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Chicho Lorenzo paints through barriers at local exit

When painter and muralist Chicho Lorenzo saw the 7′ tall retaining wall along Barracks Road near the 250 bypass, he knew exactly what he wanted to paint.

“Maybe two years ago, I was commissioned to paint a mural for a military school,” Lorenzo says. “I had an idea for an image of two teachers standing like columns, supporting the base of education. I didn’t paint it then, but when I saw this wall I thought, what if I extended it from teachers to nurses to dreamers to many other people in the community?”

In early 2017, The Bridge Progressive Arts Initiative partnered with Albemarle County, the Virginia Department of Transportation, UVA Arts and local residents to beautify the concrete corridor that connects busy Barracks Road with scenic Garth Road. Local and regional artists submitted proposals to the initiative, which was spearheaded by The Charlottesville Mural Project, a Bridge PAI program designed to showcase artistic talent while creating a more interesting visual landscape in Charlottesville.

In the process, members of nearby communities discussed what they hoped to see in the mural, including organic colors, a sense of whimsy and playfulness, and a theme that communicated the history, geographic beauty and diverse people of the area.

Small wonder that Lorenzo was chosen. Since moving to Charlottesville in 2008, the self-taught artist has become known for painting dreamy, colorful murals that reflect the vibrancy of his native Madrid and typically reference real people from the local community.

Local musicians are some of his favorite subjects. “If I sit in front of a musician playing, I can perfectly draw it—not just their faces and instruments, but the way they play,” says Lorenzo. “I can draw their music with symbols and other graphic resources. It’s very instantaneous inspiration.”

Manifesting the unseen is part of the pleasure of creation for Lorenzo, who views art as “opening the window for a real life” that just happens to not exist yet.

He points to the mural he painted on the back wall of Mas Tapas in Belmont. “It’s a floating banquet with real people: people from the restaurant, people from the yoga place upstairs, many neighbors from that area,” Lorenzo says. “There was one neighbor who told me that his mom always wanted him to have a farm. So on one of the mountains, far away, there’s a little farmhouse with this guy in the door.”

Just like that, the man’s mother was right. Suddenly, he had a farm.

“In my experience, art opens possibilities in life,” Lorenzo says. “We are so used to seeing life a certain way. We see our routines, our day-by-day. Now with the Internet, we can see more, but it’s still limited. But then you learn how to do art, and you realize life is limitless.”

That’s the power of mutual inspiration, he says. Whether he works on painting a portrait or creating a massive mural, he continually draws from the town that inspires him—and hopes to return the favor.

“Mostly, I hope my art inspires a kind of happiness,” he says. “I have this trust that my art somehow makes the world or at least the local community, a little better.”

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Arts

Unlikely triumphs: Our critic picks his favorite films of 2017

In movies, as in life, it was quite a year of highs and lows. These are our favorite films of 2017.

Get Out

As social commentary, as a horror movie that connected with an incredible amount of people, as a directorial debut for Jordan Peele—any way you look at it, Get Out was a huge achievement for independent film and for intelligent, layered stories with societal messages. The world already loved Peele for his comedy; with Get Out, we discovered that we need him for his insight.

Colossal

This was a year of unlikely triumphs, of which Nacho Vigalondo’s Colossal is the most unexpected. A thoughtful, funny film about very serious psychological issues—alcoholism, depression, self-loathing, projecting one’s own failures onto anyone who happens to be nearby—framed in one of the most bizarre narratives of 2017 that plays the absurdity completely straight-faced. If you let this one slip by you, definitely check it out.

A Ghost Story

A Ghost Story made mocking headlines for an extended, unbroken shot in which Rooney Mara sits on the kitchen floor and eats an entire pie. There, we said it, yuck it up, now let’s talk about what a powerful meditation on life and its meaning (or lack of it) this is, and how phenomenal it is that writer-director David Lowery feels as at ease with a noncommercial passion project as he does with a big-budget Disney remake (Pete’s Dragon).

Menashe

By all accounts, Menashe shouldn’t exist. A Yiddish-language movie filmed in New York’s ultra Orthodox Jewish community featuring a cast of first-time actors, many of whom had never set foot in a movie theater until the premiere, combined with the fact that it’s this great, makes it even more stunning. Starring Menashe Lustig in a story partially inspired by his own life, Menashe follows its lead character as he works to prove his worthiness as a father to his son, a year after the death of his wife. Simple, elegant, heartwarming, and one of the year’s must-sees.

Lucky

The last film of the legendary Harry Dean Stanton would be notable no matter what, but the sort of astonishing match between actor and material on the level of Lucky is quite rare. Stanton stars as a man in a small desert town who lives day to day on almost exactly the same routine. As we get to know Lucky better and witness the events of the doom, we see how those patterns became so important to him as they begin to break, but never in a tragic way. A lovely film with one of the year’s best performances.

