Trustin by Desmond Lewis

Art of the Week

Visual art can be a conduit of incredible positivity, an outlet for expressing immense hardship and grief or, at times, a combination of the two.

For his new solo show “Let The Color(ed) Out,” curated and presented online by The Red Arrow Gallery, Nashville sculptor Desmond Lewis utilized building materials in unconventional ways to convey a message about race in the U.S., simultaneously capturing its insidiousness and the perseverance of those whom it most affected. The pieces in the exhibition appear salvaged from the rubble of a construction site, with deceptively warped spotlights of color interwoven into structural blocks.

“Desmond Lewis is an artist who uses steel and concrete in his sculptures in an attempt to correlate the invisibility of structural steel within buildings with the concealed structural importance of African Americans in the United States,” the gallery explained in a release. “Within his work he creates fabricated and forged sculptures that abstractly address conversations surrounding race, equality and community.”

The brightly colored elements — as demonstrated by bright purple steel grafted to the outside of a darkly-colored concrete block in Trustin — appear to simultaneously highlight the vibrancy of unique color within the whole, as well as the luminance that has emerged even within the country’s most oppressive corners.

“In this new body of work, I am intentionally adding color in my sculptures, to show that despite the darkness of racial situations in the South, a sense of lightness and vibrancy can emerge,” Lewis said, according to Red Arrow Gallery. “This intentional addition is the result of personal stories and teachings from within my family.”

Living in downtown Nashville during the Jim Crow era, Desmond’s mother experienced an unequal society in which she was forced to use separate facilities from white people. Despite this inequality, she instilled a sense of positivity and perseverance in Lewis — bright perspective that is apparent in pieces like Trustin.

“She … prepared me to be strong as I search for the positive color in the racial situations that I encounter in a turbulent society that continues to dispel the humanness of black men,” per his statement. “Just because the physical walls of American society have destined black people to have a dark past, doesn’t mean that we can’t emerge and build a vibrantly colored future.”

Ultimately, the pieces in “Let The Color(ed) Out” convey this message seamlessly, through the combination of materials, use of color and brutal, raw approach to form. They are a testament to all those who have managed to find the positive, and expressive, within the most oppressive of circumstances.

Lewis received his master’s degree in fine arts from the University of Memphis. He has participating in residencies at the Pittsburgh Glass Center, Skowhegan School of Painting, Haystack Mountain School of Crafts and others. His work has been collected at the Carolina Bronze Sculpture Park, Vermont Carving and Sculpture Center, the Stax Museum of American Soul Music and elsewhere.

The Red Arrow Gallery is located at 919 Gallatin Avenue, Suite #4, in East Nashville.

Pedestrian’s Aquarium by Harry Underwood

Art of the Week

In times of isolation, questions of faith, humanity and philosophy inevitably rise to the surface. Visual art, as always, represents an opportunity to consider these questions in new lights — even if the work can’t be seen in person. “Neon Believer,” a solo exhibition of work from Nashville painter and writer Harry Underwood presented online by Julia Martin Gallery, brings these questions to the fore, offering the perspective of a local trailblazer.

Before becoming a full-time artist from his home in Springfield, Tennessee, Underwood worked in Nashville’s construction industry. In 1997, he was robbed at gunpoint in New Orleans and forced to consider what he would want to focus on in his life if he survived. He began writing, drawing and painting and built notoriety throughout exhibitions in Nashville. Underwood is often classified as an “outsider artist” — that is, an artist without formal training or significant contact with the mainstream art world (a label he has avoided). He has nonetheless become prolific, perhaps the most well-known visual artist living in Nashville, having had his work exhibited around the world and collected by numerous celebrities.

Among his signatures are the use of stenciled imagery, penciled text and the inscribed moniker “Harry.” The work in “Neon Believer” stays true to these signature elements while bringing a new color palette and deeper focus on religion.

“The title ‘Neon Believer’ comes from a group of Amish women Harry Underwood encountered in Kentucky wearing long, handmade, neon-colored dresses,” per a release on the show from Julia Martin Gallery. “Having never seen the traditional garments in neon before, he was inspired to add a neon green to his palette. The term stuck, noting that ‘neon believer’ sounded a bit like ‘nonbeliever.'”

Having struggled in his life to relate to family members who are traditionally religious, Underwood’s pieces in the show represent deeper reflection from the artist on philosophy and faith.

