The Mill Magazine Edition 14 No. 1 Creatives

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The featured cover art

is an oil painting titled

“Patrol 7” by Matt Myers

and is provided courtesy

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a T M M

THE MILL MAGAZINE

E D I T I O N 1 4 N O . 1

Creatives

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12 THEMILLMAGAZINE.COM•EDITION 14 NO. 1•CREATIVES

TF eatures

How To

your

Unlock

Creativity

p.18

p.30 p.56

ARTPOP

STREET

GALLERY

Class of 2023

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How To

your

Unlock

Creativity

Text by Lily Zhu

D

o you think that creativity is an

innate gift? Think again.

Many people believe that creative

thinking is difficult – that the ability

to come up with ideas in novel and

interesting ways graces only some

talented individuals and not most

others.

The media often portrays creatives as

those with quirky personalities and

unique talent.


People engage in creative thinking every day, whether they realize it or not. Photo by Fa Barboza.


19


Researchers have also identified numerous personality traits that are associated with

creativity, such as openness to new experiences, ideas and perspectives.

Together, they seem to paint a dire picture for those who consider themselves conventional

thinkers, as well as those who do not work in creative occupations – including roles that

are often considered traditional and noncreative, such as accountants and data analysts.

These beliefs miss a key part of how creativity works in your brain: Creative thinking is

actually something you engage in every day, whether you realize it or not. Moreover,

creativity is a skill that can be strengthened. This matters even for people who don’t

consider themselves creative or who aren’t in creative fields.

In research that I recently published with organization and management scholars Chris

Bauman and Maia Young, we found that simply reinterpreting a frustrating situation can

enhance the creativity of conventional thinkers.

USING CREATIVE THINKING TO COPE WITH EMOTIONS

Creativity is often defined as the generation of ideas or insights that are novel and useful.

That is, creative thoughts are original and unexpected, but also feasible and useful.

Everyday examples of creativity are plentiful: combining leftover food to make a tasty

new dish, coming up with a new way to accomplish chores, mixing old outfits to create

a new look.

Another way you do this is when you practice what’s called “emotional reappraisal” –

viewing a situation through another lens to change your feelings. There is an element of

creativity to this: You’re breaking away from your existing perspectives and assumptions

and coming up with a new way of thinking.

Say you’re frustrated about a parking ticket. To alleviate the bad feelings, you can think

of the fine as a learning moment.

If you’re anxious about a presentation for work, you can cope with the anxiety by framing

it as an opportunity to share ideas, rather than as a high-stakes performance that could

result in demotion if handled poorly.

And if you’re angry that someone seemed unnecessarily combative in a conversation,

you might reevaluate the situation, coming to view the behavior as unintentional rather

than malicious.

TRAINING YOUR CREATIVE MUSCLES

To test the link between creative thinking and emotional reappraisal, we surveyed 279

people. Those who ranked higher on creativity tended to reappraise emotional events


21

more often in their daily life.

Inspired by the link between emotional reappraisal and creative

thinking, we wanted to see whether we could use this insight to

develop ways to help people be more creative. In other words,

could emotional reappraisal be practiced by people in order to

train their creative muscles?

We ran two experiments in which two new samples of

participants – 512 in total – encountered scenarios designed

to provoke an emotional response. We tasked them with using

one of three approaches to manage their emotions. We told

some participants to suppress their emotional response, others

to think about something else to distract themselves and the

last group to reappraise the situation by looking at it through a

different lens. Some participants were also given no instructions

on how to manage their feelings.

In a seemingly unrelated task that followed, we asked the

participants to come up with creative ideas to solve a problem

at work.

In the experiments, conventional thinkers who tried reappraisal

came up with ideas that were more creative than other

conventional thinkers who used suppression, distraction or

received no instructions at all.

CULTIVATING FLEXIBLE THINKING

Negative emotions are inevitable in work and life. Yet people

often hide their negative feelings from others, or use distraction

to avoid thinking about their frustrations.

Our findings have implications for how managers can think

about how to best leverage the skills of their workers. Managers

commonly slot job candidates into creative and noncreative jobs

based on cues that signal creative potential. Not only are these

cues shaky predictors of performance, but this hiring practice

may also limit managers’ access to employees whose knowledge

and experience can play major roles in generating creative

outcomes.

