Interview w/ Nick Bloomberg, with Gallery Twenty-Two

Interview and image by Molly Wilbanks, 6/12/15

If you are an artist in Charlotte then you probably know Nick Bloomberg. I was curious to know more about Gallery Twenty-Two, so I got up with him to see if I could figure out what goes on behind the doors there. I learned all his secrets. Not really, but I did enjoy myself as I listened to his thoughts. Continue reading to see inside the cyclone of Nick’s brain, if you dare. Next, I direct you to please get lost in his numerous artworks at Heist Brewery. The show “Evolved Pairings: Appetizer for Retrospection” is up through July 4th. You could even like get a delicious beer or some American cuisine while you’re there and that’s surely not a bad thing.

Molly Wilbanks: How long have you been curating the art shows at Gallery Twenty-Two?

Nick Bloomberg: I was initially there from day one, as an artist, in November 2009. Me and Mike Watson were the first two artists to be on display. I was actually the first artist to sell art there. It was kind of a big deal when it finally opened up. The amount of hurdles that Rodney had to jump through, to open a place that had art and drinks, but there’s no hard liquor and no food, was tricky. As far as helping curate and bringing in the art shows, I’ve been doing that for about 3 ½ years now. Since January of 2012. I walked up to Rodney and there were some changes going on, and I realized that I could help out. My job didn’t really exist. He just had everything on his back, and I helped take some of the weight off. The end result is something that neither of us could do on our own. He is a tattoo artist with a more illustrative, direct narrative approach to art, and I’m more inclined to abstract fine art… by us balancing together it’s something that’s very much a collaboration between us. We really get to see a more dynamic thing happening.


MW: Is there a certain type of artwork that you like to feature at Twenty-Two?

NB: I try to maintain a continuity with the quality of work that comes in, but I’m constantly looking for work, whether it’s the artist or the work, that has a sense of momentum and a hunger to it. It’s interesting, when we are composing the walls, the amount of volume we get for some of the group shows would make some people just have an aneurysm. But the fact that we’re artists, we enjoy creating that. The challenge of taking the conglomeration of separate work and putting it together in a new way is motivating for group shows, and helps us deal with the bulk and volume of it all. The small group shows, I really have to see a lot more effort and see more of a pattern for the people that I bring in for those. Every once in a while I’ll get somebody that I want to streamline, and put in, but that’s just because I have a good feeling, or an intuition about them. I also want to make sure the artists have their freedom because that’s going to bring out the best in them, and then they’re excited to continue to work in there, and they strive to be a part of it then.

MW: Twenty-Two has really drawn a lot of people in. I have to admit when I first saw the slogan on the window, “Art Booze Music Schmooze” I was like, Whatever. This place isn’t serious. But going into the gallery, and starting to visit the shows– you guys got it going on. Twenty-Two is selling artwork, and showing so many different types of artists. It’s great to see the salon style that you install for the group shows. It’s exciting in that overwhelming kind of way.

NB: It’s one of those things that the owner has as a real foundation of the gallery. Twenty-Two is a brand in itself. I give credit to Rodney, it’s not easy to let someone else come in, like myself, and to have a secondary say in the branding. It also helps solidify the group shows. Things are different when we put on these groups shows together like the upcoming annual skate deck show. Then all the artists are talking about it, and it becomes a whole wildfire of word of mouth, something that’s overlooked in multimedia nowadays. Word of mouth is still stronger than a Facebook post.

MW: To me, looking in from the outside, Twenty-Two has this great model, the wine and craft beers that bring the dollar bill in, and then the artwork on the walls, and there is a lot of serious artwork too.

NB: It’s a contemporary way of dealing with it. There’s no way that the gallery would exist without the bar. People talk about the percentage that we take [of art sales] as a commission, and I have to correct them- No, there’s certain amount of money that has to go into these shows to make them happen. It’s not a commission- the walls increase the value of work. Having good artists in a city increases the value of a city, just like having a good sports team in the city helps the city. When you have something that people can authentically rally around, it’s not to be overlooked.

