Showing posts with label William Sulit. Show all posts
Showing posts with label William Sulit. Show all posts

One Image. Many Stories. (2) More work from my MG/YA class

Friday, February 2, 2018

Again, I shared with my beautiful class an image that my husband had created.

Five minutes, I said. Write the story.

Here are some of the stories.

What is the story to you?


I see the people walking in front of me, their eyes downcast, arms interlinked.  My mother urges me to move along, to catch up.  We don’t want to be left behind, she tells me.  I’m not so sure I agree with her. I drag my feet along the uneven path, my shoelace becoming undone in the process.  It’s already lost most of its original whiteness from the dozens of times it’s dragged through the dirt.  I idly wonder if, when we get to our destination, I will be able to get a new pair of sneakers.

Lexi


I was quite unsure of where my mama was taking me. We had walked downtown in all black clothes; she slicked my hair back with her frail hands every few blocks. Eventually, I saw faces that I recognized. They were all wearing black clothes... Just like me. Just like mama. I recognized a tall woman with long black hair— my aunt. Her face was more puffy than normal and her eyes were pricked with red. I wondered why she was crying. I wondered why we were here, standing around, wearing black, saying ‘sorry.’

Ania

We avoid it. The void of light. No one should want to be found. To be found is to be known and to be known is to be judged. And punishment is the inevitable nature of judgment’s tight lips, loose gown, and stone grip of opinion.

Gene


"We're almost there. Just keep going." The tall girl bent to whisper in my ear. her hand rubbing "comforting" circles into my shoulder. Easy for her to say; her long legs carried her closer to the promised land while my short, stubby knees wobbled to catch up. There's nothing left in me, no energy to keep going, no will to survive. "20 more miles." she whispers, seeing me struggle to keep from stumbling.
I just want her to stop talking. 

Precious

In the darkness we crossed the lake, praying its frozen crust wouldn't give way under our feet. It had been a warm few days, and the ice groaned under our weight. However, a frigid death in the lake would be better than what we left behind.

John

He kicked a rock down the sidewalk, his boot making loud, angry impact with the curb. It hit the back of his sister's shoe, and she twisted to throw a vicious look at him, but she didn't say anything. His mother placed a quelling hand on his shoulder. Whenever something like this happened, his father made his whole family go on one of these walks. Whenever something like this happened, the silence was complete.

Charlotte

His mother’s hand rests lightly upon his shoulder, neither pushing him forward nor backwards. But holding him in place. He does not want to go. He watches in trepidation as the other children are herded towards the empty class full of possibility and brimming with uncertainty. He remembers the stories his older sister tells him of friends and colored squares and story-time, but all he really wants is to sit on his mother’s lap, her arm clutched around him with the other balancing a book, mouth spewing wonderful stories of dragons and knights. He never wants her to let go.

Erin L.

A first funeral - at six, the idea is beyond digestion, an aerial view from her mother's shoulders of the devastation below. She has no emotional ties or any age, truly, to know what she is seeing: a collage of photos of a happy man fishing, a photo with his wife. A scene before her, in human form, a mother's hand on her crying son's shoulder. All he can feel is the vastness of the room, its vacancy of color, the darkness of black ties and tights and tight-lipped apologies for loss.

Erin F.



My fingers have gone through my hair so many nervous times that I can feel it messy and spiky on my forehead. I don’t have anything else left to grab on to. So I reach up, straining my elbow to hold my wrist backwards, and take my sister’s hand. I don’t want it sitting on my shoulder, guiding me like a pet dog with a leash. I need to hold it, to touch reassurance, to grasp some of the resolve with which she looks straight ahead, and walks.

Catherine


I see the people walking in front of me, their eyes downcast, arms interlinked.  My mother urges me to move along, to catch up.  We don’t want to be left behind, she tells me.  I’m not so sure I agree with her. I drag my feet along the uneven path, my shoelace becoming undone in the process.  It’s already lost most of its original whiteness from the dozens of times it’s dragged through the dirt.  I idly wonder if, when we get to our destination, I will be able to get a new pair of sneakers.

