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Designing can be a Beautiful Business: “Green” Furniture Designers, Echo 9 and Refab

Echo 9

The Bywater-based furniture design team, Echo 9, has introduced a new dynamic to the local woodworking market, its creations not simply beautifully crafted pieces for the home, but each telling a particular story.  As Echo 9 partner, Eric Lind, describes their focus, “We build our furniture with locally sourced, salvaged materials from our city’s architectural past. Each piece of wood tells a story – of the place from which it was sourced, of its original fabrication and function, of its maker, of the space and story it inhabited.

“Whenever possible, we try to include a narrative history describing the story of each piece – the significance and location of the furniture’s component parts, a story that places the piece of furniture within a particular time and location. We have a special interest in crafting objects that carry meaning through historical narrative – when a house is being renovated or rebuilt, we take great pride in repurposing the literal walls and floors of the building, crafting furniture that celebrates the history of that home.”

Sourcing the vast majority of their materials from neighborhood properties that are being demolished or renovated, Echo 9 not only saves good material from certain death in a landfill, but grants it new life in their designs.  Lind and his partner, Michael Stivers, are part of a growing trend in design to repurpose and recycle local materials.  As Lind points out, consumers are often complicated and confused by the prevalence of “green” marketing that is proffered “as some propagandistic softening of their true ecological costs.”  He asks, “How green is a non-toxic, or low-VOC furniture piece if it is shipped thousands of miles to your doorstep? Why purchase a piece of pre-fab furniture made from allegedly sustainable materials if the product is built with planned obsolescence and will be sitting in a landfill within the decade?”

Lind sees Echo 9’s ecologically sustainable design and business model as different from larger “green producers in the industry.  Echo 9 uses 100% salvaged, reclaimed, recycled materials; manufactures products that “carry the signature of enduring craftsmanship – a durability that, rather than supporting the disposable culture of mass production, invites a stewardship of the objects that honors the past and helps carry our history forward for future generations;” and produces furniture that is locally made from locally-sourced materials, which leaves a lower carbon footprint, but, perhaps more importantly, builds relationships between producers and consumers at the local level.

Much of Echo 9’s production is custom-built to client specifications, but all pieces honor the history of the lumber, making each piece aesthetically unique.  Whether it is the lumber’s particular length, density, grain, or coloring, each piece has its individual characteristics that drive the aesthetic of each Echo 9 product.

You can find Echo 9’s pieces at Bon Castor, a new artist consignment shop opening February 1st at 3702 Burgundy Street, or can find out more about commissioning custom projects through their website at www.echo9furniture.com.

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Refab is another new green design project that has set down roots in Bywater.  Inspired by the bright and bold colors of the neighborhood, Refab’s designer, Amanda Belskie, seeks to give new life to discarded items: “I am inspired by beautiful fabrics and design and just walking around my neighborhood seeing all of the amazing color combinations that people use on their houses. One of the first pieces of furniture I ever made was based on the colors of a shotgun house in the Marigny.

“I always start with furniture that I find in thrift stores, the trash, or that has been built from reclaimed materials. In the process of up-cycling a piece, I reuse as many of the inside materials as I can and paint it with leftover or recycled paint from The Green Project.”

Belskie’s keen eye for design allows her to imagine and create sleek armchairs and plush settees out of old items – all with a focus on affordability.  Belskie’s aim is to provide local consumers with affordable options to purchase locally and sustainably crafted designs.  “My goal is for my furniture to have a distinct look and to be recognizable. I think it stands out because I tend to use vibrant colors in either my fabric or paint choices and I am attracted to bold patterns. I also like the contrast of mixing traditional furniture and modern fabric to give a piece an updated look.”

While Belskie creates pieces for Refab based on Belskie’s design aesthetic, she also works with clients to create custom work based on individual desires.  You can find Refab pieces at Creole Cottage (1817 Magazine Street) or can find out more about commissioning custom work through the Refab website, www.refabnola.com.

 

 

 

 

Caroline Stivers is a born-again Southerner and reformed Texan.  After spending several years in the northeast freezing, forcing bland food down her gullet, and not saying “hello” to people on the street, she realized that she loves the sweaty summers, rich food, and friendly faces of the south.  She is now a proud Bywater resident, busy renovating a money pit, working to get first-generation students into college, and pondering what to do with a recently obtained Arts Administration degree.

“Tiny Alice”: dizzying down the rabbit hole

Silk Dress Productions Image
Silk Dress Productions Image

It's a mystery to say the least – see 'Tiny Alice' at Mid-City Theatre!

I attended the Friday, January 20th performance of Silk Dress ProductionsTiny Alice by Edward Albee at the Mid-City Theater, a recently renovated venue in the New Orleans theatre scene, which is a refreshing sight in spite of the indefinite closure of venues such as Le Petit in the French Quarter, Le Chat Noir in the CBD, and the Actors Theatre of New Orleans in Metairie.  Despite being clearly in flux, theatre continues to thrive, and the changing terrain is forcing patrons to break age-old go-to’s and explore—a beautiful thing!

