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A Fluid Life: Dana Oltman Goes With the Flow

August 3, 2018 1 comment

A Fluid Life

Dana Oltman Goes With the Flow

Originally published in November-December 2017 issue of Omaha Encounter magazine

Story by Leo Adam Biga

Photography by Bill Sitzmann

 

 

 

 

Fluid.

That’s how digital graphic designer and fine art painter Dana Oltman describes her aesthetic.

As art director for Identity Marketing Group (she was previously at Rebel Interactive) she fulfills client project wishes. She says her branding design work consistently features “minimal, simple, clean” looks that, well, flow.

“Fluid is what I love,” she says. “Fluid is where I’m at now.”

Her abstract expressionistic fine art, especially her poured art work, is all about the swirls and natural organic fades of liquid flows.

“Most of the paints I use are acrylics,” she says. “which have as their base water, and so they’re very fluid.”

She invariably listens to music when painting in order to activate or induce that state of flow.

“What I do is based on whatever mood I’m in,” she says. “While design is very rigid—I like to have a plan and justify everything I do—painting is exactly the opposite. I like to work with the medium, just pick a paint, pick some colors, and basically put it on a surface and see what it does. It’s very much working with my medium to get random results, trying to affect it minimally as I go, letting gravity and fluid dynamics do the rest. It’s all very in the moment.”

If she does manipulate the image, she says, it’s for texture, and in those cases she may apply etching materials, resin, linoleum carvers, and even a culinary blow torch.

The images she creates on masonry board or wood panels and, occasionally, on canvas are often expressions of things found in nature–everything from nebulas in outer space to severe storm skies.

Her favorite skies appear after a storm at sunset. “The clouds are stacking up to the east after they’ve already moved through and the sun is shining from the west and you have orange, yellow, purple, red—which is my favorite color palette,” she says.

Her natural hair color is red, and she often sports highlights in different shades from her favorite palette.

In August, she drove to Beatrice, Nebraska, to catch the total solar eclipse, and she knows it’s only a matter of time before it shows up in one of her paintings.

Music is another source of inspiration for Oltman, 26, who loves going to local live shows and festivals.

Occasionally, her work is featured at local concerts and entertainment events. She did a live painting of a musician at an Omaha Entertainment and Arts Awards showcase.

She’s also taken on art projects for local bands, including an album cover for The Big Deep.

Some of her paintings can be seen at Curb Appeal Salon & Spa in the Old Market. A broad sampling of her work is available on her website, danaoltman.com.

Additionally, she draws and makes photographs, which she shares on her Instagram page.

Other influences and inspirations range from high fashion to poetry. She did a multi-week study abroad in Japan learning that country’s visual culture. The Japan immersion naturally showed up in her work, and she intends returning one day.

She’s also a Francophile who’s visited Quebec, Canada, and France. She expects taking ever deeper dives into French culture and returning to France—the home base for her favorite art movement: Impressionism.

Oltman grew up in Bennington, Nebraska, and graduated with a fine arts degree from the University of Nebraska-Lincoln. She draws a clear distinction between graphic design and art activities. She loves both, but one’s her job and the other’s purely for pleasure. She likes the balance of producing on a schedule as part of an office team and creating art alone when she feels like it.

“Since I don’t have art hooked to a vocation, it’s in my court totally. I don’t have to rely on anyone,” she says. “If I don’t want to make stuff, I don’t make stuff. If I do, I do. It’s just totally free.”

On the design side, she’s finding her most satisfaction working on websites.

“It”s such an advancing field,” she says. “Websites are so versatile, and you can do so many things. And it’s just so nuanced. It’s a really pretty time for web design.”

Motion graphics and animation are two new areas she’s learning fast. Coding is another.

“I enjoy learning new things,” she says.
“I’m a learner.”

Oltman enjoys the meet-ups that the local American Institute of Graphic Arts chapter puts on, including BarCamp.

She also stays connected to the design community via social media.

As a self-identified millennial, she admits, “I definitely fit the label in respect to being super connected online, being liberal, wanting a meaningful career that isn’t too constricting and gives me creative output, focusing on experience over material things in life, etc.”

A couple years ago when legalizing same-sex marriage was struck down in Nebraska, Oltman made a graphic of the Husker “N” with the Human Rights Campaign logo imposed in it. “I’m for causes that focus on equal human rights,”
she says.

At UNL she was one of several art students who created a mural portrait of George Flippin, the first African-American athlete of note at the university. The mural adorns the campus multicultural center.

When not doing pro bono work for things she believes in, she donates to the American Civil Liberties Union and to disaster relief funds.

In whatever she does, she follows her passion. Her personal credo-tagline says it all:

“Doin’ me a life.”

This article appears in the November/December 2017 issue of Encounter.

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North Omaha Summer Arts (NOSA) presents: An Arts Crawl 7


North Omaha Summer Arts (NOSA) presents:

An Arts Crawl 7

Friday, August 10

6 to 9 p.m.

Join us for the 7th Arts Crawl

Take a stroll or drive from Metropolitan Community College Fort Omaha campus down North 30th Street, ending at Trinity Lutheran Church, to experience beautiful art and great food by North O visual, performing and culinary artists.

A free event.

 

 

An Arts Crawl reception kicks things off at the

Washington Branch Library, 2888 Ames Avenue, from 5:30 to 6:30 p.m.

All other locations open 6 to 9 p.m.

Arts Crawl route Begins at–

MCC at Fort Omaha

Mule Barn (Building #21)

Church of the Resurrection

3004 Belvedere Blvd. (just northwest of 30th and Kansas)

Nelson Mandela School

6316 North 30th Street

Ends at–

Trinity Lutheran Church

6340 North 30th Street

For more info (artists and patrons), call Pamela Jo Berry at 402-445-4666

 

North Omaha Summer Arts presents: Art and Gardening – Saturday, July 7


North Omaha Summer Arts presents: 

Art and Gardening

Join facilitator Cheri Oelke for a day of planting flowers and painting clay pots.

Saturday, July 7 @ Florence Branch Library

10:30 a.m. – 1 p.m.

Free

No art experience necessary

 

Harvesting food and friends at Florence Mill Farmers Market, where agriculture, history and art meet

June 6, 2018 1 comment

 

Harvesting food and friends at Florence Mill Farmers Market, where agriculture, history and art meet

©by Leo Adam Biga, Originally published in the Summer 2018 issue of Food & Spirits Magazine (http://fsmomaha.com)

The Mill Lady is hard to miss at the Florence Mill Farmers Market on summer Sundays. She’s the beaming, bespectacled woman wearing the straw hat adorned by sprays of plastic fruit and vegetables.

