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"content": "\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "ashes-mixed-with-molten-glass-a-napa-sculptors-future-takes-shape",
"title": "Ashes Mixed with Molten Glass: A Napa Sculptor's Future Takes Shape",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> have never seen Clifford Rainey’s sculptures in the “flesh.” Nor have I seen the thousands of works of art he created in the 47 years since he entered art school in his native Northern Ireland.\u003c/p>\n\u003cp>But I have seen in his eyes, and in the creases that line his still relatively youthful face, the weariness of a man struggling to come back from devastating loss. “The fire took all the works that I have made and collected for myself,” he explains. “The sculptures, the molds, the drawings, the paintings, all of it. I am 69 years old, and what’s troubling me most is there just isn’t enough time left in my life to replace or recapture what’s gone.”\u003c/p>\n\u003cp>Standing in the wreckage of his studio, by a small pond nestled in a hilltop basin not far from his home in Napa, CA, Rainey points to a melted mass of green glass. “That was one 12-inch cubic pedestal that was going to be the base for a sculpture evoking the Statue of Liberty, holding a Molotov cocktail in her outstretched hand, all cast from old Coke bottles.”\u003c/p>\n\u003cfigure id=\"attachment_13814032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-800x533.jpg\" alt=\"The remains of a glass pedestal in Clifford Rainey's studio in Napa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of a glass pedestal in Clifford Rainey’s studio in Napa. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each pedestal, he explains, required two days to heat and shape, two months to cool and four weeks to grind and polish.\u003c/p>\n\u003cp>“And that’s just the pedestal. If am going to continue working like this,” he adds with a wry smile, “I am going to have to speed things up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ike so many others whose homes and livelihoods were consumed by Napa’s Atlas Peak fire last month, Rainey and his partner, the artist and floral designer Rachel Riser, were sound asleep when the blaze began to roar down the ridge above their home.\u003c/p>\n\u003cp>“A neighbor buzzed us on our cell phones,” he recalls. “I ignored mine but Rachel answered. The man said, ‘You have to get the hell out immediately.’ I ran to the window and saw the wall of fire. I scooped up the cat and a small safe with our passports and documents, and jumped in my truck. Rachel did the same, filling her van with flowers for an event she had later that day, and we each drove down the hill to an elementary school we thought would be safe.”\u003c/p>\n\u003cfigure id=\"attachment_13814033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RaineySmile1920-800x533.jpg\" alt=\"Clifford Rainey, his face marked with soot, after searching through the ashes at his Napa property.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Rainey, his face marked with soot, after searching through the ashes at his Napa property. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel then drove on to San Francisco for her early-morning pickup at the regional flower market. And Rainey, concerned that he had left too many things behind, drove back up to the hill, dashed into the house and grabbed some drawings from his college days in Northern Ireland, two books from his more than one-thousand volume library (a 17th century tome about witches in England and an in-depth primer about bronze casting), two pillows upholstered from pieces of a prized Turkish rug he’d purchased at a souk in Istanbul, and his laptop.\u003c/p>\n\u003cp>On the way down the hill he stopped to unlock the gate to his studio. The fire was now dangerously close. Through the trees leading to the pond, he could see flames. He looked up at the surrounding ridges as they burned. “It was actually quite beautiful,” he remembers. “The night sky all bathed in red.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13813910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Minutes later, back down in the elementary school parking lot, he pushed the seat back in his truck and fell fast asleep. Until police rapped on his window and told him move along. The fire was making its way down the hill. He drove to a friend’s house, pulled over, and went back to sleep, reasonably certain his home and studio had been destroyed.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>rom the time he was little boy making wood carvings in his grandfather’s cabinet-making shop in Belfast, Rainey absorbed the lessons and inspirations that came with living an inquisitive, creative life. After attending several art schools in the United Kingdom, he went on to a prolific career as a sculptor (his works have been collected in 22 museums and public venues in Ireland, the United Kingdom, Switzerland, France, Germany, Saudi Arabia, Canada and the United States), and he has taught art and sculpture at nine art schools and colleges in Britain and the U.S. He is currently Glass Program Chair and Professor of Fine Art at the California College of Art in Oakland.\u003c/p>\n\u003cp>Through the years, he’s also managed to travel the world, from Scandinavia to the eastern Mediterranean, from Africa to the Caribbean, with multiple stints across North America before landing on his hilltop in Napa County. The son of a working-class Belfast family, who came of age during the terrible sectarian troubles in his homeland, he embraced art as an alternative path forward — not least because it was a powerful argument for a better, more equitable, more empathetic world.\u003c/p>\n\u003cfigure id=\"attachment_13814043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-800x373.jpg\" alt=\"Clifford Rainey, War Boy (2004); Gaia (from 'Cycles of Life' Series, Torso No. 6, 2001); and Indigo No. 1 detail (2012).\" width=\"800\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-800x373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-768x358.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-1020x475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-960x447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-375x175.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-520x242.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Rainey, War Boy (2004); Gaia (from ‘Cycles of Life’ Series, Torso No. 6, 2001); and Indigo No. 1 detail (2012). \u003ccite>(Courtesy Clifford Rainey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Greece and Turkey as well as in eastern and southern Africa, he discovered aesthetic values and humanistic themes that have colored his works ever since: the structure, design and organizing principles of classic Greek columns, the dignity and elegance of traditional African sculpture, and the themes of freedom, justice and democracy present then and now in those cultures.\u003c/p>\n\u003cp>All of which helps explain why the loss of Rainey’s work is so staggering. And, alternately, why its presence in so many collections around the globe is such an immense, if partial, relief. And yet today, in the here and now, the magnitude of what has been taken away has imposed some unforgiving truths.\u003c/p>\n\u003cp>‘I don’t have a pension,” he confesses bluntly. “I didn’t save money for retirement. Instead, I put aside at least one piece from each of each of my most important collections to sell to help cover my needs later in life. That’s all gone now.”\u003c/p>\n\u003cfigure id=\"attachment_13814037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/StudioRuins1920-800x533.jpg\" alt=\"The remains of Clifford Rainey's studio in Napa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Clifford Rainey’s studio in Napa. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>verything he and Rachel kept in their house is also gone — their clothes, their books, keepsakes and mementos from their travels, including all their personal photographs. The home, at least, was insured, but the studio was not. Presently, they are staying in a small hotel in Napa as they piece together a plan for what’s next.\u003c/p>\n\u003cp>There is one project Rainey embarked on before the fire that has moved front and center in his plans, a kind of emblem for both the predicament and the promise of his situation. He calls it the \u003ca href=\"http://www.cliffordrainey.com/the-sarco-creek-project\" target=\"_blank\" rel=\"noopener\">Sarco Creek Project\u003c/a>, a personal, environmental, artistic commitment to return the 13-acre plot of land that surrounds the pond and the site of his studio to its natural state.\u003c/p>\n\u003cp>For decades in the 1900s, the land was a pumice quarry, where the earth was laid bare to access the rock. After the quarry was abandoned (approximately 50 years ago, Rainey guesses), it became overgrown with invasive plants as the pond formed.\u003c/p>\n\u003cfigure id=\"attachment_13814035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-800x450.jpg\" alt=\"The pond in the old pumice quarry at Rainey's property.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pond in the old pumice quarry at Rainey’s property. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dream is to sculpt that earth back into line with the curve of the land, replant native California plants, and nurture the pond to where it becomes a habitat for wild breeding ducks and geese, reptiles and other amphibians. I want indigenous birds and mammals to come back, and for Rachel and I to build a home some day.”\u003c/p>\n\u003cp>Job one on this long road was the arduous, multi-year task of eradicating the thickets of non-native plants. “That,” he says with a smile, “is done now. Thank you, fire.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he world weariness in Rainey’s eyes seems to recede when he explains how, in just a few weeks, artists and friends from around the Bay Area will gather on the property in a large-scale effort to sift through the studio ruins searching for materials Rainey can use for future sculptures and other projects. His grandfather’s cabinetry tools from Belfast, for instance; Rainey had collected them in the studio in hopes of making casts of each in an homage to his grandfather’s craftsmanship. “We’ll find whatever is left of them and from that I will make something. I just don’t know what that something is yet.”\u003c/p>\n\u003cfigure id=\"attachment_13814034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814034\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-800x475.jpg\" alt=\"One of Clifford Rainey's grandfather's tools found in the ashes.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Clifford Rainey’s grandfather’s tools found in the ashes. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the inspiration Rainey needs is already lodged within him, his lifelong artistic commitment to exploration and discovery, and his growing belief that from the ashes he will find a newly honed creative direction. Time and money will no doubt create twists and detours in the path ahead. But it seems safe to say that the instincts and abilities honed over a long career are not only intact, but beginning to bubble anew.