked very diligently during my fellowship networking and job searching so as not to have too much down time upon my completion. I became music director for the 52nd Street Project, writing music for a series of musicals benefiting kids ages 8-18 in the Hell’s Kitchen Neighborhood. The LCI experience gave me the desire to expand my art into education and arts administration and I found work with the education department of Jazz at Lincoln Center and began interning for the contemporary music chamber group, counter) induction. I have also recently started to do some teaching artist work with the Theater Development Fund and hope to find more of these opportunities. My next piece will be a three movement suite for soprano, piano, clarinet and strings, which will be recorded by the counter) induction ensemble.
7. How does your art relate to your family and community life?
My art is so much a part of my life at this point it seems more appropriate to consider how my family and community life relates to my art instead of vice-versa. My network of friends is primarily art-related and they are often a sounding board for new projects I am developing and may become performers or collaborators. I have a wonderful support system of friends and I consider them when working on new pieces, knowing they will be helpful and supportive. My family is very supportive of the life I have chosen and come to visit when I have larger performances.
Daniel Frith
1. How did you decide to become an artist?
It wasn't so much a decision as the fact that I'm terrible at almost everything else. Either that, or anything else I try is completely unable to hold my feeble attention span for more than five minutes. I don't think I have that much of a choice. Which is a good and a bad thing, but I think mostly good.
2. What kind of work as an artist have you done so far, and what other work have you done?
A lot of Regional Theatre, mostly. I got my equity card pretty quickly after the Kenan Program, and was fortunate enough to do a lot of equity shows in succession. Now that I've recently relocated to New York, the 5 years experience I had working regionally is certainly paying off. The Kenan Program was instrumental in providing that bridge to my professional career.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Program allowed my work to be seen by people in the industry, I was constantly meeting directors and other actors to network with, and gave me the opportunity to audition for professional shows I otherwise wouldn't have been seen for.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
I was offered a supporting role in one of the Kennedy Center's productions after playing the character in a reading of the play. It was my first professional gig. It was an incredibly well written character, the cast was a group of truly generous and seasoned professionals, and at the helm was a superb director. I couldn't have asked for a more positive experience.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
Nothing. I was a working actor.
6. What are you planning to do next in your artistic career?
I've recently moved to NYC, found representation, and plan to continue to pursue my career from two points of attack. The conventional way; that is auditioning and networking, and the less conventional but still popular path; creating my own projects. I try and find things I am passionate about, things that really excite me, and see where they lead. You have to have something outside the realm of the industry that keeps you creative, I think that's critical. I'm working on a comedy album with music, with artists who I love and respect. Its due out in April, and I couldn't be excited. I love collaborating, and the Kenan program certainly gave me a place and a home to do that.
It wasn't so much a decision as the fact that I'm terrible at almost everything else. Either that, or anything else I try is completely unable to hold my feeble attention span for more than five minutes. I don't think I have that much of a choice. Which is a good and a bad thing, but I think mostly good.
2. What kind of work as an artist have you done so far, and what other work have you done?
A lot of Regional Theatre, mostly. I got my equity card pretty quickly after the Kenan Program, and was fortunate enough to do a lot of equity shows in succession. Now that I've recently relocated to New York, the 5 years experience I had working regionally is certainly paying off. The Kenan Program was instrumental in providing that bridge to my professional career.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Program allowed my work to be seen by people in the industry, I was constantly meeting directors and other actors to network with, and gave me the opportunity to audition for professional shows I otherwise wouldn't have been seen for.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
I was offered a supporting role in one of the Kennedy Center's productions after playing the character in a reading of the play. It was my first professional gig. It was an incredibly well written character, the cast was a group of truly generous and seasoned professionals, and at the helm was a superb director. I couldn't have asked for a more positive experience.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
Nothing. I was a working actor.
6. What are you planning to do next in your artistic career?
I've recently moved to NYC, found representation, and plan to continue to pursue my career from two points of attack. The conventional way; that is auditioning and networking, and the less conventional but still popular path; creating my own projects. I try and find things I am passionate about, things that really excite me, and see where they lead. You have to have something outside the realm of the industry that keeps you creative, I think that's critical. I'm working on a comedy album with music, with artists who I love and respect. Its due out in April, and I couldn't be excited. I love collaborating, and the Kenan program certainly gave me a place and a home to do that.
