Posts tagged ‘Phoenix’

Notes from Kosovo: Linking Phoenix and Prishtina

The relationship between Kosovo and the Herberger Institute for Design and the Arts owes much to the U.S. State Department’s Junior Faculty Development Program (JFDP), which brought multi-media artist and University of Prishtina faculty member Alban Nimani (pictured below) to Arizona State University, where his faculty host was Intermedia Professor Muriel Magenta. Nimani became involved with the ASU Art Museum’s International Artist Residency Program through a chance encounter with visiting artists Matteo Rubbi, Miguel Palma and me, Greg Esser, at one of Intermedia Professor Gregory Sale’s graduate classes. The rest, as they say, is history.

kosovo alban

On March 26, I met United States Ambassador to the Republic of Kosovo Tracey Ann Jacobson, who was at the University of Prishtina, Faculty of the Arts (Fakulteti i Arteve), to dedicate a new multi-media lab, funded as a partnership between the U.S. Embassy and the University of Prishtina. Nimani wrote and received the grant for the multi-media lab from the U.S. Embassy following his semester-long residency at ASU. Among other initiatives, Nimani is in the process of adding intermedia, public art and a volunteer component to the curriculum at his university based on his experiences at the Herberger Institute for Design and the Arts.

kosovo ambassador cutting ribbon

“There is no more important investment a country can make than in the education of its young people, its future leaders,” Ambassador Jacobson said during her remarks.

Jacobson spent time speaking with each of the students in Nimani’s class about the work they were developing on the new state-of-the-art Apple iMac computers the grant provided. Projects ranged from calligraphy to animated film to interactive video games. The facilities in the lab now rival the tools available to students in the Herberger Institute for Design and the Arts.

kosovo students

These new tools represent a significant advancement in the resources available to these students to pursue careers in design and the arts.

Following the ribbon-cutting ceremony, working with the new iMac computers, Nimani’s fourth-year students continued work on another aspect of Nimani’s grant and another inspiration from Phoenix, Arizona. Nimani and his students are frantically preparing for E premtja e fundit, or Last Fridays, inspired by the First Fridays monthly art events in Phoenix.

kosovo poster promoting first friday

With less than three days to go, students worked to refine projects, social media and a map that locates art projects throughout downtown Prishtina, including Mother Teresa Boulevard, the main public plaza and the pedestrian mall in Prishtina, the capital city. Last Fridays, or E premtja e fundit, is supported in part by the U.S. Embassy, the Municipality of Prishtina and the Herberger Institute for Design and the Arts and the ASU Art Museum. The free public event will feature dozens of temporary public art projects, installations, gallery openings, local musicians and local businesses all working together to bring art outside of the gallery and into the community.

We ended the afternoon with a traditional Albanian meal with Nimani’s father, Shriqy, who founded the Graphic Design Department at the University of Prishtina. Once an award-winning singer and former director of the National Gallery, Shriqy is an avid historian and author focused on Albanian culture and influence around the world, with dozens of published books and scholarly awards. I learned that Mother Teresa, who once took me by the hands and blessed me while I was working at the United Nations, is Albanian. The main road through the heart of Prishtina is named in her honor.

kosovo mother teresa boulevard

As both an artist and curator, I’m excited to be in Prishtina to help shape and advise on the first event of its kind here on behalf of the Herberger Institute for Design and the Arts and the ASU Art Museum.

Notes from Kosovo II – Plan B

kosovo snow on rooftops

Waking up on Wednesday morning, I discovered the city covered in snowfall. Most installations have been planned for outdoor locations. With less than 72 hours before the launch of the event, we immediately embarked on contingency planning.

Amid a flurry of radio and television appearances promoting the event, Alban and I visited Pallati i Rinisë dhe i Sporteve, or Palace of Youth and Sports, to determine if it might serve as an alternative location for installations.

kosovo Pallati i Rinisë dhe i Sporteve

Built from 1977 to 1981 under Communist leadership as a public project when Kosovo was part of Yugoslavia, the structure defines the landscape of the city center and contains a massive subterranean shopping complex with restaurants. A large section of the building burned and is currently vacant, providing an ideal canvas for temporary artist interventions. As snow fell on the city, many outdoor projects were relocated to this new venue.

