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collected-thoughts_chris-knight_featjpg.jpg Loading Video . . . I was supposed to submit this update last week, but I didn’t. I hate missing deadlines like that, mostly because I’m at heart a real rule follower. Blowing a deadline feels like letting people down who were depending on me. Find the complete progression of the work linked below. Ecclesiastes 1:8-13 Artist in Residence 2016: Chris Knight Part 3 By Chris Knight Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link September 12, 2016 I was supposed to submit this update last week , but I didn’t. I hate missing deadlines like that, mostly because I’m at heart a real rule follower. Blowing a deadline feels like letting people down who were depending on me. (Behind the scenes from the shoot) But on the weekend when I was supposed to updating everyone on how the film was progressing, we were actually — you know — shooting the film, so it made sense to hold off until there was a bit more to report. (Behind the scenes from the shoot) It was a hectic shoot, trying to cram a bit too much into two days of shooting. I would have liked to have one more day of shooting and one more week of preparation time, but because of the way our (almost entirely volunteer) cast and crew’s schedules aligned, we had a window of just those two days to get it all done. Everyone did a terrific job in a very busy environment without a lot of extra hands. By the time the shoot started, as it usually does, the cast and crew were doing all of the critical work, and I was just standing in the center of it all and watching them make the film come together. (Behind the scenes from the shoot) The script changed little since the last update. I streamlined the two scenes and added some additional framing to give it more shape. In the end, we cut a couple of sequences for time. I’m concerned those edits might unbalance the tone of the piece, so as we get further into the editing, we may need to look for a way to pick up a couple of shots, but I don’t want to commit to anything until we see how it’s shaping up. Overall, I’m still in the shell-shocked, post-shoot blur. I’m beginning to sleep again, and I can eat actual meals, which are both nice developments. But mostly, I’m just looking forward to seeing how it all comes together. Screen Captures from Chris’ Upcoming Film Spark Notes The Artist's Reflection Chris Knight is a director and writer based in New York City. His short films and feature scripts have been selected for a variety of film festivals across the country. Website Chris Knight About the Artist Artist in Residence 2016: Chris Knight Part 1 Artist in Residence 2016: Chris Knight Part 2 Carried from Jericho Artist in Residence 2016: Chris Knight Chris Knight Other Works By Follow the developmental journey of Chris' project by reading his first , second and final post as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The sound of this song by musician, singer-songwriter, and performer Peter Mawanga offers an energetic and joyful feel that complements the words from the work's originating inspiration: 2 Thessalonians 1:3-6. 2 Thessalonians 1:3-6 ASAMALA By Peter Mawanga Credits: Music and Lyrics by Peter Mawanga Curated by: Jonathon Roberts 2018 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This song is inspired by the words of 2 Thessalonians 1:3-6, "Thanksgiving and Prayer." The song opens with the words "TIZIYAMIKA MULUNGU NTHAWI ZONSE IYE AMAPEREKA MWAULERE,"meaning: "We ought always to thank God for you brothers, and rightly so, because your faith is growing more and more." I go on to say, "We ought to thank God for he gives us all freely." ATISAMALA means HE CARES. Spark Notes The Artist's Reflection Peter Mawanga has attracted worldwide acclaim with his music, the Nyanja vibes, performing on world stages in Africa, Europe and America. Not a stranger to the BBC and other media outlets, Mawanga has established himself as one of the living legends in Malawi and Africa. Blending traditional instruments as the Nyanja’s visekese, malimba , and kaligo , with contemporary instruments, he produces music that is fondly described by many as therapeutic, drawing from the Nyanja’s core values of peace and calm. The Nyanja are the most peaceful people in Africa and their country Malawi, which has never been at war, be it civil or otherwise, is known as the warm heart of Africa. Their instruments are deliberately designed to produce sounds that appeal to different feelings that aim at calming the nerves, celebrating life, pleading for peace and mostly merrymaking. It is from this source that Peter birthed the aMaravi movement and the celebrated Nyanja afro-vibes which