Lexi

The icy wind slapped Jacob in the face, but the sting of the cold was nothing compared to the relentless burn of hunger.  Three days, they had been walking now.  Three days with barely any food, only what a resourceful few had thought to carry.  His mother rested a gentle hand on his shoulder.  “Just a bit further,” she said softly.  “We’re almost there now.”  Jacob wanted to believe her, but how could he when his legs felt like lead and his shoes were torn and he could still hear the screams they had left behind every time it got too quiet?

Becca
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They led the children up the mountain. Eyes lowered, shoulders sagging. The rain was a cruel and infuriating thing. It trickled in regular, ruthless rhythms down their backs, blurred out the temple standing frowning at the summit. Even the High Priest's uncanny vision couldn't help them glimpse the structure.  

Esther
A few more steps and we will make it.
Hush, we have no choice but to leave.
Her daughter fears for her newborn kitten she left behind.
Will it survive, will it be warm?
Listen to your mother, she whispers, we must keep moving.


Serena
Pa said he would send money, he promised we would always be safe. Everything he said was a lie. He never came back, never sent help. Ashamed and humiliated my mom and I join the wanderers. Where will we go? What will we do? The future remains unclear. — Isabella

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36 Craven: Home, Interiors, Staging (and Bill's art!), 138 N. 3rd Street, Philadelphia

Thursday, July 13, 2017


There are many reasons I love the man I love. I cannot count the ways. But right in there, nested toward the top of the reasons pile, is our shared approach to valuing the made thing. Bill was studying to be an architect when I met him, but I fell in love with his watercolors first. And after that with his balsa-wood models, his black-and-white photographs, his 3D experiments, his oil paintings, his sketches. Bill, in my mind, could do it all.

And then Bill started working with clay. He had found, he deeply felt, his truest medium.

Bill hasn't taken the obvious route. He hasn't studied the trends and then fallen in line. He has, in his own words, "been inspired by rugged landscapes and ancient artifacts. Not only by the beauty of eroded surfaces, textured by time and nature, but also by the fact that the original layers of function and meaning have long been stripped away to reveal their innermost secrets."

Bill likes, he continues, "to think of the pieces I make in a similar way—as things that are found rather then made. I imagine them having their own logic and history as objects from a different time and place. I would like these objects not to stand still, but to have the flexibility to live in a different context than what was imagined for them."

Bill has made what has felt right to him. I, in our little home, have cheered him on, Facebook posted him, boasted of his work as we've wandered in and out of shops, for Bill would never boast on his own. Last summer, at Show of Hands, located at Tenth and Pine in Philadelphia, Bill was generously exhibited in a solo show for the first time. Two skilled curators happened into that show—Neil and George. They saw Bill's work. They remembered him as they put together a plan to build an exquisite lifestyle shop in Old City that they call 36 Craven.

Recently opened, this shop features what George and Neil call "primitive antiques, contemporary textiles and unique artwork for the 21st century home."

We visited the shop before it opened, as signage and interior work were under way. We visited again yesterday afternoon and found the shop in the immaculate condition above. A small space with a big heart featuring expansive ideas of the old merged with the new.

(And what a fantastic sales assistant, too. The shop is new. She's studied it all so well, so soon.)

Bill's work is there on the glass shelves and located throughout. It can be ordered, too, through the 36 Craven web site. I highly recommend visiting the shop in real time. It's not that different from visiting a fine museum where, for affordable prices, you can actually take the art home.

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William Sulit ceramics selected for new international show, Ceramics Innovations

Monday, March 20, 2017

Readers of this blog know happy I am for my artist-husband as he continues to develop his ceramics work—and following. Recently Bill's work was selected for a new international show, Ceramics Innovations, which opens April 1 at the Wayne Art Center, in Wayne, PA. This event was masterminded by Brett Thomas and judged by Chris Gustin and Jim Lawton. It runs simultaneous with Essential Earth, a show featuring some of the most important working clay artists of our time, curated by Brett Thomas.

More about the show is here. Bill's selected work for this show is shown in the third image.

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Craft Forms 2016: celebrating artists among friends

Saturday, December 3, 2016

We seek community. We find our way toward those who share our passions. Last evening I had the pleasure of joining my husband, William Sulit, at the opening reception for Craft Forms 2016, an international juried exhibit featuring textiles, metal work, ceramics, jewelry, wood, furniture, and basketry held at the magnificent Wayne Art Center. This year's exhibit was curated by Stefano Catalani, Executive Director of the Gage Academy of Art, and what a show it is. One could spend a lot of time appreciating the materials, hand work, stories.

