Annapolis | Maryland Hall for the Creative Arts


Daily Recap: Thursday

Thursday, the final day of the Under Construction Arts residency, was focused on new creation, reorganization as well as the Facebook livestream that evening.

The morning began with Megan Bridge and dancer Tyra Jones-Blain arriving before everyone else to choreograph a new solo for Tyra to be used that evening. Megan wanted to add the solo because it allowed her to introduce some of the material that appears later in the work and allows the audiences to more properly enter the evening.

 A note received from a viewer of the Wednesday night Livestream spurred Megan to rethink the order of the pieces that had been created for The Alt.terre. She realized starting with the pieces that focused more on presence allowed the night to flow in a more logical way. It became a more deliberate and gradual flow for the night. This required time to practice the new order and build transitions.

Megan worked with the technical team on lighting, camera angles and music transitions in preparation for the final Livestream which went off successfully. The final presentation showed all the work created over the last week and ended with a moderated dialogue about the whole experience with Megan and the dancers.

A major storm had run through Annapolis during the performance and we were all greeted with a stunning rainbow when we departed Maryland Hall for the final time.

A very special thank you to the performers from Fidget and the Annapolis community for participating in this inaugural Under Construction Arts residency.

Daily Recap: Wednesday

We opened Wednesday morning with another interview recording. This time we focused on one of the major underlying themes of The Alt.terre: presence and altered states of consciousness. The conversation flowed through the research done for the piece and Megan’s own history of exploring presence in her choreographic practice.

A majority of the day’s work was spent preparing for that evening’s work in progress live stream. Megan worked with the dancers to hone in specific movements and made sure they felt comfortable with the material that was created throughout the week. Two distinct worlds of The Alt.terre have taken shape over the residency and in preparation for the showing, Megan and the dancers created a choreographed segue between the two sections to create one cohesive structure.

As the rehearsal day came to a close, Fidget and the Maryland Hall tech team experimented with lighting, camera angles and music transitions for the livestream.

The evening’s Facebook Livestream went off without a hitch. Audiences were encouraged to watch the work created and look specifically to see how they felt about the transition between the two distinct worlds and whether they noticed any of the performers really embodying a state of presence during the performance. The evening closed with a brief discussion about the evening’s showing and Fidget’s reaction to the presentation.


Daily Recap: Monday/Tuesday

Under Construction Arts kicked off Monday morning with another interview with Megan Bridge. This time we discussed more in depth what she is trying to accomplish this week in the residency.​

After the interview and dancer warm ups, the Fidget team spent the morning in some structured improv activities in order to build the movement worlds that will inhabit the piece. The worlds have taken the names of ‘particle lines’ and ‘quivering/bouncing’. Each world has a different energy that the dancers inhabit and each world has its own structure and rules the dancers use to create.

They closed the morning exercises by expanding on pieces that were created for The Alt.terre in January/February of this year.

Monday afternoon was spent expanding on the work done earlier in the day. Fidget has found a balance between moments of intellectual/structured development and improvisational work, finding that switching between these different creative energies allows the dancers to balance their energy while both building movement and exploring presence.

On Tuesday Megan encouraged the dancers to build a phrase on their own. She showed them three movement ideas and told them that she wanted them to travel in space, exhibit certain movement qualities (weight and momentum) and asked them to build it for 16 counts. This is what the dancers created:

After lunch the dancers and the Maryland Hall team did a Facebook Live test to prepare for our scheduled livestreams on Wednesday and Thursday evenings. Not only did this allow us to practice our sound and camera angles, the dancers were able to watch a video of their work and learn from it.

We closed the day out by working specific movement sections to allow different dancers to inhabit different roles in the piece.

Daily Recap: Saturday/Sunday

The Fidget dancers arrived in Annapolis early Saturday evening. After checking into the Westin, the crew met at Maryland Hall for a walking tour of downtown.

After strolling down to city dock, the artists enjoyed Dinner Under the Stars at Tsunami on West Street before turning in for the night.

Megan Bridge, Co-Director of Fidget, arrived at Maryland Hall first on Sunday morning to record an interview about her company and the project, The Alt.terre she will be developing in Annapolis this week.

Here is a quick introduction to the team that is visiting. All performers engaged in the Temple University Dance program. The Alt.terre is a part of Megan’s MFA thesis.