\u003c/p>\n\u003cp>That’s good news for Clifford Rainey — and for all of us who want to see what this man can still do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> have never seen Clifford Rainey’s sculptures in the “flesh.” Nor have I seen the thousands of works of art he created in the 47 years since he entered art school in his native Northern Ireland.\u003c/p>\n\u003cp>But I have seen in his eyes, and in the creases that line his still relatively youthful face, the weariness of a man struggling to come back from devastating loss. “The fire took all the works that I have made and collected for myself,” he explains. “The sculptures, the molds, the drawings, the paintings, all of it. I am 69 years old, and what’s troubling me most is there just isn’t enough time left in my life to replace or recapture what’s gone.”\u003c/p>\n\u003cp>Standing in the wreckage of his studio, by a small pond nestled in a hilltop basin not far from his home in Napa, CA, Rainey points to a melted mass of green glass. “That was one 12-inch cubic pedestal that was going to be the base for a sculpture evoking the Statue of Liberty, holding a Molotov cocktail in her outstretched hand, all cast from old Coke bottles.”\u003c/p>\n\u003cfigure id=\"attachment_13814032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-800x533.jpg\" alt=\"The remains of a glass pedestal in Clifford Rainey's studio in Napa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GlassPedestalRemains1920-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of a glass pedestal in Clifford Rainey’s studio in Napa. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each pedestal, he explains, required two days to heat and shape, two months to cool and four weeks to grind and polish.\u003c/p>\n\u003cp>“And that’s just the pedestal. If am going to continue working like this,” he adds with a wry smile, “I am going to have to speed things up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ike so many others whose homes and livelihoods were consumed by Napa’s Atlas Peak fire last month, Rainey and his partner, the artist and floral designer Rachel Riser, were sound asleep when the blaze began to roar down the ridge above their home.\u003c/p>\n\u003cp>“A neighbor buzzed us on our cell phones,” he recalls. “I ignored mine but Rachel answered. The man said, ‘You have to get the hell out immediately.’ I ran to the window and saw the wall of fire. I scooped up the cat and a small safe with our passports and documents, and jumped in my truck. Rachel did the same, filling her van with flowers for an event she had later that day, and we each drove down the hill to an elementary school we thought would be safe.”\u003c/p>\n\u003cfigure id=\"attachment_13814033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RaineySmile1920-800x533.jpg\" alt=\"Clifford Rainey, his face marked with soot, after searching through the ashes at his Napa property.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/RaineySmile1920-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Rainey, his face marked with soot, after searching through the ashes at his Napa property. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel then drove on to San Francisco for her early-morning pickup at the regional flower market. And Rainey, concerned that he had left too many things behind, drove back up to the hill, dashed into the house and grabbed some drawings from his college days in Northern Ireland, two books from his more than one-thousand volume library (a 17th century tome about witches in England and an in-depth primer about bronze casting), two pillows upholstered from pieces of a prized Turkish rug he’d purchased at a souk in Istanbul, and his laptop.\u003c/p>\n\u003cp>On the way down the hill he stopped to unlock the gate to his studio. The fire was now dangerously close. Through the trees leading to the pond, he could see flames. He looked up at the surrounding ridges as they burned. “It was actually quite beautiful,” he remembers. “The night sky all bathed in red.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13813910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Minutes later, back down in the elementary school parking lot, he pushed the seat back in his truck and fell fast asleep. Until police rapped on his window and told him move along. The fire was making its way down the hill. He drove to a friend’s house, pulled over, and went back to sleep, reasonably certain his home and studio had been destroyed.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>rom the time he was little boy making wood carvings in his grandfather’s cabinet-making shop in Belfast, Rainey absorbed the lessons and inspirations that came with living an inquisitive, creative life. After attending several art schools in the United Kingdom, he went on to a prolific career as a sculptor (his works have been collected in 22 museums and public venues in Ireland, the United Kingdom, Switzerland, France, Germany, Saudi Arabia, Canada and the United States), and he has taught art and sculpture at nine art schools and colleges in Britain and the U.S. He is currently Glass Program Chair and Professor of Fine Art at the California College of Art in Oakland.\u003c/p>\n\u003cp>Through the years, he’s also managed to travel the world, from Scandinavia to the eastern Mediterranean, from Africa to the Caribbean, with multiple stints across North America before landing on his hilltop in Napa County. The son of a working-class Belfast family, who came of age during the terrible sectarian troubles in his homeland, he embraced art as an alternative path forward — not least because it was a powerful argument for a better, more equitable, more empathetic world.\u003c/p>\n\u003cfigure id=\"attachment_13814043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-800x373.jpg\" alt=\"Clifford Rainey, War Boy (2004); Gaia (from 'Cycles of Life' Series, Torso No. 6, 2001); and Indigo No. 1 detail (2012).\" width=\"800\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-800x373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-768x358.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-1020x475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-960x447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-375x175.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Rainey.Trip_-520x242.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Rainey, War Boy (2004); Gaia (from ‘Cycles of Life’ Series, Torso No. 6, 2001); and Indigo No. 1 detail (2012). \u003ccite>(Courtesy Clifford Rainey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Greece and Turkey as well as in eastern and southern Africa, he discovered aesthetic values and humanistic themes that have colored his works ever since: the structure, design and organizing principles of classic Greek columns, the dignity and elegance of traditional African sculpture, and the themes of freedom, justice and democracy present then and now in those cultures.\u003c/p>\n\u003cp>All of which helps explain why the loss of Rainey’s work is so staggering. And, alternately, why its presence in so many collections around the globe is such an immense, if partial, relief. And yet today, in the here and now, the magnitude of what has been taken away has imposed some unforgiving truths.\u003c/p>\n\u003cp>‘I don’t have a pension,” he confesses bluntly. “I didn’t save money for retirement. Instead, I put aside at least one piece from each of each of my most important collections to sell to help cover my needs later in life. That’s all gone now.”\u003c/p>\n\u003cfigure id=\"attachment_13814037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/StudioRuins1920-800x533.jpg\" alt=\"The remains of Clifford Rainey's studio in Napa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/StudioRuins1920-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Clifford Rainey’s studio in Napa. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>verything he and Rachel kept in their house is also gone — their clothes, their books, keepsakes and mementos from their travels, including all their personal photographs. The home, at least, was insured, but the studio was not. Presently, they are staying in a small hotel in Napa as they piece together a plan for what’s next.\u003c/p>\n\u003cp>There is one project Rainey embarked on before the fire that has moved front and center in his plans, a kind of emblem for both the predicament and the promise of his situation. He calls it the \u003ca href=\"http://www.cliffordrainey.com/the-sarco-creek-project\" target=\"_blank\" rel=\"noopener\">Sarco Creek Project\u003c/a>, a personal, environmental, artistic commitment to return the 13-acre plot of land that surrounds the pond and the site of his studio to its natural state.\u003c/p>\n\u003cp>For decades in the 1900s, the land was a pumice quarry, where the earth was laid bare to access the rock. After the quarry was abandoned (approximately 50 years ago, Rainey guesses), it became overgrown with invasive plants as the pond formed.\u003c/p>\n\u003cfigure id=\"attachment_13814035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-800x450.jpg\" alt=\"The pond in the old pumice quarry at Rainey's property.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/PondHabitatInMaking1920-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pond in the old pumice quarry at Rainey’s property. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dream is to sculpt that earth back into line with the curve of the land, replant native California plants, and nurture the pond to where it becomes a habitat for wild breeding ducks and geese, reptiles and other amphibians. I want indigenous birds and mammals to come back, and for Rachel and I to build a home some day.”\u003c/p>\n\u003cp>Job one on this long road was the arduous, multi-year task of eradicating the thickets of non-native plants. “That,” he says with a smile, “is done now. Thank you, fire.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he world weariness in Rainey’s eyes seems to recede when he explains how, in just a few weeks, artists and friends from around the Bay Area will gather on the property in a large-scale effort to sift through the studio ruins searching for materials Rainey can use for future sculptures and other projects. His grandfather’s cabinetry tools from Belfast, for instance; Rainey had collected them in the studio in hopes of making casts of each in an homage to his grandfather’s craftsmanship. “We’ll find whatever is left of them and from that I will make something. I just don’t know what that something is yet.”\u003c/p>\n\u003cfigure id=\"attachment_13814034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814034\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-800x475.jpg\" alt=\"One of Clifford Rainey's grandfather's tools found in the ashes.