Brooke Robbins
1. How did you decide to become an artist?
My desire to be an artist was greatly influenced by my grandmother, who is an artist as well. She encouraged my creativity when I was very young and we found a bond through drawing. With the support of my family behind be I started going to art school in fifth grade and haven't left. When I was younger I thought about being other things as well, things that people told me were more sensible and stable. But my passion for art found a place above all of that and I decided wholeheartedly that this was what I must do to be happy in life. I have found that being an artist is not unstable because it stables me, and that art survives even through the worst of times. There are hard times in any profession one chooses and the way to survive them is to love what one does.
2. What kind of work as an artist have you done so far, and what other work have you done?
I worked primarily in drawing and painting until I came to UNCSA my junior year and had sculpture. Sculpture was really where I discovered that my passion as an artist was to work on a large scale and affect the environment around me. I realized that set design was my perfect niche, full of collaboration, story telling, and enormous design opportunities.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Fellowship has offered me a chance to explore with less worry, which is invaluable to an artist and a rare delight. Because I am financially taken care of in my college education I have been able plan things like a trip to Spain and New York City. As an artist, traveling and seeing feeds my imagination and adds depth to my work. These experiences would be impossible with out the help of the Kenan Fellowship.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
All of my time at UNCSA has been memorable and it's not even over yet! One of my most memorable times this year was working on the winter opera, Devil and Kate it was hard and long hours, but I found that the work I learn as a stagehand in invaluable to me as a designer. I gained more knowledge about rigging, moving scenery, and a lot about space and how little of it we sometimes have to work with. The teamwork and community that develops by working on a show together always amazes me.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
What is disappointing or frustrating to me about being a Kenan Fellow is that I wish more could have the opportunity that I have. The five of us each year are incredibly blessed, but I know so many people who feel equally as grateful with even a little bit of help. Since our rigorous schedules do not allow us a normal job I know that for many, going to UNCSA is a struggle.
6. What are you planning to do next in your artistic career?
When I graduate UNCSA, I hope to have the opportunity to design a show for children or work with a children's theater. The wonderful simplicity that children's tales offer allows the designer to really support the story and build a world for imagination. I have always been enchanted with children stories, and fairy tales and the way that they so easily slip in and out of reality. There is something incredibly inspiring to me in the freedom of a child's mind and the willingness to believe.
7. How does your art relate to your family and community life?
I have a very supportive family and would not have gotten this far without them. I believe that art is necessary for a thriving community and I hope that UNCSA has offered that to Winston-Salem. I have spent the summer at the Franklin Stage Company in Franklin, NY and have seen the influence of the theater here. People travel over the mountain from neighboring towns and cities to see the summer theater because there is such a human desire to share entertainment and thought together in one space. Even with all the other forms of entertainment offered, theaters still thrive because it is a direct sharing of ideas from people to people and there is truly nothing like live theater; anything can happen and every show is unique.
My desire to be an artist was greatly influenced by my grandmother, who is an artist as well. She encouraged my creativity when I was very young and we found a bond through drawing. With the support of my family behind be I started going to art school in fifth grade and haven't left. When I was younger I thought about being other things as well, things that people told me were more sensible and stable. But my passion for art found a place above all of that and I decided wholeheartedly that this was what I must do to be happy in life. I have found that being an artist is not unstable because it stables me, and that art survives even through the worst of times. There are hard times in any profession one chooses and the way to survive them is to love what one does.
2. What kind of work as an artist have you done so far, and what other work have you done?
I worked primarily in drawing and painting until I came to UNCSA my junior year and had sculpture. Sculpture was really where I discovered that my passion as an artist was to work on a large scale and affect the environment around me. I realized that set design was my perfect niche, full of collaboration, story telling, and enormous design opportunities.
3. How did the Kenan Fellowship contribute to your development as an artist?
The Kenan Fellowship has offered me a chance to explore with less worry, which is invaluable to an artist and a rare delight. Because I am financially taken care of in my college education I have been able plan things like a trip to Spain and New York City. As an artist, traveling and seeing feeds my imagination and adds depth to my work. These experiences would be impossible with out the help of the Kenan Fellowship.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
All of my time at UNCSA has been memorable and it's not even over yet! One of my most memorable times this year was working on the winter opera, Devil and Kate it was hard and long hours, but I found that the work I learn as a stagehand in invaluable to me as a designer. I gained more knowledge about rigging, moving scenery, and a lot about space and how little of it we sometimes have to work with. The teamwork and community that develops by working on a show together always amazes me.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
What is disappointing or frustrating to me about being a Kenan Fellow is that I wish more could have the opportunity that I have. The five of us each year are incredibly blessed, but I know so many people who feel equally as grateful with even a little bit of help. Since our rigorous schedules do not allow us a normal job I know that for many, going to UNCSA is a struggle.