 "Royalty Free Music from Bensound"

The rehearsal day was split into two blocks. One in the morning and one in the afternoon. The morning workshop was focused on improvisational play and trying to embody different movement worlds.

A special thank you to Preserve Restaurant for providing lunch and dinner for the artists during their stay in Annapolis.

Afternoon rehearsal was focused on building structure for the dance. Instead of Megan choreographing the movement for the dancers, the collective worked collaboratively through a structured ‘game’ to develop content.


The day wrapped with the development of about 4 minutes of material that the company can use and refine for The Alt.terre

Under Construction Arts: A Behind-the-Scenes Look at the Creative Process Through Dance


Photos from Fringe Arts by Kevin Monko

This week we are launching a new program at Maryland Hall called Under Construction Arts, a week-long residency that will become an annual and ongoing project to celebrate the artistic process.

In this inaugural developmental residency, we will work with Philadelphia based company Fidget, a platform for the experimental, collaborative work of Megan Bridge (choreographer) and Peter Price (composer/video art). Fidget is a think tank for research and discussion, offering historical, political, and philosophical access points for a deeper understanding of the art. Maryland Hall will share their development process on a new artistic piece, The Alt.terre, with our community and provide opportunities for you to connect with the creative process.

Under Construction Arts focuses on the artistic process, hosting and highlighting work in progress in order to build a deeper connection between artists and audiences. There will be opportunities for digital interaction with dancers through feedback on performances and daily group conversations.

You will be able to follow the entire process here, on this blog, with daily recaps, videos, and more. We will also be sharing throughout the week on our Facebook and Instagram accounts.


(left) Photo by Kevin Monko from Fridge Arts (middle) Photo by Ryan Collerd, courtesy of Philadelphia Museum of Art (right) photo by Kevin Monko from Fridge Arts

Save the dates for two Facebook Live events:

Wednesday, June 24 at 6:30pm we will share a work in progress showing and solicit your feedback on different aspects of the work.

Thursday, June 25 at 6:30pm we will present a final look at what Fidget created in their time in Annapolis as well as discuss the importance of supporting the creative process now more than ever

Under Construction Arts is a part of how Maryland Hall envisions gathering people together again in our new environment. We encourage you to read our Call for Artists and see how we plan to activate our space through the summer and into the fall.


Photos by Kevin Monko from Fridge Arts

The Alt.terre - The Alt.terre is a multi-sensory performance experience that uses dance, music, video projections, and architectural lighting design to construct an uncanny world. Performers dance along the line where deeply embodied movement practices tip into alternate states of consciousness. Tension grows between the warm, generous presence of the dancers and a crisp, post-human aesthetic.

The Alt.terre Concept & Background
Dance and performance can catalyze altered states of consciousness, for both performers and audience. Many dance practitioners talk about performance presence as if they are brought “to another place” in the moment of performance, and share stories of profound or life changing experiences through the act of performance. Where do dancers “go” when they enter an altered state of consciousness? What happens, and what is brought back? Where do audience members go when they experience being profoundly moved or have an epiphany in response to a performance or any artistic experience? The Alt.terre grows out of all of these questions.

The Alt.terre creates a holistic experience for audience members—sonically immersive, visually inviting, and relational. The concepts of hospitality, generosity, and presence are central concerns in this work.

The Alt.terre is also a play on the words “altar” as a place of reverence, focused attention, and worship, and “alt-“ (meaning other) and “terre,” the French word for ground or earth. Magic, artificial or other-worldly intelligence, and the uncanny are all conceptual underpinnings of this work.

About Fidget

Founded in 2008, Fidget is a platform for the experimental, collaborative work of Megan Bridge (choreographer) and Peter Price (composer/video art). Bridge and Price have created more than twenty original works that involve live performance, sound, and visual design. Fidget is a think tank for research and discussion, offering historical, political, and philosophical access points for a deeper understanding of the art. In 2009, Bridge and Price opened Fidget Space, a warehouse live/work space and experimental performance venue in Kensington, Philadelphia, which serves the arts community by providing education, space, production support, employment and internship opportunities for local artists. Central to Fidget’s mission is decreasing the distance between art and life, and between theory and practice.