MW: Tell me about your artwork. The artwork on the walls here.

NB: The foundation of all of my work is painting and printmaking. My brain is always in a cyclone of imagery. Some people might look through my eyes and think that they’re schizophrenic, or in a panic. It’s something that I enjoy… My work came out of a fascination with that enumeration of imagery, and a fascination with color and composition, as well as different artists that came into my vision at different times. I am very influenced by music, jazz specifically, instrumental work. I wanted to figure out ways of creating work that didn’t necessarily have a narrative but that people could swim in. When I see an image in my mind it’s a very complex thing that just one mark, or a couple of marks doesn’t add up to. I wanted the process of painting to get closer and closer to hit all of the notes at once rather than having to slowly build it up. Printmaking then played a bigger role in my process because then I could create an edition, and then I could also create a whole bunch of works that I could take in different directions. When you’re creating, a lot of times you will get to a point where the roads diverge and you don’t know which one to travel, and when you’re doing printmaking you can travel all of those roads, as much as you can create time for it. For me, doing work that didn’t have an instinctively recognizable object, by doing it in the multiple version people started to get it more, when they can see the relationship between the pieces without necessarily needing a reference. A painting of tree still isn’t a tree. At this point in time, I don’t feel I have to fight that need for people to understand art in that way. It’s something that has existed for hundreds of years already. Despite that, it is still a pervasive outlook, that someone needs to see something [objective in a painting]. I’ve tried to figure out different ways to incorporate it- doing live performances. I did a glow in the dark painting with a guitar player for TEDx 2011. It was a glow in the dark canvas and I used the silhouettes in my hand or different stencils, for a hard contrast. That was a way that I could bring people into my way of thinking.

MW: Are you inspired by other artists in Charlotte or elsewhere?

NB: There are endless people in Charlotte, with all different kinds of work… the heavy hitters of modern art that I really like are Arshile Gorky, Paul Klee, and Max Ernst, and Augustin Lesage- a lesser known name. There are a lot of people in Charlotte, and the fact that I work at the McColl, I get to see a lot of artists come through there. People like Isaac Payne, Jason Watson… the list is crazy. Like what Rodney does with and outside of his tattooing… even if the work is very different than mine, just seeing people figure out how to sculpt and mold the world around them. Then there’s people who aren’t an established name at all, and sometimes I find that just as inspiring if not more.

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painting by Nick Bloomberg

MW: What does Charlotte need more of in the art scene?

NB: It’s an incubator for artists. It’s been a conversation for as long as I’ve been here. What I think Charlotte does a bad job of, is hanging onto its talent. Once people get to a point where they’re doing some good work, there’s not enough of an infrastructure that really maintains them. Some of that has to do with the patrons, and maybe a little bit of conservatism that still exists. But there’s not another spot here in the southeast that I would be willing to put roots down and stick around for a while. In some ways I’m more excited about seeing where Charlotte’s going than critical. There is an advantage to it being an incubator I don’t see myself going to New York, for example, and getting a lot accomplished. Down here I think we’re a bit in between worlds and as an artist you have to see it as what you can benefit from… showing in restaurants and hair salons isn’t always the most advantageous way to go about things once you have your name out there. This place is more elevated than most, and it’s way better than just my house. From there you nurture patrons. The way I see it, they need to feel just as important as the artist, just like the days with the Baroness, and Charlie Parker, and Monk. There was always a beneficiary, as with the Medici family.

MW: It was a way for the artist to be serious, and focus, and a reason to create art. People wanted the art. I feel like that’s a big problem today. The artist has to hustle for himself or herself a lot more now.

