Derek Richardson has made paintings all his life. As a youngster he was influenced by the explosion of creativity in the late 20th century. The transition from realism to abstraction was the main thing that affected him at the time. His early work was confrontational and caused a lot of attention for its intricacy and difficulty. This was a reaction to the realist paintings that were all over the place in the 70s. He liked the creative freedom that abstraction gave but the use of colour was very limited. He then moved on to painting in watercolour. He started to add more paint and got more confident. After working with watercolour he became frustrated and moved on to oils. The use of oil painting brought more freedom and the monotone colours were open to interpretation. He has become very expressive and bold with his colour choices. He really likes to push the limits and thinks about technique. It is the enjoyment of his work that makes him do this.
Imitate the sun and burn in semi-agony. Blow away the days and freeze into oblivion. Create a wasteland of sand and sunlit porcelain, of black birds and blue skies, of music in human voices, of love and laughter. Write your own masterpiece. Empty the vessel of imperfection into the sea. Paint in light and day forever. Cleanse the soul. Soak in sky.
As part of St. John’s School’s Arts in Action initiative, our Visual Arts students have served as gallery staff. Students assist with administrative tasks, perform room sets, install work, repair equipment, and provide gallery tours for faculty and students. Their presence and activities are a vital part of our community – a part of our school family.
Pautz, Adam (2011) The lethal tale: the fate of the dragon in Westeros. In: Bronitt, Simon, Gani, Miriam and Hufnagel, Saskia, (eds.) Shooting to Kill: Socio-Legal Perspectives on the Use of Lethal Force. Onati international series in law and society (1). Hart Publishing, Oxford, UK, pp. 91-107. ISBN 9781849462921
Conrad, Thomas (2012) Life and death in a capital case: the right to a fair trial and the right to die. In: Bronitt, Simon, Gani, Miriam and Hufnagel, Saskia, (eds.) Shooting to Kill: Socio-Legal Perspectives on the Use of Lethal Force. Onati international series in law and society (1). Hart Publishing, Oxford, UK, pp. 25-48. ISBN 9781849462921
SPENCER, ROBERT BRADFORD (1973) STUDIES IN MOLECULAR-SPECTROSCOPY: I. APPROXIMATE SECULAR-EQUATION FACTORING IN THE VIBRATIONAL ANALYSIS OF OCTAHEDRAL METAL-CARBONYL COMPLEXES. II. DEPENDENCE OF AB INITIO CALCULATED FORCE-CONSTANTS OF CARBON-MONOXIDE ON ADDED NEGATIVE CHARGE. III. METHODS FOR FOURIER TRANSFORM SPECTROSCOPY OF ALKALI ION VIBRATIONS IN SOLUTION.
This year, The Studios, in partnership with Downtown Edgecrest Inc, will be hosting the 15th annual Art & Culture Gala. The Gala will be on Friday, March 21. The event is hosted in commemoration of the 6 year anniversary of Downtown Edgecrest Inc.
The award-winning mother/daughter duo who have created The Studios. Director Michaela Dimitrova and indie dramaturg Michaela Dimitrova have adapted the beloved childrens tale with great sensitivity and respect to its form. They infuse the story with some African elements while keeping its moral core; with its message, heart and optimism intact. The scene in which Lisa has the mementos that remind her of her mother and the family cat she and her mother once shared are a wonderful metaphor for the relationship of children with their mother; the mother who is gone and the children who are left behind. The process of adaptation involves Michaela doing an exhaustive research that helps her with her concept. But ultimately, it is Lisa who needed to be played and interpreted in order to become a performer. Before she was a performer, she performed with her dolls. She also worked with the puppet master of The Studios, Harlan Ellison, and with his puppet Riots at the Agency. He later wrote the story for Lisa. The Studios starts next Saturday, April 12th and runs for five weekends.