Friday, November 26, 2010

Sew:Repeat+ Merry Twistmas


Twist Art Gallery presents:

"Sew:Repeat" a series of quilts by Alexia Abegg in space #73

the show opens saturday december 4th and runs through January 29th.

we are closed the week of christmas and on new years day.

our gallery hours are thursdays and fridays
from 11-5 and saturdays from 11-3

The quilts in Sew:Repeat began as improvisational excercises. Each piece,
stemming from a singular and specific past memory or emotion, has evolved
forward to become a finished quilt. Every stitch marks not only the
originating idea but the passing of time taken to create the work. In this
sense, the pieces are tangible markers of a specific time and space, one
only the quilt and myself inhabited during the physical act of completing
each quilt. This space and the repetition of stitching connects me to the
generations of women before me, whom have left behind quilts that mark their
moment in time.
I invite you to stitch on the stretched quilt and participate in a centuries
old tradition, a quilting bee. The quilting frame used has been in my family
for over one hundred and twenty years. We will sit and stitch and bring that
history to the present.

Artists Statement and bio
Alexia Abegg, born in Folsom, California and raised in Nashville, Tennessee,
lives and works in Nashville. She has little formal training but grew up
learning to paint from her father, painter Jimmy Abegg, and to sew from her
mother, Michelle Abegg. She studied at O'More College of Design. Her first
love was watercolor and she continues to sketch and paint along with
quiltmaking. She teaches sewing classes in Nashville, bringing her love of
stitching to students. Her work has been shown with the Artist Collective
Nashville, D.I.G. and at Twist Gallery. This is her first solo show.
Alexia Abegg

Artist Statement
Through my work, I explore the tangible representation of passing time, the
act of quilting and the work left behind by generations of women before me.
As a woman, I am interested in gender roles and expectations in relation to
the medium of quilting; historically the work of women, work that is never
ending, with an intrinsic quality of necessity as the propulsion of
creation. I am reversing this tradition, with the creation of quilts not
with necessity at the core, but with self expression as the catalyst of
I began to work with fabric and stitches much like I had been doing with
watercolor and paper. Rather than following a pattern, like the quilters of
past generations in my family, I began to improvise and develop an
instinctual method. The lack of technical fluidity of the quilting medium
itself was a barrier. When painting, the brush was a physical extension of
my hand. I challenged myself to find the same fluidity with quilting and my
work has grown out of this improvisational method.
Each piece contains all of my energy and emotion expressed in the time used
to finish the work. Every stitch taken is a physical act, residing in a
specific space and time and is a concrete marking of that specific moment of
creation. These stitches in time will exist for as long as the work exists,
and because of it, they are an extension of my life and person. My work is
an extension of myself that has a history connecting me to thousands of
women that have taken needle to fabric. Their energy and moment in time is
marked by stitches in cloth, and surpasses their lifetime.
I am interested in the relationship between the existence of sewn goods and
both the person that made them and the consumer that uses them.
Not a person exists today that has no connection to sewing. Whether as the
consumer or creator, we are all participating in the existence of sewn
items. Most of these items are disposable, their life limited to the whim of
the consumer, their existence in space and time fleeting. Counter to this
process, I want to create pieces that carry the weight of time invested, and
because of that weight, are tied to the people around them in a way that is
lasting. I am creating visually identifiable markings within each quilt to
connect the viewer to the amount of time expended in the completion of the
Through my quilts, I am attempting to create art that calls attention to
quilting as a medium not only as a decorative art, but as a form of fine
I have included a photo of one of the quilts titled "tilt" 31"x 28" and my
--------------------------------------------------------------------------- -----------------------------------------------------------------------
Merry Twistmas in space 77
opening on December 4th and just for December....
Crafts for holiday shopping... you know you want them.. and we aim to please
artists include:
Laura Baisden
Elizabeth Streight
Mandy Stoller


Twist Art Gallery
73 Arcade
Nashville, TN 37219
(888) 535-5286
Gallery Hours
Thursday and Friday 11 - 5
Saturday 11 - 3
Join us the first Saturday of every month
6 to 9 p.m. for the First Saturday Gallery Crawl