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WrenchinRuins1920-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Clifford Rainey’s grandfather’s tools found in the ashes. \u003ccite>(India Markus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the inspiration Rainey needs is already lodged within him, his lifelong artistic commitment to exploration and discovery, and his growing belief that from the ashes he will find a newly honed creative direction. Time and money will no doubt create twists and detours in the path ahead. But it seems safe to say that the instincts and abilities honed over a long career are not only intact, but beginning to bubble anew.\u003c/p>\n\u003cp>That’s good news for Clifford Rainey — and for all of us who want to see what this man can still do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Tubbs fire completely destroyed the home of the Peanuts cartoon strip creator. But while the flames came close to the \u003ca href=\"https://schulzmuseum.org\" target=\"_blank\" rel=\"noopener\">Charles M. Schulz Museum\u003c/a>, they did not damage it.\u003c/p>\n\u003cp>The gallery and education space dedicated to the famous cartoonist’s work was able to reopen its doors on Sunday. \u003c/p>\n\u003cp>“We were evacuated and lost power, but otherwise the building was OK,” says museum marketing director Tracey Pugh. \u003c/p>\n\u003cp>Pugh says more than 160 people visited the museum opening day and that she and her colleagues are now focusing on their first major post-fire event, happening next Sunday, Nov. 12. “It’ll feature Snoopy and Peanuts,” Pugh says.\u003c/p>\n\u003cp>Also in Santa Rosa, \u003ca href=\"https://lutherburbankcenter.org\" target=\"_blank\" rel=\"noopener\">the Luther Burbank Center for the Arts\u003c/a> is returning to programming this Thursday, with \u003cem>\u003ca href=\"http://www.shopkinslive.com/\" target=\"_blank\" rel=\"noopener\">Shopkins Live\u003c/a>!\u003c/em> — a family-friendly musical based on the popular children’s toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2rWs7TWhlI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And elsewhere in wine country, the \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a> is going ahead. The annual cultural event happening this week is one of the region’s biggest, as well as one of the first of its size to occur since the fire. The nonprofit festival plans to donate 10 percent of past sales to the \u003ca href=\"http://www.napavalleycf.org/supporting-napa-county-fire-relief-efforts/\" target=\"_blank\" rel=\"noopener\">Napa Valley Community Foundation Disaster Relief Fund.\u003c/a> And a festival sponsor is planning to donate 1,000 free movie tickets to fire victims.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tubbs fire completely destroyed the home of the Peanuts cartoon strip creator. But while the flames came close to the \u003ca href=\"https://schulzmuseum.org\" target=\"_blank\" rel=\"noopener\">Charles M. Schulz Museum\u003c/a>, they did not damage it.\u003c/p>\n\u003cp>The gallery and education space dedicated to the famous cartoonist’s work was able to reopen its doors on Sunday. \u003c/p>\n\u003cp>“We were evacuated and lost power, but otherwise the building was OK,” says museum marketing director Tracey Pugh. \u003c/p>\n\u003cp>Pugh says more than 160 people visited the museum opening day and that she and her colleagues are now focusing on their first major post-fire event, happening next Sunday, Nov. 12. “It’ll feature Snoopy and Peanuts,” Pugh says.\u003c/p>\n\u003cp>Also in Santa Rosa, \u003ca href=\"https://lutherburbankcenter.org\" target=\"_blank\" rel=\"noopener\">the Luther Burbank Center for the Arts\u003c/a> is returning to programming this Thursday, with \u003cem>\u003ca href=\"http://www.shopkinslive.com/\" target=\"_blank\" rel=\"noopener\">Shopkins Live\u003c/a>!\u003c/em> — a family-friendly musical based on the popular children’s toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Note: This video contains some profanity.\u003c/em>\u003c/p>\n\u003cp>Just one day after his house and everything in it burned to the ground, Santa Rosa cartoonist Brian Fies bought some cheap paper, Sharpies, and highlighters, and got to work reporting what he and his wife had seen the night of the fires.\u003c/p>\n\u003cp>The resulting cartoon came quickly, with more raw edges than Fies’ usual standards, but it was undeniably, unflinchingly honest.\u003c/p>\n\u003cp>“I still have that newspaper reporter bug — that I’ve got to tell the story,” Fies says of the comic’s urgency, which included Fies returning the next morning to find his house in Larkfield destroyed. “I was an eyewitness to something very unusual, and I felt like I just had to report it.”\u003c/p>\n\u003cp>The response was massive. In the week after the fire, an \u003ca href=\"http://brianfies.blogspot.com/2017/10/a-fire-story-complete.html\" target=\"_blank\" rel=\"noopener\">online version\u003c/a> of Fies’ comic, \u003cem>A Fire Story\u003c/em>, was viewed by over half a million people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, we at KQED Arts bring his story to life in the video above. With moving animation, and with narration straight from Fies and his wife, Karen, \u003cem>A Fire Story\u003c/em> also includes a special epilogue from the artist about the long process of recovery, and the stability of home.\u003c/p>\n\u003cp>Most meaningful for Fies is the comfort and understanding \u003cem>A Fire Story\u003c/em> has brought to others — people like his neighbor, whose house was also lost to the fire, and who reads it to her grandchildren every night at their request.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It really helps the kids process some of that trauma of what happened to this house and place they loved. And kind of reassures them, not now, but someday… we are going to be okay.” —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This video contains some profanity.\u003c/em>\u003c/p>\n\u003cp>Just one day after his house and everything in it burned to the ground, Santa Rosa cartoonist Brian Fies bought some cheap paper, Sharpies, and highlighters, and got to work reporting what he and his wife had seen the night of the fires.\u003c/p>\n\u003cp>The resulting cartoon came quickly, with more raw edges than Fies’ usual standards, but it was undeniably, unflinchingly honest.\u003c/p>\n\u003cp>“I still have that newspaper reporter bug — that I’ve got to tell the story,” Fies says of the comic’s urgency, which included Fies returning the next morning to find his house in Larkfield destroyed. “I was an eyewitness to something very unusual, and I felt like I just had to report it.”\u003c/p>\n\u003cp>The response was massive. In the week after the fire, an \u003ca href=\"http://brianfies.blogspot.com/2017/10/a-fire-story-complete.html\" target=\"_blank\" rel=\"noopener\">online version\u003c/a> of Fies’ comic, \u003cem>A Fire Story\u003c/em>, was viewed by over half a million people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, we at KQED Arts bring his story to life in the video above. With moving animation, and with narration straight from Fies and his wife, Karen, \u003cem>A Fire Story\u003c/em> also includes a special epilogue from the artist about the long process of recovery, and the stability of home.\u003c/p>\n\u003cp>Most meaningful for Fies is the comfort and understanding \u003cem>A Fire Story\u003c/em> has brought to others — people like his neighbor, whose house was also lost to the fire, and who reads it to her grandchildren every night at their request.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It really helps the kids process some of that trauma of what happened to this house and place they loved. And kind of reassures them, not now, but someday… we are going to be okay.” —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Losing 30 Years of Artwork in Fire, a Painter Looks Ahead",
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"content": "\u003cp>Even as he saw flames encroaching on the hills behind his home in Santa Rosa’s Coffey Park neighborhood, Chris Henry didn’t think he was about to lose the house he’d lived in for the past 14 years. \u003c/p>\n\u003cfigure id=\"attachment_13813874\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7321-800x1063.png\" alt=\"Chris Henry's house before the fire.\" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13813874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-768x1020.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-240x319.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-375x498.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-520x691.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Henry’s house before the fire. \u003ccite>(Chris Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had no idea what these fires could do,” says the 56-year-old artist when we meet at a downtown Santa Rosa coffee shop. As we talk, he often glances at his phone to make sure he doesn’t miss a call from a family member or insurance agent. Since the flames took his home several weeks ago, his life has been filled with constant phone calls as he tries to put the pieces back together — so much so that he hasn’t had a chance to think about painting, even though he has clients expecting commissions. \u003c/p>\n\u003cp>“No, my focus isn’t there, partly because I have a new career: It’s being on the phone with insurance people,” he says with a half smile.\u003c/p>\n\u003cp>Henry is an abstract expressionist painter whose work is well-known around Sonoma County. He exhibits at \u003ca href=\"https://www.facebook.com/tfsonoma/\" rel=\"noopener\" target=\"_blank\">Terra Firma Gallery\u003c/a> in Sonoma and, for the past dozen years, he’s opened his studio to the public for the annual \u003ca href=\"http://sonomacountyarttrails.org/\" rel=\"noopener\" target=\"_blank\">ArtTrails\u003c/a>, a county-wide art crawl that takes place each year in October. \u003c/p>\n\u003cfigure id=\"attachment_13813876\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7322-800x586.png\" alt=\"When Chris Henry returned early the next morning, his house was gone. \" width=\"800\" height=\"586\" class=\"size-medium wp-image-13813876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-800x586.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-768x563.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-1020x747.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-1180x865.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-960x703.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-240x176.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-375x275.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-520x381.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322.png 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Chris Henry returned early the next morning, his house was gone. \u003ccite>(Chris Henry )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ArtTrails coincided with this year’s disastrous wildfires, and Henry had been looking forward to showing local art lovers his new studio, which he spent the summer building out in his garage. He estimates there were between 25 and 30 paintings in the studio, including a self-portrait he painted over 30 years ago. In a backyard shed were more expensive art supplies, including bronze sheeting and glass for mixed-media works. