Art, for a Change

Written by Elizabeth Parsons (City Magazine, Roanoke, VA)
Missy Warp’s “Turf War Art Show” at the Water Heater-A friend—who will remain unnamed—recently complained that, in her view, “this [is a] community [that] thinks of artists as people who make pretty things to buy and decorate your house with.” What we need, she argued, is “intellectual, relational” art; art that prods society, “its contradictions, its vulgarity, its beauty.” In other words, art that makes us think. Maybe even act.

Her plea evokes that timeless, and yes, prickly set of questions. What is art? What is its purpose? Should the artist create to please him or herself—making his internal world external, public be damned? Does the artist create to make “pretty” objects to coordinate with the carpet, to fill up space on a shelf, to impress others? Is art—like cars and clothes and furniture and other status-belying things—a commodity to collect?

Or should art be something that makes us look at the world with a fresh perspective? Should it be something that stirs the viewer—whether this “stirring” is revolutionary, or a gentle rippling of the consciousness’ surface?

There is no “right” answer to this question, as any overview of the decades-old debate will tell you. But it is no less an important one. And Missy Warp’s Turf War Art Show at the Water Heater in Old Southwest puts the artist squarely in the latter camp. As the local debate over various “development” issues grows more shrill—think the construction on 220, the planned renovations of the Market area—the Turf War Art Show, running May through June, is a timely one. It is made even more poignant when we consider the broader environmental debate that is seeping into every corner of our newspapers (and rightly so). Warp goes so far as to describe the tension between development and community/environmental preservation as a “war,” and the artist is not afraid to take a stand.

Turf War is an exploration of “the ways in which we are changing the setting in which we live.” Warp asks—no, demands—that we think about development issues from all their complex and challenging angles. Using a variety of sculptural mediums, and drawing on research provided by maps and articles both past and present, each piece in the collection is interactive—so that the viewer becomes a participant in altering Warp’s representational “landscapes.”

In what she describes as the most labor intensive piece, for example, Warp created what appears to be a giant Rubik’s Cube, upon which

…There are 17 different paintings comprised of 9 sections each… All of the outer squares of this box portray scenes of the parkway that are untouched by development. As the boxes are pulled apart, the scenes inside reveal bare houses on a hillside near mile marker 125, a torn hillside at mile marker 121, the ironies of the “scenic view” near mile marker 110.

In another, Warp examines the hastening development of Smith Mountain Lake. The loss of community and the weakening of connections between its members is another theme explored.

By directly involving her audience, Warp hopes that “they will gain a sense of the power we have over land, and the consequences we face in ignoring the environment.”

Yet the artist is no starry-eyed idealist. She recognizes that “growth is inevitable,” and that many well-conceived development projects have merit. She believes, however, that unchecked and irresponsible development can—and has—created an ever widening spiritual and planetary wound. “Rather than building smaller and blending with the land, we alter the landscape’s original form and take away the elements that make it distinct,” she observes. “Old farms transform into new developments with names that reflect what is no longer: Greenfield Street, Pheasants Ridge, and Valley Stream Drive. We are stretching cities out further into the country, building neighborhoods that consist solely of houses, leaving us completely dependent upon driving elsewhere for our needs. We threaten the borders of one of the region’s most distinct National Parks, so that we have the very best views. We destroy the land we once relied upon for food and build upon it, causing us to search for alternatives that must be driven to our supermarkets from afar.”

Answering my friend’s plea for thought-provoking, significant art, Warp hopes her show will make people consider “smarter growth choices…and the larger effects of the sprawl of development.” To observe the Turf War from the front lines, call 540.985.3142 to make an appointment, or drop by the Water Heater at 813 5th Street in Old Southwest from May 4th through June 5th.

Missy Warp is an art teacher at North Cross School, and a candidate for a Masters degree in Liberal Arts from Hollins University. To contact the artist, email melissawarp@hotmail.com or call 540.985.3142. Visit the Water Heater in cyberspace at http://thewaterheater.blogspot.comwaterheater.blogspot.com, or drop by for a “live” visit at 813 5th Street in Old Southwest Roanoke (it is best to call Warp first to schedule an appointment). Join the artist and friends for an opening reception Friday, May 4th, from 8 to 10 pm, complete with food, music, interactive installations, and other surprises.

Fundraiser for 'A Gift for the Village' project on Sunday May 13.

The Water Heater is hosting a fundraiser for “A Gift for the Village” project, Sunday May 13. Read below to find out more...