Market vendors include local farmers, urban ag growers, gardeners and food truck purveyors. It’s been going strong since 2009 thanks to Linda Meigs, aka The Mill Lady. As director of the historic mill, located at 9102 North 30th Street, she’s transformed a derelict site into a National Register of Historic Places cultural attraction “connecting agriculture, history and art.”

She “wears” many hats beyond the fun one. As market manager, she books vendors. She organizes exhibits at the Art Loft Gallery on the mill’s top floor. She curates the history museum on the main level. She schedules and hosts special events. She writes grants to fund operations. Supervising the mid-19th century structure’s maintenance and repairs is a job in itself.

 

 

 

Ever since she and her late husband John acquired the abandoned mill in 1997. Meigs has been its face and heart. An artist by nature and trade, she also has an abiding appreciation for history.

“Omaha would be such a beautiful city with some of the architecture we’ve torn down. This is not the most beautiful architecture in Omaha, but it is the oldest historic business site and the only still-standing building in the state that bridges the historic eras of the overland pioneer trails of the 1840s with the territorial settlement of the 1850s. That’s a very small niche – but what a cool one. And it has this Mormon heritage and connection to Brigham Young, who supervised its construction.”

It took her awhile to arrive at the ag-history-art combo she now brands it with.

“I had very vague, artsy ideas about what to do. But that first summer (1998) I was in here just cleaning, which was the first thing that needed to be done, and I had a thousand visitors and the building wasn’t even open. A thousand people found their way here and they were all coming to see those 1846 Mormon hand-hewed timbers

“It was like those timbers told me it needed to be open as an historic site after that experience.. This is my 20th summer with the mill.”

She made the guts of the mill into the Winter Quarters Mill Museum with intact original equipment and period tools on view. Interpretive displays present in words and images the site’s history, including the western-bound  pioneers who built it. She converted the top floor into the ArtLoft Gallery that shows work by local-regional artists. Then she added the farmers market.

“It was not really until after it happened I realized what I had. Then I could stand back and appreciate the integrity of it. I felt like it was a natural fit for that building because it was an ag industrial site and an historic site. The pioneer trails is certainly a significant historical  passage of our country.

“Then, too, I’m an artist and a foodie. I think supporting local is good for both personal health and for conservation of resources. It promotes individual health and the health of the local farm economy. It has less impact on the environment with trucking when you bring things in from close by as opposed to far away.

“I’m into fresh, locally-produced food. In the summer I pretty much live on local vegetables. I am a gardener myself and i do support my farmers market folks, too.”

Farmers markets are ubiquitous today in the metro. Hers owns the distinction of being the farthest north within the city limits. It proved popular from the jump.

“That first farmers market started with six vendors. Hundreds of people showed. It was a crush of people for those vendors. And then every week that summer the number of vendors increased. I think we ended up with about 40 vendors. I was pleased.

“Really, 30 is about the perfect number. It’s the most manageable with the space I have. I’m not trying to compete with the maddening crowd market.”

 

 

Finding the right mix is a challenge.

“You want to have enough variety to choose from, but you also have to have the customers that will support those vendors or they wont come back. If the community doesn’t support it, it’s hard to keep it going.”

Other markets may have more vendors, but few can match her setting.

“This one is quite unique. It’s in a field. It’s inside and    outside an historic ag building. And it feels like an authentic place for a market.”

She cultivates an intimate, upbeat atmosphere.

“It’s like a country fair. I have live music. Dale Thornton’s always there with his country soft pop ballads in the morning. The afternoon varies from a group called Ring of Flutes to old-time country bluegrass circle jams. Second Sundays is kind of a surprise. One time I had harpists show up. Lutist Kenneth Be has played here several times. I’ve had dueling banjos. Just whatever.”

A massage therapist is usually there plying her healing art. Livestock handlers variously bring in lamas, ponies and chickens for petting-feeding.

A main attraction for many vendors is Meigs.

“Oh, she’s beautiful. Nice lady, yeah,” said Lawrence Gatewood, who has the market cornered with barbecue with his T.L.C. Down Home Food stall.

Jared Uecker, owner of O’tille Pork and Pantry, said, “Linda’s exceptional to work with and really cares about the market and its vendors. She’s passionate about local food and is a frequent customer of ours.”

Jim and Sylvia Thomas of Thomas Farms in Decatur, Nebraska are among the produce vendors who’ve been there from near the start and they’re not going anywhere as long as Meigs is around.

“Everybody loves Linda. She’s what makes it,” Jim Thomas said. “She’s really doing a good job and she’s pretty much doing it for free. I mean, we pay her a little stall fee but for what we get its a deal.”

“Jim and Sylvia Thomas came in the middle of that first season and they’ve come back every year,” Meigs said.

“We kind of grew along with it,” Thomas said. “It’s a really nice friendly little market. We’re also down at the Haymarket in Lincoln, but it’s touristy, This (Florence Mill) is more of a real, live food market.”

Thomas is the third-generation operator of his family farm but now that he and his wife are nearing retirement they’re backing off full-scale farming “to do more of this.” “I like the interchange with the people. I guess you’d say its our social because out in the boondocks you never see anybody. The thing about Florence is that you get everybody. It’s really varied.”

That variation extends to fellow vendors, including Mai Thao and her husband. The immigrants from Thailand grow exquisite vegetables and herbs

“They came towards end of the first season and they’ve always been there since,” Meigs said.

Then there’s Gatewood’s “down home” Mississippi-style barbecue. He learned to cook from his mother. He makes his own sausage and head-cheese. He grows and cooks some mean collard greens.

Gatewood said, “I make my own everything.”

“I call him “Sir Lawrence,” Meigs said. “He’s come for the last three years. He smokes his meats and beans right there. He grills corn on the cob.”

Gatewood gets his grill and smoker going early in the morning. By lunchtime, the sweet, smokey aroma is hard for public patrons and fellow vendors to resist.

“He’s a real character and he puts out a real good product,” said Thomas.

Kesa Kenny, chef-owner of Finicky Frank’s Cafe, “does tailgate food at the market,” said Meigs. “She goes around and buys vegetables from the vendors and then makes things right on the spot. She makes her own salsa and guacamole and things. You never know what she’s going to make or bring. She’s very creative.”

Kenny’s sampler market dishes have also included a fresh radish salad, a roasted vegetable stock topped, pho-style, with chopped fresh vegetables, and a creamy butter bean spread. She said she wants people “to see how simple it is” to create scrumptious, nutritious dishes from familiar, fresh ingredients on hand.