In the afternoon, I provided a lecture for fourth-year students on the impact of the arts in Phoenix, the ASU Art Museum International Artist Residency Program and the Desert Initiative, all of which focus on the power and impact of collaboration and the power of the arts to transform lives.

kosovo students on campus

Posters promoting the event arrived at the Faculty of the Arts following the lecture, and students immediately began distributing them throughout the city. We ended the day at the National Gallery for the opening reception of a retrospective exhibition for deceased artist Engjëll Berisha, also known as Befre. Berisha was one of the early pioneers in building the arts community in Kosovo, a figure similar to artist Philip Curtis in Phoenix, who helped to establish the Phoenix Art Museum.

kosovo gallery opening

*    *     *

The Republic of Kosovo was established in 2008 following protracted ethnic conflict between Serbia and the largely Albanian population. Newly an independent nation with a deep history informed by numerous occupations, including the Roman Empire, 500 years of Ottoman rule (1455 – 1912) and Communist rule as part of Yugoslavia, Kosovo is today focused on a prosperous future and is a warmly hospitable environment for the first-time visitor or long-time friend.

*    *    *

The morning of Friday, March 29 arrived with cold, overcast skies and rain. At around 4 in the afternoon, the clouds broke and sunlight spilled down and began to warm the streets and buildings of Prishtina. As the workday closed, an optimism and energy was percolating throughout the city. With less than three hours to go, students, artists and musicians worked to put the finishing touches on their individual works and the overall event.

kosovo temporary street decorations

*    *    *

As with any group exhibition, the quality, intellectual rigor and execution of the individual artworks varied. Overall, the participants demonstrated exceptional teamwork, collaboration and experimentation. I was tremendously impressed by each of the students who moved outside of the classroom and well beyond their comfort range to create an event that was so much more than the sum of its parts. Works included projected animation, live painting, an interactive Twitter experience, an installation of umbrellas, dance, music, gastronomic work, an installation featuring the preparation and presentation of traditional Albanian foods, murals, a fashion piece made from black plastic bags, an interactive puzzle, a version of Tic Tac Toe with mirrors completing the pieces, transformation of a city bus stop into a representation of the future with sounds from NASA, a light and sound installation in a built environment on Mother Teresa Boulevard and more.

To get the full experience and variety of work, please visit the official webpage, Facebook, Twitter and Instagram sites for the event.

Across the street from the Palace of Youth, nine emerging Kosovo bands performed to a packed house at Punkt. I haven’t witnessed the same level of energy since the early days of the punk movement in the United States, in the late 1970s and early 1980s. There was a range of young musicians with a palpable vibrancy and the first mosh pit I’ve seen in many years.

Notes from Kosovo III – Looking Forward

The headline in Sunday morning’s newspaper in Prishtina translates to “Last Fridays designs the future.”

The story, profiling the event, describes the energy and work of the students as well as the potential for the event to grow. Again acknowledging the numerous partners that made the event possible, including the Herberger Institute for Design and the Arts, the story captured the impact that the students had, and will have, through their participation.

With the event behind us on Saturday, Nimani and his family graciously shared their insights on more of the region. We spent the weekend visiting the National Gallery of Albania in Tirana, the national enthnographic museum and the museum of Skanderbeg, one of Albania’s national heroes, in the mountain town of Krujë, and the seaside port city of Durres. We ended the weekend with a round of bowling at the Taiwan complex in Tirana in honor of the Phoenix art bowling group that frequently hosts ASU’s international visiting artists.

kosovo The mountains above Krujë, Albania.

Overall, this was a beautiful journey, if too short, hosted perfectly by Alban Nimani and his family and colleagues. I look forward to returning again soon to Prishtina to see how the E premtja e fundit event evolves and watching the progress of the students who were part of this first event. Nimani, in turn, looks forward to continuing his relationship with Arizona State University and seeing the event expand to other cities in Kosovo, Albania and other parts of Europe.

When you plan your travel to Kosovo, be sure to include a Last Friday in Prishtina. It will be rewarding.

Faleminderit (thank you), Kosovo!

Links:

As part of his residency with the Herberger Institute, Nimani composed short soundtracks for YouTube videos on two projects supported by the Herberger Institute, including Valley of the Sunflowers and Desert Initiative:

Valley of the Sunflowers

Desert Initiative

And see more pictures here:

Official Embassy photos

 Photos by Greg Esser

–Greg Esser is director of the Desert Initiative, which is housed at the ASU Art Museum in the Herberger Institute for Design and the Arts.

April 1, 2013 at 10:12 pm Leave a comment

Artist-in-Residence Christine Lee encourages artistic and sustainable consciousness

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Visiting artist Christine Lee stands next to one of her pieces at the gallery at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.

Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee’s artwork a process-driven venture and a thorough material investigation.

Lee’s work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum’s Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.

The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.