mainly took off when he produced the now world renown album, Mawu A Malawi (The Voice of Malawi) , which featured stories of AIDS. For seven months Peter and colleagues had collected narratives from twenty-six of the most inspiring people they had ever met. They shared their loss, pain, joy, courage, and wisdom. The result of the project was Mawu a Malawi . The album was launched at the University of North Carolina and Department of State, making Peter Mawanga the first African musician to perform at the office of the Secretary of State. Since then, Peter’s performances have been holistic, characterized by song, film, dance, talks and sometimes dramatic monologues. His talks, among other things topics, are on: Malawian traditional sounds ; origins, use, relevance, relation to Africa and the world at large, the fusion with contemporary instruments, extinction, and preservation efforts. Music and dance in Malawi , the interplay of music in the social setup. Issues of identity, music as a people’s movement and a catalyst for life. Dance and tribal heritage. Talents of the Malawian Child Project Mawanga’s personal life (self-discovery) and involvement in projects for social change and economic empowerment. Peter, just like the Nyanjas of Malawi, believes that music goes beyond the ear, reaching out into the inner person to produce a healing power. It is one of the keys to a peaceful mind. Website Peter Mawanga About the Artist ULEMU Nambala Wani NDAUPENYA Peter Mawanga Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Anna Paddock's song captures the seeming simplicity of Lydia's conversion juxtaposed with the depth of the life changing event in Acts 16:13-15. Acts 16:13-15 Stop Listen By Anna Paddock Credits: Written by Anna Paddock. 2016 Performed and recorded by Anna Paddock and Patrick Anderson Curated by: Sarah Gregory 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This song is written from the perspective of Lydia. As I spent time reading this passage, it struck me as an interesting conversion story. Lydia seemed to have her life in order and wasn't in a state of physical need or apparent desperation of any kind. She was already a follower of God, had a family, lived in the city, and was an established working woman. And yet, on presumably just an ordinary Sabbath day, she heard a message from strangers that inspired her to believe and be baptized. "The Lord opened her heart", it says, and I wonder what that felt like to her in that moment. It's a mysterious thing, and yet I can relate to the feeling of knowing that our seemingly mundane existences can be interrupted with inexplainable heart awakenings and understandings, and it was a reminder to me to stop and listen. Spark Notes The Artist's Reflection Anna Paddock is a singer-songwriter and pianist based in Brooklyn, NY, although her family roots are in Manitoba, Canada. Anna studied piano at Trinity Western University and then received her Masters in Music Theory and Composition from New York University. Anna has collaborated with filmmakers, choreographers, and other songwriters as a composer and vocalist, and released her first solo album, “ Feel Better ” in 2013. She currently teaches in New York, and recently released a self-titled EP “ The Lay Awakes ” – a collaboration with her husband (rockstar Canadian paralympian) Patrick Anderson. Anna and Patrick make their home with their baby boy, Stanley, and are members of Resurrection Williamsburg Church. Website Anna Paddock About the Artist Anna Paddock Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Alina Potemska Lords Compassions Loading Video . . . In the past (2010-2014), Spark+Echo Arts has grouped the year into themes. 2014's themes included poverty, meals, eavesdropping, etc. In 2015, we are trying something different. Instead of thematic groupings, we have asked our artists to create works in response to specific books of the Bible. 2015's explorations will consist of: Lamentations, Philemon, Joshua, and Psalm 107. The first work within this approach, this striking piece from Ukrainian artist Alina Potemska responds to Lamentations 2:18. Lamentations 3:22-25 Lord's compassions fail not By Alina Potemska Credits: Curated by: Spark+Echo Arts, Selected through Artist Submissions 2015 40×50 cm Colored pencils, paper on cardboard Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My work claims to the theme of God's mercy to whole nations in general and particularly to each person. We can experience any struggles and think that it's last stage of trials. But as a rain feeds the arid land and have no limits in every day refreshing, in the same way God's love and tenderness captures us in a flow that keeps us from any trouble and