“From a farmers market you could eat all summer long for pennies,” Kenny said.

More than a vendor, Kenny’s a buyer.

“She’s very supportive,” Meigs said. “For years, she’s bought her vegetables for her restaurant from the market.”

“It’s so wonderful to have that available,” Kenny said.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Meigs said that Kenny embodies the market’s sense of community.

“She comes down to the market and does this cooking without advertising her own restaurant. I told her, ‘You need to tell people you’re Kesa of Finicky Franks,’ and she said, ‘No, I’m not doing this to advertise my restaurant, I’m doing this to support the market and to be part of the fun.’ That’s a pretty unique attitude.”

“Kesa’s also an artist. She I knew each other back at the Artists Cooperative Gallery in the Old Market. She quit to open a cafe-coffee shop and I quit to do an art project and then got the mill instead. It’s funny that we have reconnected in Florence.”

Jim Thomas likes that the market coincides with exhibits at the ArtLoft Gallery, which he said provides exposure to the art scene he and his wife otherwise don’t get.

“I really enjoy the artsy people and the crafts people. They’re so creative. I guess what I’m saying is for us it isn’t about the food as much as it is about the people.”

Being part of a site with such a rich past as a jumping off point to the West is neat, too.

“That’s some big history,” said Thomas.

He added that the variety and camaraderie keep them coming back. “It’s really diverse and we’ve developed a lot of friendships down there.”

“It’s a great mingling of different nationalities and cultures.” Sylvia Thomas confirmed. “All the vendors help each other out, which is very unique. At a lot of markets, they don’t do that. Here, if you don’t have something that someone’s looking for, we’ll refer you to who has it. After you’ve been there long enough like we have, vendors and customers become kind of a family. Our regular customers introduce us to their kids and grandkids and keep us posted on what’s going on, and they ask how our family’s doing.

“We kind of intertwine each other.”

The couple traditionally occupy the market’s northeast corner, where gregarious Jim Thomas holds court.

“Linda (Meigs) tells us, ‘You’re our welcoming committee.’ It’s very fun, we enjoy it a lot,” Sylvia Thomas said.

Lawrence Gatewood echoes the family-community vibe found there.

“It’s real nice there. Wonderful people.”

Even though business isn’t always brisk, Gatewood’s found a sweet spot on the market’s southeast side.

“Not every Sunday’s good, but I still like being out there mingling with the people.”

But food, not frivolity, is what most patrons are after.

“Our big deal in the summer is peppers and tomatoes,” Jim Thomas said. “We also have onions,p ottos,  cucumbers, eggplants. We do sweet corn but sweet corn is really secondary. Early this year, if we get lucky, we might have some morels down there. Morels sell like crazy. We can sell just as many as we’ve got.”

In the fall, Thomas pumpkins rule.

The veggies and herbs that Mai Thao features at her family stall pop with color. There are variously green beans, peas, bok choy, radishes, fingerling potatoes, cucumbers, kale, cilantro and basil.

Makers of pies, cakes and other sweets are also frequent vendors at the market.

The farmers market is not the only way the mill intersects with food. Meigs has found a kindred spirit in No More Empty Pots (NMEP) head Nancy Williams, whose nonprofit’s Food Hub is mere blocks away.

“We both have an interest in food and health,” Meigs said as it relates to creating sustainable food system solutions. “Nancy is also into cultivating entrepreneurs and I guess I am too in a way.”

Jared Uecker found the market “a wonderful starting point” for his start-up O’tillie Pork & Pantry last year.

“It was the perfect home for us to begin selling our meat products. I really enjoyed its small-size, especially for businesses new to the market such as ourselves. It gave us a great opportunity to have a consistent spot to showcase our products and bring in revenue for the business. I particularly enjoyed the small-town family feel to it. It’s filled with really great local people using it for their weekly shopping as opposed to some other bigger markets which can feel more like people are there more to browse.”

The mill and NMEP have organized Blues and Barbecue Harvest Party joint fundraisers at the mill.

Meigs has welcomed other events involving food there.

“I’ve hosted a lot of different things. Every year is kind of different. In 2014 the mill was the setting for a Great Plains Theatre Conference PlayFest performance of Wood Music. The piece immersed the audience in reenactments of the mill’s early history, complete with actors in costume and atmospheric lighting. A traditional hoedown, complete with good eats and live bluegrass music, followed the play.

Kesa Kenny catered a lunch there featuring Darrell Draper in-character as Teddy Roosevelt. A group held an herb festival at the mill. Another year, crates of Colorado peaches starred.

“I occasionally do flour sack lunches for bus tour groups that come,” Meigs said. “I make flour sacks and stuff them with grain sampler sandwiches that I have made to my specifications by one of the local restaurants. It’s like an old-fashioned picnic lunch we have on the hay bales in the Faribanks Scale.”

The mill is part of the North Omaha Hills Pottery Tour the first full weekend of October each year. The Czech Notre Dame sisters hold a homemade kolache sale there that weekend.

Visit http://www.theflorencemill.org.

Read more of Leo Adam Biga’s work at https://leoadambiga.com.

 

 

Sculptor Benjamin Victor gives shape to Ponca Chief Standing Bear’s enduring voice

May 1, 2018 1 comment

Sculptor Benjamin Victor gives shape to Ponca Chief Standing Bear’s enduring voice

 

©Story by Leo Adam Biga

©Photography by Sarah Lemke

Appearing in the May’June 2018 issue of Omaha Magazine (http://omahamagazine.com)

 

In creating the larger-than-life likeness of Chief Standing Bear for the Nebraska state capitol’s Centennial Mall, sculptor Benjamin Victor felt communion with the late Native American icon. Victor was “captivated” by the principled ways of the Ponca leader, whose eloquent advocacy for his people led to a historic federal court ruling at Fort Omaha that declared the nation’s indigenous peoples to be legally “human” for the first time on May 12, 1879.

“He was a true servant-leader,” Victor says of his subject. “The things he wanted were very basic, inalienable human rights everyone should be afforded. He carried himself with dignity even through demeaning treatment. He had a higher moral code of ethics during a time when the laws were not moral. He had the courage to stand up for right through many injustices.”

Based in Idaho, the Boise State University professor and resident artist felt connected to Standing Bear through every stage of his artistic process—from preparatory research into the famous Nebraskan, through molding his clay form, to casting the Ponca leader in bronze.

