FURNISHED - Valor American Home

The dog days of summer are the ideal time to take in a museum. Not only is the air conditioning a welcome sensation to combat the drenching humidity, but the experience can be a vacation for one’s mind.

On a recent Sunday afternoon, I did just that.

The Southeastern Center for Contemporary Art (SECCA) is dedicated to bringing contemporary art and community together. Since 1956, the gallery has been a welcome venue for southeastern artists to show their work. In the many years since its founding, success has allowed it to grow in scale and global representation.

Being a home furnishings enthusiast, I was most intrigued to experience the current exhibition, FURNISHED. This collection of 50 works, by 15 artists, explores the relationships between furniture and sculpture.

The exhibit was juried by a team of 4 practicing professionals from the fields of art, design, and education. A colleague and friend of mine, Dr. Rosa Otero (Chair of the Art, Art History and Design Department of Salem College, and Director/Curator of SIDE Chair Library), was among them. I contacted Dr. Otero and asked her to share what this event meant to her.

“From the beginning I supported the vision of SECCA’s curator (and juror) Wendy Earle, to showcase the most recent creative work in the Southeast in the areas of functional sculpture and furniture. I also considered the exhibit a snapshot instead of a comprehensive survey so we had a lot of freedom in the process of selection,” shared Dr. Otero.

As a professional designer and instructor, rules and standards are an integral part of life’s menu. This was a refreshing buffet of thought for her. Her criteria of judgement included five aspects: 1) Originality, 2) Material exploration, 3) Content, 4) Quality craftsmanship, and 5) Composition. --The last two characteristics being the most significant to her selection process.

With this framework in mind, I was well-equipped to review the creative work before me.

Slowly, I strolled from creation-to-creation. While some pieces exhibited a bit of whimsy, a second look and gleaning of the curator’s notes revealed the in-depth thought process behind each piece. This wasn’t just an “art installation”; but rather, a cultural collective. Many artists drew upon historical events which had sustained impact on today’s lifestyle and environment.

Soon, I felt the same breath of creative freedom that Dr. Otero must have felt. I took off my “hat of rules and regulations” and began to see materials, form, and composition in a new light. One artist had disassembled chairs, reassembling their parts into sculptures. Another took vinyl chair caning and made lighting sculptures. Yet another had skillfully turned a tub chair into an haute couture gown of Dupioni silk.--- The bondage of design restrictions was unlocked and the mind was free.

My eyes began to dance as if I was standing in a candy shop. I wanted to see every part of each piece. I sat on the floor. I stood on my toes. I walked around each creation. I wanted to touch this gallimaufry of materials, but kept my hands securely locked behind my back.

Kimberly Winkle

Annie Evelyn

Colin Knight

Eric Serritella

Tom Shields

Life’s normal agenda of rushing had been slowed to a crawl. My mind had been given a vacation. Even more so, I had gained a greater appreciation for creative thought.

Maybe that is what museums are really about.

David Bohnhoff

Jeff Bell

Graham Campbell, Robb Helmkamp

Annie Evelyn

Austin Ballard

This was A Moment in America.

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