Karen Swenholt Heart For A Stone Karen Swenholt, Heart for a Stone detail Loading Video . . . Karen Swenholt's sculpture explores the divergence of skepticism and faith, love and truth, those who belong to faith communities and those who have been hurt by them in response to Ezekiel 36:26. Ezekiel 36:26 Heart for a Stone By Karen Swenholt Credits: Curated by: Mark Sprinkle 2017 Height 30 inches Aqua Resin Sculpture Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The young girl falls back, her torso nearly horizontal to the ground as if on an operating table. The stone being removed will be replaced by a heart of flesh. Much necessary good has come from Feminism but there is an increasingly well-accepted version that teaches the mythology of the oppressive patriarchy. By its tenets, all faith is suspect and irrational; its primary purpose: to control, especially control women. For its adherents, Christianity is on the list of topics not to be discussed. Religion has become a concept never to be entertained or given a moment’s regard, except as part of the story of oppression. This ideology is not irrationally based. Women are on the list of those who have not been treated by faith communities and their leaders as Jesus treated them. The LBGT community has a similar closed mindset supported by painful experiences of exclusion and oppression. While I respect the reasons for this intolerance of faith, the loss for those individuals who have erected an ideological wall between themselves and God is profound. I remember when my mind would not permit the possibility of God’s existence because of an Atheism which I picked up from my culture without much question or discernment. Those days were hard. This sculpture is a prayer for those earnest young minds quick set in concrete. My first Heart for a Stone was inspired by an older man who had been deeply involved with crime and substance abuse. He was transformed when he met God. His earnestness, gentleness, kindness and concern for others seems a true wonder compared to tales of his predatory past. But even the very young can acquire the heart of stone, not from heroin and poverty but from a closed mind—set too early—that rules the heart rigidly. We all risk such ossification when we neglect Paul’s admonition that without love, our ideological constructions and actions flowing from them are a clanging cymbal . When we forget Jesus’ love for these people groups, noise may be all they can hear. Spark Notes The Artist's Reflection Karen Swenholt is a figurative sculptor who lives and works in Northern Virginia. After attending MICA and California College of the Arts, she continued studies at New York City’s New York Studio School and the Art League in Virginia. Influences from the West Coast’s Bay Area Figurative Movement combined with the emotional power of abstract expressionism from her East Coast studies and origins to form the foundation of Swenholt’s work today. The rough painterly surfaces of her sculptures contrast with their grace, conveying emotion and movement. Karen Swenholt is presently the artist in residence at Convergence in Alexandria, Virginia. Her work can be found in many public and private collections including Cairn University in Philadelphia, Wesley Theological Seminary in Washington, D.C and churches across the U.S. and abroad. www.karenswenholt.com www.facebook.com/karenswenholtart Website Karen Swenholt About the Artist Bookends Karen Swenholt Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . I have selected four hefty chunks of Ecclesiastes (1:8-18; 2:17-26; 6:7-12; and 8:6-17) to gnaw on over the course of my year-long-residency. Out of this, I intend to create two site-specific dance-theater/live-cinema performances that will be translated into short films, which will then be shared through the Spark and Echo platform. Although I have specifically chosen four passages from Ecclesiastes to focus on, I will most likely be drawing inspiration from the entire book. Find the complete progression of the work linked below. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle Part 1 By Stephanie Miracle Credits: Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 28, 2016 I have selected four hefty chunks of Ecclesiastes ( 1:8-18 ; 2:17-26 ; 6:7-12 ; and 8:6-17 ) to gnaw on over the course of my year-long-residency. Out of this, I intend to create two site-specific dance-theater/live-cinema performances that will be translated into short films, which will then be shared through the Spark and Echo platform. Although I have specifically chosen four passages from Ecclesiastes to focus on, I will most likely be drawing inspiration from the entire book. I find the flavor of Ecclesiastes is, much of the time, dusty and frustratingly bitter. It doesn’t go down smooth but gets stuck my throat. Meaningless, wearisome, and vanity are splintery words, difficult for me to swallow yet easy to keep balanced on my tongue when I look at the confusion of injustice in the world. I am drawn to the bold and brutally honest questions that King Solomon brings up in order to consider the meaning of life. I enjoy that the book seems to go in circles, cycling back to the conclusion just found in the previous chapter. And I am intrigued by the two voices I hear: one crying in resentment: “This is not fair” and the other peacefully whispering in reply: “Let go, it’s okay that you are not in control.” In my recent projects I have been working with concepts of control vs. out-of-control or predetermined vs. undetermined. As a choreographer I enjoy the feeling of creating detailed, precise scenes that can be repeated over and over again, like a VHS tape in a VHR. When we speak of someone’s actions as seeming choreographed we get a picture of careful calculation and control - knowing just exactly where everything should be at the right time. I think of spy films that play with the tension of everything hinging on whether or not the plan is executed perfectly: if the slightest thing goes off track the bomb explodes and all is lost. On the opposite side of control and predetermination I am interested in responding to the unexpected. I like to place my dances and dancers in setting where they need to make choices, they have freewill. Sometimes I leave entire sections of choreography as an open score or a task, like a game that must