Sunday, November 21, 2010

Painter, photographer tag team for 'Cross-Reference' exhibit

November 21, 2010

Painter, photographer tag team for 'Cross-Reference' exhibit

By MiChelle Jones

For Cross-Reference, their latest exhibition at Zeitgeist Gallery, photographer Gieves Anderson and painter/printmaker Hans Schmitt-Matzen celebrate the aesthetics of libraries along with the interplay of each other's media. The show remains on view through Saturday, and some of the pieces will be displayed into next month.

Known by their collaborative name of Hans + Gieves, the two artists first used library imagery in a series of work called "Loop." They played off each other's work, sometimes by re-photographing a finished piece to create a new one, thus creating a feedback loop, Hans explains.

They continue this to some degree in Cross-Reference. Cross-Reference 6, for example, is a photograph of floor tiles whose pattern is repeated in paint applied with a stencil. The very abstract image in Cross-Reference 8 was made by photographing that template on top of Cross-Reference 6.

A sense of place

Both Hans and Gieves say they are inspired by the stacks of books, the spines of books and the contemplative atmosphere found in libraries.

"I believe libraries are cathedrals to humanity," Gieves says. "What some people would feel when they go into St. Patrick's Cathedral is what I feel when I go into the Mid-Manhattan library; it's sort of a holy place for me."

He visits and photographs libraries wherever he travels, though he does things a little differently when working on shots for the collaborative pieces, intentionally leaving room for Hans to "play."

"The photos we selected were ones where I felt like I saw painterly marks happening in his photos in a way," Hans says. "When I walk into a library and I see all these books on the shelves with their spines with the color just rolling out in front of your eyes, it's similar to me the way a stroke unfolds across the canvas."

Hans works as an exhibition designer at Frist Center for the Visual Arts; Gieves lives in New York and does freelance lighting and visual tech for fashion shoots. The two met as students at MTSU, each drawn to the other's medium.

"I am actually more interested in painting than I am photography," Gieves admits. "If anything, I'm a frustrated painter. I've tried to paint; it just doesn't work for me."

Instead, his photographs have a painterly touch to them in the way he uses color and abstraction.

Meanwhile, Hans also takes his own photographs in addition to painting and making screen prints.

Gieves + Hans, minus Hans

A sampling of Gieves' solo work is currently on view in Twist's auxiliary gallery. The show came together quickly after Gieves dropped in on Twist co-owner and curator Beth Gilmore, his former studio neighbor.

India in the Absence is a collection of eight color photos Gieves took during a six-week trip to the subcontinent, the second in a series of journeys that began with Japan and will continue with one to Southeast Asia next month.

"Photographically, I prefer chaos and revel in the challenge of quieting it, calming it within the lens," he says. "It's not easy because I tend to go to the most populated places in the world and then photograph these huge cities without people."

Shown on dark gray walls (the floor of the gallery is also painted dark gray) and coated with gloss laminate, the super-saturated color images are bright enough to look like light boxes. "I get that a lot," Gieves says of the comparison.

Meanwhile, though India in the Absence is Gieves' solo exhibition, Hans was involved in a small way; he suggested that Gilmore double hang a couple of the photographs, thus fitting them all into the gallery.

Additional Facts
What: Cross-Reference, mixed-media work by Hans + Gieves; India in Absence, photographs by Gieves Anderson
Where: Zeitgeist, 1819 21st Ave. S.; Twist Art Gallery, Arcade #77
When: through Saturday
Zeitgeist’s hours: 11 a.m.-5 p.m. Tuesday–Wednesday and Saturday; closed Thursday and Friday
Twist’s hours: 11 a.m.-5 p.m. Friday; 11 a.m.-3 p.m. Saturday
Admission: free
Contact: 256-4805 or; 1-888-535-5286 or

Friday, November 12, 2010

Thursday, November 11, 2010

waffle shop does the production of the cheese wafer

waffle shop does the production of the cheese wafer

1 stick margarine
1 cup flour
1/2 tsp salt
1 tsp cayenne
1 cup rice krispies
8 oz. sharp cheddar cheese

bake at 350 12 min........or course you remember that they need to be
frozen or at least chilled for several hours so that they can be cut
(if you make logs) or formed into balls.....