NB: There’s a basic outline for it here, but it isn’t something that’s been realized…it’s something that we need to take advantage of…that’s the thing I was saying with Twenty-Two, you have to wear all these hats nowadays. That’s why we have to have the modern luxuries associated with social media to advertise, we have to learn to do things on the fly. That’s just part of the tempo that we are living in. Twenty-Two fits into an analogy there, in the sense that we have something that’s valuable- our gallery space- that isn’t exclusively currency based, while our bartenders do a great job of pouring quality transactions.

Interview w/ Emily Pfahl, with Paper Cut Gallery

Interview and images by Molly Wilbanks

I like Emily. She’s sweet, and generous, and totally into art. She loves talking about any kind of art that involves paper, and she is completely excited about showing local art. She opened Paper Cut Gallery in Plaza-Midwood last year, and if you haven’t visited yet, well obviously, you should. This Saturday (tonight!) there will be a benefit for RAINN, Rape, Abuse, Incest National Network, with 50% of artwork sales going to support the organization. There will be a reading by Bree Stallings, and music by Alexander Fleming of Gravewaves. Paper Cut Gallery always throws a good party, so, I’ll see you there tonight, 6:30?

Please be sure to check out some of Emily’s Pfahls work at her website.

Molly Wilbanks: When did you start Paper Cut Gallery, and why?
Emily Pfahl: It’s been exactly a year. My parents have had this space for forever and I’ve always loved this space, and thought it would be a cool studio, or gallery. I’ve always wanted to be in here, sitting here with these big windows. Then I heard about the Plaza-Midwood Art Crawl and I thought, well if I can get in with the art crawl, I can kick start this gallery, that’s a good deadline to get motivated to open, to create the logo and website, and a Facebook page. And I’m not going to lie, even as a graphic designer, I’d rather not go online! I’d rather pass out flyers, make books, be analog. I went back to get my Master’s in Fine Art, printmaking… I have a real allergic reaction to the web.

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MW: Where does the name Paper Cut come from?
EP: Brit Davis and I– she was a big part of urging me to start this up– we were sitting at Central Coffee, and she had this cool green calendar and we were looking through it, it had a day with the word “Paper Cut” on it, as the activity for the day, and I was like, ‘Okay. We’re going to use Paper Cut, what do you think about Paper Cut?’ As a printmaker and bookmaker, I am obsessed with paper. If I could make every art form I was in love with, and it wasn’t intrusive on my boyfriend’s life, I would be doing batik, paper-making, screen printing, lithography, letterpress. Just give me a big warehouse full of paper and I’ll be happy!

MW: Tell more about your own artwork. When did you start?
EP: I started at Northwest [School of the Arts]. I’ve always made art, my parents are architects. So, at Northwest I felt I couldn’t call myself an artist, it was a big debate. Finally, discovering who I was, I realized that I can be an artist on the side of whatever I choose to do in college, so I went in with my art skills. I think that was the strongest point on my portfolio to get into NC State for Graphic Design. I could definitely tell a difference with wanting to bring more craziness into my design. I like to do more artistic graphic design. When you have a client and they tell you not to do it a certain way… I have a learning curve there, learning to work with clients.


MW: When did you start with bookmaking and printing?
EP: I was out of school for a year and worked as a graphic designer, then I went back to get my Masters. The book arts started when I traveled to Florence, Italy. They offered screen printing and batik. I took etching and classes like that in these ancient buildings with frescoes, I felt like I was a daVinci. Batik and screen printing were my life for eleven weeks, while I was there. Then I came back, I was on the computer, doing normal stuff, and I thought, what else is out there? I wanted to become more of a professional artist. I went for my Masters and learned a lot about galleries, and expectations as far as professionalism goes. I am grateful for that experience, it is a huge debt that I have to pay off now, which makes me a little conflicted… I am planning some workshops, and residencies here in Charlotte. Anything but working just in the graphic design world.

MW: In the graphic design world you can make decent money, but it doesn’t seem like you have as much freedom.
EP. Yes. I appreciate good design and I love making art; that’s where I’m at.