be solved with intuition and gut reaction rather than following a formula. Nothing is fixed but left up to chance. Other times I add this element of the unexpected by placing my dancers/dances in public spaces. In these spaces I am have much less control over the environment as opposed to the safety of a theater space. I am highly interested in the feeling of magic in the mistakes; mishaps and coincidences that arise from performance placed in everyday, commonplace locations. And so this is one reason why it is difficult for me to meditate on the idea of meaninglessness. I like the feeling of “magic.” I desperately want things to have a hidden meaning, a supernatural intention, or at lease a solid reason “why” behind them. I am fascinated by the idea of synchronicity, that what may seem arbitrary or coincidental is a sign of a higher organization and meaning. And I like to play with these ideas in the work that I make. I have decided that this project (Untitled Project in 2 Parts) will inhabit two locations in my neighborhood of Essen-Werden in northwestern Germany. One is a serene, golden colored courtyard once belonging to 16th century monastery now part of the Folkwang University. Out of many windows into a square courtyard pours the cacophonous sound of musicians practicing individually yet simultaneously. I go here to think and to listen. And here is where I will focus on a solo performance piece. The other location is rather a network of public places in my neighborhood including the local bar, street corners, a bus stop, an ice cream café, the indoor swimming pool. For this half of the project I will work with, Fakers Club, an international performance collective that I created in order to develop serial narrative structures in public spaces. In collaboration Fakers Club I will create a performances based on concepts from the four Ecclesiastes passages. And although I am terrifically anxious to physically immerse myself in this project, I am in the process of recovering from a recent surgery and must wait several more weeks before I am able to dance at full capacity again. Because of this, the beginning of my process is punctuated by patience, observation, quietness and listening. Below are examples of recent works and photographs of some of the spaces that I will be exploring for this residency. (All photos by Jimmy Miracle.) Yes, of course from Stephanie Miracle on Vimeo . Drafting Plan from Stephanie Miracle on Vimeo . Still from Hoffmann Project , 2015 Still from Hoffmann Project , 2015 Still from Hoffmann Project , 2015 Still from Hoffmann Project , 2015 Still from Fakers Club Season 1 ,2016 Still from Fakers Club Season 1 , 2016 Still from Fakers Club Season 1 , 2016 Still from bang! bang! , 2015 Still from bang! bang! , 2015 Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 2 Artist in Residence 2016: Stephanie Miracle Part 3 Treasure Heart Artist in Residence 2016: Stephanie Miracle Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her second , third and final post as a 2016 Artist in Residence. I have seen everything that is done under the sun, and behold, all is vanity and a striving after wind. (Ecclesiastes 1:14) I hated all my toil in which I toil under the sun, seeing that I must leave it to the man who will come after me, and who knows whether he will be wise or a fool? Yet he will be master of all for which I toiled and used my wisdom under the sun. This also is vanity. So I turned about and gave my heart up to despair over all the toil of my labors under the sun, because sometimes a person who has toiled with wisdom and knowledge and skill must leave everything to be enjoyed by someone who did not toil for it. This also is vanity and a great evil. (Ecclesiastes 2:18-21) Whatever has come to be has already been named, and it is known what man is, and that he is not able to dispute with one stronger than he. The more words, the more vanity, and what is the advantage to man? (Ecclesiastes 6:10-11) There is a vanity that takes place on earth, that there are righteous people to whom it happens according to the deeds of the wicked, and there are wicked people to whom it happens according to the deeds of the righteous. I said that this also is vanity. (Ecclesiastes 8:14) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This audio play, written by Joe Hoover, and performed by Joe Hoover and Devon Caraway explores senseless loss and was created in response to Micah 2:1-2, 8-9. Micah 2:1-2 Micah 2:8-9 Fury By Joe Hoover This play contains strong language and may not be suitable for all audiences. Credits: Written by Joseph Hoover Performed by DEV - Joseph Hoover, JUNE - Devon Caraway Curated by: Michael Markham 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Occasionally I have wondered if the prophets still matter. Did the coming of Christ supercede the prophets, make them irrelevant? Are they too harsh, too simplistic in their demonizing of the wealthy and powerful? Has the time for their anger and judgment passed, given Christ's message of love and mercy? I have also had for years a nagging desire to make sense of the housing crash of 2008, something which the prophets may have naturally taken an interest in. This project allowed me to take the prophet Micah and the subprime lending crisis and see if they might be relevant one to the other. Spark Notes The Artist's Reflection Joe Hoover is an actor and playwright. Acting credits include Malvolio in “Twelfth Night,” Peter Quince in “Midsummer,” and ensemble in “King Lear” in the Public Theater’s Shakespeare in the Park. Playwriting credits include “Jay and Ruby Get Religion,” at the Davenport Theatre, “The Ditch” at the John Houseman Studio Too and “The Good Life” at the Midtown International Theatre Festival. He is a Jesuit brother. (xaviertheatre.org) Devon Caraway is an actor and director based in NYC. Recent projects include: Steel Magnolias (Annelle, Cleveland Play House), Our Town (Emily, NewStage Theatre), Pericles (Bawd, Brown/Trinity Rep), Lungs (Woman, Brown/Trinity Rep), (Rosalind, NYU GRAD Summer Fest). She holds an MFA from the Brown University/Trinity Repertory Program for Acting and Directing. She is currently a member of the SDCF Directing Observership Class. Website Joe Hoover About the Artist Joe Hoover Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer and vocalist