“His story and spirit definitely were speaking to me,” Victor says. “As an artist, you try to get that voice through your artwork to speak to viewers who see it. I felt humbled to be working on it. In the sculpture itself, I tried to keep the spirit of Standing Bear alive as much as I tried for an accurate portrait. An accurate portrait is important, but to me a spiritual portrait is just as important. I hope it really inspires other people to study his life. If my work does that, then it’s a success.”

The Nebraska Commission on Indian Affairs and Donald Miller Campbell Family Foundation commissioned the 11-foot-tall sculpture, unveiled Oct. 15, 2017. Then, over the winter, a pair of Nebraska state senators (including Sen. Burke Harr of Omaha) introduced a bill to replace the state’s two sculptures—of J. Sterling Morton and William Jennings Bryan—in the U.S. Capitol’s National Statuary Hall with those of Willa Cather and Standing Bear. A donor, Donald Miller Campbell, pledged funds for a copy to be made of Victor’s Standing Bear work.

“To have him as a towering icon in the U.S. Capitol would be important. His story should be on the national scale. He should be known in every school,” Victor says.

The artist already has two works in the Hall. One is of Northern Paiute activist Sarah Winnemucca on behalf of the state of Nevada. Anything Native holds profound meaning for Victor, as his late step-grandfather was a member of the Juaneño—a coastal California tribe engulfed by Spanish missions.
“It’s always a big deal to me whenever I do a Native American piece that it’s done right and with purpose. I always think of my grandpa when I do them. He liked the images I created of Native Americans with a strong stance and with dignity. That really meant a lot to him. If he’s looking down, he’s really proud of this one.”

Victor’s second sculpture in the U.S. Capitol represents Iowa—Norman Borlaug, the father of modern agriculture’s “Green Revolution.”

Working from photos, Victor “modified” Standing Bear’s pose “to capture a hint of motion,” as if the chief were moving forward slightly. In an attempt to “capture every detail,” he created folds and the look of heaviness in the blanket draped about his subject. Ornamental details included intricate beadwork, a bear claw necklace, and peace medals. Victor symbolized the chief’s dual roles as warrior and ambassador by having him holding an ax-peace pipe.

The bronze is positioned in front of a wall carved with the eloquent words of Standing Bear on trial (as translated by Omaha Native Susette “Bright Eyes” LaFlesche): “That hand is not the color of yours, but if I pierce it, I shall feel pain. If you pierce your hand, you also feel pain. The blood that will flow from mine will be the same color as yours. I am a man. The same God made us both.”

The project selection committee for the state capitol’s Centennial Mall learned about Victor from George Neubert (director of the Flatwater Folk Art Museum in Brownville, Nebraska), who befriended the artist when he did a commission for Peru State College, where his bronze of a hulking football player adorns the Oak Bowl.

Although Victor originally hails from California, he developed deep roots in the Great Plains while attending Northern State University in Aberdeen, South Dakota, where he discovered his love of sculpture.

“When I picked up clay the first time in college, the medium just clicked for me,” he says. “I felt like the concepts I was trying to get across were very readily expressed in sculpture. I really like the physicality of sculpture, how you move the clay with your hands and manipulate it. I like everything about it. I also work in marble—so I do the subtractive process of carving, the additive process of clay work, and the replacement process of bronze.”

He was still in school when he landed his first big commission—for the Aberdeen airport.

“I had a family to support,” he says. “I worked at the YMCA part-time, took odd jobs, and went to school full time. I was on food stamps and rental assistance. We had nothing. To get the commission was really amazing because you can struggle your whole life as an artist and never get a commission like that.”

Soon thereafter came the Winnemucca project. Demand for his work has never ceased.

“I never thought I’d get the opportunity to make it on my own in my dream field and career,” he says. “It’s a true American success story. I still don’t take it for granted. Every day I get to do this, I feel very blessed. And then to do something inspiring like Standing Bear. What a dream commission to commemorate him and everything he stood for.”

Upon graduating, Victor was a Northern State teacher and resident artist before Boise State courted him.

“They gave me a beautiful studio space and gallery. It’s been a great home,” he says, adding that he maintains close ties with his former colleagues in South Dakota. “I’ve got so many friends there that are just like family.”

Back at his Boise studio, his studio life intersects with students, patrons, and his three children. Meanwhile, he continues to always keep his ears open to the spirits of his subjects.

Visit benjaminvictor.com for more information.

This article was printed in the May/June 2018 edition of Omaha Magazine.

 

Photographer Jim Scholz and his lifelong mission to honor beauty

April 27, 2018 1 comment

 

Photographer Jim Scholz and his lifelong mission to honor beauty

©by Leo Adam Biga

Appearing in the May 2018 issue of the New Horizons

 

They say beauty is in the eye of the beholder.

Photographer Jim Scholz of Omaha finds beauty wherever life takes him. The 73-year-old former Roman Catholic priest began making images growing up in the St. Cecilia Cathedral neighborhood.

“I started shooting pictures in high school for the yearbook and ever since it’s been a real passion and interest for me,” he said

He recalls “the magic of that first print when I put the white piece paper in the developer and an image actually came up on it.” It happened in the Cathedral High darkroom. From that moment on, he said, “I was forever hooked by the magic that this is more than just reality. It’s a powerful thing.”

“I started off with a 35-millimeter camera because everybody had one. You could buy the film pretty inexpensively. You could develop the film in your own darkroom. I shot with that for a long time.”

He was born in Cheyenne, Wyoming during the Second World War. His father saw U.S. Army duty in the Pacific. After WWII, his father was offered a job with an Omaha company. Jim was 5 when his family moved here. His father worked management jobs at various Omaha firms. His stay-at-home mom eventually went back to work in her chosen field, dietetics, at area hospitals.

Serving a higher purpose

Scholz kept right on developing his photographic eye at seminary in Denver, Colorado, doing graduate work at Creighton University and serving metro parishes as an Archdiocesan priest.

“It was always a hobby.”

He doesn’t say it, but there’s a sacred dimension to capturing the essence of humanity and nature. As a priest ministering to his flock, he was called to mirror Christ’s unconditional love and to share the liturgy’s sublime peace. As a photographer, he reflects back what people project or see. Sometimes, he shows what they’ve never seen before. Surely, there’s something inspirational, perhaps even spiritual in that.

Omaha fashion designer Mary Anne Vaccaro admires his fidelity to beauty.

“Jim is very grounded and spiritual. As a photographer he embraces his creative gift with love, discipline and respect. He sees beauty in unexpected and unlikely places. His attention to detail and quality is amazing. His passion for his work drives him to excellence.”v

Tom Sitzman, owner of Connect Gallery in Omaha, sees in Scholz’s photography the same sensitivity and compassion that infused his ministry.