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Calculating the value of the losses, Henry says, has been overwhelming. “I haven’t gotten to that part yet. It’s too much.”\u003c/p>\n\u003cp>In many respects, though, Henry considers himself lucky. After he saw flames approaching and neighbors evacuating, he fled to his brother’s house in another part of Santa Rosa with his wife, stepson, daughter-in-law, and four-year-old granddaughter. They’d had to leave behind their two cats, and when Henry and his brother returned for them at around 4am the next morning, he saw his house was completely gone.\u003c/p>\n\u003cp>Two weeks after the fire, while scrolling through lost pets at animal shelters on Facebook, his daughter-in-law found their two cats; the white one had turned dark grey from the ash. “I almost didn’t recognize him,” Henry says. \u003c/p>\n\u003cfigure id=\"attachment_13813877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7320-800x272.png\" alt=\"Chris Henry's art studio before the fire. \" width=\"800\" height=\"272\" class=\"size-medium wp-image-13813877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-160x54.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-768x261.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-240x82.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-375x128.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-520x177.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Henry’s art studio before the fire. \u003ccite>(Chris Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately for the family, they found a rental near Henry’s brother’s house, and the insurance on their home will help their plans to rebuild. \u003c/p>\n\u003cp>But for now, Henry and his family are trying to return to their routines and regain a sense of normalcy. His wife is back at work at her hair salon, and he’s looking for a new studio and already itching to get started on his commissions. Fortunately, Terra Firma Gallery has a good portion of his work, so not everything was lost. \u003c/p>\n\u003cp>Despite the experience, Henry is thankful that his family survived; not everyone in his neighborhood did. An estimated \u003ca href=\"https://ww2.kqed.org/forum/2017/10/26/remembering-those-who-died-in-the-north-bay-wildfires/\" rel=\"noopener\" target=\"_blank\">17 of the identified fire victims\u003c/a> were from Santa Rosa. \u003c/p>\n\u003cp>“I tend to look forward more than back, so I want to get up and going as soon as possible,” he says. “And listen, if you saw me the day after the fire, I was a mess. But I’ve come to a place where it really is, to me, just stuff.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even as he saw flames encroaching on the hills behind his home in Santa Rosa’s Coffey Park neighborhood, Chris Henry didn’t think he was about to lose the house he’d lived in for the past 14 years. \u003c/p>\n\u003cfigure id=\"attachment_13813874\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7321-800x1063.png\" alt=\"Chris Henry's house before the fire.\" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13813874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-768x1020.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-240x319.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-375x498.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7321-520x691.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Henry’s house before the fire. \u003ccite>(Chris Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had no idea what these fires could do,” says the 56-year-old artist when we meet at a downtown Santa Rosa coffee shop. As we talk, he often glances at his phone to make sure he doesn’t miss a call from a family member or insurance agent. Since the flames took his home several weeks ago, his life has been filled with constant phone calls as he tries to put the pieces back together — so much so that he hasn’t had a chance to think about painting, even though he has clients expecting commissions. \u003c/p>\n\u003cp>“No, my focus isn’t there, partly because I have a new career: It’s being on the phone with insurance people,” he says with a half smile.\u003c/p>\n\u003cp>Henry is an abstract expressionist painter whose work is well-known around Sonoma County. He exhibits at \u003ca href=\"https://www.facebook.com/tfsonoma/\" rel=\"noopener\" target=\"_blank\">Terra Firma Gallery\u003c/a> in Sonoma and, for the past dozen years, he’s opened his studio to the public for the annual \u003ca href=\"http://sonomacountyarttrails.org/\" rel=\"noopener\" target=\"_blank\">ArtTrails\u003c/a>, a county-wide art crawl that takes place each year in October. \u003c/p>\n\u003cfigure id=\"attachment_13813876\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7322-800x586.png\" alt=\"When Chris Henry returned early the next morning, his house was gone. \" width=\"800\" height=\"586\" class=\"size-medium wp-image-13813876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-800x586.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-768x563.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-1020x747.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-1180x865.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-960x703.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-240x176.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-375x275.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322-520x381.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7322.png 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Chris Henry returned early the next morning, his house was gone. \u003ccite>(Chris Henry )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ArtTrails coincided with this year’s disastrous wildfires, and Henry had been looking forward to showing local art lovers his new studio, which he spent the summer building out in his garage. He estimates there were between 25 and 30 paintings in the studio, including a self-portrait he painted over 30 years ago. In a backyard shed were more expensive art supplies, including bronze sheeting and glass for mixed-media works. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Calculating the value of the losses, Henry says, has been overwhelming. “I haven’t gotten to that part yet. It’s too much.”\u003c/p>\n\u003cp>In many respects, though, Henry considers himself lucky. After he saw flames approaching and neighbors evacuating, he fled to his brother’s house in another part of Santa Rosa with his wife, stepson, daughter-in-law, and four-year-old granddaughter. They’d had to leave behind their two cats, and when Henry and his brother returned for them at around 4am the next morning, he saw his house was completely gone.\u003c/p>\n\u003cp>Two weeks after the fire, while scrolling through lost pets at animal shelters on Facebook, his daughter-in-law found their two cats; the white one had turned dark grey from the ash. “I almost didn’t recognize him,” Henry says. \u003c/p>\n\u003cfigure id=\"attachment_13813877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_7320-800x272.png\" alt=\"Chris Henry's art studio before the fire. \" width=\"800\" height=\"272\" class=\"size-medium wp-image-13813877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-160x54.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-768x261.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-240x82.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-375x128.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_7320-520x177.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Henry’s art studio before the fire. \u003ccite>(Chris Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately for the family, they found a rental near Henry’s brother’s house, and the insurance on their home will help their plans to rebuild. \u003c/p>\n\u003cp>But for now, Henry and his family are trying to return to their routines and regain a sense of normalcy. His wife is back at work at her hair salon, and he’s looking for a new studio and already itching to get started on his commissions. Fortunately, Terra Firma Gallery has a good portion of his work, so not everything was lost. \u003c/p>\n\u003cp>Despite the experience, Henry is thankful that his family survived; not everyone in his neighborhood did. An estimated \u003ca href=\"https://ww2.kqed.org/forum/2017/10/26/remembering-those-who-died-in-the-north-bay-wildfires/\" rel=\"noopener\" target=\"_blank\">17 of the identified fire victims\u003c/a> were from Santa Rosa. \u003c/p>\n\u003cp>“I tend to look forward more than back, so I want to get up and going as soon as possible,” he says. “And listen, if you saw me the day after the fire, I was a mess. But I’ve come to a place where it really is, to me, just stuff.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fire Claimed Artist's Home, Studio and Experimental Exhibition Space",
"headTitle": "Fire Claimed Artist’s Home, Studio and Experimental Exhibition Space | KQED",
"content": "\u003cp>\u003ca href=\"http://stableinvocation.info/\" target=\"_blank\" rel=\"noopener noreferrer\">STABLE\u003c/a>, a horse stable-turned-exhibition space adjacent to artist \u003ca href=\"http://jeremyehling.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Ehling\u003c/a>’s Bennett Ridge home in east Santa Rosa, had what he calls “an occasional exhibition program.” Shows were up for one day only—usually installed the morning of—and came down the same night.\u003c/p>\n\u003cp>Founded in September 2015, Ehling had plans for STABLE well into the spring of 2018. “Unfortunately,” he says of the space, “it won’t be there.”\u003c/p>\n\u003cfigure id=\"attachment_13813825\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n.jpg\" alt=\"STABLE during Ben Peterson's 'Chevalier,' Sep. 17, 2017. \" width=\"676\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-520x404.jpg 520w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">STABLE during Ben Peterson’s ‘Chevalier,’ Sept. 17, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 2:30am the morning of Oct. 9, Ehling and his partner Jillian Jirik woke to popping sounds they would later discover were neighbors’ exploding propane tanks. Ehling remembers looking out from their deck and seeing the approaching Nuns fire. “I could just see a huge wall of flames, the whole sky was red,” he says. The couple had only enough time to pull on clothes, grab their cat and jump in the car. As they drove out of their small neighborhood of about 100 homes, sparks and embers fell across their windshield.\u003c/p>\n\u003cp>“The crazy thing was there was no one there,” Ehling says, “no firefighters, no police.” Neighbors warned each other up by honking their car horns on their way out. One resident told the \u003ci>\u003ca href=\"http://www.pressdemocrat.com/news/7512321-181/resident-tally-bennett-ridge-neighborhood?artslide=1\" target=\"_blank\" rel=\"noopener noreferrer\">Press Democrat\u003c/a>\u003c/i> he woke up only because his neighbor wouldn’t stop pounding on his door.