Ashley Gonzalez Daneman created a beautiful song inspired by Job 17:12-13. Job 17:12-13 I’ve Got All the Light I Need By Ashley Daneman Credits: Words & Music by Ashley Daneman Vox, mouth/hand percussion, piano, mandolin, and shaker Performed and recorded by Ashley Daneman Mixed and mastered by Gordon van Gent Curated by: Emily Clare Zempel 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Life is full of competing priorities. Most of my work deals with contradiction or the dual existence of contrasting realities. We could say that light represents goodness and darkness is evil, but it could be difficult to discern which is which. You and I may agree on a few evils, but aren’t the rest of them just shades of gray? What is true goodness? Humans, as a whole, can’t agree on this. For me, this passage in the Bible reflects on people’s differing perspectives about what truth is, and Job’s fear that he might accidentally believe a lie and eternally suffer for it. Given all the different belief systems about the afterlife, how then, does a person decide what’s true? The path of least resistance is to take a casual approach and release yourself from the responsibility of self-preservation in the afterlife. Assuming that either “nothing” or nothing “bad” will happen to you gives you peace of mind now, but it is a gamble. And whether your winnings or losses are large or small…we’ll have to wait to find out. Spark Notes The Artist's Reflection A late career start and plenty of interesting life turns have caused Daneman to go deep with her blend of jazz and modern folk debuting “a publicly intimate recording that is frank and unapologetic. Beauty Indestructible is a collection of nine original "spirit poems" scored and written by Daneman, existing as an intensely personal song cycle. Daneman addresses the fundamental healing power of love” (C. Michael Bailey, All About Jazz). Drawing comparisons to Becca Stevens, Laura Nyro, and even Stephen Sondheim, Beauty Indestructible is summed up as “beautiful jazz art music from a gorgeous voice with superb accompaniment” (Mark S. Tucker, Folk & Acoustic Music Exchange) and as “a profound work of art that is so alive, so positive, and so blessedly musical” (Richard Kamins, Step Tempest). “Charming and enchanting with its offbeat/outside the lines sensibilities, [Beauty Indestructible] is killer stuff that’s sure to resonate with the gypsy in your soul” (Chris Spector, Midwest Record). Website Ashley Daneman About the Artist and the fertile field… Ashley Daneman Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer Dan Musselman uses his musical talents to express the multiplying power of generosity. "Do the Same" is a response to the theme of "meals" and Luke 3:11. Luke 3:11 Do the Same By Dan Musselman Credits: Curated by: Benjamin JM Klein and Jonathon Roberts 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Being generous does not deplete one’s own resources, but rather multiplies for the good of all. Whether regarding clothing, food, money, or energy, the gifts that we offer are exponentially increased by God to enrich and impact the lives of those around us. If we play just the small part that we are each allotted, our combined efforts transcend the single contribution that we individually make and coalesce into something profound and meaningful, capable of sustaining everyone in a self-supporting system based on compassion and giving. “Do the Same” was composed with this mindset. No single part dominates the piece or demonstrates virtuosity. There are only small offerings from each voice that combine to make something larger and more beautiful than the sum of its parts. The individual parts may be even somewhat disjoint from one another—through different time signatures, harmonies and rhythmic cycles—but the collective result is that each part becomes affirmed in its role as the conglomerate grows to forge new meaning and conviction, just as we are called to work together within the body of Christ. Spark Notes The Artist's Reflection Dan Musselman started studying Suzuki piano at the age of 5 but had a very eclectic musical background. Beginning in middle school, he played trumpet in the concert and jazz band, and played guitar in rock bands. Dan would go on to receive the full ride, Diana Ross scholarship to attend McNally Smith College of Music in St. Paul, Minnesota. There he completed his bachelor’s degree in piano performance in 2008, graduating summa cum laude, salutatorian, and was the sole recipient of the “Outstanding Student Award.” Dan’s solo CD, Ruminations (2008), which contains all original improvised material, has over 200,000 plays on internet radio. Beginning in 2009, Dan has been teaching full-time at McNally Smith College of Music, teaching piano courses and lessons, music theory, and ear training. He has lead his own ensembles at the major music establishments in the Twin Cities, including the Artists’ Quarter and the Dakota Jazz Club, in addition to performances with the South Dakota Symphony Orchestra, John Moulder, Brian Hemstock, and many others. In 2013, Dan released his album Devotion–a jazz album is based off of books of the Bible–which has received airplay on over 200 radio stations internationally. He also is a musician and arranger for Wooddale Church in Eden Prairie, Minnesota. Dan is is currently finishing his doctorate in composition at the University of Minnesota, and is expected to complete his degree by January of 2015. Website Dan Musselman About the Artist Dan Musselman Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Sapient Soul (Marlanda Dekine) has invited the audience to join her creative process as they reflect on Job 10:10-12:8 to create "Diptych: Unpacking the Self," the first poem in a collection as Spark+Echo Arts' 2020 Artist in Residence. Job 10:10-12:8 2020 Artist in Residence: Marlanda Dekine By Marlanda Dekine Note: Parts of the artist’s work contain strong language and may not be suitable for all audiences. Credits: Curated by: Spark & Echo Arts, Artist in Residence 2020 2020 Poetry/Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Sapient Soul's project FREE/WRITE will engage the Bible with stillness, spontaneity, and automatic writing. Videos will demonstrate steps 1-5 outlined below: Poet meditates with Insight Timer app or in silence. The guided meditation used in this video is by Naomi Goodlet. Poet turns to a random page in the Bible. Poet chooses a passage that has not been illuminated. 