“I first knew Jim as my pastor at Sacred Heart Church in Omaha. His homilies were conversations, not lectures, filled with examples of everyday people living everyday lives. Those sitting in the pews could see themselves in those situations of the human condition – funny, sad, enlightening, tragic and giving – knowing he understood. His photography is deeply rooted and grounded in Jim the man and priest. They depict everyday events we too often take for granted. A moon rise over the city. Dark, foreboding storm clouds moving across a still sun-lit hay meadow, An old timber building. Jim knows where to stand to get the feel of size and distance as well as where the light is coming from. They are the works of a well-trained eye that knows how to compose a scene with his camera the way he did with words in a homily.”

Scholz ministered in Elgin, Nebraska and at St. Bernards, St. Cecilia and St. Leo in Omaha. The parish he served longest at was Sacred Heart in North Omaha, where he helped found Heart Ministry, which has grown to serve residents needs in the city’s most poverty-stricken neighborhood.

“I feel lucky to have been not only in that space but other parishes where I served or other jobs that I worked at. When you’re around someplace for awhile you’re hopefully going to make a contribution and I feel good about when I look back at something that helped people and continues to help people.”

Scholz received the 1995 Omaha Archdiocese Sheehan Award (then-the Presidential Citation) recognizing clergy as outstanding leaders in their communities.

Sacred Heart years

During his 1981 to 1998 Sacred Heart tenure, he took over an integrated parish in decline, its ranks thinned by white flight. Mass attendance was abysmal. Gospel already had a hold there, thanks to Father Tom Furlong introducing it in the ‘late ’60s-early ’70s.

“It was a very conservative, quiet little neighborhood parish,” Scholz recalled. “Most of the members were longtime parishioners, many of them quite elderly. Physically, the place was dilapidated. I felt we had to do something dramatic.”

He got the idea for more spirited, gospel music-based “uplifting liturgies” from an inner city parishes conference in Detroit. He was by impressed how churches in similar circumstances turned things around with the help of gospel. He saw the music as a homage to black heritage and a magnet for new members.

“What the music said was we are reaching out to your traditions and we’re trying to make you feel comfortable to come to our church,”

Scholz found a first-rate choir director in Glenn Burleigh, under whom the church’s full-blown entry into gospel began at the Saturday night Mass. The 10:30 Sunday liturgy remained ultra-traditional and sparsely attended.

“Six months later we’d gone from a Saturday service with 30 to 35 people, with hardly any music, to standing in the aisles full with a wonderful ensemble,

“Glenn wrote special music almost weekly for the service. People started to come out of the woodwork once the word got out. It was such a refreshing thing.

“We didn’t grow exponentially in black membership, although we did grow some. What we grew in was white membership.”

When Burleigh was hired away by a mega-Baptist church in Houston, Scholz tapped his assistant, William Tate, to take over. Scholz recruited a new choir director, Mary Kay Mueller, to energize the 10:30 Sunday service. For inspiration, he referred her to The Blues Brothers. So it came to pass the movie’s Triple Rock Church became a model for the expressive Sacred Heart liturgy. No, Scholz weren’t interested in “people doing somersaults down the front aisle. But he wanted “to come up with that spirit.” Unbridled. Joyous. Free. “We really need to come alive here,” he told Mueller. Thus, the Freedom Choir was born. The rest is history as that rollicking Sunday service began packing the pews and still does three decades later.

An abiding passion for photography 

All the while Sacred Heart grew its base, Scholz made photographs.

“When I had a little time off, an afternoon, or before I’d go to bed at night I’d probably spend the last half hour of my waking life that day by reading about photography or studying photographers like Ansel Adams and all these heroes of mine.

“The more you get into it then you start studying other people’s work and you try to emulate what they do and improve what you do. Ansel Adams wrote a series of books on the camera, the lens, photo development and so on. I checked them out of the library a number of times and studied these things to learn how he developed film and how he arrived at his vision.”

Other photographers Scholz has admired and studied include Wynn Bullock and Edward Weston.

Scholz followed his cleric calling for 27 years. After much deliberation and prayer, he shed the collar in 1999. He is still Catholic and regularly attends Mass. Now, he’s nearing 20 years in his second career as a full-time architecture, portrait and fine art photographer.

He describes his own aesthetic this way: “Probably at the baseline is a sense of beauty, whether color or color harmony or composition or subject. That would be the underlining thing. I love landscapes. I love abstracts, I love people, you name it.” He finds beauty in it all. “There are certain patterns hardwired into the fabric of our beings that produce pleasure, and we declare them beautiful. This is also true of music and other art forms. We are better because of what Michelangelo and Beethoven created and left to us;”

Ideas for projects are not hard to come by.

“I probably have more imagination than time. Every now and then I’ll get cranked up about a certain theme or methodology. I started a project photographing Omaha and Nebraska artists a few years ago. I just wanted to do that. I know a number of artistsand i started taking their picturesI’m about half way through that and hopefully I’ll have a show.

He envisions an exhibition in which each of his artist portraits is displayed next to a work by the artist, whether a sculpture or painting or whatever it might be.

“I’ve talked with a couple gallery owners about it. It might also be a book. We’ll see what happens.”

Catherine Ferguson is among the artists Scholz has photographed. He’s also photographed her work.

“Jim and I worked together to produce photographs of my stacked glass series,” Ferguson said. “He is a generous artist ready to help another artist see their vision realized. Jim is a patient, calm, gentle perfectionist. He gives me all the time necessary to have the prints exactly as I want them, no hurry, no pressure. I feel he is under-recognized as an artist in our community.”

Another artist friend is Shelly Bartek.

“I’ve known Jim from the time he was a priest at Sacred Heart to now where he is a successful national photographer,” Bartek said. “He is an authentic, all-around photographer serving to bring his clients the best quality images that represent their brand. His personal

passion to create art in his work has inspired us all through his concept and technical perfection.

“Best of all, he’s a great friend.”

About a decade ago, Scholz collaborated with writer Leslie Little on a museum quality book about Paris.

“I made the Paris Icons book images during two short visits to the city in 2007,” Scholz said. “It then took several months to edit, layout and in general prepare for print. The result was well received and we were awarded three international awards for the publication.

“It is always a joy to produce something of beauty that people appreciate.”

By choice, he’s not little documentary work on the gritty margins of life. “That’s a whole journalistic approach I respect greatly – it’s just not me. I like to show the best of people.” That includes showcasing the works of makers’ hands. Then there’s the joy he takes in picturing the natural splendor of God’s handiwork.

Expanding and honing his vision

Shooting Opera Omaha rehearsals and productions has deepened a long-held appreciation for music.