The result is that the creative potential of a significant part

of the workforce may be underutilized. Our findings suggest



23

that supervisors can develop training and interventions to cultivate creativity in their

employees – even for those who might not seem predisposed to creativity.

Our research also indicates that people can practice flexible thinking every day when they

experience negative emotions. Although people may not always have control over the

external circumstances, they do have the liberty to choose how to cope with emotional

situations – and they can do so in ways that facilitate their productivity and well-being.

a T M M

THE MILL MAGAZINE

Lily Zhu is an Assistant Professor of Management, Information Systems, and Entrepreneurship at Washington State University.

Her research primarily examines organizational behavior and entrepreneurship at the micro level, and she is currently focusing on

questions related to how emotions and emotion management influence entrepreneurial pitches, creativity, and decision making. This

article was originally published on The Conversation.


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20 Artists Join the ArtPop Cities Program. Photos by Robb Webb.

ARTPOP

POP

STREET

GALLERY

Class of 2023

Text compiled by Candace Mattingly

The class of 2023 artists’ artwork covers a wide

range of mediums and subject matters, adding

up to a truly diverse and exceptionally talented

class. From fiber arts and sculpture to portrait

work and collage, the 20 talented artists make

up the 10th Anniversary Year of the #ArtPopCLT

Cities Program. Their artwork is on display

throughout the city on public media spaces and

will run till year’s end.

The 20 juried artists come from Mecklenburg,

Union, Catawba, Lincoln, Gaston, and York

counties. “In 2022, our Cities Program artists’

imprint reached nearly 500 million media

impressions. Just imagine how all that art

has helped beautify our community and

made Charlotte such a unique place to live,”

said Brooke Gibbons, Director of Impact and

Sustainability at ArtPop.

ArtPop Street Gallery, a 501c3 organization that

gives artists and communities across the region

greater access to art and art opportunities, has

announced its Cities Program Class of 2023

artists will receive upwards of $7mm in outdoor

advertising space for one year. To learn more, go

to artpopstreetgallery.com.


31

Vincent’s Village

Paper-Mache Sculptures

Tina G. Vincent

@tinagvincent | tinagvincent.com

“My name is Tinashe (Tina) Gwata Vincent. I am a Mixed Media Artist and High School Art Educator, originally from Zimbabwe

in Africa. I love mixed media because there are no rules, and it allows me to experience the possibilities of the materials.

Through the joy of learning, exploration of materials and integration of techniques, I am able to create unique processes and

products. Some of my favorite media include acrylic painting, quilting and sewing, collage, ceramics, paper mache, and batik. I

often weave these applications throughout my work. One highlight of my art practice is my evolving creation of paintings and

sculptures featuring black people with a variety of skin tones and body types. I aim to shine a light on this beauty that is often

overlooked or underestimated. My work is a celebration of African hair in its natural form and faces of people whom society

chooses not to see. When society creates these superficial roadblocks, they have in essence, ‘judged a book by its cover.’ In

my opinion, it’s one thing when this marginalization comes from strangers; but it’s a more bitter pill to swallow when your own

people plant seeds of insecurity. I create extra-large portraits of brown people to make the bold statement to everyone that

this unique beauty deserves to be seen.”

Photos of artwork courtesy of ArtPop Street Gallery. Photos of artists by Robb Webb.


Earth and Sky

Oil Painting

Doris Barahona

@dorisbarahonafineart | dorisbarahonafineart.com

“I was born in Santiago, Chile and have led a life open to change – new countries, cities, careers, and interests have opened

my life to new experiences. I found that I love the process of learning –discovering, exploring, failing, succeeding, and taking

important lessons from each step. I came to art late. I devoted a good part of my life to teaching children to be creative,

analytical thinkers. I loved seeing the lightbulb go off as they learned to express their creativity. When I discovered painting,

I began a fast and furious journey that I never imagined would bring me such pleasure and fascination. The opportunity for

self-discovery has been tremendous. The juxtaposition between intellect and creativity, the process of thinking and letting go,

a loop where one feeds the other, is part of the never-ending process of being an artist. All artists endure periods of frustration.

It’s the discovery that follows that I find intoxicating. This is what drives me as an artist. I have learned to savor the process

and rejoice in every small step forward. My medium is oil, although many of my abstracts are multi-media in nature: Cold

wax, inks, charcoal, and shellac have all become part of the tools I use in my daily work. My painting process involves moving

between the intellectual and artistic - the end goal is to find the balance between the two. The idea is to paint treeness and not

tree, earthiness but not earth. The viewer ultimately decides what they see. In all of this, one of the most valuable parts of the

process has been learning to see with an artist’s eye and, ultimately, learning to trust that I know what works.”