This is a project inspired by the connections made between Blacksburg painter and Virginia Tech faculty member Jane Vance, her friend Jenna Swann, Roanoke film maker Tom Landon, and a Buddhist lama from a remote village in the mountains of Nepal named Amchi Tsampa Ngawang Lama.

Tsampa and Jane are long-time friends, and in 2001 Jane and Jenna traveled to India and Nepal and spent time trekking in Nepal with Tsampa. Jenna was traveling as the first winner of the McGlothlin Award for Teaching Excellence, an annual $25,000 prize given to school teachers in our region by the McGlothlin Foundation of Bristol, VA and administered by our local public television station.

Upon their return Jane and Jenna teamed up with Landon, a television producer, to create the award-winning documentary, “Into Nepal.” Also around that time, Jane began collaborating with Tsampa and was asked to paint his likeness and tell his family history. The result is a huge, beautiful painting, called “Amchi,” whose destiny is to hang in a monastery in a place of honor in Jomsom, Tsampa’s village, where a special room is being built for it. This project has received the blessing of His Holiness the Dalai Lama.

Our team of seven trekkers from the Roanoke and New River Valleys includes Vance, Swann, Landon, photographer Sherrie Austin, guide Jason Swann, teacher Reba Hoffman, and Unity Minister Diane Scribner Clevenger. We’ll be departing on June 15 and carrying the painting to Jomsom and producing a documentary about the project. Before we go, we’d like to give as many people as possible the chance to see this amazing painting, and to ask for financial support for our project. The last chance to see this painting in Virginia will happen on May 13 at an event hosted by Frances and Lee West at the Water Heater gallery in Roanoke. If you don’t come, you’ll have to trek to Nepal to see “Amchi.” Even if you can’t support the project, we hope you’ll come and be a part of our journey. To see the painting and to find out more, go to our website at www.agiftforthevillage.com.

written by Tom Landon

Turf War, An Art Installation based on The Development of Land

Turf War, Statement of Purpose by Melissa Warp

On a recent bike ride along the Blue Ridge Parkway I looked out at newly built houses stacked upon each other, thinly veiled by skeletons of trees, butting up close to the national park boundary. I thought about the ways in which we are changing the setting in which we live. On each ride, I’d study my surroundings: the farms and old houses, the open fields and meandering rivers, the mountains I know by name. In the six years I have lived in this region, many such natural features that make this area distinct have been altered.

Rather than building smaller and blending with the land, we alter the landscape’s original form and take away the elements that make it distinct. We cut directly into the side of the mountain, or plow through old farm fields, remove all natural vegetation, lay down a carpet of foreign turf (which holds promise of pesticide saturation), and build. Old farms
transform into new developments with names that reflect what is no longer: Greenfield Street, Pheasants Ridge, and Valley Stream Drive. We are stretching cities out further into the country, building neighborhoods that consist solely of houses, leaving us completely dependent upon driving elsewhere for our needs. We threaten the borders of one of the region’s most
distinct National Parks, so that we have the very best views. We destroy the land we one relied upon for food and build upon it, causing us to search for alternatives that must be driven to our supermarkets from afar. Our garages have become half the size of our homes and store all the devices we use to "attack" our surroundings: leaf blowers, weed whackers, riding lawn mowers, and hedge trimmers. Superstores are built and we support them rather than our local businesses, which are left to stand vacant.

While visiting friends in Mexico I became aware of the many aspects of the country that, by our standards in the United States, might be considered poor. Yet despite such differences their communities are rich. San Luis Potosi is a city of one million residents, yet it was composed of what seemed to be distinct villages. Not only are most of their amenities within
walking distance, they know all the business owners near to their homes. More than simply going through the motions of a transaction, they connect. Perhaps through this, they have a deeper link with their community than many of us do in the United States. I noticed a great number of Mexicans commuting by bike, working close to home, or in their home. Whole families could be found working at businesses and eating and playing together. In many new suburban neighborhoods in the United States, many of these aforementioned aspects seem to be missing. When a neighborhood is built that lacks the elements to support a community, we lose touch with each other. We are not having the important conversations about what truly matters in life.

Each piece in this project is based on the theme of development. Because I felt images would have more impact, I wanted to produce artwork that helps reveal our changing landscape. And, more importantly, a majority of the pieces in the show are interactive, so that viewers become participants in altering landscapes. By directly involving the viewer, my hope is that they
will gain a sense of the power we have over land, and the consequences we face in ignoring the environment. While growth is inevitable and even encouraged in many parts of the world, I feel my role is to present images and text that will lead people to make smarter growth choices, and to think about the larger effects of the sprawl of development.