(left) Photo by Ryan Collerd, courtesy of Philadelphia Museum of Art  (right) photo by Daniel Kontz



Megan Bridge (choreographer) is an internationally touring dance artist, producer, and scholar based in Philadelphia, USA. Her choreography presents formalist structures that are populated by somatically generated, often improvisational movement material. She is particularly interested in the historical lineages and discursive frameworks that situate her work. Bridge has worked with choreographers and companies such as Group Motion, Steve Paxton and Lisa Nelson, Jerome Bel, Willi Dorner, Lucinda Childs, David Gordon, and Susan Rethorst. Deborah Hay, Manfred Fischbeck, Brigitta Herrmann, Erin Manning, and Merian Soto have been major influences. Bridge is currently a graduate fellow in the Dance Department at Temple University in Philadelphia, where she is pursuing her MFA.  

Meghan Frederick (performer) is a dance artist based in Philadelphia, PA. Her choreography has been presented and supported by creative residencies throughout New York City and the Northeastern United States, most recently by VOX POPULI and Leah Stein Studio in collaboration with Kate Seethaler; Space Gallery (ME), Movement Research (NYC) Brooklyn Studios for Dance (NYC), Arts on Site (NYC), Center for Performance Research (NYC), STUFFED Dinner and Dance (NYC), and The Living Room (ME). Meghan teaches dance to children and adults, as a Guest Artist at Summer Festival of the Arts (ME), and at institutions throughout the Northeast. Meghan was a member of the Brian Brooks Moving Company from 2008-2014 and has recently performed with Liz Lerman, Carlye Eckert, Maya Orchin, Catherine Galasso, and Kendra Portier, and as a guest with SUBCIRCLE Dance Company.

Tyra Jones-Blain (performer) is a recent graduate of Temple University’s dance program. She is currently working as a teaching and performing artist throughout the Philadelphia area. By her sophomore year, she began teaching children and hosting her own adult workshops at local studios. Jones-Blain also participated in Philadelphia's first non-binary performance competition, Mx. Everything. In this 12-week competition, she went head to head with drag queens, magicians, contortionists and ended up taking home the grand prize. She has presented original works in Temple shows, and performed for choreographers including: Dara Meredith, Merian Soto, Laura Katz, Marion Ramirez, Megan Bridge, and Dinita Clark. Dance for Jones-Blain has always been second nature. It exists within her habits, how she talks, how she interprets; It is her soul's playmate. She discovers new things about herself and her environment everyday through the act of dancing, and she loves to share her discoveries with the world.

Rachel DeForrest Repinz (performer) is a New York based dancer, choreographer, teaching artist, and creative director. Rachel received her BA in Dance from SUNY Buffalo State College, and is an MFA candidate in Temple University’s Dance Performance and Choreography program. Rachel has presented her work nationally and internationally, at venues including the biennial Decolonizing Bodies: Engaging Performance conference at UWI Barbados, the 2018 NDEO conference held in San Diego, the 2019 NDEO conference held in Miami, DaCi’s 2017 national gathering, the Institute of Dance Artistry and more. In the past year, Rachel has been honored to perform premiere works by Dr. S. Ama Wray using Embodiology techniques, Merian Soto, Awilda Sterling-Duprey, and as a principal dancer for Enya Kalia Creations among others. Rachel has created works for the UN’s World Water Day, Utah All State Dance Ensemble, the Buffalo State Dance Theatre Company, and more. Most recently, Rachel has returned from Tokyo, Japan, where she conducted fieldwork research on pedestrianism as improvisation in preparation of her upcoming MFA thesis concert, All You Can Eat! 

Peter Price (music) is a composer, electronic musician, video artist and media theorist who creates sonic and visual environments for live performance. His musical compositions, dance films, multi-media productions, and lectures have been presented in Bogota, Warsaw, Kraków, Tokyo, New York, Vienna, Berlin, Dresden, Philadelphia, Istanbul, Johannesburg, Zurich, and the Universities of Basel and Lausanne. Peter’s deepening engagement with digital media technologies/practices and critical theory/continental philosophy led him to study at the European Graduate School (EGS) where he earned his MA and PhD. Peter has published two books of music philosophy with Atropos Press: Becoming Music: Between Boredom and Ecstasy with in 2010, and Resonance: Philosophy for Sonic Art in 2011.