4. Poet writes, without the pen leaving the page, for a minimum of five minutes. This is automatic writing or a free-write. 5. Poet edits the free-write into poetry. You are encouraged to choose a book and join Sapient Soul at home. Try it for yourself. Unpacking The Self as reflection on Job 10:10-Job 12:8 considers how difficulty can harden us to ourselves and others. Wanting connection, we can push others away. Desiring to be seen, we can fear knowing ourselves. Spaces of anger and victimhood ought to be visited as friends within us. Sometimes, I have become comfortable and stayed a bit too long. Even, built a home there once. Ha! May we have a friend that listens well as we unpack and let ourselves free again. May we listen when a difficult truth about ourselves is shown to us. May we express thanks for how there is so much healing available to us across space and time, through darkness and light. Ase. From the photos above: While Job was telling, I laughed. I cried from the right side of my right eye. One year setting there like an early Dawn. I could hear Job like I've heard myself. Complaining like it will build new mountains. New worlds. How he was in pain. How pain can turn you in on yourself. Take you to prison even after abolition wins. Take you into a cell-membraned wall of blood and gut, take you inside of yourself & you become prisoner and guard, recounting all the terrible--so if any bit of light comes for you--be doomed be doomed be doomed fuck light is what you say while your soul shines bright you say you say I've said so much & meant so little to myself I I I Wanted to mean everything I said I desired beauty & I drummed the beat of pain like my own New record Are you recording this--the way the wind can snap everything into place I know now that every pain I ever knew I needed& How after we've torn at our skin our eyes our own lips broken & dry--how when the water comes for us do we act like we weren't listening to the flow--how do we lie like that & where does it go? Truth my friend requires dirt of you. Spark Notes The Artist's Reflection Marlanda Dekine-Sapient Soul (she/her/they) is a poet and social worker from Plantersville, South Carolina. She is pursuing her MFA in Poetry with New York University's Low-Residency program in Paris. Learn more about their work at sapientsoul.com . Website Marlanda Dekine About the Artist Artist in Residence 2020, Sapient Soul (Marlanda Dekine) Getting Lighter Know Thyself Marlanda Dekine Other Works By Related Information View More Art Make More Art i wanted to build new View Full Written Work Diptych: Unpacking the Self by Marlanda Dekine I. i wanted to build new worlds from pain imprison myself cell-membraned walls of blood and gut i said so much meant so little to myself i i i drummed my pain new new now I 'm cardinal red wind snap- ping smiles i know now every pain i ever knew was what i needed so how when dark water returns can i act like i didn 't call her here her precious obsidian hard cypress of fathomage to make me ready II. when you listen to the color yellow with the volume up hear a choir of chaos don 't change channels wait for the moment of mirrors wait for yellow to turn purple for the crown of laughter to enter for anger to melt fear friendship to shake you until you are sensing god: green. soft. woman. from PROJECT FREE/WRITE #1 The Free/Write by Marlanda Dekine while job was yelling, I laughed. I cried from the right side of my right eye. one tear setting there like an early dawn. I could hear Job like I 've heard myself. Complaining like it will build new mountains, new worlds. How he was in pain. how pain can turn you in on yourself. Take you to prison even after abolition wins. Take you into a cell membraned wall of blood and gut, take you inside of yourself and you become prisoner and guard, recounting all the terrible—so if any bit of light comes for you— be doomed be doomed be doomed fuck light is what you say while your soul shines bright you say you say I 've said so much and meant so little to myself I I I wanted to mean everything I said I desired beauty and I drummed the beat of pain like my own new record are you recording this?—the way the wind can snap everything into place I know now that every pain I ever knew I needed and how could I smile any less, Job? how after we 've torn at our skin our eyes our own lips broken and dry—how when the water comes for us do we act like we weren 't listening to the flow—how do we lie like that and where does it go? Truth, my friend, requires dirt of you. Close Loading Video . . . i wanted to build new Download Full Written Work

Loading Video . . . Playwright and screenwriter Lori Fischer and composer and lyricist Don Chaffer confront the question of how a good God can exist in a world full of conflict and pain in their musical Is This Heaven, Evan? This work is in response to Hebrews 10:39 and the theme of "Destruction." Hebrews 10:39 Is This Heaven, Evan? By Lori Fischer and Don Chaffer Credits: Book by Lori Fischer Music and Lyrics by Don Chaffer, Lori Fischer, and Lori Chaffer Artist Location: Nashville, Tennessee and New York City Curated by: Chris Cragin 2014 Musical Theatre Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As artists, how can we not be affected by the many tragedies that occur on a daily basis? Simultaneously, as Christians, we know that God is telling a good story. Our musical “Is this Heaven, Evan?” follows the arc of our verse, “But we are not those who shrink back and are destroyed, but of those who believe and are saved…” Hebrews 10:39 Is This Heaven, Evan? Book by Lori Fischer Music and Lyrics by Don Chaffer, Lori Fischer, Lori Chaffer. In response to recent tragic events, Nick, a twenty-five-year-old suddenly hopeless hipster, becomes obsessed with the ending of the Mayan calendar. Convinced that the world is about to end, he sells his stuff and goes to Central Park to wait for the impending apocalypse as he sleeps under a willow tree. Then, he wakes up… Spark Notes The Artist's Reflection Don Chaffer (composer/lyricist). Music Theater: As composer/lyricist/book-writer: Son of a Gun (Beckett Theatre, developed at O’Neill National Music Theater Conference); as composer/lyricist: Is This