“Harry’s subject matter often deals with feelings about religion,” according to Julia Martin Gallery. “His recent work delves deeper into philosophical realms delivering ideas via preachy sounding verses and proverbs — Harry’s version of preaching, take it or leave it.”

In Pedestrian’s Aquarium, Underwood’s signature writing includes messages like “The universe presents it’s puzzle / demonstration contradiction and struggle” and “Burn as brightly as you can.” These messages are written in the tight negative spaces within a crowd of people, many wearing shades of neon green or blue, existing as dynamic edicts that bounce between them. The members of the crowd seem oblivious to one another yet overlap and complement, creating a symphonic whole. The closeness and interplay of the figures is all the more poignant now, in a time when such proximity is being strictly forbidden.

In all, the effect of the piece, as throughout “Neon Believer,” is one of poignant philosophy, an outsider’s view looking in.

Underwood’s work has been exhibited throughout Nashville and the world, including at the Belcourt Theatre, Nashville International Airport, New York City’s Outsider Art Fair and the Halle Saint Pierre Museum in Paris.

Julia Martin Gallery is located at 444 Humphreys Street in WeHo.

Dream for Light Years by Ali Smith

Art of the Week

In times of crisis, an ironic and unfortunate dynamic comes into play. The expression and consumption of art is often pushed to the side in the moments when these actions are perhaps most vital. It is with an understanding of this dynamic during the surge of COVID-19 cases in Tennessee and around the world that Nashville’s local arts institutions and galleries are doing their best to make their offerings available digitally and as soon as it’s safe for visitors to come see them in person.

At Vanderbilt University Fine Arts Gallery, that means sharing a dynamic new show that demonstrates the vitality of both visual and musical art. Though the gallery is closed until at least April 11, when it does reopen, it will exhibit “Dream for Light Years,” the results of a two-year collaboration between painter Ali Smith and music professor and composer Michael Alec Rose. The show features oil paintings by Smith and a composition made by Rose specifically to accompany them.

Such collaborations across media have a strong historical precedent to rely on. As the gallery highlighted in a press release, 19th and 20th century composer Claude Debussy’s work is often seen as a musical parallel to that of his contemporary, leading impressionist painter Claude Monet. Likewise, Russian abstract painting pioneer Wassily Kandinsky is known to have exchanged ideas with Austrian composer Arnold Schoenberg in the early 1900s.

“The artist Ali Smith and composer Michael Alec Rose continue this conversation into a new millennium, allowing the Vanderbilt community and wider public a window into their process,” according to the gallery. “We look forward to the opportunity to see and hear how one art form can give sustained attention to another, while attempting to translate not only the specific features, but also the essence of an artwork, from the language of one medium to another.”

Dream for Light Years, the title painting for the show, is also the name of Rose’s composition. In color palette, technique and level of abstraction, it is reminiscent of the other paintings in the exhibition. It offers a newly-formed language of shapes, heavy texturing and vibrant forms. But this piece was chosen as the eponymous representative for the exhibition because of the reaction it solicited from Rose when he first saw it.

“One of the paintings by Ali Smith I encountered early on was titled Dream for Light Years,” Rose wrote. “I loved it immediately. I knew that I had found a new home. The title was part of the charm, a fusion of fantasy and physics, true to the already-hybrid nature of light years as a unit of measure, distance expressed in terms of time… Ali suggested that my piece Dream for Light Years is a love letter to her paintings. She gets everything right.”

Smith received her MFA from California State University, Long Beach and her work has been exhibited in Los Angeles, Miami and elsewhere throughout the country. Rose is an associate professor of composition at Vanderbilt’s Blair School of Music whose own compositions have premiered by distinguished ensembles around the world.

Vanderbilt University Fine Arts Gallery is located at 1220 21st Avenue.

Cutting Edge by Dustin Hedrick

Art of the Week

Some may see static visual art as lacking in the immersive power found in more dynamic media like film, sensory immersion or augmented reality. But then there are installations like Dustin Hedrick’s Cutting Edge, now on view at Channel To Channel in We-Ho.

Hedrick is also Channel To Channel’s founder and director, whose gallery has housed progressive installations before. By expanding beyond the gallery walls and using the negative space of the room itself, Cutting Edge encompasses its surroundings and viewers’ perceptions as effectively as any multidimensional installation might — a particularly poignant and powerful approach given the piece’s subject matter.