Tiana Sanders (Performer) is a dancer and choreographer from Wilmington, Delaware. She is currently an undergraduate student at Temple University in Philadelphia, Pennsylvania as a dance major, and Delaware Technical Community College as a business major. She trained at Christina Cultural Arts Center also in Wilmington, Delaware, under Dara Meredith. She attended the DCNS Summer Dance Intensive where she’s taken numerous Master Classes with Nationally and World-Renowned choreographers. In 2015, she joined Eleone Connection, under Charon Mapp, and was a part of this company for two seasons. She also taught an introduction to modern and two hip hop classes with Christina Cultural Arts Center’s HeArt Under the Hoodie Program.

Mijka Smith (performer) is a dancer and choreographer from Elverson, Pennsylvania. She has been dancing since age three, primarily trained in ballet, contemporary/modern, and hip hop techniques. She spent her junior and senior years of high school as a dance dual enrollment student and company member at West Chester University while continuing to study, teach, and choreograph at her home studio, Remix Dance Collective LLC in Morgantown, Pennsylvania. Mijka is now studying at Temple University where she pursues a BFA in dance. Since coming to Temple in 2018 she has had the opportunity to perform various works, some of her favorites including Megan Bridge’s Malo as part of the Grounds that Shout! project and Marion Ramírez’s kNots and Nests. Now working as an Administrative Assistant for Fidget, Mijka continues to study, perform, and choreograph as she enters her final year at Temple.

Under Construction Arts is Supported by:

Sallie Findlay and Gene Nelson

Food for artists provided by Preserve Restaurant

Housing for artists provided by The Westin Annapolis

Recording and streaming made possible by the Goldstein-Cunitz Center for Film & New Media

Logistical support for Call for Artists and reopening provided by Katcef Brothers Inc.

Special thanks to Wiley H. Bates Middle School for providing the dance floor



In preparation for the Under Construction Arts residency, the six Fidget artists decreased their non-essential activities for a period of two weeks before their arrival and showed no symptoms of COVID 19 during that period. Maryland Hall has established a separate section of our facility for the activities associated with this effort including a separate entrance for arrivals and departures from that of current building users and contractors working in the space. The Maryland Hall technical team will maintain safe social distancing procedures in addition to other measure to provide a safe environment for these artists to create. The dancers will be performing together in a way they feel comfortable and have mutually agreed to.

PRS Band invites you to their performance on February 2 at 8 pm!

Purchase tickets HERE!

Rooted in Annapolis, the Paul Reed Smith Band carries their music as far as sound can reach. They’ve traveled all over the world, including our favorite venues in Germany, Italy and Japan, to spread love through good music. The heart of their music can best be described as Chesapeake Gumbo, true to their roots with a heart of funky rock. They are anchored by the world-famous Grainger Brothers in our rhythm section, Michael Ault & Bill Nelson on guitars, Mia Samone on killer vocals, and Paul Reed Smith on guitar. Come on out to a show and see what they do best!



Video Above: Participants of AYAP's Summer String Institue 2016 perform an excerpt of
 Martinu's Serenade No. 2 for fellow students in a masterclass setting.


Young artists

As frequent visitors to Annapolis, we have been privileged to attend several of the area's numerous cultural events.

On a recent night at Maryland Hall for the Creative Arts, the concert of the Annapolis Young Artists Program was one of the finest and most inspirational.

It was truly amazing to hear and to watch the professionalism of these young performers as they presented their summer string concert of various chamber and orchestral pieces under the excellent direction of Zack Stachowski, the conductor.

The newest addition to the program, the delightful junior artists ages 8 to 12, also performed some Beethoven and Handel.

If you get the opportunity to hear these students sometime, please do and bring your children and grandchildren who just might be inspired as well. What a great opportunity to learn leadership skills, team building and communication while expressing talent through the beauty of music.

The program was started in the basement of a church in Cape St. Claire. Founder Natalie Spehar deserves kudos for her vision for young musicians.

Bravo to all who made this event happen -- the staff, the students and Maryland Hall, for opening its doors for this event.


Northampton, Pennsylvania

Original Story published in Capital Gazette Letters 

Check out our Vimeo page for more Maryland Hall videos!

Thank you to the Severn Town Club for underwriting this event; and Annapolis Ice Cream Company.  