33

A Way Coming Back

Reclaimed Glass, Reclaimed Copper Wire, Clay

Lee Ko

@workbylee | workbylee.com

“While taking a long break from work, I was a full-time mom to 4 kids. The mom’s role opened my eyes to a better world for my

kids. It was my beginning to work with recycled materials. It was not fun to make trashed materials to be useful or to suit my

aesthetic perspective. However, their transforming progress kept letting me put my attention on the overwhelming materials we

created on the earth. I started with using electric wires. With my background as a metal artist, I knew the copper wires would be

a suitable property in my work. I enjoyed the process, and I am still in love with it. The second project was using glass bottles.

I learned that glass jars and bottles were not recyclable in my neighborhood. It surprised me, and I tried to find a way to use

them in my work. “A Way Coming Back” was my first project with empty wine bottles and pasta sauce jars from my kitchen. It

was disappointing to know my effort was so small compared to the amount of trashed glass because I only needed a few bottles

to finish my project. However, I expect my work would be a good chance to think about materials we use daily and to see how

the unwanted material is returning to us. There’s nothing that’s not precious, and everything has its own use.”


Light in Space Triptic

Photography, Sheer Fabric

Sally Fanjoy-Labrenz

@FanjoyLabrenz | fanjoylabrenz.com

Sarah (Sally) Fanjoy is a visual artist working primarily in photography, videography and light - how it falls, reflects, transmits

and connects. Slowing down to capture the beauty and elegance of close up details she creates large format still or moving

images and sculptural pieces on metal and glass. Fanjoy studied at the International Center for Photography in New York

and settled back in Hickory with her husband and partner James Labrenz. Together they have have exhibited in galleries

from Atlanta to New York, received numerous grants from the United Arts Council including the recently awarded 2023 Artist

Support Grant. Fanjoy-Labrenz led an artist collaboration for Corning Optical Solutions and the Hickory Museum of Art titled

Seeing Light, How? Creativity Happens that included a final installation as well as an individual project using glass in late 2019

and early 2020. Currently their work Light in Space is on display at Lenoir-Rhyne University in PE Monroe Auditorium.



35

Hands in the Sky

Photography

Nicole Driscoll

@nicoledfilms | nicoledriscollfilms.com

Nicole Driscoll is a filmmaker and photographer based in Charlotte, North Carolina. Her projects have been included in galleries

and festivals such as Goodyear Arts, The Light Factory, Brooklyn Underground Festival, and The Curated Fridge. In 2014,

Driscoll developed Films on Tap, a film festival that pairs local short films and locally brewed beer together. Driscoll currently

works as a teaching artist at Studio 345, an afterschool program for at-risk youth, and a freelancer in the greater Charlotte

community.



This Town is a Fishbowl

Oil Painting

Bryant Portwood

@bryantportwoodart | bryantportwood.com

“My work combines visual elements from my childhood with kitsch elements of pop culture to influence the viewer’s perception

of the past and address escapism through false, idealized memories. Following the start of the pandemic, I began to stray away

from depicting the figure as the focus of my work and started to lean on trinkets as my subject of choice. We place value in

ordinary, mundane objects. Personal objects can hold significant meaning where they serve as a reminder and are nostalgic, or

they serve as an enabler for our imagination to take over and urge escapist desires. I’ll admit it, I paint a lot of toys. Not only do

they serve as an extension of my personality, but they are objects that I have found a nostalgic comfort in. However, there is a

certain blurriness to all the fond memories I have, and I try to echo that surreal quality in my paintings as if everything I have

experienced thus far has had an impact on shaping these selective memories. My saturated color palette mimics the vibrancy

of commercial advertisements, comics, memes, films, and other saturated images that I have been bombarded with. The fact

that I am regurgitating all of these as influences create an ambiguous feeling where my work can be dreamlike, funny, or even

dark. With my classical training, I aim to pay homage to the past through the physical process and techniques of painting,

while adding my own contribution to the conversation through my use of color and my tendency to paint unorthodox subjects.”


37

Re-Ignition

Oil Paint and Digital Finishing

Addison Wahler

@addisonwahlerart | addisonwahler.com

Addison hails from a family of artists and creative thinkers. He credits his grandmother Beverly as his greatest inspiration.