“I think they were interested that I was working with a range of composite material and creating functional and sculptural work,” Lee said. “I feel like they both can happen in the same studio space.”

Lee’s work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: “It’s not so much about the end result of what you make but how you take that material and transform it. It’s the process and where it goes.”

In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. “People realize it’s not so much about categorizing everything,” she said. “It’s more about seeing what can happen when you start weaving things together.”

Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn’t her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.

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A closer look at Lee’s work. Photo by Elizabeth Kozlowski.

With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, “It seems these days there’s more exciting work out there that straddle those areas.”

Lee finds potential in material that people casually throw out, a trait she attributes to her family’s concern about not wasting and appreciating the value of things.“We would reuse things like aluminum foil and we wouldn’t throw it away unless we absolutely knew we couldn’t use it,” she said. “And that stayed with me. I’m always very conscious about what I use and if someone throws away a scrap, I’m like, ‘That’s perfectly usable.’”

As part of her residency  Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee’s students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU’s Global Institute of Sustainability and School of Sustainability, highlighted work Lee’s students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.

What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. “Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen,” she said.

By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students’ work has evolved as they applied the lessons they learned in Lee’s clas: “ [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice.  This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students.”

Lee at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.

Lee at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.

Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee’s class.  “[Her] class… helped me to understand what I can do on an individual level,” Romney said. “She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate.”

Romney added she feels privileged to have taken a class under Lee’s direction, and she hopes Lee makes Arizona a permanent home.

During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.

“I feel like there is so much to tap in here,” Lee said. “I just felt it was very serendipitous that I could be here working on this.”

Mary Grace Richardson

To see more images of Christine Lee’s show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.

March 11, 2013 at 7:15 pm 3 comments

The Desert Initiative’s DI:D1 launches at ISEA 2012 in Albuquerque

The Desert Initiative is taking the International Symposium on Electronic Art in Albuquerque by storm — or haboob, to be desert-specific — where it’s kicking off Desert Initiative: Desert One, a.k.a. DI:D1, which runs now through the spring of 2012 and encompasses exhibitions and projects around the Southwest.

DI Director Greg Esser is participating in ISEA2012: Machine Wilderness, Sept. 19-24, as are ASU Art Museum Director Gordon Knox, artist Chip Lord (whose Ant Farm Media Van v.08 [Time Capsule] is on view at the CRC, and ASU Art Museum International Artists-in-Residence Clare Patey (England), Miguel Palma (Portugal) and Matteo Rubbi (Italy).

On Sept. 20, Knox, Patey and Phoenix artist Matt Moore presented at the symposium on the topic of extinction; Patey and Moore are collaborating on a project titled Rare Earth, to be unveiled at the ASU Art Museum in the spring of 2013.

Here are Patey and Moore pre-presentation:

Chip Lord will speak about the Media Van on Monday, Sept. 24 and Miguel Palma will be one of the featured artists during 516 Arts Downtown Block Party on Sunday, Sept. 23, with his Remote Desert Exploration Vehicle, a converted former military vehicle that explores desert surroundings during the day and returns to urban areas to project the desert imagery on buildings at night.

The Remote Desert Exploration Vehicle will be on view at the ASU Art Museum starting Sept. 28, as part of Palma’s exhibition Trajectory.

Here are some photos by Phoenix photographer Sean Deckert of the Remote Desert Exploration Vehicle’s trip out to Albuquerque:

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Join us at the Museum on Sept. 28 and 29 to celebrate the season opening of both Ant Farm Media Van v.08 [Time Capsule] and Miguel Palma’s Trajectory!

And if you’re wondering about those passports pictured in the slideshow above: Stay tuned…

September 21, 2012 at 8:48 pm Leave a comment

Coming soon to a Museum near you: Miguel Palma

Above: Miguel Palma (left) with space research trainee from the ASU School of Earth and Space Exploration. Photo courtesy of the Desert Initiative.

Artist Miguel Palma (Lisbon, Portugal) was commissioned by the ASU Art Museum’s Desert Initiative to develop a mobile project that explores our connection to the desert environment.

In collaboration with ASU’s School of Earth and Space Exploration (SESE) and other community partners, Palma has converted a former military truck into an exploration vehicle equipped with the technology to photograph and film natural desert environments. The vehicle will return to urban settings at night to project the recorded imagery on building facades and other sites.

The work engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.