Cutting Edge is an exhibition that combines gallery and studio into one space,” Channel To Channel explained in a press release. “The walls and floors of the gallery will be covered in light blue paint and red tape to create an abstract portrait installation of [Hedrick’s] unborn son. The title refers to cutting-edge technology, specifically the 3D ultrasound where an image of the fetus is obtainable. Hedrick is using this ultrasound photograph of sorts to inspire and inform his newest work… The name also refers to the process used to cut and create the tape installation.”

The fact that Hedrick’s actual place of business is now taken over by an image of his child is an added layer of poignancy. He has taken this approach to art making before, but its borderless nature seems especially resonate given the all-encompassing responsibility and perspective of parenthood.

“Hedrick’s work often deals with the merging of different people’s portraits through black tape on the wall along with the use of color, abstraction and jagged, twisted lines,” per the gallery. “This exhibit marks more of a return to abstraction as the line work represents the uncertainty and ambiguity of fatherhood.”

It’s a clever and experiential way to translate some of this personal gravity, all the more impressive considering that the artist has accomplished it by sticking tape to the wall.

Hedrick was born in Mississippi and has studied at Mississippi State University, Watkins College of Art and the Vinceza School of Architecture in Italy. His work has been exhibited throughout the Southeast.

Channel to Channel is located at 507 Hagan Street in We-Ho.

Immersion by Damaris Nino

Art of the Week

On March 6, 2020, during Franklin’s First Friday Art Scene, local painter Damaris Nino will be exhibiting a new acrylic, ink and pastel piece at Franklin Road Apparel.

With its use of mixed media, rainbow of bright colors, interlaced shapes and continuous threads, the work is positive and inclusive while remaining abstract and open to interpretation. Its name is derived from the central message Nino hopes to convey: Immersion.

“This image is about the immersion of immigration in the U.S. and how many immigrants try to immerse themselves in a place out of a desire to better the life of their families,” Nino explained. “The immigrants bring so much rich and vibrant color to the United States and many times they are treated horribly because they look different.”

Nino’s artistic process in general and her take on this subject matter specifically are informed by her personal faith. It’s this belief that not only inspires her to create art in the first place, but more than likely led her to tackle such a divisive political issue with an image as uplifting as Immersion.

“My creation process is one that is inspired by Jesus,” Nino said. “I create works on issues that I have felt He has placed in my heart to speak up about. My process begins with reflection, prayer and some research and then I begin to create.”

Much of Nino’s work is created with expressive brush strokes in acrylic paint and ink. She also often utilizes graphite and pastels as textured elements. As seen in Immersion, many of her pieces incorporate bold colors and emphasize the use of lines.

“Each mark or organic shape represents clusters, stigmas, groups, journey, growth, vitality and Jesus moving in the midst of every situation,” Nino explains on her website. “We are all created with a purpose. Mine is to share the love of Jesus based on personal experience through immigration, a privileged society, being a woman and mother, having lost children and figuring out how to live a life after loss, etc. Which is translated onto canvas with the execution resulting in giving hope, peace and happiness and knowing that there will always be someone ready to love us.”

Ultimately, it’s difficult to step away from Immersion without feeling inspired, even if you’re not sure by what. It’s as if Nino’s spirit itself has been transferred to the canvas, imbuing it with a celebration of the colorful melting pot that outsiders and diverse perspectives create.

“Not every immigrant is here to cause harm or corruption. Their motives are indeed for a better life,” Nino concluded. “Which, isn’t that what everybody is striving for? A better life?”

Nino holds a BFA from Middle Tennessee State University. Her work has been exhibited throughout the Nashville area.

Franklin Road Apparel is located at 508 W. Main Street in Franklin.

Sea and Sky, English Coast by J.M.W. Turner

Art of the Week

Joseph Mallord William Turner is one of the best-known and most influential British painters of all time, making his mark on history with a prolific collection of Romantic oil paintings, prints and watercolors. Turner’s work serves as an idiosyncratic bridge between depictive landscapes and evocative impressionism — pieces that are at their most powerful when viewed in person, astride one another and with insight into his process.

And now, Nashville’s Frist Art Museum is giving visitors in the U.S. their only chance to experience Turner this way. Currently on view until May 31, 2020, “J.M.W. Turner: Quest for the Sublime” is visiting Frist in its sole stateside appearance.