\u003c/p>\n\u003cfigure id=\"attachment_13813823\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n.jpg\" alt=\"The remains of STABLE.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The remains of STABLE. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ehling and Jirik’s rented house and over 75 of their neighbors’ homes were completely lost to the fire. Ehling’s home studio, and all of his paintings, are gone. The empty STABLE, fresh off \u003ci>Chevalier\u003c/i>, Bay Area artist Ben Peterson’s one-day sculpture show, is gone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For artist Jaimie Healy, whose show of paintings and neon took place at STABLE in May 2017, the exhibition space’s raw surfaces presented an opportunity to experiment with her installation. STABLE pushed her to think about keeping things simple. “The architecture was already so much,” Healy says. “I brought lot of stuff up and then I spent 24 hours leveling out the floor.”\u003c/p>\n\u003cfigure id=\"attachment_13813826\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Healy1.jpg\" alt=\"Installation view of Jaimie Healy's 'The Sunset Will be Televised,' May 14, 2017.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jaimie Healy’s ‘The Sunset Will be Televised,’ May 14, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Healy ended up installing her neon piece, a little twist of glowing red, in a hole she dug in the STABLE’s newly level dirt floor. “It’s rare you get to dig a hole in a gallery floor,” she says. “It was nice to go down and not just display art on a surface. The freedom was being able to think about a space that wasn’t so precious.”\u003c/p>\n\u003cp>Ehling’s first show in the space almost didn’t happen. His then-landlord was reluctant to let visitors onto the property to view art, but she eventually capitulated when Ehling timed the one-day show to Bennett Ridge’s open studios.\u003c/p>\n\u003cfigure id=\"attachment_13813827\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn.jpg\" alt=\"Ohlsson/Dit-Cilinn, 'Wet Sample,' 2015. \" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ohlsson/Dit-Cilinn, ‘Wet Sample,’ 2015. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That show, Ohlsson/Dit-Cilinn’s \u003ci>Wet Sample\u003c/i> was installed by Ehling via Skype, the artists directing the arrangement from their home base in Amsterdam. “The impulse was to have a conversation between what’s going on in various cities or even internationally with the North Bay community,” Ehling says. “Because there’s not really much crossover in that. It’s one of the things I had in mind since I had the idea to move out here.”\u003c/p>\n\u003cp>Luckily, Ehling’s new landlords were “totally supportive” of the unused stable turning, occasionally, into an exhibition space. Openings brought people from as far away as San Francisco and Oakland, but also from up the road. The social scene of the neighborhood was a two-mile loop up and down the ridge’s hills, a gorgeous hike surrounded by trees. “Everybody in the neighborhood knew each other,” Healy remembers.\u003c/p>\n\u003cfigure id=\"attachment_13813828\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n.jpg\" alt=\"Installation view of Jaimie Healy's 'The Sunset Will be Televised,' May 14, 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jaimie Healy’s ‘The Sunset Will be Televised,’ May 14, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Ehling and Jirik are meeting new neighbors in a new city. “It’s not as beautiful as our last neighborhood,” Ehling says, “but it’s still kind of country feeling.” They started looking for a new place the day after the fire, finding one (“We were really lucky,” Ehling says) in Petaluma. Even more miraculous: It has a three-wall carport.\u003c/p>\n\u003cp>“We had it in the back of our minds as we were looking at apartments to rent,” Ehling says of replacing STABLE. “It was almost like it was meant to be.”\u003c/p>\n\u003cp>Fittingly, the next show, slated for 2018, will feature work by McIntyre Parker, whose own “off-space” \u003ca href=\"https://ww2.kqed.org/arts/2013/11/26/viewing_one_piece_at_a_time_at_piedagraveterre/\" target=\"_blank\" rel=\"noopener noreferrer\">Pied-à-terre\u003c/a>, run out of his Richmond neighborhood garage, helped inspire Ehling to start STABLE.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more on STABLE, see \u003ca href=\"https://www.instagram.com/_stable___/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "STABLE's one-day shows brought local and international artists into conversation with a woodsy Santa Rosa neighborhood. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://stableinvocation.info/\" target=\"_blank\" rel=\"noopener noreferrer\">STABLE\u003c/a>, a horse stable-turned-exhibition space adjacent to artist \u003ca href=\"http://jeremyehling.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Ehling\u003c/a>’s Bennett Ridge home in east Santa Rosa, had what he calls “an occasional exhibition program.” Shows were up for one day only—usually installed the morning of—and came down the same night.\u003c/p>\n\u003cp>Founded in September 2015, Ehling had plans for STABLE well into the spring of 2018. “Unfortunately,” he says of the space, “it won’t be there.”\u003c/p>\n\u003cfigure id=\"attachment_13813825\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n.jpg\" alt=\"STABLE during Ben Peterson's 'Chevalier,' Sep. 17, 2017. \" width=\"676\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/21980210_220763638457189_8455632665461129216_n-520x404.jpg 520w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">STABLE during Ben Peterson’s ‘Chevalier,’ Sept. 17, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 2:30am the morning of Oct. 9, Ehling and his partner Jillian Jirik woke to popping sounds they would later discover were neighbors’ exploding propane tanks. Ehling remembers looking out from their deck and seeing the approaching Nuns fire. “I could just see a huge wall of flames, the whole sky was red,” he says. The couple had only enough time to pull on clothes, grab their cat and jump in the car. As they drove out of their small neighborhood of about 100 homes, sparks and embers fell across their windshield.\u003c/p>\n\u003cp>“The crazy thing was there was no one there,” Ehling says, “no firefighters, no police.” Neighbors warned each other up by honking their car horns on their way out. One resident told the \u003ci>\u003ca href=\"http://www.pressdemocrat.com/news/7512321-181/resident-tally-bennett-ridge-neighborhood?artslide=1\" target=\"_blank\" rel=\"noopener noreferrer\">Press Democrat\u003c/a>\u003c/i> he woke up only because his neighbor wouldn’t stop pounding on his door.\u003c/p>\n\u003cfigure id=\"attachment_13813823\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n.jpg\" alt=\"The remains of STABLE.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/22794148_1571066452982344_8415914379865751552_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The remains of STABLE. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ehling and Jirik’s rented house and over 75 of their neighbors’ homes were completely lost to the fire. Ehling’s home studio, and all of his paintings, are gone. The empty STABLE, fresh off \u003ci>Chevalier\u003c/i>, Bay Area artist Ben Peterson’s one-day sculpture show, is gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For artist Jaimie Healy, whose show of paintings and neon took place at STABLE in May 2017, the exhibition space’s raw surfaces presented an opportunity to experiment with her installation. STABLE pushed her to think about keeping things simple. “The architecture was already so much,” Healy says. “I brought lot of stuff up and then I spent 24 hours leveling out the floor.”\u003c/p>\n\u003cfigure id=\"attachment_13813826\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Healy1.jpg\" alt=\"Installation view of Jaimie Healy's 'The Sunset Will be Televised,' May 14, 2017.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Healy1-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jaimie Healy’s ‘The Sunset Will be Televised,’ May 14, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Healy ended up installing her neon piece, a little twist of glowing red, in a hole she dug in the STABLE’s newly level dirt floor. “It’s rare you get to dig a hole in a gallery floor,” she says. “It was nice to go down and not just display art on a surface. The freedom was being able to think about a space that wasn’t so precious.”\u003c/p>\n\u003cp>Ehling’s first show in the space almost didn’t happen. His then-landlord was reluctant to let visitors onto the property to view art, but she eventually capitulated when Ehling timed the one-day show to Bennett Ridge’s open studios.\u003c/p>\n\u003cfigure id=\"attachment_13813827\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn.jpg\" alt=\"Ohlsson/Dit-Cilinn, 'Wet Sample,' 2015. \" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OhlssonDit-Cilinn-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ohlsson/Dit-Cilinn, ‘Wet Sample,’ 2015. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That show, Ohlsson/Dit-Cilinn’s \u003ci>Wet Sample\u003c/i> was installed by Ehling via Skype, the artists directing the arrangement from their home base in Amsterdam. “The impulse was to have a conversation between what’s going on in various cities or even internationally with the North Bay community,” Ehling says. “Because there’s not really much crossover in that. It’s one of the things I had in mind since I had the idea to move out here.”\u003c/p>\n\u003cp>Luckily, Ehling’s new landlords were “totally supportive” of the unused stable turning, occasionally, into an exhibition space. Openings brought people from as far away as San Francisco and Oakland, but also from up the road. The social scene of the neighborhood was a two-mile loop up and down the ridge’s hills, a gorgeous hike surrounded by trees. “Everybody in the neighborhood knew each other,” Healy remembers.\u003c/p>\n\u003cfigure id=\"attachment_13813828\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n.jpg\" alt=\"Installation view of Jaimie Healy's 'The Sunset Will be Televised,' May 14, 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/18512872_1242406015869354_1281024947229032448_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jaimie Healy’s ‘The Sunset Will be Televised,’ May 14, 2017. \u003ccite>(Courtesy of STABLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Ehling and Jirik are meeting new neighbors in a new city. “It’s not as beautiful as our last neighborhood,” Ehling says, “but it’s still kind of country feeling.” They started looking for a new place the day after the fire, finding one (“We were really lucky,” Ehling says) in Petaluma. Even more miraculous: It has a three-wall carport.\u003c/p>\n\u003cp>“We had it in the back of our minds as we were looking at apartments to rent,” Ehling says of replacing STABLE. “It was almost like it was meant to be.”\u003c/p>\n\u003cp>Fittingly, the next show, slated for 2018, will feature work by McIntyre Parker, whose own “off-space” \u003ca href=\"https://ww2.kqed.org/arts/2013/11/26/viewing_one_piece_at_a_time_at_piedagraveterre/\" target=\"_blank\" rel=\"noopener noreferrer\">Pied-à-terre\u003c/a>, run out of his Richmond neighborhood garage, helped inspire Ehling to start STABLE.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more on STABLE, see \u003ca href=\"https://www.instagram.com/_stable___/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