“What it’s done is it’s really stretched me in terms of my knowledge, understanding and appreciation of the whole operatic canon. My vision has been broadened.”

Photography has opened new vistas for him.

“If I never made another photograph, if I never went click again, I still think my life would be much richer because as I look at the world I see things that before I would never have noticed. The angle of the light or the color or whatever. There’s a whole bunch of stuff I would never have paid attention to, but the discipline of seeing as a camera sees forces you to see these things.

“I can sit an airport waiting for a plane for two hours and not be bored at all because I’m looking all around, seeing a grandma with little kids, the light coming in the windows, the big airplane rolling up on the tarmac outside. All this stuff.”

Cultivating a vision of what he wants to shoot and executing that vision, he said, is “a process.”

“It’s a lot more the work you put into it then the gizmo that goes click. The ultimate satisfaction is the process itself – getting to see things maybe in a little bit unique way and presenting them so that people say, ‘Oh, look at that, I never noticed that, I walked by this every day and never saw it.’ It’s finding what’s interesting.

“You’re expressing it from your perspective. You bring a whole life history and all kinds of things to color that.”

Photographers like him prefer to say they “make” rather than take photos.

“There’s a distinction.” Scholz said/ “You see something and you have a vision of how you want to present it.”

He saw in his mind’s eye what he wanted to achieve with his portrait of the late sculptor John Walz before ever shooting anything. “I had a vision of what I wanted to present, so I exposed the film to achieve that and I printed the print to achieve that.”

Walz turned a former Burlington Railroad Station power plant into his home-studio.

“I did the photo shoot with him part way through the remodel,” Scholz said. “I wanted to show him in his art creation, but we wanted a little mystery, so that’s why his face is a little in shadow.”

Contrasting elements can communicate mystery, energy, texture, whimsy, depth of perception, the passage of time, et cetera.

“I like to work with the idea of the human figure and the natural world,” Scholz said,

For an image he made of footprints in the sand at Canon Beach on the Oregon coast, he explained, “I wanted it to convey the essence of nature and humanity. The ocean is kind of symbolic of the timeless and I had to wait for somebody to walk along the beach to produce footprints, which get washed out with the next wave or two. That’s a story about how nature is constantly washing over us.

“As humans, we think we’re so important but in the big picture we’re real new on the scene and we probably won’t last all that long either. We’re just a little part of that from the beginning-to-the-end scenario.”

For a picture he made of a nude young woman lying on a fallen redwood tree in a Big Sur Coast grove, he wanted the contrast of “the old rugged, hard-edged woods and the softness of the young human figure.”

“That was done very deliberately to hopefully make the image strong.”

On a trip to Chatterbox Falls, British Columbia, he captured for posterity a sublime setting he awoke to,

“My friends, Ron and Judy Parks, rented a Nordic Tug for the summer to explore the coast and invited me to join them for a few days. We docked there for the night and in the morning I liked the reflections from the rain on the dock and the movement of the water. I made the picture with the falls in the background.”

During a Colorado sojourn he set out to photograph one of the state’s most prominent mountains, Longs Peak.

“Since the Forest Service does not allow camping there we had to leave the parking lot at midnight and climb all night to get there just before dawn. It was cloudy at sunrise but just for a moment the clouds partially broke and I was able to get the shot.”

 

Intuitive and intentional

Sometimes, the opportunity for a picture appears as he’s driving to or from an assignment.

“I was coming from Kansas City and I took the back roads and just about sunset I saw this partially plowed wheat field with terraced ridges in a pattern. So I stopped and took a picture. But the sky was very dull – there was nothing. Driving back, I was thinking, what can I do with this? Then I decided to put a woman’s flowing hair in the sky.”

He secured a model for the shoot at his studio. He made the image and overlaid it in the picture of the field.

“That was fun. I think that sort of thing makes the image richer.”

Manipulating images on a computer or in the darkroom, he said, “is just a creative tool.”

“People have the idea that in an earlier era of photography, working in the darkroom was somehow pure. Okay, it wasn’t, it never was. As long as I can darken this part and lighten that part (or crop or burn or do any number of things to manipulate an image), it’s a subjective, editorial process.

“Just the act of making a picture, you choose what to include in the frame and what not. My act of putting a frame around that image begins to edit right there.”

He embraces today’s digital tools.

“What I love about PhotoShop is that now I can do things that even in my wildest dreams in the darkroom I couldn’t achieve. For instance, I have an image of an abandoned ore processing plant high in the Colorado back country that’s been a favorite in galleries. I made it with an eight by ten camera and black and white film. I worked and worked in the darkroom to get all the various tonalities but it was hard because the inside of the building was kind of dark.

“Well, you can only burn an edge so much in the darkroom.”

For this oversized image, he placed his developing tray on the floor and angled the enlarger on the print.

“I’m crawling down there, lightening this part and darkening that part, but you could only go so far and you couldn’t change the focal contrast. With PhotoShop you can adjust the tonality and contrast. The nice thing is once you get done, two years or 20 years from now when you hit print it’s still going to come out the same.Or you can change it.”

“I had an early ’90s show of my work in Omaha. One of the prints was very successful in terms of sales. It also happened to be a print that involved six different negatives at various exposures in the enlarger. The original print probably took me six evenings from seven to midnight and now I suddenly had orders for 10 more. By the time I got done with that whole thing, I was spent and none of the prints were exactly the same because you couldn’t exactly get it the same.”

Whether intuitive or intentional, he’s after the same result – to distill beauty and endow permanence to an ephemeral moment.

Finding a niche

Scholz depends on what he earns photographing for his living. He started his own business, Scholz Images, in 1999. He works from a high-ceilinged downtown studio with ample natural light. It’s outfitted with lights, tents, screens, filters, cases and framed prints.

Most of his time is spent not on making photographs but scheduling. marketing, billing and other business matters. Finding and juggling projects isn’t easy.

“If you’re doing it on your own, you’re always kind of dancing between jobs. It’s a constant changing. When I first started the business I wanted to mostly go in the fine art direction. What i found is that in order to really make a living at it I had to have an additional niche and architecture became the thing I gravitated toward. I realized it was something I could do and it’s a good market. The architecture puts bread on the table and allows me to pay the mortgage and that sort of thing.”

He’s shot for Omaha firms Holland Basham Architects and HDR, for Lincoln-based Clark Enersen Partners and for Denver-based Fentress and Ruggles Mabe.

Fentress flew him to Quantico, Virginia for a week’s shoot at the National Museum of the Marine Corps and to Seattle-Tacoma International Airport for an even longer shoot of the Central Terminal Expansion.