And one could bask, as I now am at this early morning hour, in the friendships strengthened or rediscovered last evening. Many of our clay friends were there—all dressed up and mud free. But so were friends from other spheres of my life—Bill Thomas, the Executive Director of Chanticleer, with whom I worked on the book, Ghosts in the Garden; Peter Archer of Archer and Buchanan, an architect of great talent whom I first met so many years ago when we both worked for the same firm; Susan, a former family neighbor. The Wayne Art Center is a world of windows and light, ideas and the people who have them. It is led by Nancy Campbell, who achieves much and dreams forward. It is a welcoming place at a time when we could all use a little more welcome.

Today, from 1 to 2:30, Stefano will discuss his selection process and some of the artists—my husband among them—will talk about the pieces that were selected for the show. The event is free and open to the public.

Bill's selected piece is right there in the middle of the room, by the way. A close-up image can be found here.

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celebrating my husband's most-excellent pottery news (Craft Forms)

Friday, October 14, 2016

A few weeks ago we got the stupendous news that my husband's work had been juried into Craft Forms 2016, an internationally recognized premiere contemporary craft exhibition showcased at the Wayne Art Center from December 3, 2016 through January 28, 2017.

This year's juror is Stefano Catalani, Curator of Art, Craft & Design at the Bellevue Museum, who will be here to lecture on the chosen works on December 3rd, at the Wayne Art Center.

I am infinitely proud of William Sulit, this husband of mine, who disappears for many hours of many days into the basement to create sui generis work with extraordinary care. His work has sold well at Show of Hands in Philadelphia, where the gallery owner extended Bill's solo show an additional two months and has now maintained a dozen pieces for the shop. Bill's work will again be exhibited at Jam Gallery, in Malvern, PA, this November.

And this selection into this international show represents yet another turning point in Bill's clay career. I married an artist, through and through, and nothing makes me happier than to see his work make its way into the world.

I'm off to Oklahoma to teach memoir (among other things) at the Nimrod Conference (and to see my beautiful Katherine and her twin babies). I'll be back next week with news on what I learned while away (and my thoughts on the extraordinary National Book Award finalist The Turner House, by Angela Flournoy, with whom I'll share a Saturday panel).

All best to all of you in the meantime.

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getting ready for the big (clay) shows

Sunday, May 1, 2016

In our tiny but (dare I say it?) much-loved house, there are two bedrooms, one kitchen, one place for me to work, two rooms full of books and a basement and then again a garage where my husband does his thing.

This is a view of the basement. This is Sunday morning, 7:50 AM, as my husband prepares for his first solo clay show, opening in early June at the Show of Hands gallery on Pine Street. Bill has dozens of pieces of extraordinary originality and craftsmanship being cued up for the show. This shape is but a very early iteration (trust me when I tell you it will look nothing like this when it is done).

Meanwhile, Bill and I will be down at the Clay Studio in Old City on Friday evening, for the Clay Studio National reception. The show, which honors "the best contemporary ceramic art being made in the United States now," features a collection of pieces culled from hundreds from across the country. One of Bill's architectural pieces will be on display.


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the art of Juncture Notes (issue 2 will soon be on its way)

Sunday, April 24, 2016

We've been so thrilled by the response to Juncture Notes—the writing elicited by our prompt, the questions about memoir, the interest in our five-day memoir workshop. We're now at work on our second release, which should go out in a week or so. If you're interested in receiving a copy, just click on the link to the left of this blog post (or on the workshop link above). That's the sure-fire way of beating the spam filters, or so we believe, anyway.

One of the questions we've been receiving relates to the art that is folded in with the words. That art is, as many of you have guessed, the work of my partner in life and in this Juncture enterprise, William Sulit. I've shared his work in many media from time to time on my blog. Bill's work was recently selected for the prestigious Clay Studio National exhibit, beginning on May 6th. We'll soon be celebrating his first solo show—in ceramics—at Show of Hands Gallery in Philadelphia, beginning on June 3 and ending July 24.

Bill will be creating or sharing original art in each issue of Juncture. Here, above, is a taste of things to come.

Sign up if you'd like to see (or read) more.