Heaven, Evan? (York Theatre); as composer: Medea (Huntington University); as Musical Director: Big River (Studio Tenn). Music Theater awards: For Son of a Gun : Georgia Bogardus Holof Lyricist award, Richard Rodgers Award Finalist. TV Music Credits: as songwriter/recording artist/producer (with Waterdeep): Private Practice , One Tree Hill , Sixteen and Pregnant . Songwriting Awards: ASCAP award for “Wicked Web,” “What Life Would Be Like, and “You Are So Good To Me”; Radio and Records Song of the Year Award for “You Are So Good To Me.” Don is married and in a band with his wife, Lori (waterdeep.com), has two children, and lives in Nashville, Tennessee. Lori Fischer is the “2008 New York University Harry Kondoleon Graduate Award in Playwriting” recipient and a 2008-09 Dramatists Guild Fellow. Recent Credits: 2014 Independent Vision Award Nominee for Outstanding achievement in Writing. Her musical The Sparkley Clean Funeral Singers produced at Capital Repertory Theatre summer 2013, Is This Heaven, Evan? by Lori Fischer, Don Chaffer and Lori Chaffer, produced in the BeSpoke Musicals Festival at The York Theatre Company, NYC. Petie by Lori Fischer produced at the Duke Energy Theatre by Starving Artist Productions, 2013. She is also the author of the critically acclaimed musical Barbara’s Blue Kitchen , which played Off-Broadway at The Lamb’s Theatre in 2006 and was published by Samuel French in 2007. Her work has been seen at the Kennedy Center American College Theatre Festival, the Stonestreet Film Festival, the RipFest Film Festival, Cincinnati Playhouse in the Park and The Adirondack Theatre Festival. Lori received her M.F.A. from the N.Y.U. Dramatic Writing Department in 2008. Film Credits: Lori’s short film Dottie’s Thanksgiving Pickle starring Olympia Dukakis, Nancy Opel and Joey Collins was recently featured in the Hollywood Shorts Festival and was an official selection for the New Jersey International Film Festival, the Garden State Film Festival, the Buffalo Niagara Film festival and the Long Island International Film Expo and the Appalachian International Film Festival. In 2010 her musical The Water Knows My Name was produced at Perry Mansfield Performing Arts Camp in Steamboat Springs, Colorado and her one-act The Burning was produced in the Midtown International Theatre Festival. In 2011, her play Thoughts of Rome was produced by the Georgetown Theatre Company in the Capitol Fringe Festival. Her feature film Chasing Taste was the Feature Comedy Award Winner at the 2014 Manhattan Film Festival as well as at the 2013 Burbank International Film Festival and an official selection at the Visionfest Film Festival. Lori is a 2014 IVA nominee for outstanding achievement in screenwriting. As an actress, Ms. Fischer created the Off-Broadway role of Barbara Jean in her show Barbara’s Blue Kitchen and Lee in the hit musical Cowgirls . She’s also performed at: SoHo Playhouse, Theatre for a New City, Dixon Place, E.S.T., The Old Globe Theatre, Berkshire Theatre Festival, Playmakers Rep. and the Eugene O’Neill Theater Center. Most recently, Lori performed the role of Junie in her musical The Sparkley Clean Funeral Singers at Capital Repertory Theatre, Bonnie in her play Petie at the Duke Energy Theatre, Elmadora in the musical Son of a Gun at the Beckett Theatre, NYC and Mindy in Eduardo Machado’s play Worship at Theater for the New City, NYC. She’s also appeared in the films Welcome to the World and Chasing Taste. A two-time All American in Track and Field, she has sung the National Anthem for the New York Yankees and the Cincinnati Reds. Currently, Lori teaches “Writing Great Characters” and “Getting into the Writing Habit” at NYU SCPS. For more information about Lori go to www.lorifischer.net Website Lori Fischer and Don Chaffer About the Artist Lori Fischer and Don Chaffer Other Works By Read Is This Heaven, Evan? Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

pourcho_return-1_feat.jpg Katheryn Pourcho, Return: Visions Of Zechariah 1-6 Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) "Vision Of The Horseman: Zechariah 1:7-17" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Vision Of A Man With A Measuring Line: Zechariah 2" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Vision Of A Golden Lampstand: Zechariah 4 Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Visions Of A Flying Scroll And Woman In A Basket: Zechariah 5" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “The Crown And The Temple: Zechariah 6:9-15" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “but, They Did Not Hear: Zechariah 1:4" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Visions Of Four Chariots: Zechariah 6-8” (Detail) Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Vision Of Four Horns And Craftsman: Zechariah 1:18-21" Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Vision Of Joshua High Priest” (Motif 1) Katheryn Pourcho,return: Visions Of Zechariah 1-6 (Detail) "Vision Of Four Chariots” (Motif 1) Katheryn Pourcho, Return: Visions Of Zechariah 1-6 (Detail) “Vision Of Joshua High Priest” (Motif 2) Katheryn Pourcho,return: Visions Of Zechariah 1-6 (Detail) "Vision Of Four Chariots” (Motif 2) Loading Video . . . This incredible work by artist Katheryn Pourcho incorporates medieval and current components of her faith tradition while responding in depth to the passage of Zechariah 1-6. Zechariah 1:1-6 Return: Visions of Zechariah 1-6 By Katheryn Pourcho Credits: Curated by: Laura Pittenger 2018 24 x 24 inches Wood, Ceramic, Oil, Acrylic, Graphite Sculptural Tapestry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link A memory of mine became 25 years old the day this illumination was due. I remember sitting in the back of the family mini-van at a Philips 66 when my ears were opened. In the mind of my five-year-old self, I understood that God was beckoning me to join Him, and I took my first step of faith. It has taken me years to understand the nature of the promise given to the little girl at the gas station. Reading through the visions of Zechariah did not simply reframe my understanding of my young admission of faith, it restructured my faith on God's covenantal love. "Return to me, says the LORD of hosts, and I will return to you, says the LORD of hosts" (Zechariah 1:3). What seemed at first to me to be a consumeristic bargain for obedience—"you do