problem. Even more, it doesn't really matter what issues are under the boat, it is only important that we are safe in the God's shelter and are covered by His love and mercy. We flow in His stream and it cures us and gives us felling of safety. Maybe, as Jeremiah did, we should experience some trials to appreciate this gift. During the horrible time of war in my homeland, it's natural to us ask God why He allowed this? But especially in this trouble we can feel deeply LORD'S mercies that we are not consumed, and it's new every morning, so thanks to God for that! Spark Notes The Artist's Reflection Alina Potemska graduated from the National Art Academy in her hometown Kyiv in 2013 and keeps her passion in illustration and printmaking. Alina is active participant in row of exhibition and takes part in social activeness through art. In 2015 she was nominated for Polish governmental Scholarship “Gaude Polonia”. “My art is a part of me and my understanding of life. I would be more than happy if it serves any person in any extend to become more fulfilled and experience something new in his life”. Website Alina Potemska About the Artist Alina Potemska Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Poet Hayan Charara explores the theme of "Harvest" through Jeremiah 8:20. Jeremiah 8:20 The Harvest is Past By Hayan Charara Credits: Curated by: Emily Ruth Hazel 2013 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I was drawn to Jeremiah 8:20 for a few reasons. At its most basic, it is a lament, and its message rings true for me, both literally (I live in Texas, which for years has suffered a severe and destructive drought) and metaphorically (reading the passage I couldn’t help but think of how the world’s ills have imposed themselves on the lives of loved ones, especially those who live in the war-torn Middle East—including my father and brother—and those who live in my hometown, Detroit). The tone also grabbed my attention. Unlike the angry invective with which most “jeremiads” are associated, whether Biblical or modern-day, Jeremiah 8:20 is, at least in isolation, again a lament more than a diatribe; it bears more responsibility than blame. Also worthwhile is the “we,” a pronoun of authoritarian, grandiose rhetoric (think “We the people…”). Here, though, the “we” accomplishes something close to the opposite. While authoritative, its tone is also inclusive and even humble. Finally, the formal elements impressed me. Jeremiah 8:20 is nearly a traditional haiku insofar as the number of syllables-per-line is concerned. The traditional 5-7-5 structure is here 5-6-5. As a way to impose conciseness, I decided to adopt the 5-6-5 syllabic structure, and also to follow the parallelism of the independent clauses, which added gravitas to the original passage and, I hope, to my poem. Spark Notes The Artist's Reflection Hayan Charara is the author of three poetry books, The Alchemist’s Diary (Hanging Loose, 2001), a Publisher’s Weekly “Notable Debut,” The Sadness of Others (Carnegie Mellon, 2006), nominated for the National Book Award, and the forthcoming Something Sinister (Carnegie Mellon, 2014). He is a recipient of a fellowship from the National Endowment for the Arts, for poetry, as well as the Lucille Joy Prize for Poetry from the creative writing program at the University of Houston. His poems have been published widely, translated into French and Arabic, and nominated several times for the Pushcart Prize. He also edited Inclined to Speak (University of Arkansas, 2008), an anthology of contemporary Arab American poetry, and has also written a children’s book, The Three Lucys , winner of the New Voices Award Honor and forthcoming from Lee & Low Books in 2014. He teaches in the Honors College at the University of Houston. Website Hayan Charara About the Artist Hayan Charara Other Works By Related Information View More Art Make More Art (1)The bees come from far, the migrant workers too, but the rains do not. View Full Written Work THE HARVEST IS PAST, THE SUMMER HAS ENDED, AND WE ARE NOT SAVED by Hayan Charara (1) The bees come from far, the migrant workers too, but the rains do not. (2) The ground cracks open, the lost pines choke the sky, and the cows are trapped. (3) We prepare for war, we sing songs, weep, and pray, and so does our foe. (4) The children are fed, they are clothed, taught, cherished, and they too must go. Close Loading Video . . . (1)The bees come from far, the migrant workers too, but the rains do not. Download Full Written Work