There are just four spaces now left at our inaugural memoir workshop. Please let us know if you are interested.

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"Landscape": new (award-winning) work by my husband

Monday, October 26, 2015

The first time I ever saw my husband's art was after a softball game played at Memorial Hall, on the former Centennial grounds in Philadelphia. He was working primarily with watercolors then—almost-abstract landscapes on postcard-sized rectangles that depicted imaginary, possibly believable places.

In nearly uncountable ways and within an astonishing array of media, Bill has carried those motifs forward—and now he is translating them into clay. He's building bridges and tunnels inside cones and squares, perfecting surfaces in a medium that is notorious for having a mind of its own. He does that work quietly for hours every day in a basement studio, and then again on Wednesdays, among our friends at the Wayne Art Center.

Yesterday, a beautiful autumn day, we were grateful that that work was awarded the Wayne Art Center Ceramics Award at the Fall 2015 Members' Exhibition.

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celebrating my husband's first gallery showing, at Jam Gallery in Malvern, PA

Sunday, September 13, 2015



Mario Sulit, my brother-in-law, came in from Dallas to help us celebrate (among other things) my husband's first gallery showing, at Jam Gallery, in Malvern, PA. Bill (pictured in the dark shirt behind two of his pieces and beside sculptor Doug Mott) joined painters, ceramicists, sculptors, egg artists, woodworkers, metal works, and salvaged-wood artist Laura Petrovich-Cheney (whose work—built from the salvaged wreckage of Storm Sandy and incredibly inspiring to me, as the author of the forthcoming storm novel This Is the Story of You—hangs just behind Bill) for what proved to be a wonderful reception and conversation.

Our friend, ceramicist Lisa Lynn, braved the rain and joined us as well.

For more on Bill's work, please visit his web site.

To see his work in person, please visit the very hospitable Jam Gallery, located at 321 East King Street in Malvern, PA.

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a first award for my husband, the potter

Thursday, July 16, 2015


How proud I was this evening to accompany my husband to the Wayne Art Center (about which I have written here), where he won a first award—a student award—for his work, "Industrial Landscape." This is an evolution of work that is exquisitely considered and well made, and a happy validation of the long hours he spends planning and building these pieces.

For a glimpse at an earlier collection, please go here.

So I got all dressed up. Wore heels for the first time in forever. Almost fell off the heels. Had fun seeing two of my own pieces on display. Which I'd entered just for fun, though, once I got there and saw the serious talent, I died a thousand deaths, then decided to stop dying and had the aforementioned (twice) fun. I don't think I'm good at this. Seriously. It's just — a community. I love the community. And sometimes the glaze does nice things.

So, hats off to my husband. I honor the originality of his vision. And the care with which he builds things.


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my husband's artistry (prints, cards, pillows) can now be purchased here

Saturday, April 11, 2015

From time to time I am privileged to share the artistry of my husband here. His photographs embellishing Ghosts in the Garden, his illustrations alive in Dr. Radway's Sarsparilla Resolvent, his graphic and typographic sensibility behind the annual reports, commemorative books, and employee publications we create for our clients.

Today I'm (very) happy to share Bill's stunning photographs of his gorgeous ceramics, which are now for sale as framed prints, gift cards, even pillows. His Fine Art America page is located here. More work—graphic, illustrative, wildly interesting—will soon be available elsewhere.

I see this work hanging in kitchens and living rooms around the world. In the backdrop of independent films. On the stages of Broadway. Floating through the US mail.

Please do help us spread the word.

My thanks.

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Scenes of Hamlet—my husband's book of ceramics and still lives (now live on Blurb)

Friday, August 22, 2014

A few days ago I posted here about my husband's work as a ceramicist and photographer.

I can now share that exquisite work here. Bill made all of the pots, arranged, lit, and took the photographs, and designed the book, which he will soon be sharing with ceramics studios.

I, however, love the work so much that I have asked if I might share it with all of you.

The link to the Blurb book preview is here.

In a few weeks I'll be sharing Bill's new web site, which features this work, his 3D design work, and his photography.

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My husband's book: Shades of Hamlet/ceramics as still lives

Friday, August 15, 2014


This summer a quiet new book has unfolded in the studio space behind our house. Shades of Hamlet is a collection of ceramic works presented as a series of still life photographs accompanied by excerpts from Shakespeare's "Hamlet." William Sulit, my husband, made the ceramics, staged and lit them, photographed them, and designed these most exquisite pages.