MW: What is your experience, being an artist in Charlotte?
EP: It was pretty uneventful for a while. I would explore various art forms. I would turn my backyard into a dye bath, with varying colors, and get wax all over my studio walls using the different batik tools. Scraps of paper just fly around me. I am sure you can see, right now… I have a passion for making things, it’s about the process.

MW: What is it like running a gallery in Charlotte? Do you feel like there is support?
EP: I do have the artists’ support. One hundred percent. They are starving for a place to belong here. As an artist, I feel like I am starving for a place to belong to. I feel grateful when artists come in and say, ‘this is my first time hanging’. I am so proud to be the first gallery for them. I swear we’re invisible though. Not a lot of people stop in, people are like, ‘What’s Paper Cut?’, even people at Common Market. I teach full-time also, so it can be hard.

MW: I remember when we did the Musicality exhibit last year, a lot of the artists were excited, and I was excited, to be showing artworks in here, in this new Plaza-Midwood gallery. You’re having people show work here, who don’t show very often, and that’s great and necessary. We have posh galleries that are very selective, but we also need the galleries that are showing local artists. That’s what I love about Paper Cut.

MW: What do you want to do in the future, here at the gallery? You had talked about workshops earlier.
EP: Yeah! I want to put together a signup sheet and just see what happens. We can share materials, so that it’s less expensive. Anyone who likes book arts, come my way! I love to share what I have with artists, and they can teach me too. My Masters program was a crash course in structures and possibilities with bookmaking- possibilities within each structure. I am starting to share these things I have learned, and see how people take the direction I give them. In my painting class right now, we started by painting on book cloth on the first day. It was a little hard, I did it intentionally, not giving them the structures, not telling them what we were doing, but just showing them the steps as were were doing it. I think it gives the kids a little more curiosity. It worked, and they were super excited.

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Urban Development

Randy T. Davis


“Crouched beneath the mallow bush, squinting down the barrel of his high-powered pellet rifle at the flat and rather skeletal rear-end of yet another new-to-the-neighborhood yuppy woman power-walking in the windy October night, Terrence Yersterman flashes on a scene from his childhood–just a strobe flash of memory of himself at age six or seven purposely blowing snot onto the exposed inner flesh of his own half-eaten apple, the snot making a sort of quivering homunculus between his nostrils and the apple while he keeps his eyes locked intently on the widening eyes of his older brother Carl, who had just moments before demanded half of said apple. Who was always demanding items. It will happen–people will try to take things away. ”

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Interview w/ Graham Carew, painter

Interviewed by Molly Wilbanks, 3/11/15

*image details of bird watercolors are by the artist

Graham paints. He paints as though the paintbrush were an extension of his arm, a “part of his anatomy”. He paints owls, and hawks, city landscape, men in bunny ears, apple blossoms. You can watch Graham paint at his studio at Artspace 525, on the corner of 9th and Tryon (the address is 525 Tryon St). In the Artspace studio Graham runs the ambitious project, The Wall Poems of Charlotte, along with artist Amy Bagwell. I talked to Graham a few weeks ago about birds, and drawing, and things. Graham hails from Kilkenny, Ireland, and I often get distracted by his pretty brogue. This time I did manage to listen to what he was actually saying though, I promise. Be sure to visit him at his studio, and check out more of his work here.



Molly Wilbanks: How long have you been painting, and what got you started?
Graham Carew: I’ve always been drawing. If I wasn’t outside doing sports, or after I finished sports, I was always inside drawing. Growing up, we had this big shed in our backyard. It went from being the football dressing room- the soccer dressing room- to the local clubhouse. I’ve always had a pencil in my hand, like the pencil is part of my anatomy.

MW: When did you start getting more serious about drawing, and how were you influenced?
GC: At certain times of my school career I’ve had professors that were heavily influencing me in the arts, so that always helped. When I was seven or eight, we had a professor, and when we would be doing math problems he would just take over the black board and do all these drawings. When I was in secondary school, which is 12-18 years old, I had two or three professors as well, who influenced me.