Traveling for his work brings it’s own challenges.

“When you travel a lot you get to sleep on airport floors, have bears come into your camp in the middle of the night, have flat tires on cactus in the back country, be in the center of a bison herd, have foreign police order you to not use your tripod. Just the usual stuff.”

When not flying, he travels to assignments via his trusty Chevy Silverado.

“I find I make my best photos when I have my camera and tripod with me. It can be anywhere that the moment presents itself.”

For most clients, he’ captures objective reality, though he sometimes heightens things via filters and strobes.

“With the commercial work I do, I’m called to record what’s there. Architects like to see all the bricks and everything the way it is. I then like to think of it the way a filmmaker does – how’s this going to look when the sun goes down and there’s still some light in the sky. You’re alway working with light.”

Another major commercial client is J & J Flooring Group, which has sent him on various assignments.

“It’s very challenging to get really interesting pictures of carpet.”

Buildings are easier. For his architectural work, he used to shoot with four by five film.

“In those days if you could get eight pictures a day you were doing really good, especially with color because you had to use several different filters.”

Though there’s little call for it now, he’s fond of large format film photography because he can attain certain qualities with it he can’t in smaller formats or digitially. He first moved to the bigger format in 1980.

“My father built a wooden kit for my four-by-five inch camera. I used that for years. Then I thought, well, if four-by-five is good, then eight-by-ten must be better, so I eventually bought an eight-by-ten.”

He admits he’s “a gear-head” like most photographers when it comes to camera gadgets.

What the large format offers in quality it sacrifices in efficiency.

“The tradeoff is, if you get the image perfectly you’ve got great quality to work with, but you can only make a small number of images, whereas with a smaller camera you might be able to get a hundred images in the same amount of time. So you have to pick your tool for what you want to do

“The larger format allows for more clarity and tonality. You can make increasingly large enlargements that still look good. But it comes at a great cost. The equipment is expensive but the really big cost is hauling it around because it’s heavy and awkward. It’s really tough flying. I much prefer to drive – that way I can load up the truck with lighting gear and I don’t have to worry about it being broken or arriving late or getting lost. When I fly, it really has to get edited down to the very essentials, plus backup. You cant check it – it will end up broken or lost. I carry it on board and stow it overhead.”

Old habits die hard.

“I sometimes think about getting rid of the four-by-five and eight-by-ten but occasionally I do have a client that comes along that wants something in large format film and I’m one of the few guys left that can do it.”

In order to stay current, he’s adapted to digital cameras.

He’s remained true to certain brands.

“I settled in on Nikon for whatever reason and have stayed with it because once you invest in a bunch of lenses then you can use them forever. I can still shoot with the Nikon lenses I got back in the 1960s. I don’t use them all that often anymore, but I can still use them on the camera because they never changed the lens body.”

Standing out from the crowd

For portraits, he uses whatever best serves the subject. A favorite portrait is of a corporate CEO whom Scholz wisely took out of the stuffed shirt, sterile office setting for something more fun and authentic.

“The guy needed a picture for an annual report. I could see in talking to him he just wasn’t into it at all, so I asked, ‘What do you like to do? ‘ He said, ‘I just bought a motorcycle and I like to ride it Sunday afternoons. I said, ‘Okay, let’s do that.” I sat in the back of a pickup with my camera and his wife drove. We were over in Iowa and we drove maybe 30-40 miles down the highway with his hair blowing in the wind. I made lots of pictures in black and white. The whole thing was stronger to me in black and white.

“Later, I decided I wanted a little more drama, so I put the clouds in. The only parts of the image that are in color is the burnt orange gas tank and front fender. It was a custom color designed just for that particular motorcycle. I like black and white because color sometimes is so pretty people stop there without looking deeper, where with black and white you’re reduced to light and dark contests that make your image pop.”

After decades making pictures for public display, Scholz is a fixture on the local photographic scene.

“In general, I think the photographic community here is pretty open and receptive. Most people like each other and get along.”

He counts as peers such well known shooters as Larry Ferguson, Andrew Baran, Monte Kruse. Patrick Drickey, Kat Moser and Sandy Aquila.

He’s talked shop with Omaha native Jim Krantz, who now enjoys a national and international reputation based out of Chicago.

“One of the local people I really admire is Vera Mercer,” Scholz said, “Her work to me is outstanding. I really love what she does.”

His work has shown at Gallery 1516 and Connect in Omaha, at the Museum of Nebraska Art in Kearney and at galleries in Kansas City, Missouri, Santa Fe, New Mexico and other locales.

His work is in public and private collections around the nation and even in in other countries.

Photography equals opportunity 

He makes images to be seen. Naturally, he likes it when people respond favorably to his work. Another fringe benefit of shooting for hire is gaining entree to people and places he’d otherwise not get.

“Being a photographer often times opens doors to things. You get admitted to a lot of places and things you wouldn’t otherwise have access to. For instance, maybe 15 years ago I got a call from a company here in town sponsoring ex-president Bill Clinton to give a keynote talk at an event in Aspen, Colorado. They wanted a lot of pictures of bill involved with people, so they flew me out to Aspen to do that. I spent three days with Bill. Hilary (Clinton) was there. I made all the pictures. Well, this repeated itself in Miami, once here in Omaha, and several times in Aspen.

“That’s not a world I would normally have access to at all, but it was really fun. I remember once in Aspen Bill got there in the afternoon. He was pretty tired having been on the road a lot. He checked into the hotel and decided he wanted to go for a walk downtown. He didn’t get more than a block when he was surrounded in this park by a hundred mothers with little kids. You could see him getting energized. It was fun to see over the course of several events how he would wk with crowds. He had a magic about him

“I remember prior to a cocktail party and dinner he was keynoting there were some guys waiting for his arrival and they were talking about how when they saw Bill Clinton they’re going to give him a piece of their mind. Well, Bill shows up and if by magic those guys are the first people he walks up to. He’s got his hand around one guy telling him a joke and within 10 minutes he totally won them over. I saw that hundreds of times.”

Being a photographer also means forever chasing perfection that can’t be attained.

“My photographer friends and I all know there are certain images meant to tease us into spending a lot of time and effort but we never quite get them. They’re always just a little beyond us.”

Scholz feels it’s good to have something to chase just beyond your grasp in order to stay sharp and hungry. “If you could roll a 300 game every time you bowl, you wouldn’t bowl. It wouldn’t be any fun. It’s the same thing with golf and shooting par.”

The same when making pictures.