I share a glimpse of that today.

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Dr. Radway's Sarsaparilla Resolvent: Introducing William and Career (an excerpt)

Sunday, April 28, 2013


There was no arguing with her. There was nothing. He’d carried her back up those steps, like an empty dress in his arms. Had taken his place in the chair beside the bed and was half asleep when he heard the knock on the front door.
“Coming!” he’d called out.
Then, to his Ma, he’d whispered, “That’ll be Career.”
He’d pulled on a pair of Francis’s trousers, belted up, checked the pockets, and found a chip of coal that Francis must have tucked away after a day of hunting the line; he’d slipped it under the bed for later. He’d taken the stairs quick, grabbed his cap. He’d opened the door to his best friend, who leaned hard into the brick and held a match to the end of a pipe, his head cocked toward the dying sounds of the power looms being tooled across the street. Career wore his charcoal-colored sack jacket and his one too-big-for-him vest. The dust had been rubbed from the crease in his boots.
The two set off down Carleton, stepping through the pool of the hydrant’s wasted water and giving a nod to Mrs. May, leaning out her window—nosy as always and putting a gloss on the hairs of her chin.
“Your Ma all right?” Mrs. May calls.
“Had some rye,” William says. “Some tea.”
“It’s something,” Mrs. May says.
“Not enough.”
“You keep at it boy, you hear me?”
Her voice sounding like bad news, always, no matter how nice she tries to be.
Career wears his black hair long, past his ears. William wears his tucked inside his cap. Career walks straight, to make himself taller. William, tall, walks a crouch. More hydrants have gone off up and down—the spurt and the fizzle of water, free. The flangers, the fitters, the chippers, and caulkers are home. The patternmakers and carpenters. The iron molders and turners. The ones who make the boilers go. The casting cleaners and assistants. Not Pa. It’s visiting hours up at the penitentiary. Career always comes along. 

— excerpt, Dr. Radway's Sarsaparilla Resolvent, illustrated by William Sulit
(New City Community Press/Temple University Press, April 30, 2013)

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Dr. Radway's Sarsaparilla Resolvent: an excerpt, an illustration

Thursday, March 7, 2013

In less than two months, Dr. Radway's Sarsaparilla Resolvent, my 1871 Philadelphia novel (and prequel to Dangerous Neighbors), will be released by New City Community Press/Temple University Press.

This illustrated book (all thanks to William Sulit) is another song to the city I love, and more about it can be found here.

Nearly two years ago, I posted the first words of the book here.

Today I share the whole of a very short chapter two:


Chapter Two
“I keep losing things,” Ma says to William. The room is swampy, the shadows smug. A bottle of Bitter Wine of Iron sits lidless on the near table, a sorry spoon beside it. William wipes his forehead with his sleeve and studies the single mourning dove that will not leave the sill.
“Ma,” he reminds her. “I’m still right here.”
He stands up from the chair where he’s been sitting. Measures the Bitter Wine onto the spoon while the dove watches with the flat disk of its eye. William worries briefly for the dove’s mate, disappeared on the same day that he and Ma lost Francis. The one dove staying and the other dove gone, and William’s mother dying by inches of heartache.
“Take your medicine, Ma,” he says. “Doctor made you promise.”
Nothing.
“Rejuvenation, Ma. Comfort. Says it right here on the label.”
Ma turns. She closes her eyes and leaves William standing with the thick drip of the stuff on the spoon—E.F. Kunkel’s Bitter Wine, bought with Francis’s stealings for a hard one dollar. Lifting the spoon to his own mouth, William sucks it clean, then pours himself a foul second. The mourning dove cocks its head in a sideways scold.
“Mind your own,” William tells it, but the bird just stares. Everything that’s broken is William Quinn’s to fix.

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Announcing Cleaver Magazine, Issue No. 1: Literature, Art, & Some Chickens

Monday, March 4, 2013

Not long ago you heard me boasting here about my dear friend Karen Rile, uber Penn prof (check out this article in the Pennsylvania Gazette on a recent award Karen deservedly won and what she did with that honor) and (with her daughter Lauren) lit magazine maker.