Main Stage
Annapolis Opera’s Faust set

First Floor
Academy Ballet School of Annapolis demonstration Room 101 2-4 pm 
Ballet Theater of Maryland demonstration Room 102
Letter Press Demonstration - Bob Hardy Room 110
Pottery Open Studio demonstration Room 112
Pottery ‘seconds sale’ Room 114 
Joe Dickey - Woodturning Demonstration Room 119 1:00-4:00pm 
Glass and ‘seconds sale’ Room 117A
Hands-on Activity for Children Room 117B
Etching-Sigrid Trumpy Room 117C
Maple Academy of Irish Dance Performance Gym: 2 -3 pm 
Raku Pottery Rear Parking Lot: 1-4 pm 
Grand Opening:  Lighthouse Catering Eatery 
ArtReach - Jovenes Artistas Art Show Hallway Gallery  

Second Floor
AYAP and Jovenes Artistas demonstrations Room 200
Voice Sample Classes - Alina Kozinska, Peabody Room 201:  3-4 pm
Face Painting Room 205
Annapolis Film Festival Room 212: 2 -4 pm
Andree Tullier – Figure Drawing for Teens Demo Room 213: 1-2:30pm
Ric Conn- Painting in Gouache Demo Room 214 1-3 pm
Don Cook Show and Gallery Talk Chaney Gallery
Maggie Sansone Chaney Gallery 1-2 pm
Opera, Theatre

Third Floor
Face Painting Room 300
Belly Dancing demonstration Room 301:  2:30-3:30 pm
Belly Dancing Mini-workshop with Carmen Nolte Room 301: 3:30-4:00pm
Popcorn Room 303
Eileen Razzetti dance classes Room 306
Peabody-Harp Recital Room 308 1-1:45 pm

In the Galleries
Don Cook Show and Gallery Talk Chaney Gallery 
AIR Exhibition Martino and Openshaw Galleries
ArtReach - Jovenes Artistas Art Show Hallway Gallery


Progression Photos by Brian Kyhos



Studio Tour with AIR Brian Kyhos


Pastels used in Bryan Kyhos' latest work                   AIR Brian Kyhos' studio at Maryland Hall



Ink and color from the artist's sketchbook                 Ink drawing in Brian Kyhos' sketchbook



Sketches by Artist-In-Residence Brian Kyhos           Window view of the artist's studio


An Interview with Brian Kyhos

What projects are you working on at the moment? Pastel drawing or paintings, depending on the way you look at them. They are also somewhat sculptural. I also do actual sculpture but I haven’t gotten into that in my studio here at Maryland Hall.

What are the primary materials that you use?  I’m working with pastel now but I also like oil painting. I have done all phases of bronze casting which was my first love. I love to work with modeling wax - it’s a very meditative process. I am mindful of the history of the material. I work with whatever materials I have at hand. I’ve been accused of being a pack-rat.

What’s your earliest memory of art? I’m not sure. I was always drawing with crayons. I was one of those kids that on my first day of kindergarten I drew a ship on the ocean and kids thought it really looked like one. I guess I have always had an innate ability.

How do you know when a work is finished? A lot of my thinking takes place in my sketchbooks. I will keep drawing and working until my brain gets so that I want to make something different. The beauty of sketchbooks is there are different ways to draw. Analytical is where you are trying to draw a figure and you want to record what you are seeing. Or, you draw out from yourself like a self-expression to get in touch with your inner side. I do both.

How has your time as an AIR been? Was it how you expected? It has been mostly great. A few distractions but the atmosphere is very supportive. And, seeing the children come in for the dance classes is wonderful. I always love meeting artists and new people. I love the social connections.

When you work, do you love the process or the result? I like both. You know the writer Henry Miller? He would make these artworks and he would sneak down at night to see them because it gave him such joy to look at them. I occasionally give work to people and I call them my children. Sometimes I forget that I have given them out and I will see them at people’s houses. I say it is like visiting my children.

What is your ideal creative activity? I love creative writing and taking pictures. Taking a walk or making food can also be a creative undertaking.

Which artists do you most admire? I like the Wyeth family. Andrew, N.C., Jamie, and Peter Hurd. The Wyeth studio is open to the public in Brandywine Pennsylvania. N.C. always considered himself to be an illustrator but he elevated it to a fine art and I love it when people are able to do that. Then it becomes a spiritual thing. For me art and music are very spiritual.

Why are they your role models? The Wyeth’s, Michelangelo, Georgia O’Keefe, Edward Hopper, Winslow Homer… there work always resonates with me. I have done a lot of reading about artists and their lives. It is always interesting to see what life they lived. Salvador Dali was very playful - as was Picasso - and that is the attitude I try to have in my work as well.