Rev5 1 4 Lknights Main Image Lily Knights, For Reaching and Holding (detail) Lily Knights, For Reaching and Holding (detail) Loading Video . . . Artist Lily Knights transfers her love of murals onto canvas as she responds to Revelation 5:1-4. Revelation 5:1-4 For Reaching and Holding By Lily Knights Credits: Curated by: Lauren Ferebee 2016 88 x 64 inches paint and ink on canvas Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My piece is inspired by the idea of unexpected community. What a vivid image the text provides: all hands on deck, trying and equally failing. We put so much energy into proving we are worthy — to ourselves and each other. We want to be loved and heard and to do something with our time that matters. We spend our lives attempting impossible tasks and feeling a familiar sense of futility. But that is the essence of our humanity; our foibles and our failings unify us. When I read this passage, I want all those hands collectively coming up short to know that we are in this together and that we are leveled by our insufficiency, our inadequacy, our imperfection. When we recognize that, we can realize our connections to each other. The hands represent humanity and individuality, striving and art. The gold represents the divine, surrounding us and tying us to each other. I put this idea into practice while creating my piece. It was a process that took a few weeks, a lot of space and a great deal of patience. I spent some time with my anxiety, fearing I wouldn't be able to realize my vision, before I reached out to my friends and let them step in to lend a hand. Thanks to Valerie, Luke, Lucy, Jonathan, Jake, Bill and Andy. Spark Notes The Artist's Reflection Lily Knights is a graphic designer, illustrator and photographer. In addition to her creative drive to make art, she has a passion for working with local organizations involved in the arts and dedicated to community building. Lily lives in South Carolina with her children, Bebe and Amby. lily-knights.com etsy.com/shop/RaisetheProof Website Lily Knights About the Artist Lily Knights Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . A classic gets revisited in this musical piece by composer and arranger J.R. Mikels. Mikels composed his rendition of the hymn "Christ the Lord Is Risen Today" in response to Matthew 28:6-7 and Luke 24:6-7, expanding on the melody throughout the work. It is performed here by Center Stage Brass for Spark+Echo Arts to celebrate Easter. Luke 24:6-7 Matthew 28:6-7 Christ the Lord Is Risen Today By J.R. Mikels Credits: Composer: J.R. Mikels Musicians: Center Stage Brass Curated by: Jonathon Roberts 2021 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My treatment of ''Christ The Lord Is Risen Today'' was penned while living in Bethel, Connecticut; working as a school bus mechanic helper and staying with a small group that was establishing a Christian mission church in the area. It was first performed publicly for Easter Morning services in 1973 as a ''4 hands'' piano piece in a large gym; always my favorite type of room, acoustically. Later I scored it for Brass or Woodwind Choir. The two Bible references (both interestingly enough verses 6-7) announce the core of the Christian Faith. Without the resurrection, there is no redemption. Growing up, this hymn was very enthusiastically sung in our church only once per year and I always looked forward to it — especially the counterpoint in the 'Alleluias'. When asked to compose an Easter prelude for the mission, setting this melody was an easy choice. No one seems to know who wrote it originally. The ''tune first circulated in 1708 with the Lyra Davidica hymnal, but no composer has ever been acknowledged.'' (Christianity Today Magazine) The piece was recorded for Spark+Echo Arts in 2021 by Center Stage Brass of Dallas/Ft. Worth, Texas. Spark Notes The Artist's Reflection J.R. Mikels was born In Door County, Wisconsin, and raised on a dairy farm/cherry orchard. He began piano at age 5 and played organ at St. Peter's church. He holds a Music Theory/Education degree from UW Madison with additional studies at Silver Lake College, Manitowoc, Wisconsin. He has been an itinerant rock musician, school/private instrumental director/teacher, mechanic, farmer, researcher, recording studio owner/producer, arranger/composer, and currently resides ''in the woods'' near Iola, Wisconsin. Website J.R. Mikels About the Artist J.R. Mikels Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . As the second work in a collection curated by Shann Ray, also featuring the works of Vanessa Kay, Alan Heathcock and Shann Ray; this beautiful work by Mary Jane Nealon explores theme of “Light and Darkness” from the perspective of Isaiah 61:3. Isaiah 61:3 Adoration of the Foot By Credits: Curated by: Shann Ray 2013 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This piece is my attempt to highlight the body as the warrior for the spirit. In every situation