Beverly’s style was abstract expressionism; she was greatly influenced by the stylings of Morris Louis and Paul Jenkins. Addison’s

father Robin, who has also painted as a creative outlet throughout his career in landscape architecture, has influenced Addison’s

style as well. Robin’s friends, family and clients credit him with creating “Rothko-esque” pieces. Addison’s mother Deb, followed

her creative path as an urban designer, landscape architect and professor at UNCC. Her work inspired Addison to pursue urban

design, earning him a masters degree in 2020 from UNC Charlotte. When Addison was old enough to appreciate and learn

from his grandmother’s and parent’s work, he incorporated many of their techniques and practices into his own creations.

Although his work is very similar to that of his family members, he has his own voice. His paintings are intended to be glorified

Rorschach tests. The viewer is intended to make their own conclusions and interpretations. Addison’s most recent work focuses

on his personal struggles since moving back to Charlotte from Baltimore, MD. These paintings illustrate depression, loneliness,

solitude and the journey he went on to overcome those factors. The recent work is also communicative of the women in his life

that have saved him from self-destruction. This new series was started with the painting entitled ‘’Blondzai” and is continued

into “Re-Ignition.” These paintings share a theme of unconditional love and support when Addison was struggling the most.


Color Tangles

Wood, Modeling Foam,

Paint, Digital Video

Rebecca Lipps

@rebeccalippsart | rebeccalippsart.com

Rebecca Lipps is a multifaceted artist and educator cultivating immersive experiences by combining sculpture and video. She

enjoys pushing the boundaries of technology and art making to create a new form of expression. The inspiration for her ArtPop

billboard artwork titled, Color Tangles, comes from her studies of invisible energies. The painted sculpture depicts the energy

emerging from the performance of eye movement in the video. Her painting background developed from her studies at Xavier

University where she received her Bachelor of Arts. She also received a Master of Fine Arts from Winthrop University, where

she concentrated on video installation. She believes video is a tool that is currently impacting human society and sees the

importance of highlighting it in combination with fine art. It is also important to her to impact her community by making public

art and involving herself in arts organizations around Charlotte.



39

Reaching Sycamore

Oil Paint and Colored Pencil

Emily Batson

@emilybatsonart | emilybatsonart.com

Emily Batson is an artist and art educator based out of Waxhaw, NC. She got her start with her parents, sewing in the dining

room or building in the woodshop. Emily won an award in high school that took her on a week-long trip to NYC to visit artists,

craftsmen, and fashion designers in their studios. That week would set her trajectory to pursue art as a career. In college, she

studied Art Education and mastered a wide range of mediums before settling on oil paint as her preferred medium. Emily chose

to become a teacher to create the same nurturing environment for students that she thrived in. She returned home to Charlotte

to teach in public schools. Her time teaching was a deep growth experience. She taught large refugee populations and students

from all different backgrounds. The art classroom refreshed and unified her students with restful creativity and satisfying

craftsmanship. Now married with three kids to love and enjoy, she is afforded time to explore her own artistic endeavors and

teach private lessons as well as online classes. “My artwork reflects the beauty of life around me. I especially love how the

raw elements of our world interact to produce stunning beauty. Trees have captured my attention for years- the giant reaching

branches, the light breaking through the canopy, and the record of growth through adversity. Bright pops of color and intuitive

lines are characteristic of my work.”


Immersion

Acrylic Paint, Colored Pencil,

Ink, Cardstock

Haley Horner

Student Artist | @haley.ayana.art | haleyahportfolio.weebly.com

Haley Ayana Horner is a senior at Fort Mill High School in South Carolina focusing on visual art studies. She has had her art

included in local competitions including the Congressional Art Competition for her district in 2022, and currently has a piece

displayed in the US Capitol. Art began as a hobby and a creative outlet in middle school but has grown to become one of her

favorite ways to communicate ideas and emotions. She is interested in the concept of bringing the world in one’s head to life

to be experienced by others and show how people can all relate to each other. Her ArtPop submission is titled “Immersion” and

illustrates how people use music as a therapeutic escape.