The show arrives via London’s Tate institution, which holds a bequest of Turner’s work totaling about 300 oil paintings, 30,000 sketches and watercolors and 300 sketchbooks. “Quest for the Sublime” features around 75 pieces, highlighting Turner’s career from the 1790s to the late 1840s. In addition to works that emphasize Turner’s signature accomplishments in finalized maritime painting, the exhibition seeks to offer visitors insight into his process through sketchbook studies, works in progress and unfinished watercolors.

“As time passes, there is a progression from a more substantial, three-dimensional style to one that is more impressionistic and less solid,” David Blayney Brown, senior curator of 19th century British art at Tate Britain, said in a release provided by Frist. “In these often-unfinished paintings, Turner stripped away subject and narrative to capture the pure energy of air, light and water.”

By demonstrating Turner’s groundbreaking ability to focus on pure energy through preliminary studies, “Quest for the Sublime” can provide visitors with additional insight into the effects of his signature finished works. Sea and Sky, English Coast, an 1832 gouache watercolor on display, wouldn’t have been exhibited as a final piece by Turner but, in hindsight, its elemental portrayal of color highlights an aptitude apparent in the artist’s finished landscapes.

“The modern concept of abstraction would not have been understood or endorsed in the 19th century, even by an artist as experimental as Turner,” according to Frist. “He would not even have intended such loose color beginnings to be exhibited during his lifetime. Nevertheless, in this and other studies in this section, as the elements of the composition are reduced to the barest representation of sea and sky, Turner’s intuitive ability to think of landscape in terms of pure color is revealed.”

This is a powerful way to see what makes Turner such an influential and iconoclastic legend in art history: his ability to imbue landscape painting with expressive, representative elements unlike any seen before.

“For Turner, psychological expression and the liberation of the imagination were of paramount importance,” Brown said. “He achieves these goals in images of the landscape that evoked human moods by portraying extreme contrasts of intense light and gloomy clouds, dramatic topographies and energetic brushstrokes.”

Frist Art Museum is located at 919 Broadway.

Warm Family by Pinkney Herbert

Art of the Week

Now on view at David Lusk Gallery in WeHo, Pinkney Herbert’s exhibition “Come Here” offers a collection of the artist’s paintings and drawings that together create a memorable compilation of abstraction, aggression, movement, form, color and, perhaps above all, ambiguity.

Herbert has exhibited his work around the world and splits his own time between Memphis and New York City — a lifestyle that finds its way into his dynamic, frenetic and multifaceted pieces. Herbert achieves such movement in his static work through layering, digital printing, graffiti techniques, bold color and a combination of unique forms. This approach serves as a perfect complement to the artist’s variety of inspiration, yielding results that speak distinctly to contemporary times.

“Art history, architecture, maps, music and digital technology also inform Herbert as his work often serves as a reflection of the dense, frenetic, saturated state of contemporary life,” according to a release from David Lusk Gallery. “Herbert enjoys adding things together, creating complications and ambiguity. Along the way, he strips action painting of its heroic stature and gains latitude to contradict himself as he sees fit.”

Of course, this contradiction is one of the most contemporary things about the work in “Come Here” and a Herbert signature. It’s readily apparent in his piece Warm Family, for instance. Highlighting that fact, the gallery shared a quote from author and Columbus State University painting and drawing professor Orion Wertz, who wrote about Herbert for Burnaway.

“Herbert’s lines are dubious: they are self doubting, they play tricks, they lie,” Wertz wrote, per the gallery. “Has the mark been applied or wiped off? Has it been photographed or printed? Is the print a truthful account, or another kind of fabrication?”

Ultimately, the answers to those questions will remain unknown to visitors. But as is made clear through Herbert’s elevated use of bold ambiguity, that uncertainty is merely a reflection of our times.

Herbert holds a bachelor’s degree from Rhodes College and a master’s in fine art from the University of Memphis. He has received fellowships from the National Endowment for the Arts, the Tennessee Arts Commission and USIA-Arts America. His work has been collected by the New Orleans Museum of Art, Memphis Brooks Museum of Art, the Arkansas Arts Center and more.

David Lusk Gallery is located at 516 Hagan Street in WeHo.

Cinco Apariciones by María Magdalena Campos-Pons

Art of the Week

Whether intentional or not, art is always an echo to the past. A memory, an evolution, a tribute — visual art at once owes itself to our collective memory while also propelling it into the future. As seen in one notable show now on display in Nashville, it can even grant new life to artifacts once thought to be lost forever.