"headTitle": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
"content": "\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
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"description": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Lifetime of Paintings, Lost to the Flames",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>anta Rosa painter Bill Gittins sees the world in living color.\u003c/p>\n\u003cp>A Fountaingrove-based plein air painter for the past 35 years of his life, Gittins’ painting took the form of stress relief at first — a weekends-and-evenings hobby away from his career in human relations. Considering himself a “colorist,” Gittins’ works are luscious and bucolic, with broad flourishes of polychroma reflecting the idylls of Fountaingrove in oil and watercolor.\u003c/p>\n\u003cp>But as the Tubbs fire ravaged homes in his neighborhood and throughout Sonoma County, he saw a whole lot of red. As he recalls it, it was a throbbing, dirty red coming over the hill; a red that gave way to the eventual grays and browns left in the wake of the fires.\u003c/p>\n\u003cfigure id=\"attachment_13813395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.brook_-800x605.jpg\" alt=\"One of Bill Gittins' paintings lost in the fire, of Hot Creek on Hot Creek Ranch, southeast of Mammoth Mountain in the Eastern Sierra.\" width=\"800\" height=\"605\" class=\"size-medium wp-image-13813395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Bill Gittins’ paintings lost in the fire, of Hot Creek on Hot Creek Ranch, southeast of Mammoth Mountain in the Eastern Sierra. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and his wife of 51 years, Pat, left their home on Kilarney Circle at 1am with only their cell phones and the clothes on their back.\u003c/p>\n\u003cp>“It was very surreal,” Gittins says. “We look back now and, in retrospect, we didn’t know whether we had much time or not. We had no idea how fast that fire was moving.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time Gittins and his wife drove away, the fire had already reached the driveway of Paradise Ridge Winery, just across the street from their home. “It was almost like you didn’t have time to think,” he says. “We didn’t grab any real valuables.”\u003c/p>\n\u003cp>By the morning, Gittins had lost his home, his studio, and all of his paintings.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he day before talking to KQED on the phone, Gittins and his wife had driven back to Fountaingrove. The scene, he says, was straight out of a surrealist painting. A single home in his neighborhood still stood, unharmed, amidst 46 homes that burned, and lamp posts bent from the heat evoked Salvador Dalí’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Persistence_of_Memory\">The Persistence of Memory\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qZOEV40LcoByEfIelhV1J7oOQs7rBM18″]\u003c/p>\n\u003cp>“It was just surreal. I cannot describe it in any other way,” Gittins says. “Our neighbors directly across from us, their home was totally destroyed except for maybe a three-foot wide corner on their garage that went straight up, just standing there like an obelisk. Totally untouched, and their garden hose was hanging by the spigot, leaning on the hook… I just couldn’t believe it.”\u003c/p>\n\u003cp>When the fire hit, Gittins had just cleaned out his studio and garage for \u003ca href=\"http://sonomacountyarttrails.org/\" rel=\"noopener\" target=\"_blank\">ArtTrails\u003c/a>, the popular open-studio tour in Sonoma County that he’s participated in for the past five years. \u003c/p>\n\u003cfigure id=\"attachment_13813394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.Garage-800x600.jpg\" alt=\"Artist Bill Gittins' garage, which he'd been preparing for the annual open-studios tour ArtTrails when the fires hit.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Bill Gittins’ garage, which he’d been preparing for the annual open-studios tour ArtTrails when the fires hit. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had completed about 35 new paintings for ArtTrails over the last several months, and that was while I was doing some commission pieces at the same time,” he says.\u003cbr>\nGittins has had such a history with the open-studios tour that one of his paintings — the serene \u003cem>\u003ca href=\"http://billgittins.com/project/dusk-along-poppy-creek/\" rel=\"noopener\" target=\"_blank\">Sunset Along Poppy Creek\u003c/a>\u003c/em> — was featured on the cover of ArtTrails’ collector guide last year. He was planning to display 60 paintings this year.\u003c/p>\n\u003cp>“And then,” he says, “they’re gone.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">G\u003c/span>ittins and his wife consider themselves lucky. Three houses down, one of their neighbors died in the fire. Many others in the city have lost jobs, or haven’t found stable housing. Gittins and his wife are renting a small apartment behind a friend’s house in west Santa Rosa, and he’s setting up a new studio in the space.\u003c/p>\n\u003cp>The couple has spent much of their time filing insurance claims and change-of-address forms. Tragedy coupled with bureaucracy has made for a tough transition. But the influx of support Gittins has received from the larger Santa Rosa arts community, he says, has been humbling. \u003c/p>\n\u003cp>In addition to local store Riley Street Art Supply offering discounts for artists impacted by the fire, two artists have reached out to the Gittins to donate art for their new home.\u003c/p>\n\u003cp>“There’ve been moments where you definitely give somebody a big hug and you choke up when somebody is willing to do that kind of thing,” he says, “trying to help you feel like you’re getting back to normal.”\u003c/p>\n\u003cfigure id=\"attachment_13813393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-800x690.jpg\" alt=\"Bill Gittins with his only surviving painting at 2017 ArtTrails.\" width=\"800\" height=\"690\" class=\"size-medium wp-image-13813393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-1020x880.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-520x449.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Gittins with his only surviving painting — offsite when the fire struck — at 2017 ArtTrails. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this year’s ArtTrails in October, organizers accepted donations at every open studio, the proceeds of which will be distributed to artists who need assistance after the fire. Even the act of strolling through others’ studios at ArtTrails has been cathartic for the Gittins. He knows it will take some time, but he sees a glint of rebirth amid his own loss.\u003c/p>\n\u003cp>At the moment, Gittins is working with community members to rebuild the 46 homes lost in his neighborhood. He plans on painting once he’s settled in, and will repaint the commissioned artworks that were destroyed by the blaze. (He even has a sense of humor about it: “Doing a commission piece twice for the same price; that’s just the way life is,” he quips.)\u003c/p>\n\u003cp>When I ask Gittins if witnessing the fire’s destruction would affect his art in any way, he rebuffs the thought. “It’s all gonna come back,” he says. “I will paint Santa Rosa as it needs to be, and that is with fall leaves at this point, greens and yellows and oranges, oak trees that still have 60 shades of green.”\u003c/p>\n\u003cp>With thoughts of the future, Gittins remains resolute. “I want to make my paintings represent Sonoma County as I remember it,” he says, “and as I know it will become.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find more about Bill Gittins’ art \u003ca href=\"http://billgittins.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Santa Rosa artist Bill Gittins narrowly escaped the fire that consumed his home, and now looks forward to returning to painting the area's natural beauty.",
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"title": "A Lifetime of Paintings, Lost to the Flames | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>anta Rosa painter Bill Gittins sees the world in living color.\u003c/p>\n\u003cp>A Fountaingrove-based plein air painter for the past 35 years of his life, Gittins’ painting took the form of stress relief at first — a weekends-and-evenings hobby away from his career in human relations. Considering himself a “colorist,” Gittins’ works are luscious and bucolic, with broad flourishes of polychroma reflecting the idylls of Fountaingrove in oil and watercolor.\u003c/p>\n\u003cp>But as the Tubbs fire ravaged homes in his neighborhood and throughout Sonoma County, he saw a whole lot of red. As he recalls it, it was a throbbing, dirty red coming over the hill; a red that gave way to the eventual grays and browns left in the wake of the fires.\u003c/p>\n\u003cfigure id=\"attachment_13813395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.brook_-800x605.jpg\" alt=\"One of Bill Gittins' paintings lost in the fire, of Hot Creek on Hot Creek Ranch, southeast of Mammoth Mountain in the Eastern Sierra.\" width=\"800\" height=\"605\" class=\"size-medium wp-image-13813395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.brook_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Bill Gittins’ paintings lost in the fire, of Hot Creek on Hot Creek Ranch, southeast of Mammoth Mountain in the Eastern Sierra. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and his wife of 51 years, Pat, left their home on Kilarney Circle at 1am with only their cell phones and the clothes on their back.\u003c/p>\n\u003cp>“It was very surreal,” Gittins says. “We look back now and, in retrospect, we didn’t know whether we had much time or not. We had no idea how fast that fire was moving.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time Gittins and his wife drove away, the fire had already reached the driveway of Paradise Ridge Winery, just across the street from their home. “It was almost like you didn’t have time to think,” he says. “We didn’t grab any real valuables.”\u003c/p>\n\u003cp>By the morning, Gittins had lost his home, his studio, and all of his paintings.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he day before talking to KQED on the phone, Gittins and his wife had driven back to Fountaingrove. The scene, he says, was straight out of a surrealist painting. A single home in his neighborhood still stood, unharmed, amidst 46 homes that burned, and lamp posts bent from the heat evoked Salvador Dalí’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Persistence_of_Memory\">The Persistence of Memory\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was just surreal. I cannot describe it in any other way,” Gittins says. “Our neighbors directly across from us, their home was totally destroyed except for maybe a three-foot wide corner on their garage that went straight up, just standing there like an obelisk. Totally untouched, and their garden hose was hanging by the spigot, leaning on the hook… I just couldn’t believe it.”