41

Glitch #4

Wood, cast acrylic, spray paint,

copper patina, nails

Anna Dean

@annadeanart | annadeanart.com

Anna G. Dean is an interdisciplinary artist, working in sculpture, installation, video and mixed media. She began her career

in Art Education, with a focus on Contemporary Art and Arts Integration. She was selected for the Art21 Educators program

in NYC, and helped create the SmartArts program in Greenville, SC. She recently completed her MFA at Winthrop University,

where she currently teaches and coordinates the CreatorSpace technology lab. Anna also works as a production designer

with ACSM, a design/build firm in Charlotte, NC. Anna’s work has been exhibited at the Mint Museum, the McColl Center, the

Brooklyn Collective, Redux Gallery and at Miami Art Week. Anna has public art installations at Atrium Health in Charlotte, NC

and at Miracle Park in Rock Hill, SC. She has been an artist-in-residence at the McColl Center, and has been awarded a project

space at Goodyear Arts. Anna currently lives and works in Fort Mill with her husband and son.


Three Fads

Acrylic Paint and Collage on Paper

Chad Cartwright

@chdwckart | chdwck.com

CHD:WCK!, is a non-traditionally trained (self-taught) Visual Artist, whose aesthetic tastes were shaped in and around East

Orange, New Jersey. Whether working with paper, paint, inanimate objects, or human figures, his work is fueled by a fascination

with raw texture, strong lines, soft curves, and a desire to celebrate the overlooked beauty in the ordinary. This leads to a

unique approach to creating artwork that is equally challenging, enticing, and refreshing. CHD:WCK!’s recently contributed to

the Black Lives Matter mural on S. Tryon St. in Uptown Charlotte. His work has also been on display at museums and galleries

here in Charlotte and other cities along the East Coast.



43

Daisies on Teal Wool

Embroidery on Wool Crochet

in Copper Foil-Covered Hoop

Andrea Brinkley

@oandystudio | oandystudio.com

Andrea Brinkley, aka Andy, creates in her home studio in Matthews, NC. Her wool embroidery art is inspired by her love of

flowers and colors. She grew up on a sheep farm in South Africa. She learned to knit and sew while young and later added

crochet and embroidery to her cadre of skills. Today, Andy builds crocheted surfaces directly onto embroidery hoops and

applies her unique approach to crewel embroidery. She stitches freehand, using her mastery of techniques to create textural

effects with hand-spun and dyed yarn. She loves to experiment on unexpected surfaces such as crocheted wire or old tennis

rackets. She also makes jewelry with yarn and wire.



Patrol 7

Oil Painting

Matt Myers

@myerspaints | myerspaints.com

“My first career took me to Portland, Seattle, and New York, where I worked with copywriters to create award-winning television

spots, outdoor boards, and print ads for many clients, including Jansport, IKEA and Snapple. As a fine artist, I have exhibited

my paintings in Brooklyn, Manhattan, Los Angeles, and Charlotte, been a guest exhibitor at the Mint Museum, and displayed

artwork in Manhattan. Individual clients frequently commission my work. I’ve illustrated over twenty books for other authors

and four of my own. My books have received several starred reviews from reviewers such as Kirkus and Publishers Weekly.

My illustrations have been shown several times in the Society of Illustrators Original Art Show in New York. I have received

a Theodor Suess Geisel Honor award, and my most recent book was featured in the Wall Street Journal. Publishers include

Holiday House, Random House, Macmillan, Simon & Schuster, HarperCollins, and Candlewick Press.”


45

Refreshing Waters

Acrylic Paint

Leigh B. Williams

@lbwilliamsart | lbwilliamsart.com

A blank surface. A loosely formed idea. A finished work. The challenge. Sketches in a visual journal. Drawings and studies

of color and composition. Brush to canvas. Pushing and pulling. The image emerges. Pleasing to the eye. Speaking to the

soul. The satisfaction of creating. Leigh as an artist. Leigh B. Williams, backed by a BA in Fine Art from the College of William

and Mary, when asked how long it took her to create a particular piece she likes to smile and say, “A lifetime.” A lifetime of

experimenting with color and form, various materials, studying the Masters, engaging with the medium, and a lifetime of

observing and participating in life itself. Leigh specializes in acrylic and alcohol ink paintings and collaborative work. She

currently exhibits and sells her work primarily in the Southeast. Her work can be seen at her studio and on display in the

Charlotte Visual and Performing Arts Center (VAPA), and in several North Carolina galleries. Leigh delights in passing on her

passion for the arts to others. She is an active member of the arts community in Charlotte and participates in and supports

the work of community groups and other artists in the community. As a former fulltime art instructor, she still likes to teach

workshops and conduct demonstrations for both adults and children. Leigh and her husband Dean are residents of Charlotte

and have three grown children and a passel of delightful grandchildren.