Does anyone in your life regularly inspire you? My wife does. She is a good worker and is good to use as a sounding board. My kids are too. They are all very positive in their outlooks on life. 

Who is your muse and why? My wife is definitely a muse. She inspires me to not get stuck in places and keep moving. My dog ruby is a muse for sure. He is a Cavalier King Charles spaniel. He’s a show stopper.

What is your creative ambition? World Domination. No, My ambition as I am here is to create a new body of work, to have a show and have people enjoy it.

What are your habits? What patterns do you repeat? I like to drink tea and enjoy a glass or two of wine. I like to go on walks with my wife.

Is a creative dialog important to you and if so how do you find it and with whom? I feel pretty secure in who I am and what I like to do. Dialog as far as being influenced if people like my work or not - I am not concerned with that. I like the idea of storytelling. I like people to create their own ideas about my work.

I think a lot of artists get funny about making copies of things that they like. A lot of the great masters did just that and went to museums and copied art. That’s how you learn. I find it a very helpful habit. I like to write and I have done the same thing with writing. I started keeping a journal, mostly to remember happy times, and gradually overtime they would turn into a place where I would copy passages that I have read. It is important to do that. 

Put Paint on Canvas

My drawing teacher in college was rather eccentric and spent a large part of every class spouting advice to his students.  About half of that advice was about art and the rest concerned our life choices as budding adults. Often our ears would be bleeding whilst we struggled to focus on and translate the perfect curve of our inner nostrils during portraiture. In retrospect, I think he enjoyed watching the confusion on our faces as we tried to digest his seemingly sage-like, nonsensical words of wisdom. Not much of what I learned in college has been retained even these 10 years later. One lesson, however, I recall everyday and owe to that strange teacher; he told us to “put mark on paper.” By these four words, he simply meant for us to work, whether we wanted or not. We were pushed to be productive no matter what may try to forestall us: lack of inspiration, stress, tiredness, lack of direction, lack of confidence. . .  The list of distractions could go on forever. His point, if I may presume to expand upon it, is that we have a certain amount of time to do the things we really want to do and an endless queue of things we could be doing instead. 

I do something creative every day. I put brush to canvas, pencil to paper, or torch to metal when I’m feeling good about my direction or when I’m completely lost. It’s easy when I’m feeling inspired and downright painful when I’m not motivated. When I’m done, I’m either further along on my work or I’m dead-sure that my path lies in the opposite direction of what I just completed. Working every day makes failure easier to accept and overcome, and it helps keep me connected to my work and confident about my abilities. There is nothing more intimidating to an artist than a set of tools that have gathered dust from neglect. 

Have I made mistakes with this philosophy? So many! Have I ruined paintings? Not sure. I’ve certainly become familiar with the words “artwork in crisis.” For me, the process is the best part of the excursion and the finished piece is the product, the legacy if you will, of the effort. My best advice for myself and for anyone at all is to make a mark, everyday.          -Kate Osmond

Progression photos of Kate Osmond's work

Studio Tour with AIR Kate Osmond


Left to right:  Ariel views of her work; different bodies of work.


Below left to right:  Finished work; Kate's studio

Bottom left to right:  works in progress; close up of Osmond's Waterfront work


An Interview with Kate Osmond

What are the primary materials that you use?  

For painting I typically do large-scale paintings on canvas and I have been starting to incorporate the use of 24 karat gold leaf. For my sculpture works I use copper and steel welding and brazing. I have to work from home for my sculptural work because it is a fire hazard here. 

What work of art do you most wish you’d made?

The work I most wish I had made is probably Andrew Wyeth’s Christina’s World because of his use of perspective. The viewer is both looking down on this woman and is also directly next to her. The feeling of isolation the woman brings fascinates me.

When you work, do you love the process or the result?

The process. I am only concerned about the process. And, I never know when a work is finished! 

What is your ideal creative activity?

That would probably be climbing around construction sites.

Which artists do you most admire?

J.M.W. Turner and Andrew Wyeth are two of my favorite painters.

What is your creative ambition?

A creative ambition of mine…. Well, I would love to one day create a giant free children’s museum.

What are your habits? What patterns do you repeat?

I travel a lot with my family. I guess that’s a pattern! There is also a lot of pattern repetition in my sculptural work.