I was unfamiliar with this piece, only that it debuted at the Billy Rose Theatre on Broadway in late December of 1964 (contrary to the 1965 consensus), and it is one of Albee’s less often produced works.  I usually find myself being pleasantly surprised and all the more enticed by plays I have never read or seen.  This is where I pump the breaks and confess that this, unfortunately, was not my experience with this production.  My personal qualms with the play are for the most part only that—irreconcilable issues with script:

Why did Edward Albee want me to see his play about a bunch of creepy, emotionally suppressed/disturbed, socially inhibited, and geographically isolated people knocking into one another in a maybe-haunted mansion?

The playbill provided neither a time nor a place (and no indication of whether or not this was an intentional choice by Albee), so here’s the lay of the land: a lawyer (who might have had a romantic relationship with the Cardinal in their youth) pays the Cardinal a visit and declares the woman for whom he works, while still alive and well, wishes to dispose an immense amount of fortune onto ‘the church.’ In exchange, the cardinal has a young clergyman, Brother Julian, appointed to ensure the financial proceedings are maintained to the letter.  In the main room of the recluse benefactress, ‘Miss Alice”s mansion, sits a ‘living’ replica of the mansion itself and is a constant subject of fascination in the world of the play. Is the mansion haunted or possessed—who’s to say for certain, but during an indeterminable stretch of time, Miss Alice eventually seduces Brother Julian to the perdition of all.   In most circumstances, I’d throw in a *spoiler alert*, but quite frankly, I’m not sure what the spoiler is.   Perhaps explaining what I mean by ‘perdition’ would give a little something away, so I’ll stop there and get to the meat of it.

ACTing.  In short, a confusing play performed by a strong cast.  There were some choices in the character dynamics I was uncertain of being director or actor-driven, but overall, the acting was solid and the momentum of the piece was maintained by these performers from beginning to end.  I was especially fond of the character, Butler, performed hilariously well by Doug Barden.

Cuts.  This production is not an adaptation of Edward Albee’s words but an abridged version with many cuts (only discovered after having spoken with a couple actors after curtain call).  I’d be interested to read the original in its entirety simply to satisfy my curiosity as to whether I would be even more or less confused.

DESIGN. (Hair & Wardrobe) Ill-fitting hemlines on un-ironed slacks proved a terrible distraction, as did any time the lead actress had her hair bobbing in front of her face.  No matter the era, clothes must fit and faces must be seen—period. (Set Pieces) After being a part of a production with artists who constructed a multi-dimensional, New Orleans style house made completely of cardboard, adhesive, and Velcro during the New Orleans Fringe Festival in 2008 (also, if you’ve seen The Fantastic Mr. Fox, you’ve seen this house), I’ve become spoiled in my expectations of models built to scale.  The mansion replica in this production was underwhelming at best in its aesthetic, although the use of light fixtures created a desirable effect. (Transitions) They took entirely too long and perhaps needed a fourth set of hands to help pick up the pace.  I felt sorry for the poor chap stage right that had to turn a huge set piece numerous times by his lonesome.

Dîaléct. Actors implementing a dialect of any kind must receive some form of coaching throughout the duration of the rehearsal process and have access to vocabulary exercises to utilize prior to every performance; very little takes me out of a moment more than hearing a very talented actor sound like himself instead of the person he is attempting to portray.

L  e  n  g  t  h  .  2 ½ hours is a lot for contemporary audiences to digest, even with 2 small intermissions in-between acts.

Theme.  God is everywhere and nowhere in this piece.  I’m not sure what Albee’s message is in this work, and from what homework I’ve done in hopes of understanding this play better, Albee didn’t have concrete answers himself and leaves the responsibility of interpretation to its audiences.

For those of you who have yet to see Tiny Alice, you’ve still got 2 nights left to try and figure this mystery out for yourself! It’s a three-act monster of a play, and I commend everyone involved in this production for having the guts to take it on.  I can’t say it’s a favorite, but I can say I whole-heartedly respect Silk Dress Productions for seeking to produce challenging, provocative work.

Friday, January 27 and Saturday, January 28 @ 8PM | Mid-City Theatre, 3540 Toulousse St.

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xoxo-Moni
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Monica Harris is a professional theatre artist and all-around go-getter.  Originally from Angeles City, Philippines and raised in Fort Worth, TX, she is a proud New Orleanian who, between the 2-job hustle, lives the Bohemian dream. 

Artist Spotlight: Aubrey Edwards

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By: Nikki Randolph

Aubrey Edwards looks like an artist. I had never met her before our interview, but I knew who she was from the minute she bounced into the bohemian courtyard of Fair Grinds, an organic coffee house near the New Orleans Fair Grounds. 

 

It seemed more appropriate to take up space outside despite the chill in the air that day. Aubrey has a presence from the moment she enters a room. She is tall, confident and wearing fashionable boots. She is native of California, but now claims Austin, Brooklyn and NOLA as home (the hipster trifecta). We discussed art, her outlook on life, and her reasons for moving to New Orleans.