Reemergence

Acrylic on Canvas

Esther Moorehead

@esthermooreheadart | esthermoorehead.com

Esther Moorehead was born in Toronto, Canada. She has lived in Canada, Ireland, and the US. She’s an avid traveler, soaking up

inspiration from each new place. From a child, Esther loved creating. Her whole life has been immersed in creative outlets, from

drawing and painting to stage design and small theatre production, piano performance and accompaniment, to event planning.

After graduating with a bachelor’s degree in Fine Arts in South Carolina, she returned to her hometown of Toronto to teach

high school visual art and geography for 10 years. During that time, she was married and had two daughters. She decided not

to return to teaching but instead build a career as an independent studio artist. Esther faced a cancer diagnosis just a month

after her first baby was born. The journey through treatment and recovery reshaped her perspective of life and the purpose

for her work. She realized that every moment of life is God-given and valuable. Even in the darkest places, where there’s life,

there’s hope—hope to love and learn; to work together; to build and create; to forgive and change. Now cancer-free, Esther’s

desire is to create artwork that embodies those ideas. In 2018 when her family relocated to Charlotte, she used the opportunity

to develop new relationships with galleries and arts organizations, as well as build a network of inspiring and influential artists

and creatives. She has been represented by and exhibited with multiple galleries in Canada and the US. She has won awards

and has painted murals in public spaces. Her paintings reside in private collections worldwide.


47

Patchwork Kimono

Cotton

Will White

@ThatWillWhite | thatwillwhite.com

Will White lives to create art. From his time at Howard University, majoring in Fashion Merchandising, to his employment

Illustrating for Tyson’s Galleria in Washington, D.C., he’s always been drawn to the visual aspect of creation. Although his major

in school was centered more around the business aspect of the fashion industry, Will was drawn to take Sewing I, Il, and Ill

while in undergrad after purchasing a sewing machine on a whim. Since then, Will has taught himself through trial, error, and

experience. 17 years later, he has designed womenswear, menswear, dog outfits, dance costumes, his wife’s wedding gown,

and his own tux for their special day, and was even chosen as a semifinalist for Project Runway Season 17. In the Charlotte

community, Will’s word-of-mouth clientele has truly kept him busy. As one of the queen city’s fresh faces in the fashion and

visual art scenes, Will is intent on pushing Charlotte’s style to limits some could only dream of while always making sure to

keep it “cool.”



Blood Wood Damascus Blade

High Carbon Steel, Blood Wood Handle,

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Troy Barnett

@barnett_art_and_forge | barnettartandforge.myshopify.com

“My name is Garland Troy Barnett, but everyone calls me Troy. I am a self-taught bladesmith living in Hickory, North Carolina. I

have always been someone who gravitated toward artistic outlets. I’ve explored many avenues of art over the years, from wood

sculpture to oil painting. However, my fascination with blacksmithing started at nine years old when a neighbor showed me my

first forge. As I grew older, I met and married an amazing woman, had two beautiful daughters, and life went on as normal. I

could not find the time or tools to pursue a blacksmithing career, but it was never far from my mind. One day, I decided I had

time to start my own forge, and I began teaching myself the craft. It became my preferred art form, and I surrounded myself

with experienced individuals to learn more and grow my business. My family has supported my passion by helping me sell my

products and build my brand Barnett Art and Forge. Now with over ten years of forging under my belt, I create one-of-a-kind

blades in my spare time and sell them online or in person at local craft shows. I am inspired by the history of the bladesmith

trade and the materials I use. My favorite part of making collectible knives are the stories they can tell. Many of my items

are made using scrap metal found locally or even your grandfather’s old farm equipment. I find that creating in this way is

sustainable by reusing metal that would otherwise be trash and gives so much more meaning and history to the finished piece.

Thank you so much for supporting my passion and for keeping the bladesmith trade alive.”