MW: You’re not from Charlotte, so what brought you here?
GC: My brother used to live here. He was on a soccer scholarship at UNC. I came over for a short holiday, and I was enjoying myself, and then found out about the possibility of going to school here, at CPCC, so I thought I would give that a go for a while. I’ve been here about 5 years.

MW: What have you been working on lately?
GC: I’m working on these apple blossoms. We’re doing a wall poem on Soul Gastrolounge, and there are apple blossoms probably involved in that. I was looking around online for images, and then I was randomly looking at my own pictures of my mother’s garden back home, in Ireland, and I found that I had taken tons of pictures of apple blossoms. It’s kind of interesting, because the work on the bird series, a lot of that originated from my mother’s backyard. It might just be one of these things… I’m enjoying them, to be honest.

MW: Tell me about the birds a little bit, I’ve enjoyed seeing them.
GC: It might tie into the original question, when we started. When I was growing up in Ireland, there were two TV channels, basically. You had a nature documentary, there was this guy like David Attenborough, he would be out in the wild and taking photographs, and it might be deer one week, and birds the next. But he would pause , and then do a watercolor sketch of it, with the idea that you document where you are, the trees, and the birds, and the animals. That kind of got me into nature, into birds.

MW: You see birds everywhere now, in jewelry, on shirts, they’re popular. I love it because they’re wonderful creatures. You can just walk out and see them, they’re right here in the city, you don’t have to be in the wild.
GC: When I talk to my mother it’s like a link to the seasons. We don’t live in suburbia, but we live just outside of the city, so it’s in the country. So I was talking to my mother, and she was saying, ‘Oh, the swallows are back from Africa’, and they might even fly into the kitchen, and go, ‘we’re here!’ So, they’re also a link to home.


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MW: Tell me a little about how Wall Poems works?
GC: We have a committee. We have been lucky so far, we’ve been approached by several different people who have walls. About a year ago we decided to start a poem bank. We have 50-70 poems that we really like. Amy was like, reading, reading, reading, and I said, ‘Look you have a job, you’re a mother, you have other stuff to do. Let’s pick these poems, and we can work from there.’ It’s like the top 50 songs, or top 50 paintings. It’s very general, but at the same time… you have a start. We’ve been lucky that we’ve set on the same poem, everytime. I don’t think that there’s ever been an argument… the poets are all North Carolina based. We have a designer, and a mural artist.

MW: Where do you find inspiration or motivation to start a new project?
GC: I usually keep scrapbooks, or journals, that I’m always writing in… I always have ideas. I get random walk-ins from working here at the studio, and it’s usually from people who have no interest in art, they’re just passing by. I get in really random conversations with these people, but because they’re passing by all the time, I often get a knock on the window, or a wave, or they come in and say hello. Things like that are inspiring, to be honest.


*Portraits by Molly Wilbanks

Judith Scott, Fiber Artist, guest post by Brit Davis

By Brit Davis

Fiber is tactile and industrious, but when used as an act of creative expression it can be soothing and meditative.


Judith Scott discovered the freedom and joys that working with fiber can provide. In 1943, Judith Scott was born as a fraternal twin in Cincinnati, Ohio, profoundly deaf, mute, and with Down Syndrome. Her twin sister did not exhibit signs of having any developmental disabilities. Judith spent the first 7 years of her life at home before being institutionalized at the Columbus State Institution. Her family described the institution as dark and overcrowded with children lying on the floor. Her sister claims that one day some kids were drawing and Judith showed interest in participating; however, the staff at the institution believed she was “too retarded” to draw. Judith left the room in tears, her sister explained. After spending 35 years at the Columbus State Institution, Judith’s sister became her legal guardian and she moved to California. She began attending the Creative Growth Center in Oakland, California, which provides access for people with mental and developmental disabilities to the tools needed for total artistic freedom. In time, Judith discovered her ability to create extraordinary works of fiber art and today she is known as an internationally renowned American fiber artist. Judith died of natural causes at age 61, outliving her life expectancy at birth by nearly fifty years.