 

Her California childhood was cold and impersonal. Led by an innate desire for a connection she moved from Suburbia to Austin. Here she earned her BA in Journalism at the University of Texas and began taking photos for musicians and bands. This evolved into her working with SXSW, the Grammys and Vibe Magazine. Other notable clients include The New Yorker, Nylon, Neiman Marcus, Playboy and The Oxford American.

 

 

Aubrey’s focus is portraits, and they are both vibrant and polished, but occasionally hint at a staged loneliness. I felt a connection with her subjects and wanted to know more about them.

 

Like most music photographers, she gets a chance to see our musical heroes up close and personal. Musicians have a love/hate relationship with the media, especially photographers. They realize this person can pull back the curtain on their real persona.That can be terrifying for someone paid to play a role in the public eye. This says something special about Aubrey; both ordinary people and musical superstars trust her. She has photographed musical legend Allen Toussaint as well as recent superstars such as Talib Kweli, Amy Winehouse (RIP), and Lil Wayne.

 

After establishing herself as a photographer, Aubrey moved to Brooklyn, but realized that something was still missing. She found herself traveling to New Orleans for work, and discovered the connections and roots here that she had been searching for her whole life. She took her time in establishing a New Orleans residence, but appears to be here for the long haul. She quotes, “New Orleans has something about it, something that runs deep inside of both the ground and your soul,  that is hard to let go of once NOLA has you in her grasp.”

 

 

She is locally known for her ongoing attempt to canonize New Orleans hip hop and bounce artists. The project named “Where They at NOLA?”captures local favorites like Mia X and Choppa, but also tells their stories.  She worked on the project with Alison Fensterstock, a local writer familiar with the NOLA musical scene and exhibited a series of photos with biographies at the Ogden Museum of Southern Art.

 

When Aubrey finishes a large project, she takes time to unwind and works on unpaid projects near and dear to her heart. After Katrina, she came to the city to take photos of families who needed to replace their family albums. She spoke about how important it was to her to give her time and talents to those people who had lost everything they had, and how those photos meant so much to them. She also worked with the New Orleans Kid Camera Project, where children were encouraged to express their feelings about their losses during Katrina through art. “There is a fine line between documenting someone and exploiting them.” Aubrey believes in the power of one person to make a difference in the lives of others. That is why she devotes so much of her time to the causes she believes in.

As our time together ended, I asked her why she ultimately chose NOLA to be her home. She told me that she is inspired by the city, “The city itself is so abundant with creatives that I can’t help but be inspired to do amazing work here.” She has finally found her connection, those roots she’s been looking for.

 

For more info visit:

Aubrey Edwards http://www.aubreyedwards.com/

New Orleans Kid Camera Project http://www.kidcameraproject.org/  

Veterans Photo Project http://www.veteransphotoproject.org/

‘Where they at Nola?’  http://www.wheretheyatnola.com/

Creative Alliance of New Orleans is currently accepting applications for Creative Capital’s Workshop

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Creative Alliance of New Orleans is currently accepting applications for Creative Capital’s Workshop presented on March 9-11, 2012.

This one of a kind opportunity has been described as a “crash course in self-management, strategic planning, fundraising and promotion” for artists of all creative genres. The Creative Capital Workshop takes artists on a two and one-half day retreat led by nationally renowned arts professionals. The experience is limited to 24 artists from Louisiana. Applications will be reviewed by a selection committee with the goal of assembling a very diverse group of artists from varied artistic genres and cultural backgrounds. The deadline for applications is February 1, 2012. Applications can be found online at http://cano-la.org. This is the first time that Creative Capital’s workshop will be held in New Orleans. While many different forms of art are flourishing in New Orleans, it is still tough for local artists to create a sustainable income for themselves. The Core Weekend Workshop intends to change this situation.

Some of the skills that will be taught are:

  • financial planning basics, including choosing financial partners, best practices for savings and retirement planning, options for reducing debt and acquiring property.
  • the essentials for operating your art as a small, independently run business, including employment, contracts, negotiation, decision-making, budgeting and cash flow
  • strategies for funding your work and revenue-generating, including improving your fundraising materials; working in partnership with venues, donors and funders, building a base of individual contributors; and knowing the real cost of your work so you can communicate it to funders, presenters and other partners
  • how to consider promoting your work as an integral, natural part of the creative process
  • the best practices for artist websites, blogs, social media and communications
  • how to identify and reach new audiences for your work

The Creative Alliance believes that this program presents an opportunity for Louisiana artists to learn new methods in improving their professional careers in the arts. Please visit http://cano-la.org to apply.

Artist Spotlight: Hannah Chalew

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Hannah Chalew is a visual artist living in New Orleans. Her work examines the post-Katrina landscape emptied of human life. These spaces speak for their inhabitants as a statement about the inextricable link between culture and nature, our past and inevitably our future.

http://hannahchalew.com/