49

Mingling Of Souls

Clay

Autumn Payne

@autumnpayne.art | autumnpayneart.com

“My name is Autumn Payne, and I am forever growing artist located in the rolling hills of Charlotte, North Carolina. I have a

sweet puppy named Max, and I love dreaming, building, and giving life to beautiful things. I primarily work in sculpting but

often explore painting and printmaking throughout my practice. As an artist, I believe that art is an expression, an extension

of oneself into the reality that we live and breathe every day. In every piece I create, I give myself over to exploring the human

experience and my medium and watch it take on a life of its own. I invite you to come along for the journey with me as I

document my connections and this incredible world around me.”



Thiefing

Oil Painting

Arthur Rogers, Jr.

@arthurrogersjr | arthurrogersjr.com

A native of North Carolina with parental roots from Sint Eustatius and Trinidad, Arthur is a US Army Veteran and a graduate

of East Carolina University with a degree in Communications Arts with a concentration in Illustration. Arthur’s career path has

provided him with a wealth of experience while holding positions in several design firms and advertising agencies, and serving

as a College Instructor and Department Chair. His artistic skill sets include Illustration, Graphic and Web Design, Videography,

Photography, and Painting. Currently, Arthur is the Executive Director of the Visual and Performing Arts Center - VAPA Center,

located in Uptown Charlotte, NC where he is also a resident artist, a member of the Palette Table Collective, and is represented

by Nine Eighteen Nine Studio Gallery. In the summer of 2020, Arthur launched an apparel brand exclusively targeting artists

called ArtGear.

a T M M

THE MILL MAGAZINE


51

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Guild of

Charlotte

Artists

75 YEARS OF PROMOTING LOCAL ART

AND STILL LOOKING FORWARD

Text by Susan Moore

(Clockwise from top left) Marsh Wonder by Connie Winters, Southend After The Rain by Anand Wakankar, With The Wind At Your Back by Carol

Pighin, Taking Care Of Bunnies by E.W. Harvey, The Robin Nest V by Torrie Smiley. All photos courtesy of Guild Of Charlotte Artists.


1945 brought the end of WWII,

and with it, unprecedented enthusiasm and

growth as soldiers returned home to their

sweethearts, wives, or families. Life had come

to a standstill for the first half of the 1940s as

resources of labor and materials went towards

the war effort. But by 1948, things began to

change drastically and a never-before-seen

boom occurred. Young couples, who had

put off marriage and families during the war,

were having children - thus the “baby boom”

was born! Veterans were able to own homes

thanks to the new VA mortgage and FHA loan

programs. In Charlotte and cities across the

nation, there was a housing boom as the

new “suburbia” dream was realized when

affordable neighborhoods sprang up.

As this post-war lifestyle was bringing growth

and change to where and how people lived,

there were changes in the Charlotte business

world as well. Young men returning from

the war were able to go to college on the GI

bill to better their education, Charlotte was

becoming an important financial hub in the

nation, and jobs abounded as the city grew.

Things were changing in the art world as well.

With new life, new prosperity, and a return

to a new and better life than before the war,

there was an emerging excitement in art and

“finer things”.

Prior to the war, a group of Charlotteans led by

Mary Myers Dwelle, “Recogniz(ed) the need to

give the arts a permanent Charlotte home, (so)

sights were set on the historic-but-condemned

U.S. Mint building on Tryon Street. The task

of transforming the Mint into an art museum


57

was daunting until a passionate speech for

saving the U.S. Mint building was presented in

February 1933 at a luncheon hosted by Dwelle.

The speech inspired a spontaneous donation,

and a significant sum was given toward the

purchase of the building—that was already

in demolition—for rebuilding on another site.

The generosity was contagious. Within two

days, the required funds were raised and

paid to the demolition contractor.” (Spring

2020 article from Mint Museum Members

Magazine). A year before the opening of the

Mint Museum, a group of local artists formed

the Society of Charlotte Artists in order to

provide a place to display and sell their art.

The downtown gallery opened in February

in Efird’s Department Store in 1935. The next

year, The Mint Museum of Art - the first Art

Museum in North Carolina- opened in 1936 on

its current site.

After the war in 1947, Mrs. A.T. Hanes had the

idea of a traveling show for local artists to give

their work more exposure in a larger area. This

led to the formation of the Guild of Charlotte

Artists in 1948 (Charlotte Observer, December

6, 1948). The seven founding members were

led by Paul Bartlett, who served as the first

President. Their works were traditional

portraitures, still life, landscapes, and

sculptures. Sponsored by the Mint Museum,

the Guild’s traveling exhibitions were held in

cities and towns throughout the Carolinas and

as far away as the High Museum in Atlanta

and the University of Georgia in Athens.

