The Witching Hour

Here’s the URL for my latest exhibit:

Here’s a PDF of a review that a friendly viewer posted on her blog: Lillian Trettin_art_Witches Wild Things review

(please hit the “back” button after viewing PDF)

And here’s how it came about: in April, my husband Carl helped me load 25 pieces of artwork into the car, after first consolidating them in Jonas Ridge, North Carolina, and helping with repairs needed after the first transport from South Carolina to North Carolina.

Carl drove “us” (me and my art) to Abingdon, Virginia, and helped me curate a show at the William King Museum of Art. This entailed getting all 25 pieces into the exhibit space, arranging them, sleeping on it, arranging them again, hanging them and then hanging around for the reception and chit chat on opening night.

5. hanging pix


7. exhibit reception


8. me in exhibit


A month later, we are getting ready to go do the reverse procedure. To sweeten the pot, Carl has first staged a weekend climbing event in Jonas Ridge, North Carolina, for a group of 10 guys and one gal, ranging in age from twelve to sixty.

This exhibit was a wonderful opportunity for any “emerging artist” (that’s what you’re called if you are a newbie), but also a lot of work and not a direct source of revenue. I have one more show of my own work this Fall in Charleston, then I plan to do a disappearing act and participate only occasionally in exhibits and events that others plan.

In the meantime, I’ll continue to follow exhibits and events at the Hickory Art Museum and the William King Museum of Art,two regional art museums I’m proud to have been associated with in 2015 and 2016.  Both are worth a visit at any time. And in Abingdon, be sure to try fresh roasted coffee  at  Zazzy, a business that supports the arts.  Here’s Eric Drummond Smith hanging a show at Zazzy at the same time that I was in town.

Eric Drummond Smith_artwork

Eric Drummond Smith hanging artwork

Eric Drummond Smith_art work

art by Eric Drummond Smith

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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