In January, I had the opportunity to view Judith Scott’s exhibition, “Bound and Unbound,” at the Elizabeth A. Sackler Center for Feminist Art inside the Brooklyn Museum. When I walked into the exhibition space, the room was quiet, yet full of so many people admiring and studying the shapes that were presented before us. The room was filled with sculptures of all sizes that were entangled with materials such as yarn, plastic, wire, ribbon, wood, or paper towels. Each piece was wrapped so intently that you could almost see the layers of her story, confining, yet free and wild with objects hidden inside.

As an artist who works with intellectually and developmentally disabled individuals, to see the work of Judith Scott was beyond impactful. Observing her art caused me to contemplate my own creative process, as well as how I can utilize her artistry to influence the lives of the individuals with whom I work.

*Brit Davis is an artist and direct care worker living in Swannanoa, NC. She is working on her Masters in Clinical Mental Health Counseling and Expressive Arts Therapy through a low-residency program at Goddard College in Plainfield, VT. Over time, Brit’s art has become more psychological in nature. She currently is working on a series of photographs that explore the notions of emotional comfort. If you would like to participate in this project, you may contact Brit at britdavisphoto[at]gmail[dot]com. 

Artist Pinky/MM Bass: “Corporeal Veil Unravelled”

As a photographer, I have seen a lot of cameras. As a woman, I have seen a lot of bras. I have never seen a camera made out of a bra, however, and I wonder what the implications might be. What kind of photographs does one take with a pinhole bra camera? I need to know.

Visit The Light Factory, and check out Pinky/MM Bass’ exhibition, “Corporeal Veils Unravelled”. This exhibit is a stunning delight of diversity, presenting to the viewer an array of visceral themes to study and unravel.

from the series, “Contemplating My Internal Organs”, gelatin silver print with thread, Pinky/MM Bass

"In Abiquiu", gelatin silver print, Pinky/MM Bass

“In Abiquiu”, gelatin silver print, Pinky/MM Bass

Finely embroidered prints, illustrating systems of the body, are enclosed in sterile stainless steel and plexi-glass frames that jut out of the wall (themes of physicality). Beautifully messy, large pinhole photographs are stuck up with thumbtacks (womanhood, religion). Strangely embroidered capes, are trailing little  balls of yarn… but wait, they aren’t little balls of yarn, they’re little embryos made of yarn (motherhood). On the wall next to these embroidered objects, dreams are scrawled on the photograph itself, once more, big and messy; the images are full of mystery and anxiety. And these are just the images found on the wall. A stash of handmade pinhole cameras are piled on a table in the middle of the room. Among the many objects that have been constructed into pinhole cameras are: a lipstick tube, a beaded evening purse, a jewelry box, a Bible, and yes, a bra. Is this for real? Look for the little flap and the hole underneath it. These camera conversions would make any Inspector Gadget a little jealous. There is more. In a corner sit two old land cameras, a wooden guitar on a stand, and a decrepit model-form wearing a black evening coat. All these objects spew reams of photographs with holes punched in them, and look to be waiting, connected by sewing machine foot pedals. These are Pinky Bass’ “Photographic Music Boxes”. Can I step on the peddle? Do they play real music? I must find out.

In the gallery room next to Pinky’s work, is Doug Baulous’ exhibit titled, “Bright Filament/Dark Effigy”. A roomful of photographic based installation works to ponder, Baulous’ work is multilayered and expansive. Created with bound books, collage, ceramic birds, religious motifs, and found objects, Baulous’ works are worth close inspection. Latent with meanings to unfold, they quietly invite the viewer into a secret world.

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The Threads That Bind Us, Doug Baulos

Please don’t miss this show. Be sure to visit during the week, when you can meditate on what you are seeing. Come back soon to Fab Oversight for an interview with Pinky Bass!