The fundamental purpose of the Guild was to

promote the arts in Charlotte by giving artists

an opportunity to meet, encourage each other,

and display and sell their art in a variety of

settings. The Mint Museum provided a room

for the Guild to meet monthly and display

their work for the public to see. From the

beginning, membership grew quickly, but the

process to join was not an easy one. Artists

who wanted to become part of the Guild had

to submit an application complete with 5

examples of their work to be juried in order to

become an exhibiting member.

Throughout the ’50s, the Guild grew to include

prominent local artists. With that growth, the

members continued to add more exhibits and

shows at the Mint Museum as well as multiple

venues in the Charlotte and surrounding area.

Each spring, the Guild held an outdoor “Fence”

show on a fence in Myers Park. Members’ art

was regularly exhibited in the North Carolina

National Bank and First Union Bank lobbies,

Charlotte College (now UNCC), Queens

College, The Charlotte Observer Building

lobby, and local hospitals. In 1963, Dr. Bonnie

Cone from Charlotte College asked the Guild

artists to have a permanent display in their

new library. Eventually, the Mint Museum,

in a decision to focus more on national and

international art, no longer displayed art from

the Guild - but continued to provide meeting

space for the members.

Until 1965, when another arts group was

formed in Charlotte, the Guild stood

alone. However, the stringent membership

requirements of being “juried” continued until

the 1980s. The elimination of that opened

the group up to a wonderfully diverse group

of artists from seasoned professionals to

hobbyists and even those who just love and

appreciate art.

(Clockwise from top right) Wind River by Michele Morrice, Under The Oak Tree by Susan Dade, Untitled by Shefalee Patel, Soaking It

All In by Angela Lubinecky. All photos courtesy of Guild Of Charlotte Artists.



59

(Clockwise from top) Regal Reflection by Martha Manco, Untitled by Mikel Frank, Blind Following by Maria Senkel, Wild Irish Rose by

Eileen Covington. All photos courtesy of Guild Of Charlotte Artists.


As Charlotte continued to grow and prosper

through the ’70s, ‘80s, and ’90s, so did the

interest in creativity and art. The Guild’s

membership grew to 200 members. Monthly

meetings brought in artists and lecturers from

around the country. Demonstrations and

workshops were held for anyone interested

in learning how to draw, paint and create.

Auctions of members’ art and fundraisers

were held. Scholarships were given to budding

young artists.

The past 25 years have brought new challenges

with technology, and ways of communicating

and interacting with others - making the world

“smaller” through access to more than could

ever have been imagined prior to the internet

and social media. For the art world, cuttingedge

techniques, materials, and even the ways

in which art can be viewed across the globe

have happened at hyper speed. Keeping up

is a daunting task to which the Guild has

been adjusting. Adding to the changes, of

course, have been the events of the past

few years as the world went into “pandemic”

mode. Technology became a friend and ally

as monthly meetings continued to be held

via zoom through the leadership of past

President Mary Kamerer. It was not without

its struggles. “Like many organizations, things

slowed a lot during covid,” said Kamerer. There

were times when only 6-7 members joined the

zoom meetings, and there was concern that

the Guild would not survive. But, with public

gatherings canceled, venturing into the world

of “Virtual” art shows was new territory that

proved successful for the Guild.

Not only did the Guild survive, but is thriving!

In-person meetings began again a year ago and

membership has increased to 135. Monthly

meetings showcase members’ art, visiting

artists, and lecturers demonstrate and share

new, exciting methods. The Guild currently

has two juried member shows a year - a spring

show at Christ Episcopal Church in Charlotte,

NC, and a Fall show at the McDowell Arts

Center in Matthews, NC.

Looking forward as the Guild reaches its

75th anniversary, current president Shefalee

Patel is excited to see where the next few

years will take the Guild. She loves working

with the Board and learning from a great

group of veteran and accomplished artists.

"We plan to focus this year on refreshing and

collaborating.” She feels the Guild is ready to

“expand our organization and enhance our

experiences.”

Plans are in the works for a celebration in May

of the Guild’s 75 years as Charlotte’s oldest

continuous arts group. To learn more, go to

guildofcharlotteartists.online.

a T M M

THE MILL MAGAZINE


61


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Featured artist is Ana Z @anaz_art.

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The Mill Magazine Edition 14 No. 1 Creatives

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