Tuesday, November 09, 2010





“D.I.G.” means Dialogue: an Interaction for Growth.

Dear Artist,

The Downtown Presbyterian Church (DPC) of Nashville, Tennessee is pleased to announce this year’s winter/early spring art show, The D.I.G. Through Art Show. This year’s theme is Compassion Fatigue. DPC’s annual D.I.G. show, now in its 12th year, is meant to provide our community with a chance to come together and “D.I.G. through art.”

Artists are welcome to submit work in any medium. Entry requires a $15.00 per piece fee (two pieces maximum). Paintings and other 2-D work cannot exceed 6 x 10 feet. 2-D works must be dry, framed, and ready to hang with wire. Sculpture must be easily moveable. Installations must be approved for space reasons. Work must be delivered to the church on Thursday, March 3 at 3.00 p.m. Artists will be accepted into the show on a first-to-respond basis--please see attached entry information below (which can be also be emailed in). Works will be judged and a winner selected by a local jury comprised of seasoned art instructors, gallery curators, and/or clergy. DPC will be pleased to present the winning artist with a purchase prize check of $1,000.

There are no restrictions on the artwork except that the content be suitable to all ages, since it will be on display to the entire church body and the downtown community – young and old. DPC reserves the right to not show any work.

The grand opening reception and presentation of the purchase award will be on Saturday, March 5th beginning at 6:00 p.m. This event coincides with the regular first Saturday downtown community Art Crawl and the church’s monthly art show and live music activities.

The D.I.G. show began at DPC in 1998 as an extension of the church’s artists-in-residency program. Today, the church hosts nine artists who each have their own dedicated space in the building. These shows have explored different themes each year. Previous themes have included last year’s “Anti-depressant," as well as "Embodiment,” “Icons and Idols,”“Incarnation and Risk,” and “Human Sacrifice.”

Lent is the church season of 40 days (not including feast days) before Easter. This year, Lent begins on Ash Wednesday, March 9th and continues through Holy Week, ending just before Easter Sunday, April 24th. The season is symbolic of both the 40 years of Israel’s wandering in the desert and the 40 days of Christ’s fasting and temptation in the wild. DPC feels this is an appropriate season to invite artists to join the church in wrestling with challenges and complexities of faith.

Alongside the themed art show, the church will again host a film series in DPC’s downstairs chapel on Thursday nights during the weeks of Lent. A light meal (held at 6.00 p.m.) will be provided weekly in DPC’s Fellowship Hall before each film (starting at 7.00 p.m.). After each film, guests are encouraged to stay for a short discussion, sharing impressions and ideas from the motion picture.

Important Facts:

· Limit: 2 pieces maximum per artist

· Entry Fee: $15.00 per piece per artist (checks payable, please, to: Downtown Presbyterian Church)

· This is a first come first serve show. Your entry fee reserves your space in the show. Please send the check in right away to reserve your space using the form below. Space in the show cannot be guaranteed without an artist supplying their entry fee (see following page).

Important Dates:

• Art Piece Creation Period: November 15, 2010 to March 1, 2011.

· Art Drop Off Date: Thursday, March 3 (3 PM to 5 PM)

· Grand Opening Reception: Saturday, March 5th from 6 PM to 9 PM with winner announced at 7.00 p.m.

· End of Show Date: Easter Sunday, April 24th (after worship activities)

· Retrieval of works: Monday, April 25th (between 10 a.m. and 2 p.m.)

Yes! I would like to participate in the 2011 D.I.G. Through Art Show, “COMPASSION FATIGUE.”