This is part of an ongoing monthly series featuring a Maryland Hall Artist-in-Residence (AIR).
Check Maryland Hall's website every week for a new post. Each month we will feature a different AIR. 
Click here to visit the Maryland Hall AIR page.

Analogous is a series of site-specific works and photographic experiments that investigate the current state of photography. The works in this series make use of materials that have become increasingly obsolete in photographic practice, such as grey cards, instant film and obscure darkroom tools. By repurposing these objects, the project addresses photography’s past with reverence, while at the same time acknowledging its digital future. Also included in this project are two collaborative pieces with artist Todd Forsgren that delve into issues of art history education and the transition to digital archives in the arts.

I want to thank Maryland Hall and Sigrid Trumpy in particular for having the courage to put up shows they know are not going to sell work.  There are a plethora of private galleries in Annapolis that reinforce the cities’ reputation for having an un-evolved art scene.  What I have discovered in Annapolis is a small but sophisticated audience of people that crave more engaging art.  As an art center and not a private gallery, Maryland Hall has a duty to put up more challenging art exhibitions and thankfully they are rising to that challenge more and more of late.  I also think it is critical for artists in the community to fight the urge to make artwork that they think will sell in Annapolis.  It would be impossible to hold galleries in this town to higher standards if the artists themselves are feeding them derivative art.  Monet did a great job of being Monet all by himself.  And his art was cutting edge at the time he made it.  I think we owe it to ourselves, as a community, to foster the same type of cutting edge spirit for ourselves!

-Matthew Moore

Art history slides from AACC.
​Art History Slides repurposed for Matt's show Analogous.
Art History Slides that were saved by Matt Moore for his latest show.
Matt Moore in his studio at Maryland Hall.
Matt Working on 'Rose Window' for his show 'Analogous' at Maryland Hall.
Final Product of Matt Moore and Todd Forsgren's 'Rose Window' in their show 'Analogous'​.
Light trickling thorugh Matt Moore and Todd Forsgren's 'Rose Window' at Maryland Hall's Martino Gallery.
'Rose Window' giving the Martino Gallery a stained glass effect on the floor.

For more information about Matt, visit his Artist-in-Residence profile

This is part of an ongoing monthly series featuring a Maryland Hall Artist-in-Residence (AIR). Check Maryland Hall's website every week for a new post. Each month we will feature a different AIR. Click here to visit the Maryland Hall AIR page.

Maryland Hall Artist-in-Residence Matt Moore takes you on a tour of her studio in Studio 312A.

Testing out work for his exhibition Analogous​ on display in the Martino Gallery now.


Photo slide panel for his exhibition Analogous​.


For more information about Matt, visit his Artist-in-Residence profile

This is part of an ongoing monthly series featuring a Maryland Hall Artist-in-Residence (AIR). Check Maryland Hall's website every week for a new post. Each month we will feature a different AIR. Click here to visit the Maryland Hall AIR page.

Over the weekend, members of a street artists group called Urban Walls Brazil took over the first floor hallway at Maryland Hall. They transformed the blank hallways into beautiful works of art. If you haven't seen their work yet, we highly recommend you stop by Maryland Hall to check it out. Below are some before, during and after photos.

Click here to see more photos of the murals.


About Urban Walls Brazil

Urban Walls Brazil is the brainchild of art lover, Roberta Pardo. Born out of a traveling exhibition that made its way to Washington D.C., NYC, Annapolis and Sao Paulo, Urban Walls Brazil has grown into an ongoing Urban Art project that has unlimited potential.

Through murals and workshops, Urban Walls Brazil creates an exchange between cultures and opens the market between the United States and Brazil. Roberta houses the Brazilan artists through her residency program, where they are able to interact with local artists and work on community art projects.

Native of Brazil with dual citizenship, Roberta Pardo has lived in Maryland for the last 13 years, She spent most of her youth traveling the world and can speak 6 languages. Prior to focusing on art, Roberta was an international horse rider and trainer, competing for her native country and in numerous international competitions. Roberta’s background is in Industrial Design and Fine Arts. Her education includes FAAP (Fundacao Armando Alvez Penteado) in Sao Paulo, Brazil and Art Center College of Design in Pasadena, California. Her great passion is Street Art for its connection between art and environment. 


A Connection in Clay artist Hank Murrow will host a gallery talk and slide presentation in the Chaney Gallery on Thursday, October 1 from 5:30–7 pm. 