of suffering that I have witnessed, the body asserts itself as a force for life. I am convinced that despair often comes with physical pain and that comforting the suffering body is what makes way for praise. I am especially drawn to the power of the human foot, which is the element of praise in my poem. The body in despair is often curled and tight and touching the foot with compassion and love is a way to honor the suffering person, to praise the body’s struggle to live and in doing so, one often sees the body uncurl, open out and release the suffering spirit. Spark Notes The Artist's Reflection Mary Jane Nealon , RN, MFA has worked as a nurse and writer for 36 years. She has two collections of poetry: Rogue Apostle and Immaculate Fuel (Four Way Books). She has received fellowships from the Fine Arts Work Center in Provincetown, the New Jersey State Council on the Arts, and Breadloaf Writer’s Conference. Her memoir, Beautiful Unbroken : One Nurse’s Life (Graywolf, 2011) won the Bakeless Nonfiction Prize. Website Mary Jane Nealon About the Artist Mary Jane Nealon Other Works By As the second work in a collection curated by Shann Ray, also featuring the works of Vanessa Kay , Alan Heathcock and Shann Ray ; this beautiful work by Mary Jane Nealon explores theme of “Light and Darkness” from the perspective of Isaiah 61:3: and provide for those who grieve in Zion— to bestow on them a crown of beauty instead of ashes, the oil of joy instead of mourning, and a garment of praise instead of a spirit of despair. They will be called oaks of righteousness, a planting of the Lord for the display of his splendor. Related Information View More Art Make More Art I took my hand, which was as waxy as a crayon and reached into the world and it hit the bottom of someone’s foot. View Full Written Work ADORATION OF THE FOOT by Mary Jane Nealon I took my hand, which was as waxy as a crayon and reached into the world and it hit the bottom of someone’s foot. I made a career of it. The feet were (swollen, blue, veiny, excoriated), and always at the bottom of the bed, when I entered in white. A bride of the foot. ~ At the peak of the AIDS epidemic, I could not look Marco in the face, venue for his suffering but we understood that in his right foot there was a door to a netherworld and tethered there, forever there, I left my hand on an opening. My hand wanted to both see beyond where we stood and to hold his spirit here in this room, maybe if I pressed gently at the bottom of the foot, he would live, his soul might find no egress. Yet, when the swelling was wide enough, the pain was wide enough his spirit pushed past my hand, into the room and for a few moments, his skin, (which appeared as a wide curved door) opened towards the ocean of grief in the room, and he rose into some odd oblivion of sound meeting no-sound. ~ And then someone else’s feet: a woman running into the Emergency Room, downtown Jersey City, a Vietnamese woman escaping her husband’s gun, she ran three miles down Montgomery Street, from the highest point to the lowest point over glass and the curved street leading to the Turnpike, past the Kosher grocer and the Seventh Precinct, ran into the hospital, bloodied. I held my arms out to her. I held my arms out. I scrubbed her feet in front of the detective who said, it’s a waste of time, she’ll go back to him…. but she and I understood her husband no longer had anything to do with it, she had made a comrade of her feet and in the shards we lifted with tweezers from her heels, in the glossy black stitches that reattached her toes, we praised the beginning of a beautiful mutiny. In the fluorescent light of antisepsis, her feet were quite simply, revolutionary. Close Loading Video . . . I took my hand, which was as waxy as a crayon and reached into the world and it hit the bottom of someone’s foot. Download Full Written Work

natures_lamp_light_collage.jpg Loading Video . . . The Constant is a blueprint for an experience, a composition, performance, activity, guided improvisation exploring the Creation account in Genesis. It is a set of cards that, when used by a group of willing participants will bring out their talents and result in something new, a creation that tells something unique about the group itself. Genesis 1 The Constant By Jonathon Roberts Credits: Special Thanks: John Roberts and the Nature’s Lamp project Artist Location: New York City Curated by: Spark+Echo Arts 2010 Guided improvisation/creative blueprint Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This work explores the Creation Account by doing, by creating. The actions outlined on the cards could be carried out by a musical or theatrical ensemble, a corporate team, as a workshop or performance, and