Today, I'm again privileged to share the news that the first true issue of the magazine has been launched (the last issue was the meta issue, or the half issue, or the .5). It's called Issue No. 1. It features some astonishing work by talents new and established, and it's worth every second you will now spend reading it.

I insist. You will stop now and you will read it.

There are, I warn you, chickens afoot. But I had nothing to do with that. Almost nothing to do with that.

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Hairography: coming to a mailbox near you

Friday, March 1, 2013

I'm not actually done talking about those fabulous YoungArts writers yet. Indeed, for the past several weeks, I've been eagerly anticipating the arrival of Hairography, the book my husband and I created to celebrate the work of these super novas. Bill took the gorgeous portraits; he designed the book. I encouraged and prodded. The National YoungArts Foundation made the publication possible. Mary Lee Adler made it possible, too. She makes everything possible.

Today Hairography arrives in the students' mailboxes. I am immeasurably happy about that. This, above, is Miss Shelley Hucks, whose beautiful words close the book. And here are some of my words, from the preface:
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The thing about being a “master” teacher in the National YoungArts Foundation program is that there are no rules. You are invited to come to Miami in early January, to stand among the finalists of a rigorous national contest, and to divulge (perhaps) who you’ve been, where you’ve traveled, what you’ve learned, what failure taught you, what the dream looks like on the opposite side of the moon. As a writer who has experimented with all genres and published in most, as a person who takes greatest pleasure from watching others soar, as a woman more inclined to listen than to speak, I chose to invite the two dozen bright lights to see themselves new and to report back on their adventures. 

Hairography I called it. What does the stuff on the top of your head have to say? How will it say it? What is the mood, the tone, the diction, the lexiconical reach? How does the hair manage to think when it is perpetually leaving itself behind? Is it at peace? Can it know peace? Find the pronoun, name the gender, consider plurals and singulars, tense and tone, or don’t. Write the autobiography of your hair.
Postscript: I've been asked if copies of Hairography can be purchased. They can be, at cost, from Blurb. The link is here: http://www.blurb.com/b/4073531-hairography

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Dr. Radway's Sarsaparilla Resolvent arrives (as galley pages)

Thursday, October 25, 2012

It's been quite a week here, as proof pages for both Handling the Truth and Dr. Radway's Sarsaparilla Resolvent arrive.  Over the next few days I'll turn my attention to the second, my 1871 prequel to Dangerous Neighbors, which features Eastern State Penitentiary, Baldwin Locomotive Works, Schuylkill River races, George Childs, a famous murder, and a boy named William who rescues animals for a living.

This book also features illustrations by William Sulit and a book design by Elizabeth Parks (and copy editing by my blogger friend Quinn Colter).  It will be released this coming March from New City Community Press/Temple University.

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My husband's art (2)

Thursday, August 9, 2012



Jan
Lana and Tirsa
Lana

You know how it is when you wait and wait and wait to share a (good) secret?  That's how I always feel when I'm waiting to showcase my husband's art on my humble blog. I was able to release this image not long ago.  Today I can share more.

This work is months in the making.  It all began with a photo shoot at DanceSport Academy and features our talented, beautiful friends—Jan, Lana, Scott, Tirsa—whom Bill photographed against a green background.  Everything else in these images—the furniture, the hats, the mannequins, the cloth, that pair of legs—was fashioned with a variety of 3D software tools, about which I know nothing.

I just know that I'm amazed, all the time, by what Bill does.

Click on the image to see it in bright detail. 

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Zenobia, the Dutch version.

When your heart has been pounding, like my heart has been pounding, when you're averaging five corporate stories a day and still behind, when the Zumba ladies ask you if you are a size bigger than you thought you were (could this be from sitting on your bum all day?), you see the mail truck drive up and you run.  First, to get that dress size down.  Second, for some relief.

Today, my running relief revealed a package that contained the Dutch edition (Sdu Uitgevers) of ZENOBIA, the corporate fable I penned with Matt Emmens, a good friend through all these years and now the chairman of the board of Shire, the international bio-pharma company.  The illustrations (my husband's work) look exactly the same as they do in the English-language version.

The words?  Not so much.

Matt, did you ever think we'd be so multiply translated?  I hope this makes you happy today.

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