Summer Time

“Tales Transposed, a Celebration of Imagination” showed in Charleston until July 1.

In late June, I enjoyed giving an artist’s talk on cut-paper collage as a method for interpreting the fiction of Flannery O’Connor.  Assisting with the public education program at the Halsey Institute of Contemporary Art (College of Charleston) has given me great experience talking with all kinds of people.

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Now I’m getting back to some ongoing projects.  Here’s the next stage of the collage that’s part of a series I’m calling “Witches and Wild Things.”  The animals need more definition–the panther’s actually protecting the woman from the porcupine–but this one’s close to being done.

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And I hope to start practicing screen printing again.  To do this I rent space at Redux Studios in downtown Charleston.  Here’s an example; it’s a version of an image in my novel “The Obidian Interval.”

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Redux Studios, a contemporary art space in Charleston with studios,  gallery space, and print workshop, is a wonderful community resource.  Artists are commissioned to paint murals on the side of this former warehouse from time to time.  Check out “Sugarboy Press” for more art like the current mural (photo below).  Then check out the vintage 240 Volvos parked side by side at Redux.  Artists and outdoors people covet these tanks because you can cram so much into the back.  The one next to mine belongs to Austin Grace Smith. Check out her work and that of some other great artists at:

http://reduxstudios.org/studios/current-studio-artists/

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About Lillian-Trettin

I grew up in the Appalachian "Bible Belt" of East Tennessee in the southern United States, listening to banjo music and gospel lyrics as well as the Beatles. As a kid, I was curious about religious rituals like speaking in tongues and snake handling but resistant to the fundamentalist thinking they involved. Flannery O'Connor's tales of religious fanatics, con men, bigots, and the spiritually bereft or ambivalent resonate for me. Despite having traveled widely and lived in other places, I am (as so many Southerners claim to be) permanently "South haunted." I returned to making art full time in 2011, following a career as a teacher, researcher, and consultant and after raising two sons. I’m convinced the delay enriched rather than impeded my growth as an artist.
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One Response to Summer Time

  1. Beth Hannabass says:

    Great to see your new work. Keep posting.

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