for any length of time. What each group creates depend on their identity; just as creation tells us about our Creator, so our creations tell others about us. Spark Notes The Artist's Reflection J onathon Roberts is a composer and sound designer for games, film, theatre, and ensembles. His style grew out of classical and jazz training, and evolved through quality life adventures: touring the country in an RV with a one person theater piece on the Apostle Paul, living in Brooklyn with an improv music ensemble, performing in a downtown NYC absurdist comedy band, and a long stint writing music for the renowned slot machine company, High 5 Games. He has released four albums including the latest, Cities a song cycle personifying biblical cities. He created the popular podcast/web series ComposerDad Vs. Bible , in which ComposerDad accepts intense compositional challenges from a mysterious Bible while out with his kids. He frequently collaborates on music and theater projects with his wife, actor Emily Clare Zempel. They live in Beacon, NY, with their two boys and a tangled box of electrical cords. www.jonathonroberts.com Website Jonathon Roberts About the Artist Loving Arms I Make Tents The Sower Response There Is Room These are My Sons Consider Me a Partner Weakness The Day Is Almost Here Surrogate Babbler Remember Me Prayer How Beautiful I Am a Fool Ecclesiastes Cows Blessing Fools for Christ More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By Download the set of cards: The Constant Each card comes with an image corresponding to a day of Creation, and a set of instructions. the holder of "The Constant" card is the leader; other cards are distributed to participants. Click above to download the entire set in high resolution. Below are previews of each card. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Artist Janna Luttrell brings us two text-based charcoal works in response to the theme of "Dancing" from Psalm 87:7. All the Live Long Day Crying in the Rain Psalms 87:7 All the Live Long Day and Crying in the Rain By Janna Luttrell Credits: Curated by: Janna Aliese 2013 2 pieces, 22 x 30 inches Charcoal on Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link While looking at the theme of dancing in the Bible, Psalm 87:7 stuck out to me as it refers to dancers themselves more than other verses and in this context, what they are doing or are being instructed to do. Is this a musical cue, like in many of the psalms, where the writer tells the dancers to say "All my springs are in you,"? Or is the writer stating that dancers and singers alike are inclined to speak these things about the Lord? Either way, the point is to express that the source of life is God. At the same time as researching this verse, I had also been thinking about emotions and how they correlate to our experience of the divine. Why does moving our bodies or crying tears accompany what we might call a "religious experience"? Are these both forms of release for the springs that flow through us? As a response to the verse I created a pair of text drawings with these ideas in mind. I intend for them to be drawings in their own right as well as renderings for a site specific piece where the text would be applied directly in an environment. A person would encounter the fragments in same way that elusive thoughts come to us as we move through the events of life. These fragments also allude to popular song lyrics that tie in with the water imagery of the verse and might come to us as we are experiencing the springs of life that both pour out of us and overwhelm us. Spark Notes The Artist's Reflection Janna Luttrell is a visual artist living and working in Brooklyn, NY. Janna spends her time thinking about language, absurdity, and perception. Through site specific installations that function as concrete poems, she explores the physicality of language and it’s potential interactions with the built environment. Her drawings straddle the line between geometric abstraction and carefully rendered worlds of two point perspective. Originally from Virginia, Janna completed her BFA in west Texas and her Masters degree in fine art at Central Saint Martins College of Art and Design in London, England. She has exhibited across the US and Europe. Website Janna Luttrell About the Artist Janna Luttrell Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . "Among Fools: a Subrational Soundpainting" was conceived and conducted by Evan Mazunik in response to Ecclesiastes 9:17. Ecclesiastes 9:17 Among Fools: a Subrational Soundpainting By Evan Mazunik Credits: Conceived and Conducted by Evan Mazunik Flute, Tenor sax by Justin Wood Saxophones by Dennis Shafer Trumpet by Rob Henke Cello by Gil Selinger