In its latest exhibition, “Visionary Aponte: Art and Black Freedom,” Vanderbilt University Fine Arts pays homage to the relatively-unsung 19th century Afro-Cuban revolutionary and artist José Antonio Aponte. It features the work of 20 contemporary creators across a range of media, inspired by Aponte’s “Book of Paintings,” which served as a key piece of evidence when Aponte was put on trial for his alleged role in a Cuban antislavery campaign in 1812.

“Its pages portrayed lush landscapes and Biblical stories; Roman goddesses and Spanish Kings; black men as warriors, emperors, and librarians; Rome and Ethiopia; Havana and the heavens,” according to a press release from the gallery. “Shortly after testifying, Aponte was publicly executed, his head severed from his body and placed on a pike inside a cage in a well-travelled crossroads in the city. Then, his ‘Book of Paintings’ disappeared.”

The show, which hosts its closing lecture on February 27, 2020, includes work that reimagines Aponte’s book for today and, as a result, considers the role that contemporary art can play in grappling with racial violence, colonial history and social change. Participating artists — who are based around the world, including in Cuba, Haiti, Miami and Nashville — used Aponte’s trial testimony as the only surviving record of his work for their inspiration. The exhibition incorporates scholarly research on Aponte’s plight and Latin American and Caribbean history to add context to the exhibition.

Cinco Apariciones by Nashville’s María Magdalena Campos-Pons is a particularly powerful lens through which to view Aponte’s artistic legacy. As part of her “Un Pedazo de Mar” (“A Piece of Sea”) series, the work highlights the ocean as an incubator of Caribbean heritage and memory, with dark figures seemingly suspended deeply within it. The exhibition brochure provides transcript text from Aponte’s trial alongside Campos-Pons’ work, tying the contemporary piece to the historical figure.

“The figure printed with blue ink located high between Nigero and Cojímar pulled by two eagles means [the agora] of Air: the other between Santelmo and Cabaña is Neptune that surfaces from the sea,” Aponte said of his own work in 1812.

Cinco Apariciones (translated as Five Apparitions) clearly connects to this entry in Aponte’s “Book of Paintings” through its use of color, representation of the ocean and mythical imagery. But it builds on Aponte’s inspiration with a thoroughly contemporary use of watercolor and inclusion of figures that appear to be far outside the Greek lexicon. While ethereal and dreamy, the painting conveys a weight and sobriety in line with Aponte’s own history.

Campos-Pons was born in Cuba and is of Nigerian ancestry. She studied at the Escuela National de Arte and Instituto Superior de Arte in Havana before conducting post-graduate studies at Massachusetts College of Art and Design. Her work has included photography, performance, audiovisual media and sculpture.

“Her polyglot heritage deeply influences her artistic practice, which combines diverse media,” according to the exhibition program. “She researches themes of history, memory, gender and religion, and how they all inform identity. Through deeply poetic and eerie images, Campos-Pons evokes histories of the transatlantic slave trade, the indigo and sugar plantations, Catholic religious practices, Santeria and revolutionary uprising.”

Campos-Pons is a professor of fine arts at Vanderbilt Unversity.

Before reaching Vanderbilt, “Visionary Aponte” opened in Miami during Art Basel 2017 and has traveled to New York, North Carolina and Cuba.

Vanderbilt University Fine Arts Gallery is located at 1220 21st Avenue.

Purple Empathy by Meaghan Brady Nelson

Art of the Week

In 1970, the O’More School of Interior Architecture and Design was founded in Franklin, awarding students fine arts degrees in interior design, graphic design, fashion design and fashion merchandising. After becoming the O’More College of Design, it merged with Belmont University in Nashville in 2018 and is now officially known as the O’More School of Architecture, Art & Design.

It now offers majors in architecture, art, interiors, graphic design and fashion and will be merging with Nashville’s Watkins College of Art later this year to become the area’s preeminent institution for vocational artistic studies. Throughout the changes, O’More has relied on small class sizes and focused attention from faculty to ensure that its students are challenged and develop their own voices within the media they choose. Furthermore, the teaching staff consists of active practitioners in the creative field who make firsthand contributions to the visual arts. This latter quality is the thrust behind the current exhibition at Belmont’s Leu Gallery, “In The Studio,” on display until February 28, 2020.