“Sometimes it works and sometimes it doesn’t. Hits and misses come with any creative art. There are times where from start to finish you work it right through and, boy, the whole thing just comes out great.”

The magic of first seeing an image he’s just made still enthralls him. Hooked for life.

Visit http://www.scholzimages.com.

Process equals passion for migrant Bemis resident artist Trevor Amery

March 8, 2018 1 comment

Process equals passion for migrant Bemis resident artist Trevor Amery

©story by Leo Adam Biga

©photos by Bill Sitzmann

Appears in the March-April 2018 issue of Omaha Magazine ( http://omahamagazine.com/ )

Bemis Center for Contemporary Arts resident Trevor Amery is a well-traveled maker. The sculptor, whose Bemis stay began January 11 and runs through mid-March, has done residencies in Mexico, Hungary and Finland. He’s completed projects in Alaska, Florida and many points in between.

After years on the East Coast, he now makes California home, though he’s often just returning from or embarking on a new art-life adventure. This summer he expects to go to China.

Some journeys have proved transformative. In the course of the 2011 Finland sojourn, fate or circumstance intervened to change his practice from painting to sculpture. He had just left his former risk-adverse life as an admissions counselor at Maryland Institute College of Art in Baltimore to heed the very advice he gave students – to live freely and fearlessly. He’d no sooner broken away from his own safe, prescribed higher ed rut to go to far-off Finland, when, en route, all his oil paints were confiscated by airport security.

There he was, adrift in a strange country, unequipped to create in the manner he’d come all that way to do.

“I didn’t have a lot of money to go and buy all new oil paints in one of the most expensive countries in the European Union,” Amery says. “I just had to figure out how to start making.”

Enraptured by the dense forests of the residency’s idyllic rural setting and the ubiquitous, large firewood piles he saw outside every home, he surrendered the idea of painting to create instead in wood. It helped that he had an extensive woodworking background.

“I started splitting wood to understand it as a material. I’d wake up and split as much wood as I could handle and I learned so much more about it than I ever did working in a wood shop. I started doing these stacked firewood piles. I made a 12-foot tall spinning wood pile on a children’s merry-go-round as a kinetic permanent sculpture. I did a 6-foot-by-6 foot-by 6-foot cube of firewood on a floating dock in the middle of the lake outside the old schoolhouse I stayed in. I went into town to do woodpiles in urban niches – between buildings and mailboxes – and left them to be reclaimed.”

His “big epiphany” happened paddling wood out to the floating dock in the lake.

“I had this eureka moment of, ‘Wow, this could be my work. I don’t have to sit in a studio illustrating an idea with oil paint – I can actually be out in the world engaging nature and people, having the social aspects I crave.'”

For Amery, the journey in the making is everything.

“I just like process – problem-solving, engineering new solutions and stuff like that. I do have an interest in DYI culture, which also informs my practice. I grew up with two older brothers who were always taking apart and rebuilding cars, so I inherited a little bit of that interest. My mom’s an antique dealer. She deals in country rustic. She rewires lamps and reupholsters chairs. That kind of problem solving has always been in the family.”

Since Finland, Amery’s gone on to cast pieces of firewood in porcelain stoneware. This past summer in Wyoming he taught himself how to make his own charcoal using wood. While assisting with the set-up of a towering geodesic installation there, he salvaged a broken sledgehammer handle made of ash and converted it into a 30-inch, hand-hewn spoon sculpture in whose bottom he carved a tiny geodesic dome.

“Function plays a role in the work,” he says. “But this object also now has a really important history to it. I love the kind of shift in value that comes with provenance of objects and materials that I use. Because of a personal story with it, it has this new significance.”

He’s always searching for materials at Habitat for Humanity Restores, thrift shops, junkyards and wherever his eyes and curiosity lead him. Chance encounters turn into conversations that find him walking away with lessons and scraps for his sculptures.

 

In 2012 he came back from a residency in Hungary only to find himself “back to square one” in his work. Absent a project, he thought long and hard about finally realizing something he always wanted to make: a boat. Made of wood, of course.

“After some research, I set out to build my own Aleutian- style kayak, and I did. I made all the ribs out of green bent branches I cut in the woods in Maine.”

The design for the 17-foot vessel came from a downloaded PDF.

“The first year after I built it, I kind of denied its function. I was more interested in its making, its coming into being, the history of it. I built part of the frame in Maine and then drove it to Michigan, where it spent a year with me as this omnipresent dope object I couldn’t finish because I didn’t have the space to do it. It hung above me in the apartment making me feel bad for not working on it. I eventually brought it back to the east coast and then came to Calif. with it, where I finished it. But I was still using it as this studio-exhibition object and skirting its function. Then I decided I have to put it in the water.”

He secured a grant for a performative project whereby he drove the kayak all the way to Alaska to make its inaugural launch off the Homer Spit. He documented the experience with his Mamiya C330 camera.

On-site, he split a log to make his own paddle from tree branches. When the moment arrived to place the kayak in its heritage waters, he was overjoyed this object that traveled so far with him “actually worked great.”

The kayak trekked with him again when he took part in the Performance is Alive satellite art show in Miami.

“I kayaked through the different waterways of Miami to document the coastline and the relationship of these important spaces to water recreation and the city’s economy and looking at how this essentially sea level city will eventually be underwater.”

He successfully negotiated the voyage, only to have curator Quinn Dukes ask him go out again and finish in South Beach. Tempting fate, Amery recalls, “I went across the channel out into the ocean like a fool. Everything was gong fine actually and then the ocean floor dropped off at this one place that turned the ocean into a washing machine. This wave came from behind and capsized me many football fields away from the coastline. I thought I was done for. I was just this little head bobbing in the water. I tried flagging down a passing yacht but it cruised by. Finally, a jet skier who just happened to be out in the ocean jumping off waves, saw my waving arms and rescued me by throwing me a towline.”

Amery’s kayak and camera both survived the mishap.

“Out of all that came a whole new body of work of wooden wave sculptures I call ‘Capsized.'”

The artist is approaching Omaha the way he does all his residency stops – “keeping that opportunity for discovery.” “A huge part of it is what comes out of the relationships in a place,” he says. “Yes, the landscapes inspire me but also the people and the conversations.”

By the end of his Bemis stay, he expects to have worked on his sleeping bag forms and ‘Capsized’ wave series and to have responded to what he found here.

“Re-contextualizing or reorienting is one of the most important things for me,” he says.

But “allowing who you are to come out in the work as honestly you can” is where it’s at,” he adds. “The most authentic self you can have in the work is the real goal.”

Visit trevor-amery.com.

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