6. What are you planning to do next in your artistic career?
When I graduate UNCSA, I hope to have the opportunity to design a show for children or work with a children's theater. The wonderful simplicity that children's tales offer allows the designer to really support the story and build a world for imagination. I have always been enchanted with children stories, and fairy tales and the way that they so easily slip in and out of reality. There is something incredibly inspiring to me in the freedom of a child's mind and the willingness to believe.
7. How does your art relate to your family and community life?
I have a very supportive family and would not have gotten this far without them. I believe that art is necessary for a thriving community and I hope that UNCSA has offered that to Winston-Salem. I have spent the summer at the Franklin Stage Company in Franklin, NY and have seen the influence of the theater here. People travel over the mountain from neighboring towns and cities to see the summer theater because there is such a human desire to share entertainment and thought together in one space. Even with all the other forms of entertainment offered, theaters still thrive because it is a direct sharing of ideas from people to people and there is truly nothing like live theater; anything can happen and every show is unique.
Brian Faini
1. How did you decide to become an artist?
Just came to me naturally. I felt I had a higher understand and grasp composition and spatial relations. I am sensitive to my environment and how things exist within it.
2. What kind of work as an artist have you done so far, and what other work have you done?
As an artist I have shown in numerous galleries in multiple states. I am a photographer so all of my work has been 2-D wall pieces. I find myself doing small ephemeral formations/sculptures in different locations as a way to pass time. I would say it has become a bit of a nervous habit.
3. How did the Kenan Fellowship contribute to your development as an artist?
Allowed me to escape "the real world" for a few weeks and meet many wonderful people.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
All of my experiences were great I don't want single out any of them. From sleeping outside to toiling around in the studio to the early morning hours it was all great.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
Meeting people who were far more interesting, well traveled and experienced than I thought I would ever be. It was more jealously than frustration.
6. What are you planning to do next in your artistic career?
I am currently putting food on the table by being a photojournalist at a daily newspaper. I get the creativity strangled out of me at the paper and am aching to do some photo essays that can speak to people. I would also like to continue on some photographic series I have started in the past that deal with my interaction within a space. I have a dream to create a co-op photography studio that is coupled with gallery space. I want it to be a place for photographic education and be able to teach others by offering workshops and apprenticeships.
7. How does your art relate to your family and community life?
I don't feel as they my family or community understand my personal works. They definitely understand the commercial ones! I hope that someone day my photo journalistic images can provide someone with the motivation to make a change in the work. A major reason that I enjoy photography is the ability to share with others.
Just came to me naturally. I felt I had a higher understand and grasp composition and spatial relations. I am sensitive to my environment and how things exist within it.
2. What kind of work as an artist have you done so far, and what other work have you done?
As an artist I have shown in numerous galleries in multiple states. I am a photographer so all of my work has been 2-D wall pieces. I find myself doing small ephemeral formations/sculptures in different locations as a way to pass time. I would say it has become a bit of a nervous habit.
3. How did the Kenan Fellowship contribute to your development as an artist?
Allowed me to escape "the real world" for a few weeks and meet many wonderful people.
4. What is the most memorable and positive experience you had as a Kenan Fellow?
All of my experiences were great I don't want single out any of them. From sleeping outside to toiling around in the studio to the early morning hours it was all great.
5. What was disappointing or frustrating to you about the Kenan Fellowship?
Meeting people who were far more interesting, well traveled and experienced than I thought I would ever be. It was more jealously than frustration.
6. What are you planning to do next in your artistic career?
I am currently putting food on the table by being a photojournalist at a daily newspaper. I get the creativity strangled out of me at the paper and am aching to do some photo essays that can speak to people. I would also like to continue on some photographic series I have started in the past that deal with my interaction within a space. I have a dream to create a co-op photography studio that is coupled with gallery space. I want it to be a place for photographic education and be able to teach others by offering workshops and apprenticeships.
7. How does your art relate to your family and community life?
I don't feel as they my family or community understand my personal works. They definitely understand the commercial ones! I hope that someone day my photo journalistic images can provide someone with the motivation to make a change in the work. A major reason that I enjoy photography is the ability to share with others.
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