About Hank Murrow


My three younger brothers and I endured a Jesuit education which was classical, vigorous, and abstract; so I was a sitting duck for the simultaneous encounter with Bob James and clay at the U. of Oregon in 1958. I was ripe for the idea of developing something from raw materials to an object transformed by the fire. At my first review, Bob turned over each piece to carefully regard the bottom before he looked at the rest of it; and I marveled, 'Hey, there's more to this than I thought!' ... which has continued to be true for 58 years.

David Stannard joined the faculty as I was beginning graduate work, and his gorgeous pots and profound understanding of materials perfectly balanced Bob's commitment to subject matter enfolded in rich metaphor. Together, they created an atmosphere of inquiry in the studio which encouraged us to share and learn from each other while remaining alert to our own calling. I was also very lucky to participate in six-week-long workshops with both Shoji Hamada and Michael Cardew; and to work alongside Jane Heald in our wonderful PotShop in Venice, California.

After earning a Master of Fine Arts degree in 1967, I went to Mexico to work for an art center in La Paz, Baja California. I married Bev Wickstrom in 1969 and took up a teaching post at Ohio University with George Kokis. During 1970-73 I was teaching at Anderson Ranch in Snowmass, Colorado with Brad Reed. Bev and I returned to Eugene in 1974, where she began working for the University; while I divided my time between developing kiln designs and work in my studio there.

Back in 1969 some students from my pottery class and I were visiting the art history prof at his home and studio, when I noticed a box on a side table. I asked what was in it and he said, 'You can open it......if you do it over the carpet'. Inside the beautiful box was a brocaded cloth bag, & inside the bag was a teabowl with a lumpy white & orange glaze. At first I thought it might be rough, but once I got it into my hands I was seduced by its comforting texture and light weight. The pits inside the bowl held tiny pockets of bright green from its use as a teabowl. I asked what it was and he said, 'Shino........four hundred years old.' Well, I put it back in the bag and the box, but never out of my mind, chasing it ever since! 

About the Exhibit

A Connection in Clay - In Pursuit of Craft is an invitational show of American potters displaying how skills are transferred through lessons taught from master to student.  This partnership in pursuit of craft has been ongoing from the time where firing of ceramics was the high technology, traveling through the industrial revolution and into today’s art and craft movements.  

We invited emerging artists and their mentor. Also current masters (who named their mentors and influences) together with artists they are influencing in the next generation of studio potters.  The show displays the story of this ongoing dialog between potters and their relationship in craft.

The current studio pottery in America movement owes a great deal to Bernard Leach (1887-1979), Shoji Hamada (1894-1978) and Soestsu Yanagi (1889-1961).  As Michael Webb in his book, Introduction to Bernard Leach, Hamada & Their Circle stated, “The meeting of Bernard Leach and Shoji Hamada in 1919 … started ripples which are still widening today and which may be considered one of the crucial events in twentieth century ceramic history.”  Leach, an Englishman, and Hamada, a like-minded Japanese potter friend, discovered pottery in Japan early in the twentieth century and devoted their lives to utilitarian pottery as an art form.  

Our show illustrates the diverse product from this connection in clay of Hamada and Leach and the interconnections of the potters in this exhibit. For example, Jeff Oestreich was encouraged by Warren MacKenzie to apprentice with Leach at St. Ives, which Jeff did starting 1968 and Jeff is one of the current pillars of the American mingei philosophy of utilitarian beauty today.  Another is Hank Murrow who in the sixties studied with Shoji Hamada for a shorter period of time; the Eastern influence is present in his work. 

Not everyone could have personally studied or apprenticed with Hamada or Leach, but the strength of the tradition, and the passing of knowledge and skills continues. We can see it in the connections between Chris Gustin and Seth Rainville, between Matthew Hyleck and Camilla Ascher and Missy Steele at Baltimore Clayworks (one of the important national centers for ceramics in the US), between Dale Huffman and Justin Rothshank and Missy Steele, between Matt Kelleher and Kenyon Hansen, and between Gail Kendall and Joseph Pintz. Many other connections take place; between Chris Gustin, one of the original founders of the Watershed Center in Maine, and Elizabeth Kendall the current president of the board of Watershed Center.  Even this exhibit can form connections in clay between you and the potters.


Subscribe to RSS - Annapolis