Palma’s “Remote Desert Shuttle” will be live at the ASU Art Museum on our season opening weekend, Sept. 28-29. In the meantime, here’s a teaser to whet your appetite:

July 31, 2012 at 11:16 pm Leave a comment

ASU Art Museum’s International Artist Residency facility opens in downtown Phoenix

Faculty, staff, students and friends of Arizona State University’s Herberger Institute for Design and the Arts gathered on April 26, 2012 to celebrate an important milestone for the ASU Art Museum International Artist Residency Program at Combine Studios in downtown Phoenix: the arrival of the facility’s first residents.

Clare Patey (England), Matteo Rubbi (Italy) and Miguel Palma (Portugal) are among the artists currently in residence at Combine Studios.

ASU Art Museum Director Gordon Knox explained to guests that the residencies are an important aspect of the museum’s work in advancing the role of the creative process of artists across all fields of knowledge and research.

“Having international artists here developing their work, interacting with each other and engaging with community members will provide a range of benefits and outcomes,” Knox said.

Combine Studios was recently purchased by artist couple Matthew Moore and Carrie Marill. Each unit was upgraded and furnished by Moore and Marill to provide a “homey” feeling that also celebrates vintage and mid-century aspects of Phoenix. Each unit includes a complete kitchen, private bath and work/study area.

Moore and Marill both had a positive experience at another international residency program, Civitella Ranieri Foundation in Italy, which was established by Knox.

“We’re thrilled to be able to bring this experience for international artists to downtown Phoenix and to work in partnership with the ASU Art Museum,” Moore said.

The ASU Art Museum is leasing six units to house visiting artists working on projects in partnership with the ASU Art Museum, the Herberger Institute for Design and the Arts and Arizona State University. The facility also includes a storefront gallery/classroom space, and a shared kitchen, common area and resource library for artists to dine together and meet with project partners and members of the community.

“Having international artists here developing their work, interacting with each other and engaging with community members will provide a range of benefits and outcomes,” Knox said.  “Already we have an ASU robotics team working with Portuguese artist Miguel Palma as he develops an image capture and projection vehicle to ‘bring’ the desert back into the city.  Italian artist Matteo Rubbi is organizing a massive bicycle swarming project to trace the Hohokam canals, which will work with history, archeology and other community partners.”

The relationships created between the artists and a range of partners here in Arizona will benefit ASU’s students and extend the work of the university through new, on-going relationships that foster a more connected global network linked through the ASU Art Museum as host and convener, Knox explained.

The residency program is made possible through a unique public/private partnership between the ASU Herberger Institute for Design and the Arts, the ASU Art Museum and Combine Studios, LLC, an initiative of artists Matthew Moore and Carrie Marill, and with generous support from the Desert Initiative and other partners.

For more information about the ASU Art Museum’s International Artist Residency Program, contact Deborah Sussman Susser at 480.965.0014 or deborah.susser@asu.edu.

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Photos by Sean Deckert and Peter Held.

May 11, 2012 at 10:19 pm 1 comment

Ch-ch-ch-ch-changes: Behind the scenes at the ASU Art Museum

Below: Gordon Knox (Director, ASU Art Museum) looks on curiously as Julie Thies, left, performs one of her TMS training sessions. Heather Sealy Lineberry (Senior Curator and Associate Director) also attends. Photo by Stu Mitnik.

Transitions are happening everywhere, from the changing seasons (which in Phoenix we call “hot” and “really, really hot”), to the updated layout on Facebook that caused millions to panic. The Arizona State University Art Museum is no exception to these recent shifts.

The art museum has recently made a transition from an unwieldy Access Database to The Museum System (TMS), a super sleek and powerful database, software which also graces the collections of such prestigious institutions as the Smithsonian in Washington D.C., the State Hermitage in St. Petersburg, and the Metropolitan in New York City. The Museum System combines user-friendly features with a multi-faceted, innovative approach to adding in-depth details to collections and records.  With TMS, the simplest aspects of an artwork are easily accessible, such as an artist’s birthplace or the year a piece was made, yet it also allows for users to find pieces using ambiguous terms, dates and locations, because of its extensive database.

Julie Thies, an independent consultant who has worked with TMS for 12 years, says, “If I didn’t have TMS, there are some questions I would have a hard time answering.” She recollects an instance in which a museum goer called about a piece he had seen several years prior: “With TMS, I didn’t have to hunt through tons of filing drawers to try to find the answer. And I don’t think the answer was anywhere in a drawer.”

Julie, who was the collections database manager at the Speed Art Museum in Louisville, Kentucky for 10 years and who got her start using TMS as an intern at the Cooper-Hewitt National Design Museum and the Sackler Gallery, both of which are part of the Smithsonian Institution, came to the ASU Art Museum in December as an independent consultant to assist with the launch of The Museum System.  Without Julie’s expertise, the switch to TMS would have seemed almost impossible, as she was a beacon of hope and calm when we were caught in the tumultuous and dark seas of database conversion.