\u003c/p>\n\u003cp>When the fire hit, Gittins had just cleaned out his studio and garage for \u003ca href=\"http://sonomacountyarttrails.org/\" rel=\"noopener\" target=\"_blank\">ArtTrails\u003c/a>, the popular open-studio tour in Sonoma County that he’s participated in for the past five years. \u003c/p>\n\u003cfigure id=\"attachment_13813394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.Garage-800x600.jpg\" alt=\"Artist Bill Gittins' garage, which he'd been preparing for the annual open-studios tour ArtTrails when the fires hit.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Garage.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Bill Gittins’ garage, which he’d been preparing for the annual open-studios tour ArtTrails when the fires hit. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had completed about 35 new paintings for ArtTrails over the last several months, and that was while I was doing some commission pieces at the same time,” he says.\u003cbr>\nGittins has had such a history with the open-studios tour that one of his paintings — the serene \u003cem>\u003ca href=\"http://billgittins.com/project/dusk-along-poppy-creek/\" rel=\"noopener\" target=\"_blank\">Sunset Along Poppy Creek\u003c/a>\u003c/em> — was featured on the cover of ArtTrails’ collector guide last year. He was planning to display 60 paintings this year.\u003c/p>\n\u003cp>“And then,” he says, “they’re gone.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">G\u003c/span>ittins and his wife consider themselves lucky. Three houses down, one of their neighbors died in the fire. Many others in the city have lost jobs, or haven’t found stable housing. Gittins and his wife are renting a small apartment behind a friend’s house in west Santa Rosa, and he’s setting up a new studio in the space.\u003c/p>\n\u003cp>The couple has spent much of their time filing insurance claims and change-of-address forms. Tragedy coupled with bureaucracy has made for a tough transition. But the influx of support Gittins has received from the larger Santa Rosa arts community, he says, has been humbling. \u003c/p>\n\u003cp>In addition to local store Riley Street Art Supply offering discounts for artists impacted by the fire, two artists have reached out to the Gittins to donate art for their new home.\u003c/p>\n\u003cp>“There’ve been moments where you definitely give somebody a big hug and you choke up when somebody is willing to do that kind of thing,” he says, “trying to help you feel like you’re getting back to normal.”\u003c/p>\n\u003cfigure id=\"attachment_13813393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-800x690.jpg\" alt=\"Bill Gittins with his only surviving painting at 2017 ArtTrails.\" width=\"800\" height=\"690\" class=\"size-medium wp-image-13813393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-1020x880.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_-520x449.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gittins.Wall_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Gittins with his only surviving painting — offsite when the fire struck — at 2017 ArtTrails. \u003ccite>(Courtesy Bill Gittins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this year’s ArtTrails in October, organizers accepted donations at every open studio, the proceeds of which will be distributed to artists who need assistance after the fire. Even the act of strolling through others’ studios at ArtTrails has been cathartic for the Gittins. He knows it will take some time, but he sees a glint of rebirth amid his own loss.\u003c/p>\n\u003cp>At the moment, Gittins is working with community members to rebuild the 46 homes lost in his neighborhood. He plans on painting once he’s settled in, and will repaint the commissioned artworks that were destroyed by the blaze. (He even has a sense of humor about it: “Doing a commission piece twice for the same price; that’s just the way life is,” he quips.)\u003c/p>\n\u003cp>When I ask Gittins if witnessing the fire’s destruction would affect his art in any way, he rebuffs the thought. “It’s all gonna come back,” he says. “I will paint Santa Rosa as it needs to be, and that is with fall leaves at this point, greens and yellows and oranges, oak trees that still have 60 shades of green.”\u003c/p>\n\u003cp>With thoughts of the future, Gittins remains resolute. “I want to make my paintings represent Sonoma County as I remember it,” he says, “and as I know it will become.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find more about Bill Gittins’ art \u003ca href=\"http://billgittins.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After the Fire, a Simple Rose Speaks a Thousand Words",
"headTitle": "After the Fire, a Simple Rose Speaks a Thousand Words | KQED",
"content": "\u003cp>While the smoke was still thick in the air of her hometown, after working in her home studio for days, Santa Rosa-based illustrator \u003ca href=\"http://www.mikaylabutchart.com/\" rel=\"noopener\" target=\"_blank\">Mikayla Butchart\u003c/a> finally had it — a visual representation of the community support she witnessed in the wake of the Oct. 8 fire. \u003c/p>\n\u003cp>Butchart’s design is simple: two hands gripping each other to form a single red rose, as a thorny stem extending below. She put it up for sale as an inch-tall accessory called the “Rose-ilience” pin; the link instantly circulated on social media throughout Santa Rosa, getting hundreds of shares. They sold like hot cakes: Butchart estimates she’s raised about $20,000 in North Bay fire relief funds, all through the sale of enamel pins. \u003c/p>\n\u003cfigure id=\"attachment_13813309\" class=\"wp-caption alignright\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/roseilience.pin_.jpg\" alt=\"Mikayla Butchart's 'ROSE-ilience' design.\" width=\"690\" height=\"690\" class=\"size-full wp-image-13813309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-150x150.jpg 150w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Mikayla Butchart’s ‘Rose-ilience’ design. \u003ccite>(Mikayla Butchart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Tubbs Fire forced thousands of Santa Rosans to evacuate their houses, not knowing when or to what they would return, Butchart’s downtown home became a de facto gathering spot. She was the only one in her immediate family outside of the evacuation zone. Her house was filled with unpacked boxes — she’d just moved back to Santa Rosa after a stint in graduate school and New York City — and suddenly, relatives. \u003c/p>\n\u003cp>Trapped indoors by the smoke and the desire to stay close to her parents and siblings, she felt useless, chained to her computer, constantly seeking out updates and more information. \u003c/p>\n\u003cp>“What I was really noticing was how much emotional support people were seeking and offering on Facebook,” she says. “That was what really inspired me, beyond the desire to contribute financially. I wanted to capture that sense of community outreach.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of four days, Butchart photographed her houseguests’ hands clasped in different poses, refining her design. It felt good to do something, however small, to stay busy and feel productive. \u003c/p>\n\u003cp>“I’m not really a logo designer or a graphic designer per se, but I knew I wanted to be focused on the rose as a symbol of tenacity, regrowth and beauty,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13813287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RoseDecals.jpg\" alt=\"'Rose-ilience' decals getting ready to ship.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13813287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Rose-ilience’ decals getting ready to ship. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city of Santa Rosa’s \u003ca href=\"http://static1.squarespace.com/static/53e2932de4b04d687f7b60bb/53e68be8e4b065351cdf23c7/57315e11d51cd4ace3f07530/1462933810555/City%2Bof%2BSanta%2BRosa%2Blogo.jpg?format=1000w\" rel=\"noopener\" target=\"_blank\">official logo\u003c/a> is an abstract swirl of a rose, with three perky leaves beneath the flower. Butchart’s rose is darker, thornier. The hands grip each other sturdily, in a gesture of friendship, without formality. \u003c/p>\n\u003cp>“I didn’t want it to look too much like praying or a business deal,” Butchart says, “and all of a sudden it was ready.”\u003c/p>\n\u003cp>[contextly_sidebar id=”70E3JrAiqsUbAs1Nfn3WA8TysGQ8fa7b”]\u003c/p>\n\u003cp>Butchart posted the design on Facebook with a link to her \u003ca href=\"https://www.etsy.com/shop/mikaylabutchart?ref=l2-shopheader-name\" rel=\"noopener\" target=\"_blank\">Etsy store\u003c/a>, writing, “My heart is breaking for my hometown but I’ve been so proud of and anchored by the community outreach and collective support I’ve witnessed… Together we’ll bloom again.”\u003c/p>\n\u003cp>For Butchart, the positive response has been both heartwarming and overwhelming. “I really only expected to sell like 50 to my mother,” she admits. In total, she’s sold approximately 1,000 pins at $15 a piece; in response to requests, she also has T-shirts, decals and tote bags for sale, all bearing the “Rose-ilience” design. All profits from the sales will be split between \u003ca href=\"https://www.redwoodcu.org/northbayfirerelief\" rel=\"noopener\" target=\"_blank\">Redwood Credit Union’s North Bay Fire Relief Fund\u003c/a>, and the \u003ca href=\"https://www.youcaring.com/tubbsfirevictimssantarosacommunity-976726\" rel=\"noopener\" target=\"_blank\">Tubbs Fire Victims Fund\u003c/a> (managed by the city of Santa Rosa) and the \u003ca href=\"http://refb.org/\" rel=\"noopener\" target=\"_blank\">Redwood Empire Food Bank\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813288\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Studio.jpg\" alt=\"Butchart with stacks of t-shirts bearing her 'Rose-ilience' design.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13813288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Butchart with stacks of T-shirts bearing her ‘Rose-ilience’ design. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some Santa Rosans opted for a more permanent version. On Oct. 13, \u003ca href=\"https://www.facebook.com/Faith-Tattoo-345126755601410/\" rel=\"noopener\" target=\"_blank\">Faith Tattoo\u003c/a> in Santa Rosa \u003ca href=\"http://www.pressdemocrat.com/entertainment/7531594-181/faith-tattoo-in-santa-rosa?artslide=0\" rel=\"noopener\" target=\"_blank\">donated their entire day’s earnings\u003c/a> to fire relief — with Butchart’s rose available as flash art. They raised just under $11,000 in one day. Also in Santa Rosa, \u003ca href=\"http://www.glassbeetle.com/\" rel=\"noopener\" target=\"_blank\">Glass Beetle Tattoo\u003c/a> is inking people with the rose on an ongoing basis and donating those net proceeds as well. \u003c/p>\n\u003cp>Jared Powell, a tattoo artist at Glass Beetle, estimates that he’s already tattooed Butchart’s design on 10 people, with more appointments booked. While he’s offered other options as part of the fundraiser, 80 percent of clients ask for the rose.