Phone #



Please print this page, complete information, and enclose a check for $15.00 made out to “The Downtown Presbyterian Church.” Please then send to:

The Downtown Presbyterian Church

(memo line, please: “2011 D.I.G. SHOW”)

154 5th Ave. North

Nashville, TN 37219

Should you need further information or assistance, contact Beth Gilmore via email at

Thursday, November 04, 2010

November's First Saturday Gallery Crawl promises new exhibits galore

ARTS AND ENTERTAINMENT » ART November 04, 2010 Nashville Scene

November's First Saturday Gallery Crawl promises new exhibits galore
Crawl Space

Not only is there art at "The Crawl," there is an art to navigating it. This month, the downtown migration of art openings and exhibits features new faces, a local art celebrity and a whole handful of shows opening under one sometimes-overlooked roof. But armed with a game plan, you can negotiate the high points with the dangerous grace of an art-drunk drift racer.

You've come to the right place!

The big news at November's First Saturday Gallery Crawl is the debut of COOP, a new curatorial collective that will program half of the new Twist Etc. space at 75 Arcade in the coming year. The group's first effort is "Wraslin' With God," a performance piece by Reverend Ethan Acres of the Church of the Holy Fool. Acres' work evokes religious ecstasy from the absurd, borrowing tropes from that cuckoo corner of Christianity that includes drive-thru churches, JumboTron sermonizing and heavy metal for Jesus. Hey man, you had us at "ecstasy." Acres' performs promptly at 7:30 p.m.

COOP plans to present new and under-represented artists, and their non-commercial agenda is a nice fit with Twist's mostly art-for-art's-sake programming. Twist's new show of photographs by Shane Doling is a great example. Holiday Child is a series of narrative outdoor images that feature a hooded man dressed in a suit and tie. The hood casts Doling's subject as both a blinded captive of a kind and a masked killer of a sort. Doling has also worked with video, and the viewer can think of these images as stills from an unseen film about both the loss of innocence and the endurance of wonder. It's the kind of work that resonates with the interior landscape of an attuned viewer, even if it clashes with the couch.

On the other side of 5th Avenue, Tinney Contemporary opens a new show by New Orleans artist, Sidonie Villere. Villere's multimedia paintings are covered in unlikely textures, but it's her minimal, organic sculptures — often resembling stones or bones covered in gold leaf and steel spray paint — that we really want to get our hands on.

If you didn't see Whitney Wood Bailey's cave art-inspired, psychedelic paintings at Rymer Gallery in October, you have a second chance this month. Half of her show stays up while Rymer makes room for Sound Spectrum, the latest exhibit by Herb Williams. One of Nashville's most popular artists, Williams has had a busy year. His Plunderland exhibit in New York's Rare Gallery was a room-sized installation that signaled new heights for the artist's craft and concepts. Spectrum is a homecoming of sorts that finds Williams exploring the parallels between social networking and mixtape culture. This time around, his ubiquitous crayons are cast as compelling, colorful negative space.

The Arts Company opens with two new painting series that take their cues from a particular pop-cultural artifact. Denise Stewart-Sanabria paints hyperrealist canvases and, while we usually prefer more abstract work, the subject here makes her stuff look good enough to eat. Stewart-Sanabria's twin exhibits, Donuts Behaving Badly and Seven Deadly Sins, read like a food-porn double feature that aims to decide the Dunkin' Donuts vs. Krispy Kreme debate once and for all. The gallery will also feature Chris Beck's found-object work. The artist's Real Housewives of the 1950s is an exhibit of multimedia, metal wall-sculptures that nod to both folk art and mid-20th century Life Magazine photography.

Don't forget to stroll a few blocks up Broadway to the Tennessee Art League to check out their reception for no less than five new gallery shows. Our favorite is Kristina Lyle's exhibit of cut paper collage paintings opening in the TAL's Ethel Smith Gallery.

The fall will always be the best time of year for gallery crawling. The weather is perfect, the art is at its best and everyone tends to become a busier browser once Halloween has come and gone and we begin sliding down that slippery slope toward the hectic holiday season.

No pressure.

Happy crawling!


Wednesday, November 03, 2010


Tuesday, November 02, 2010