this, and I'll do that"—quickly dissolved as I entered into Zechariah's visions. Here I saw a God who was not only capable of keeping His side of the covenant with Israel's forefathers, but this God was also willing to take on the complete work of relational restoration. This inequitable promise simply called God's exiles to return home. I chose earthy textures as the backdrop to the fantastic imagery of Zechariah's visions. The ceramic tiles reflect on the cyclical condition of humanity ("But they did not hear," Zechariah 1:4). I used scaly texture to allude to the Fall accounted in Genesis . Zechariah's visions recorded in chapters 1-6 are depicted on the cut wood. I referenced motifs and color from Giotto's paintings in the Scrovegni Chapel (c. 1305). The four visions painted on circle woodcuts: "Vision of the Horseman, Zechariah 1:7-17," "Vision of a Man with a Measuring Line, Zechariah 2," "Vision of a Golden Lampstand: Zechariah 4," and "Visions of a Flying Scroll and Woman in a Basket, Zechariah 5." Both the "Vision of the Four Chariots, Zechariah 6:1-8" and "Vision of Joshua the High Priest, Zechariah 3" are featured on the border woodcuts. I formed four horns out of clay an placed them at each corner. These contain a dual meaning. As I reflected on the four horns cast down in Zechariah 1:18-21, I recalled the four horns placed on the corners of the altar of burnt offering in the tabernacle as a place of restoration. The final vision in chapter six is depicted on the square panel central to the composition. The vision points to a future priest-king who would set all things right between the returned exiles and the LORD. Here I depicted a crown with the seven-eyed stone symbolizing the removal of iniquity (Zechariah 3:8,9). I likened the silver of the crown to the Temple, and a tree rises out of the crown representing the Messianic King. In addition to referencing Giotto, I listened to Pastor Timothy Keller's sermons while working in my studio. These teachings, in particular, helped me process the radical call to return found in Zechariah: " A Covenant Relationship ," " How to Change ," " The Prodigal Sons ." The Bible Project 's video commentary on the book of Zechariah also aided my comprehension of the visions found in chapters 1-6. Spark Notes The Artist's Reflection Katheryn Pourcho is a visual artist and elementary art teacher based in Indianapolis, Indiana. She is an avid plein air painter and art history enthusiast. Her artistic influences range anywhere from Van Gogh and Giotto to the Beatles and Bach. She collaborates with artists at her church to create liturgical art, and is currently studying Theology and Art through Fuller Seminary. To view her work visit www.katherynpourcho.com Website Katheryn Pourcho About the Artist Katheryn Pourcho Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . From Psalm 93, folk singer/songwriter Kelley McRae explores the mercy of God in juxtaposition with the destruction we create. Psalms 93 Rising By Kelley McRae Credits: Composed and Written By Kelley McRae. 2016 Performed By Kelley McRae and Matt Castelein Curated by: Sarah Gregory 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I really love the language in Psalm 93 that 'the seas have lifted up their voice.' And it's clear from the different translations that it's a raging sea. It's a storm. The song obviously works in metaphor and (I hope) can be interpreted in different ways. But I mainly had in mind the storms we bring on ourselves and on our children. By what we have done and by what we have left undone. It's hard to see how we might find mercy for the destruction we cause. This song comes out of that struggle. Spark Notes The Artist's Reflection Kelley McRae called New York City home for many years, cutting her teeth in the vaunted singer/songwriter scene and honing her craft at legendary clubs like The Living Room, The Rockwood Music Hall and the Bowery Ballroom. In 2011 McRae teamed up with guitarist Matt Castelein , and the duo traded in their Brooklyn apartment for a VW camper van and hit the road full time. Kelley and Matt traveled extensively across America those first few years, performing hundreds of shows and finding inspiration for new songs along the way. The duo has since gone on to tour in eleven countries, including shows in London, Paris, Amsterdam, and Berlin. They’ve taken the stage at renowned venues such as The Bluebird Café in Nashville and The Green Note in London, and they’ve performed at festivals like Riverbend in Chattanooga,TN, Rhythm and Blooms in Knoxville, TN and the Kerrville Folk Festival where they were named New Folk Finalists. Kelley McRae’s latest release, The Wayside , is a testament to the inspiration inherent in the American landscape, the grief intrinsic to change, and the hope that comes with stepping onto unknown soil. The Wayside , McRae says, “is the place along the side of the road where things get left behind, or where you go to rest awhile, or where you go find something you lost along the way.” McRae’s songs sip life from the tension between holding on and letting go, blooming in their rich search for truths. Released in April, 2016, The Wayside debuted at #7 on the Euro-Americana charts and hit #4 on the Roots Music Reports Top 50 Contemporary Folk chart. It has continued to impress critics: Penguin Eggs Magazine calls Kelley’s voice ‘hauntingly beautiful, echoing the best of Gillian Welch’ and New York Music Daily calls the duo ‘the real deal.’ Folk Radio UK describes McRae as ‘evocative of the finest moments of Emmylou.’ Mike Penard of Radio France says, “With hundreds of new releases each year, there are maybe ten or twenty magical moments. The Wayside is one of those moments.” Website Kelley McRae About the Artist Kelley McRae Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Musician Lucas Kwong brings out an edgy approach to interpreting Jude 1:8-13 in his new work. Jude 1:8-13 Florid-A By Lucas Kwong Credits: Written and Composed By Lucas Kwong, 2017 Guitar/bass/vox by Lucas Kwong Drums by David Cornejo Mastered by Dan Coutant Curated by: Jonathon Roberts 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I wanted to see if I could write a song about false teachers that had a bit of joy in it – funk, really. Joy certainly seems to be the last thing on Jude’s mind, never mind funkiness. We don’t know what exactly these teachers were actually teaching, but we know Jude was mad about it. A few characteristics of their cheatin’ ways stood out as song fodder. They “rely on their dreams,” grandiose visions of the future that, apparently, authorize them to do whatever they want. After all, they alone carry the spark of spiritual greatness! With them alone can true justice be found, the sword sundering sheep from goat! But if you confront them with the violence and greed implicit in their words, suddenly they bat their eyes and do their best John Lennon impersonation: “ You may say I’m a dreamer, but I’m not the only one… ” (Not calling The Clever One a false teacher, although anyone who holds up “Imagine” as John’s best work is peddling heresy.) They’re just dreamers, you see. Can’t you let a fella dream in peace, and maybe make a few bucks in the process? They’re perfectionists. My wife and I are fans of Anne Lamott’s thoughts on the subject: “ Perfectionism is the voice of the oppressor, the enemy of the people. ” Perfectionism means thinking of oneself as artificial intelligence, cleansed of the messiness known as “human nature.” In this case, it’s not enough for these false teachers to be common recipients of grace. They have to be spiritual elites, insulated from the dreary business of learning from their mistakes like everyone else. Mistakes are for plebes. They resemble extreme weather. Roving clouds, wild waves, stars being sucked into cosmic whirlpools. Bring your rain jacket, is all Jude is saying. (This third feature inspired both the lyrics and the musical structure, which aspires to the unpredictability of climate chaos). Enterprising dreamers, spiritual one-percenters drunk on power, avatars of unthinking instinct: suddenly the false teachers don’t sound so ancient after all, nor do we moderns sound so immune to their charms. And yet the best remedy for Satanic wiles isn’t matching gloom for gloom, curse for curse (see archangel Michael’s example). As another flawed recipient of grace, Thomas More, said, “ The devil, the proud spirit, cannot endure to be mocked. ” If being under the thumb of a false teacher is a drag, getting out from that thumb must be a thrill. Writing this song, I couldn’t help but think of the thrill radiating from the music of the podcast Sinner’s Crossroads , a program devoted to the no-frills brilliance of bootleg gospel recordings from the mid-20th century onward. It seemed like the right idiom for calling out self-importance and pretension. As for the central metaphor, there’s a Biblical precedent of Israel using place names to rebuke oppressors, literally putting them in their place: Babylon , Tyre , Rome . For me, this converged with a storied tradition of breakup songs that substitute place names for ex-lovers: Georgia , Memphis , Los Angeles . I have nothing against Florida, but in light of its importance to one of my favorite short stories , its use here was basically inevitable. Get with the flaw! Spark Notes The Artist's Reflection Lucas Kwong is a literature professor and musician. When not grading papers and researching Victorian popular fiction, he writes songs and performs around Brooklyn as part of the garage-rock two piece THE BROTHER K MELEE ( www.brotherkmusic.com ). THE BROTHER K MELEE’s releases include the compilation Seek Assembly , the music videos for tracks “ The Brink ” and “ Vengeance ” (compiled from Prelinger Archive footage ), and the single “ Stranger From the Country ,” which was commissioned for Resurrection Park Slope’s 2017 Via Dolorosa exhibition. Lucas’ writing has been published in Religion and Literature , Victorian Literature and Culture , and on Image Journal ’s blog. He lives with his wife in Brooklyn. Website Lucas Kwong About the Artist Lucas Kwong Other Works By Read the lyrics to Florid-A . Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . We are pleased to feature images of three stunning pastels from a series by Nicora Gangi entitled Sound of Their Wings. These works were created to capture sounds from the book of Revelation, focusing specifically on Revelation 9:7-9. Revelation 9:7-9 Sound of Their Wings By Nicora Gangi Credits: Artist Location: New York City Curated by: Janna Aliese (Dyk) 2011 Pastel on Canvas Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link “My aim in this series of drawings was to capture sound. My reference for this idea came from the paintings by Diego Velázquez ‘Jesus with Martha and Mary’ and ‘Tavern Scene with Christ at Emmaus’. In these two paintings there is evidence of someone listening, in the background and in the foreground. “I wanted to experiment with capturing sound from the book of Revelation particularly Revelation 9:7-9. In this passage there is mention of the sound of locusts and the sound of the horses. Instead of using locusts I decided to use bees and a beetle. The bees represent diligence and faithful industry while the beetle crawling into the book (or on the fruit) represents evil, always eager to destroy the fruits (apple slices) of the righteous. It represents the silent enemy. “In the background of the still life is an engraving of an oil painting by Rosa Bonheur called ‘The Horse Fair’ to represent the sound of horses. The books of knowledge, stacked, opened as well as closed, represent God’s letters to us, the means for us to know God, along with the music and two musical instruments, which are the means for worshiping God. The white cloth, continually unrolled in this series, is like the white robe of our righteous LORD, which covers His people.” -Nicora Gangi Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Dance Your Truth from the Great Congregation Psalm 18 Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