Finally

Hello Everyone!
Although The Water Heater has been hibernating for the winter, (well we have had a couple of projects in the window) spring is here . But stay tuned, we have a wonderful exhibit scheduled for May 4-June 5. Details to come...

The Bohemian Index

The Bohemian Index (which measures the number of writers, designers, musicians, actors, painters, sculptors, photographers, and dancers in a city) turns out to be an amazingly strong predictor of everything from a region's high technology base to its overall population and econoic growth. -The Charlotte Street Foundation

new window installation, pilates class and more

Electron Yellow be gone...we have now installed a new window for your interacting pleasure, it's study in black and white. Pictures are coming soon.

This new work is titled 'ON'!!

Virtual Pilates continues in Tuesdays thru November minus the week of Thanksgiving. (scroll down for info on Pilates) My virtual abs and gludius minimus and maximus are still reminding me of last night's class.

Anyway keep posted for virtual news about the happenings at the water heater. Things may be a little slow through the holidays, but will pick back up in january.

The holidays are a time for reflection and enjoying friends and family and those closest to you.

Holiday Tip #1.
Ignore all of the commercial bullshit, it is a type of slavery. Create your own holiday tradition and include what makes you happy. Otherwise you will go crazy and hate everything.

Visual Installation in Progress

Inspired by Electron Yellow, the folks at The (Virtual) Water Heater are in the process of installing a visual work in their window space. Drive or walk by and see what you think. So far it dramatically changes the landscape of the block on 5th Street between Elm and Mountain Avenue, (known for its crack dealing, prostitution, and drive by sex solicitation).

Modern Dance Class at The Water Heater

Lisa Thomas will be teaching an intermediate/advanced level Horton-based modern technique with an emphasis on strength building, line and energy work. A basic knowledge of ballet or any modern style is helpful but not necessary. Open to adults.

Class Dates: Saturday 3:00-4:30, October 7, 14, 21, and 28.
Cost per Class is $12.

Lisa Thomas is on faculty at the Virginia School of the Arts where she teaches Horton-based Modern, Jazz, Improvisation, Body Conditioning, and Yoga. In 2002 she innovated original solo works with the multi-media production OmniCircus lead by Frank Garvey, in San Francisco, CA. Before returning to her home state of Virginia in 2002 she taught Dance to public school children in New York City for Jacques d’Amboise’s National Dance Institute. She performed her Kathakali Arangetam in Kerala, India in 2000. Thomas enjoys sharing her love of dance with other cultures, she has studied not only Indian but African, Chilean and American dance forms as well. She has been a Master Teacher at the Governor’s School for the Arts in Norfolk, VA, Radford University, Old Dominion University, Sweetbriar College, Roanoke Ballet Theatre as well as the Regional High School Dance Festivals in Baltimore, MD. Ms. Thomas was a principal dancer with the Cleo Parker Robinson Dance Ensemble of Denver, CO for 5 years where she had the honor of working with such legends as, Katherine Dunham, Talley Beatty, Donald McKayle, Milton Myers, David Rousseve, Ron K. Brown and Dianne McIntyre. She holds a BA in Dance from the University of Colorado, Boulder.

Pilates at The Water Heater

Susan Honer will be teaching Pilates at the Water Heater Tuesdays, October 10, 17, and 24.

Class time is 6-7pm. Cost per Class is $10.

Susan Honer graduated from Hollins University in 2004 with a BA in Dance and English. She is a certified instructor of the Pilates Mat Technique through PhysicalMind Institute. She is currently an associate instructor for the Pilates machines. Susan has over 10 years of experience with Pilates Mat and Machine work. She began her training with Karen Waldron (The Center at Walnut Grove) and has also studied at Sal Anthony’s Movement Salon (New York City). She currently teaches Pilates at Roanoke College (adjunct faculty), The Post School Of Ballet, The Yoga Center, and The Kirk Family YMCA.

PILATES INFO.
Pilates emphasizes body awareness, stability, finding our “core”, and alignment. It helps improve posture and strengthens the back and abdominal muscles. Breath is used to initiate movement and as an aid in centering. Pilates began as a rehabilitative exercise and continues to serve that purpose. This class is appropriate for all levels.