“‘In The Studio’ features recent studio projects by faculty and staff of the newly established O’More College of Architecture, Art & Design,” according to the university. “The variety of work, from technique to stylistic approach, mirrors and complements the rich diversity of teaching offered within the college.”

All told, a dozen staff members — including professors, assistant professors, adjunct instructors and department managers — have contributed work to the show. In parallel to the stylistic and technical diversity on display, “In Studio” presents a range of sketches and source material, giving visitors insight into the spectrum of references and studies utilized by each artist/educator.

Purple Empathy, a large acrylic piece by assistant professor Meghan Brady Nelson, serves as the entry point to a series by the artist that simultaneously presents her work as a painter, thought process as an instructor and theoretical approach as an art academic.

“For my ‘American Flag’ series, I am exploring the ways critical visual literacy can be used to promote empathy for bipartisanship among students in a time of political unrest,” Nelson said in a statement provided by Belmont.

In this way, Purple Empathy is exemplary of the show’s power to portray dynamic visuals, social undercurrents and O’More’s emphasis on firsthand exploration of artistic philosophy and education from its staff.

Nelson holds a PhD in Art Education from Ohio State University and lives in Franklin. Her work has been published around the world and often focuses on societal questions, as in Purple Empathy.

“My works are layered, complex and a bit chaotic as is mothering, education and exploring the process of becoming a socially-conscious artist,” she explained in an artist’s statement on her website. “As a Mothering-ArtAcademic, I am inspired from the aesthetics found in nature, color, design and human interactions.”

Belmont University’s Leu Art Gallery is located in the Lila D. Bunch Library, 1907 Belmont Boulevard.

In A Still Field by Alicia Ponzio

Art of the Week

For all of its potential grandeur and fantasy, the realm of visual art is perhaps most powerful when it accentuates the beauty that we take for granted every day. It can be startling to see just how intricate the very spots of light around us can be and how powerful and fragile our natural world is on its own.

One of the everyday forms most often elevated through artistic rendering is the human body. Though we live with and around it constantly, it often takes artistic study and presentation for us to truly contemplate our bodies as objects worthy of admiration. For a comprehensive example of this, consider the latest show, “Alicia Ponzio Talks Sculpture: Commission to Installation,” on view at Franklin’s Haynes Galleries until January 31, 2020.

Though Ponzio is primarily known for her finalized bronze sculptures — busts and figures that emphasize form and feature — this show also presents the work that she does leading up to and outside of such creations in other media. Thus providing a full spectrum, from “commission to installation.”

“Graphite drawings … show how Ponzio contemplates the body, its pose and our view of it before even reaching for clay,” the gallery explained. “The bend of a knee, the slouch of a shoulder and the tilt of the head each add meaning to the overall design. Plaster sculptures, although traditionally a creation on the way to a final bronze sculpture, show how Ponzio works through her design in three dimensions. Space, light and shadow are now thought through in her plaster sketches.”

Viewing the work in this collection, it’s worth considering how these initial studies inform the “irregular” finishes (reminiscent of Rodin’s) of Ponzio’s final pieces. The sensitivity with which she renders her subjects is apparent in each step of the process.

“Ponzio favors asymmetry, irregularity and variety in design: qualities that suggest a human touch,” per Haynes Galleries. “Her bronzes, which can range from miniature to large-scale, multiple figure pieces, mesmerize with their sensuality, tenderness and intensity. Every element is carefully considered, from the pose of the subject to the finishing patina once a bronze has been cast.”

In a Still Field, a freestanding figural sculpture in the exhibition, embodies Ponzio’s personal touch, tender reverence for shape and elevation of the human form. The nearly five-foot-tall female subject stands on one foot, projecting forward in a hesitant way, a forlorn look rendered on its face. Its apparent movement belies the title and its evident emotion defies the very nature of its medium.

In a Still Field … reveals the final result of all the work and consideration,” according to Haynes Galleries. “From every angle it presents movement and emotion. The surfaces, from the polished granite base to the alternating shine and matte of the body, add to Ponzio’s narrative.”

Ponzio is a former lieutenant in the U.S. Navy Nurse Corps who went on to complete the sculpture program at the Florence Academy of Art in Italy. She has also served as the director at the school’s Artistic Anatomy and Ecorche Sculpture programs. She is based in San Francisco and her work has been exhibited throughout the country and world.

Haynes Galleries is located in Franklin. Visits are welcome by appointment only.