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ARTS Southeast elevates Sulfur Studios and opens up region to artists

ARTS Southeast elevates Sulfur Studios and opens up region to artists
savannahnow.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from savannahnow.com Daily Mail and Mail on Sunday newspapers.

The Café on 80 Deli & Bakery shows opportunities for public art on Tybee Island

The Café on 80 Deli & Bakery shows opportunities for public art on Tybee Island
savannahnow.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from savannahnow.com Daily Mail and Mail on Sunday newspapers.

Xavier Zay Hutchins joins Starland Fence Art Project

2020 was looking good for artist Xavier “Zay” Hutchins. After a number of successful live events, solo exhibitions and group shows, 2019 ended with the unveiling of his powerful Starland Mural Project piece. The large painting at the corner of 41st and Bull Streets depicts crabs as stylized humans trying to escape a massive bucket, but being unable to do so because the individuals pull each other back down rather than working together to escape. With this explosive emergence into the public sphere, it seemed that the stars were aligning for Hutchins to truly break out. “I had a plan to open up a studio gallery for myself at the beginning of [2020],” he recalled.

Artist Dana Richardson brings French realism to Starland Mural piece

“Easily I drew some sketches that became the final painting Exodus,” said Richardson.  The piece is loosely inspired by The Flight into Egypt, a pencil drawing by French Realist Jean-Francois Millet. Like her painting for the Fence Art Project, Millet’s Flight features two people intimately connected, something which immediately stood out to Richardson when she first saw it during a lecture on the video meeting app Zoom. But it was the way that a more well-known artist was impacted by Millet’s images that really influenced the Savannahian in her own work. “[Vincent] Van Gogh only saw black and white reproductions of [Millet’s] work because of the limitations of printing in the 19th century,” Richardson recounted. “Instead, he would do what he called ‘color translations.’”

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