\u003c/p>\n\u003cp>“It’s a really solid image that captures the idea of helping everybody out,” says Powell, adding that it works as a refreshing alternative to “convoluted, stupid slogans” popular on social media like “Sonoma Strong.”\u003c/p>\n\u003cp>“That rose — it’s a little bit of that you’re-in-the-secret-club kind of thing,” Powell says. “It’s recognizable from across the room, it’s strong, and if you know what it is, you’re gonna connect with it and identify with it.”\u003c/p>\n\u003cfigure id=\"attachment_13813310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/JP.Butchart-800x600.jpg\" alt=\"Santa Rosa tattoo artist Jared Powell has inked Butchart's design on 10 people and counting for fire relief.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa tattoo artist Jared Powell has tattooed Butchart’s design on 10 people and counting for fire relief. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to funds, Butchart’s been flooded with personal messages from strangers — over 2,000 so far. “I got a lot of really touching messages from people who felt like it was what they needed, some sense of hope and empowerment and solidarity. They put it better than I could put it myself, they articulated back to me what it was doing.”\u003c/p>\n\u003cp>Significantly, there’s no text attached to Butchart’s design. “Tons of suggestions came from the community to add a hashtag,” she says, “but those don’t serve a tangible purpose in the real world… If I have to explain it, it’s not doing its job.”\u003c/p>\n\u003cp>Based on the rose’s popularity, it’s been doing that job with flying colors. Beyond the thousands it’s raised, it signifies not just recovery efforts in the wake of the fires, but the spirit of the people who built Santa Rosa once — and ideally, those who will build it again. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find Butchart’s Rose-ilience design for sale \u003ca href=\"https://www.etsy.com/shop/mikaylabutchart?ref=l2-shopheader-name\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Illustrator Mikayla Butchart captured a community's strength and resilience with a new symbol for Santa Rosa.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the smoke was still thick in the air of her hometown, after working in her home studio for days, Santa Rosa-based illustrator \u003ca href=\"http://www.mikaylabutchart.com/\" rel=\"noopener\" target=\"_blank\">Mikayla Butchart\u003c/a> finally had it — a visual representation of the community support she witnessed in the wake of the Oct. 8 fire. \u003c/p>\n\u003cp>Butchart’s design is simple: two hands gripping each other to form a single red rose, as a thorny stem extending below. She put it up for sale as an inch-tall accessory called the “Rose-ilience” pin; the link instantly circulated on social media throughout Santa Rosa, getting hundreds of shares. They sold like hot cakes: Butchart estimates she’s raised about $20,000 in North Bay fire relief funds, all through the sale of enamel pins. \u003c/p>\n\u003cfigure id=\"attachment_13813309\" class=\"wp-caption alignright\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/roseilience.pin_.jpg\" alt=\"Mikayla Butchart's 'ROSE-ilience' design.\" width=\"690\" height=\"690\" class=\"size-full wp-image-13813309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/roseilience.pin_-150x150.jpg 150w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Mikayla Butchart’s ‘Rose-ilience’ design. \u003ccite>(Mikayla Butchart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Tubbs Fire forced thousands of Santa Rosans to evacuate their houses, not knowing when or to what they would return, Butchart’s downtown home became a de facto gathering spot. She was the only one in her immediate family outside of the evacuation zone. Her house was filled with unpacked boxes — she’d just moved back to Santa Rosa after a stint in graduate school and New York City — and suddenly, relatives. \u003c/p>\n\u003cp>Trapped indoors by the smoke and the desire to stay close to her parents and siblings, she felt useless, chained to her computer, constantly seeking out updates and more information. \u003c/p>\n\u003cp>“What I was really noticing was how much emotional support people were seeking and offering on Facebook,” she says. “That was what really inspired me, beyond the desire to contribute financially. I wanted to capture that sense of community outreach.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of four days, Butchart photographed her houseguests’ hands clasped in different poses, refining her design. It felt good to do something, however small, to stay busy and feel productive. \u003c/p>\n\u003cp>“I’m not really a logo designer or a graphic designer per se, but I knew I wanted to be focused on the rose as a symbol of tenacity, regrowth and beauty,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13813287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RoseDecals.jpg\" alt=\"'Rose-ilience' decals getting ready to ship.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13813287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RoseDecals-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Rose-ilience’ decals getting ready to ship. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city of Santa Rosa’s \u003ca href=\"http://static1.squarespace.com/static/53e2932de4b04d687f7b60bb/53e68be8e4b065351cdf23c7/57315e11d51cd4ace3f07530/1462933810555/City%2Bof%2BSanta%2BRosa%2Blogo.jpg?format=1000w\" rel=\"noopener\" target=\"_blank\">official logo\u003c/a> is an abstract swirl of a rose, with three perky leaves beneath the flower. Butchart’s rose is darker, thornier. The hands grip each other sturdily, in a gesture of friendship, without formality. \u003c/p>\n\u003cp>“I didn’t want it to look too much like praying or a business deal,” Butchart says, “and all of a sudden it was ready.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Butchart posted the design on Facebook with a link to her \u003ca href=\"https://www.etsy.com/shop/mikaylabutchart?ref=l2-shopheader-name\" rel=\"noopener\" target=\"_blank\">Etsy store\u003c/a>, writing, “My heart is breaking for my hometown but I’ve been so proud of and anchored by the community outreach and collective support I’ve witnessed… Together we’ll bloom again.”\u003c/p>\n\u003cp>For Butchart, the positive response has been both heartwarming and overwhelming. “I really only expected to sell like 50 to my mother,” she admits. In total, she’s sold approximately 1,000 pins at $15 a piece; in response to requests, she also has T-shirts, decals and tote bags for sale, all bearing the “Rose-ilience” design. All profits from the sales will be split between \u003ca href=\"https://www.redwoodcu.org/northbayfirerelief\" rel=\"noopener\" target=\"_blank\">Redwood Credit Union’s North Bay Fire Relief Fund\u003c/a>, and the \u003ca href=\"https://www.youcaring.com/tubbsfirevictimssantarosacommunity-976726\" rel=\"noopener\" target=\"_blank\">Tubbs Fire Victims Fund\u003c/a> (managed by the city of Santa Rosa) and the \u003ca href=\"http://refb.org/\" rel=\"noopener\" target=\"_blank\">Redwood Empire Food Bank\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813288\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Studio.jpg\" alt=\"Butchart with stacks of t-shirts bearing her 'Rose-ilience' design.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13813288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Studio-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Butchart with stacks of T-shirts bearing her ‘Rose-ilience’ design. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some Santa Rosans opted for a more permanent version. On Oct. 13, \u003ca href=\"https://www.facebook.com/Faith-Tattoo-345126755601410/\" rel=\"noopener\" target=\"_blank\">Faith Tattoo\u003c/a> in Santa Rosa \u003ca href=\"http://www.pressdemocrat.com/entertainment/7531594-181/faith-tattoo-in-santa-rosa?artslide=0\" rel=\"noopener\" target=\"_blank\">donated their entire day’s earnings\u003c/a> to fire relief — with Butchart’s rose available as flash art. They raised just under $11,000 in one day. Also in Santa Rosa, \u003ca href=\"http://www.glassbeetle.com/\" rel=\"noopener\" target=\"_blank\">Glass Beetle Tattoo\u003c/a> is inking people with the rose on an ongoing basis and donating those net proceeds as well. \u003c/p>\n\u003cp>Jared Powell, a tattoo artist at Glass Beetle, estimates that he’s already tattooed Butchart’s design on 10 people, with more appointments booked. While he’s offered other options as part of the fundraiser, 80 percent of clients ask for the rose.\u003c/p>\n\u003cp>“It’s a really solid image that captures the idea of helping everybody out,” says Powell, adding that it works as a refreshing alternative to “convoluted, stupid slogans” popular on social media like “Sonoma Strong.”\u003c/p>\n\u003cp>“That rose — it’s a little bit of that you’re-in-the-secret-club kind of thing,” Powell says. “It’s recognizable from across the room, it’s strong, and if you know what it is, you’re gonna connect with it and identify with it.”\u003c/p>\n\u003cfigure id=\"attachment_13813310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/JP.Butchart-800x600.jpg\" alt=\"Santa Rosa tattoo artist Jared Powell has inked Butchart's design on 10 people and counting for fire relief.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/JP.Butchart-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa tattoo artist Jared Powell has tattooed Butchart’s design on 10 people and counting for fire relief. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to funds, Butchart’s been flooded with personal messages from strangers — over 2,000 so far. “I got a lot of really touching messages from people who felt like it was what they needed, some sense of hope and empowerment and solidarity. They put it better than I could put it myself, they articulated back to me what it was doing.”\u003c/p>\n\u003cp>Significantly, there’s no text attached to Butchart’s design. “Tons of suggestions came from the community to add a hashtag,” she says, “but those don’t serve a tangible purpose in the real world… If I have to explain it, it’s not doing its job.”\u003c/p>\n\u003cp>Based on the rose’s popularity, it’s been doing that job with flying colors. Beyond the thousands it’s raised, it signifies not just recovery efforts in the wake of the fires, but the spirit of the people who built Santa Rosa once — and ideally, those who will build it again. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find Butchart’s Rose-ilience design for sale \u003ca href=\"https://www.etsy.com/shop/mikaylabutchart?ref=l2-shopheader-name\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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