The breadth and intensity of the switch to TMS is almost hard to describe, but mentioning the numbers — a migration of close to 14, 000 objects as well as 14, 000 object images — it’s a bit easier to understand the magnitude of such an undertaking. Regardless of the time, energy and potential loss of sanity, however, the database conversion is a welcome and much needed improvement to the museum collection, one that is incredibly valuable, time-saving, in-depth, and a rescuer of busy museum professionals.

Each user of The Museum System is bound to have a favorite feature that makes their life easier. For Julie Thies, the Wisest of All Who Use TMS, it’s the endless possibilities that rank number one for her. “You can track anything about an object, where it has been, where it is and where it is going. You can manage exhibitions, images and artist information. Over the years it is nice to watch the information grow and develop, and you can see a real history of an object within the institution.”

A conversion to a new database system not only eases the collection process but helps people to better understand a collection as a whole, in parts, or as singular objects. With this understanding, our museum then becomes a more accessible platform from which to be involved in a dialogue about art. And in the end, isn’t that what a collection should do?

Aubree Jacobs, Assistant to the Registrar, True TMS believer.

Above, left to right, Gordon Knox, Heather Sealy Lineberry and ASU Art Museum Registrar Anne Sullivan take in a TMS training session. Photo by Stu Mitnik.

May 7, 2012 at 7:34 pm 1 comment

Magic Fridays, continued: Crowns!!!

Above: Visiting artist Matteo Rubbi and his crown in downtown Phoenix.

You may have seen the earlier post on this blog about “Magic Fridays” at the Museum. They are the brainchild of visiting artist-in-residence Matteo Rubbi, from Bergamo, Italy, and his girlfriend, French artist Béatrice Bailet, both of whom have shared their fine cooking and their insights with the Museum staff and lucky visitors at several congenial potlucks served in the Museum lobby.

Earlier this month, “Magic Friday” coincided Epiphany (Jan. 6), and for the occasion, Béatrice made a galette des rois, or “king cake.” This delicious confection — thin layers of pastry with a frangipane center — contained two dried beans, and the finders of those beans each received a paper crown, and became king for the day.

That evening, which was also First Friday on downtown Phoenix’s Roosevelt Row, Matteo and Béatrice took the tradition to the streets, making paper crowns with passersby outside the house in which the two artists had been staying.

Béatrice wrote a blog post about the event, which is on her blog:

http://beatricebailet.over-blog.com/article-c-r-o-w-n-96645968.html

And here is our own rough translation of Beatrice’s post, which was originally in French. Merci, Béatrice!

Every First Friday of the month, the center of Phoenix is swarmed by people.

Phoenix is the capital of Arizona, in the United States. It’s a city of extraordinary dimensions, with a density of 1,084 inhabitants/km2, and an overall surface area of 1334,1 km2 (Paris: 21,196 inhabitants/km2 for 105,4 km2!) It’s built in the Sonoran Desert, which allows it to expand without limits. This fact means there’s a good quality of life, with a private garden for everyone, but prevents those moments of meeting that occur in a city built on a human scale. In Phoenix, you don’t walk or borrow the rare shared mode of transportation. You have to take your car, even for short trips.

That’s why First Fridays are such a big success: In the arts neighborhood in downtown Phoenix, a kind of art market takes place in the evening, allowing the art galleries to stay open, the food trucks to gather, and musicians to play in the street.

It’s within this context that I suggested a crown-making workshop. Everybody was free to stop and make a crown with the salvaged materials we had available (paper, stickers, images, pens…)

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January 26, 2012 at 8:44 pm Leave a comment

Today’s lunch…

Today I ventured out and went to the 8th Annual Empty Bowls event in downtown phx.  You can pick from tables and tables of bowls by local artists, art students, etc.  For $12 you can pick the best bowl that fits your personalty and fill it w/ a pasta lunch donated by a local restaurant.  The best part is that the proceeds from the sales benefit Waste Not.  Waste not remains the only perishable food rescue program in the Phoenix metropolitan area.  They collect excess food from restaurants, resorts, caterers, etc and delivers to over 80 agencies that feed the hungry (www.wastenotaz.org).  There are more Empty Bowls events coming up… check it out.  Good food, uniquely crafted bowls and a great cause.   -Mary-Beth

October 17, 2008 at 9:16 pm


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