Bass by Ryan Kotler Guitar by Lily Maase Drums by John O’Brien, Max Jaffe Dancers: Holly Hibbert Actors: Julia Anrather, Juliana Rodrigues Corrêa, Fábio Dias, Libby Froeber, Lorenzo Landini and Cara Ronzetti Audio Recording by Flat World Productions Video Recording by Rainy Day Worzella and Emily Clare Zempel Filmed at Irondale Center in Brooklyn, NY on June 21st, at 8pm Curated by: Spark+Echo Arts 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Evan talks about his process and how did he composed the music, text, and movement: How much of the show was rehearsed? How much was improvised? What the heck is Soundpainting? Spark Notes The Artist's Reflection Evan Mazunik is a composer/performer raised on the prairies of Iowa and rooted in Queens, NY. Fluent in Soundpainting, a sign language for live composition, Mazunik is composer/director for ZAHA, his experimental chamber ensemble. His compositions include commissions for jazz band, chorus, theater, dance, and film, and his work was featured in a documentary for the Finnish Broadcasting Company. Mazunik has performed with Anthony Braxton, Walter Thompson, Carla Bley, Robin Eubanks, Danielson, and Sufjan Stevens, and has played at creative music venues such as Roulette, The Stone, Barbes, and Galapagos. He received a Bachelors degree in piano performance and a Masters in jazz studies from the University of Iowa and has taught improvisation at the University of Indiana and the Royal Academy of Music in London. http://evan.blissstreetstudios.com/ Website Evan Mazunik About the Artist Evan Mazunik Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Dancer and choreographer Julie Rothschild brings us this work 'in response to' Philemon 1:8-11. Philemon 1:8-11 in response to By Julie Rothschild Credits: Curated by: 2015 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link When I received Philemon 1:8-11 as a voice recording, I opted to use it as a sound score. I wasn't familiar with the passage and intentionally did not go looking for the meaning behind the words. And so I moved with the text and I moved without it. I went to my favorite place to be quiet, my church so-to-speak: a nearby trail with massive cottonwood trees and a host of birds. There, I filmed myself moving in response to my memory of the sound of the text. I then spent time trying to layer sound and video, trying to make my response look like something more than what it was, trying to make a video that looked more like a film with different layers and textures. I was caught up in trying. Then I did one straight take with the sound playing and one camera strapped to my bookshelf. And this is what I'm sharing. I've layered the sound score on top of my recording in order to blend it with the sound that plays in the background. I am simultaneously listening and choreographing a dance that makes sense in the moment. I feel that this allows me to best respond to the voice, the words, the textures, the rhythms and to experience my own emotional response. It feels the most honest. Spark Notes The Artist's Reflection Julie Rothschild is an Independent Dance Artist and Educator, Alexander Technique Teacher, and Nordic Ski Instructor. Her passion for movement and performance began at a young age, and continues to lead her in unpredictable and wondrous directions. She has collaborated, choreographed, performed, taught and apprenticed with a wide and wonderful assortment of dance companies and artists throughout the world. While living in Athens, GA (2000-2009), she co-founded/directed Floorspace Movement Arts Center, where she curated The Handful Series and hosted numerous dance workshops and performances. She also worked as an adjunct professor in the Dance Departments at University of Georgia and Emory University. Julie has been making solo and group work since she was a high school student at Western Reserve Academy in Hudson, Ohio. Most recently, she directed ANIMAL, which premiered in September 2013 at Skwhirlhaus in Atlanta, Georgia. ANIMAL, chapter 2, had its premiere at Performática in Cholula, Mexico in April 2014. Her latest solo, RUST, premiered at Boulder Museum of Contemporary Art (BMoCA) in March 2015. Her current projects are MAPS (Making And Performing a Solo) for 100 Dancers, a worldwide choreography project; and Chicken Bank Collective, an international collective of visual and performing artists whose aim is to weave communities across borders through the art of movement. Julie currently resides in Boulder, Colorado, where she lives with her husband, 2 teenage sons and their pup, Olive. www.julierothschildmovement.com Website Julie Rothschild About the Artist Julie Rothschild Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work