don-nyugen-air4th_first-supper-seating-layouts.jpg Loading Video . . . Hi, this is my third post for my Artist in Residency project for Spark and Echo. To recap, I chose Luke 22:14-48, which covers The Last Supper because it’s the ultimate dinner party. I’m attempting to create a communal evening of theatre, food, improvisation, and game playing based on these selected passages. Find the complete progression of the work linked below. Luke 22:14-48 Artist in Residence 2015: Don Nguyen Part 3 By Don Nguyen Credits: Curated by: Spark+Echo Arts, Artist in Residence 2015 Theatre Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link September 28, 2015 Hi, this is my third post for my Artist in Residency project for Spark and Echo. To recap, I chose Luke 22:14-48, which covers The Last Supper because it’s the ultimate dinner party. I’m attempting to create a communal evening of theatre, food, improvisation, and game playing based on these selected passages. The biggest obstacle I’m running into now is fear. The fear of it not working. The fear of it not being interesting and illuminating. And because this is the first time I’ve ever created an interactive evening of theatre, my biggest fear is whether or not I’m doing this right. Just conceptualizing the evening has shown that there are many rabbit holes to go down. I’m not worried about going down a rabbit hole, but rather am I’m worried about not going down the best rabbit hole. But then I tell myself it’s okay. Accept that fear. Instead of debilitating me, I need to let it free me. Just like how I approach writing plays, I need to give myself permission to write/create that really bad first draft. Have faith in the unknown. In my last post, I looked at the string of events occurring in the last supper. I thought that was the key to making an enthralling evening of theatre based on this iconic event. But upon further exploration, I realize now that equally if not more important is character. This is somewhat embarrassing for me to admit, since as a playwright, I should know this by now. But oftentimes it’s easy to forget, especially when you’re dealing with the Bible, which is so well known and so epic in nature. But here I am, now realizing that we need to know who these twelve apostles are, and who they were. Before Jesus asked them to follow him, they were ordinary men. Men who were not perfect, and I find this really intriguing. Perhaps the evening is about getting to know them better? In the book TWELVE ORDINARY MEN by John MacCarthur, he explains these apostles as disciples who “spanned the political spectrum. One was a former Zealot – a radical determined to overthrow Roman rule. But another has been a tax collector-virtually a traitor to the Jewish nation and in collusion with Rome. At least four and possibly seven were fishermen and close friends from Capernaum, probably having known one another from childhood.” So, I’m just going let go of my fear and make some specific decisions, regardless if they work or not. So for the first time, I’m sharing the “script” of how the evening will work. You’re at your computer. You are making a reservation for “The Supper” an interactive evening of theatre and food. You submit your reservation. You immediately receive an email confirmation, which states that you need to bring one ingredient and that will serve as your ticket. When you arrive at the performance, you check in at the front desk with your ingredient. You will be given a drink (beer, wine, soda). You are then greeted with a “garden show” performed by the actors playing the apostles. This garden show can consist of anything: songs, dance, poetry, etc. After the garden show, you can/will mingle with the actors. The actors (he or she) will not be in character. They will not tell you which apostle they are playing. You will spend fifteen minutes mingling with as many actors as possible. Bread will be passed around the room. You will break off a piece. When all the bread is broken, the dinner will begin. You are seated around “the table” and mixed in with the apostles. The chef creates a secret menu for the evening. The chef assigns each guest one ingredient to bring and how much to bring. Any guests not assigned an ingredient brings some kind of dessert to share. Three specific prompts for dinner conversation will be given. For example “taxing the rich” One of the apostles will start the conversation based on this prompt, all while giving clues as to who the apostle is. For example, the actor playing Matthew might say “you know what people hate more than tax? The person who collects it from them. That was me. The most hated man in the world.” When the conversation has covered these three prompts, the apostles line up and the guests vote on which actor is playing which apostle. So how does it end? That’s a good question. That’s something I don’t know right now. What’s clear to me is that this is going to be an ongoing process of trying it out, experimenting, and iterating through revisions. I expect the participants, both our dinner guests and our actors will play a big hand in shaping this piece, so that’s what I’ll plan for next, an actual tryout of this loose script. My hope is that my fourth post will include video footage from that trial run as well as post performance discussion. Til next time! Spark Notes The Artist's Reflection Don Nguyen was born in Saigon, Vietnam, grew up in Nebraska, and now currently resides in New York City. As a playwright, Don has written several full-length plays including: SOUND, a sign language play which was a finalist for the O’Neill National Playwrights Conference and was previously developed at The Playwrights Realm. Don’s first full-length play RED FLAMBOYANT was developed at the Ojai Playwrights Conference and was both a finalist for the Bay Area Playwrights Festival as well as the O’Neill National Playwrights Conference. THE MAN FROM SAIGON has been developed at Naked Angels and was a NYSAF Founders Award recipient. THE COMMENCEMENT OF WILLIAM TAN was developed at New York Stage and Film and was a finalist for the Bay Area Playwrights Festival. Don was also recently one of 48 playwrights commissioned for The Flea Theater’s 5 1/2 hour epic production of The Mysteries, directed by Ed Iskander, which was a stage adaptation of the Bible. Don is a proud member of the Ma-Yi Writers Lab, a member of the inaugural Emerging Writers Group at the Public Theater in New York and served five years as artistic director for The Shelterbelt Theatre. Don is also a frequent volunteer for the 52nd Street Project. Website: thenuge.com Website Don Nguyen About the Artist Artist in Residence 2015: Don Nguyen Part 1 Artist in Residence 2015: Don Nguyen Part 2 Artist in Residence 2015: Don Nguyen My Million Spectacular Moments Don Nguyen Other Works By To follow the developmental process of Don's play read his first , second and final posts as a 2015 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work