Contact The Light Factory for open hours, and more informations: (704) 333-9755,

The Reception happens soon, with a talk from the artists:

Pinky/MM Bass, “Corporeal Veil Unravelled”
Doug Baulos, “Bright Filament – Hidden Effigy”
December 5, 2014 – February 7, 2015
Artists’ Reception February 6 at 6:30 PM
Workshop “Pinhole and Beyond” February 7

*All images are copyright the artists.

by Molly Wilbanks

Christmas Art Sale at Flaming Chicken, This Sunday

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Here’s a chicken sitting in a sled and that can only mean one thing: Christmas Art Sale at Flaming Chicken! Sunday, December 21st, 12pm-5pm (4927 Silabert Ave., Suite B, Charlotte, NC 28205). Look here at some of the works that will be on sale, and then a make an art-to-buy list, check it twice, and then spend more money than you were planning to! Because these items are gonna be worth it!

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Cyanotype print bags by Art Badger aka John Dearing!

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A Flaming Chicken (or is that a rooster?) print by Troy Tomlinson!

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Still prints from films by Adam Doenias!

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Photogravure prints (framed or unframed) by Laurie Schorr!

Fat Face Band, December Residency at Snug Harbor

The Fat Face Band are the 107th cool thing to exist in Charlotte’s 250 year history.  A lovely 3 piece with NO drums:  tuba, guitar n’effects and trumpet + a bit of melodica is the layout and the drift from a modern glacial to down home jam is dexterous without said drums.  St James Infirmary can be played with the proper spirit, then a swooning dirge can take you to a melodramatic moment in a silent film; relaxed musicians always charm.  In addition, tubist Molly Brown runs a Star Trek radio show on Plaza Midwood radio that is top notch.  Qu’y at-il à dire?

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Danny Martin, artist

“My origins from the deep south have instilled in me a morbid sense of humor, empathy for the downtrodden, and great taste in Barbeque.”

This is Danny Martin, y’all.

From Alabama, but now in Arizona, if live in Tucson, then you already know him. His newest project “Tucson Sketchbook Project” is pretty fantastic, with beautiful drawings of Tucson landmarks and interesting buildings, some of which are no longer around. We need someone to do this for Charlotte, please!

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If you’re not from Tucson, then you should see for yourself what he’s all about anyway, because who doesn’t like zombies and skulls? And because his artworks are pretty great. Some favorites of mine include this print (of which you can also purchase as a t-shirt), “Hipster Death”:

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and of course, his Maxed Art zombie mural from like, 2007. Please be sure to check out his store. There are lots of stickers and prints and things, waiting for your grubby little paws.

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*all images copyright Danny Martin.


Reflection Once Removed: Self Portrait Exhibition, Tonight

If you know what a selfie is, then come to our art show and find out what a selfie is not. More than an impulsive snapshot, Charlotte artists turn the mirror around in the ancient tradition of self portraiture. Seeking an examination of the self that we are, faces and identities are revealed… or are we merely inventing a new fiction, another mask?


…I made some new self portraits, just for you. But what’s even more exciting than that, is all the other artists who have made self portraits for this show! Seventeen other artist! All local and making artworks here in Charlotte. We have several artists who have been featured right here on Fab Oversight, such as Jill Martin, Gregory Banks, Laurie Schorr, and Troy Tomlinson. The

Opening Reception is Tonight! Don’t miss it!

opening reception:
thursday, october 23rd, 5-8pm

artspace 525
525 n. tryon (@ 9th st)
ste 104

Here’s a sneak peek!


drawing, painting, photography, multimedia works by:
Amy Bagwell
Ellis Graham Busch
Graham Carew
Gregory Banks
Holly Keogh
Jenny Hanson
Jill Martin
Laurie Schorr
Lee Herrera
Molly Wilbanks
Pamela Winegard
Pete Hurdle
Rae LeGrone
Sarah Pollock
Sharon Dowell
Taryn Rubin
Troy Tomlinson


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