Dunkirk

Christopher Nolan delivers the most powerful film of his career with Dunkirk, the story of a military defeat by the British that resulted in an astonishing evacuation and in turn inspired a generation to persevere in the fight against fascism in the early days of World War II. The film is told as a triptych, three interlocking stories spanning different lengths that are stylistically and thematically linked. Dunkirk is a technically sophisticated film without an ounce of self-indulgent spectacle, dedicated to the bravery of the soldiers on that beach and those who risked their lives to rescue them.

First They Killed My Father

Angelina Jolie’s film about the rise of the Khmer Rouge in Cambodia is a fascinating, humanizing. look at totalitarianism and the human cost when squabbling superpowers use innocent nations as proxies. Told from the point of view of a young girl at the very beginning of the regime, she experiences all of the horrors of war—forced labor and being enlisted as a child soldier—while being subjected to empty propaganda day and night. Though it can be difficult to watch, the intent is to truly understand this moment in history from a philosophical and humanistic point of view, including its roots in the Cold War and America’s disastrous Southeast Asian foreign policy.

Lady Bird

In a year of strong directorial debuts, Greta Gerwig’s coming-of-age tale stands out as one of the best and most sophisticated of the bunch. The title character, played by Saoirse Ronan, is in her senior year of high school and is in a hurry to let go of everything that has defined her: friends, interests, academic life, her name and especially her mother, played by Laurie Metcalf. Funny, poignant, brutally honest and boasting a career-high performance by Metcalf, Lady Bird should sit at the top of your watchlist.

Wind River

The power of Wind River comes in its clarity of mission and total understanding of every inch of its subject matter. Though narratively a procedural about the pursuit of the men who raped and murdered a young woman on the Wind River Indian Reservation, it is also an examination of the continued legacy of American colonialism on all parties affected. A tracker (Jeremy Renner) and an FBI agent (Elizabeth Olsen) join Tribal Police (Graham Greene) in the hunt. Refreshingly, all are great at their job; Olsen’s character is new to the region but she is an excellent agent, Greene does the best he can with the limitations his department faces, and Renner feels connected to the land despite being a perpetual outsider. A remarkable work in an already exceptional year.

John Wick: Chapter 2

Good filmmaking is good filmmaking, okay? There are some deep sociopolitical statements on this list, but in the end, movies are all about how well you can tell a story with the resources you have. In the case of John Wick: Chapter 2, those resources are some of the best technicians in the industry and the most committed and disciplined American movie star possibly in history. Much has been made of Keanu Reeves’ stiffness as an actor, but there is no question that this man belongs on the screen delivering remarkable physical performances. The stakes are ramped up from the previous installment as is the craftsmanship, turning what was a fun action flick into a franchise that could bring the best of Hong Kong genre cinema stateside.


Playing this week

Alamo Drafthouse Cinema
377 Merchant Walk Sq., 326-5056

Ferdinand, The Greatest Showman, Pitch Perfect 3, The Shape of Water, Star Wars: The Last Jedi, The Violent Years 

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213

All The Money In The World, Coco, Darkest Hour, Downsizing, Father Figures, Ferdinand, The Greatest Showman, Jumanji: Welcome to the Jungle, Pitch Perfect 3, Star Wars: The Last Jedi

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000

All The Money In The World, Darkest Hour, Downsizing, Father Figures, The Greatest Showman, Human Flow, Jumanji: Welcome to the Jungle, Pitch Perfect 3, The Shape of Water, Star Wars: The Last Jedi, Three Billboards Ouside Ebbing, Missouri

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Arts

ARTS Pick: Rob Cheatham and Company

Taking a break from his frontman duties with The Nice Jenkins and Gunchux, Rob Cheatham caught some airwaves in 2016 with his country-Americana song, “Heaven Don’t Take No Losers,” from his solo album Colors. The C’ville-based musician currently gigs with a talented pool of locals under Rob Cheatham and Company while frequenting the stages of pubs and clubs throughout the mid-Atlantic.

Saturday, January 6. No cover, 10:30pm. The Whiskey Jar, 227 W. Main St., Downtown Mall. 202-1549.

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Arts

ARTS Pick: Follies

Showgirls and show makers gather to pay tribute to their theatrical past in Follies, a Stephen Sondheim and James Goldman musical that magnifies its characters’ dreams and illusions through emotional reminiscences. The play had a contemporary setting when it opened on Broadway in 1971, went on to win seven Tony Awards, and ran for more than 500 performances. This National Theatre revival (via live broadcast) casts Tracie Bennett, Janie Dee and Imelda Staunton as the magnificent Follies.

Sunday, January 7. $12.50-14.50, 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

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Arts

ARTS Pick: Cody Purvis

Charlottesville native Cody Purvis wanted to join the legends of country music for as long as he can remember. He survived on karaoke and singing contests through his middle school and teenage years, then hit the road for Nashville to make a name for himself in “real country” music. At 22, he’s already performed on the famed Ryman Auditorium stage and collaborated with Music City’s songwriting community, including award winners Dallas Davidson, Josh Hoge and Thomas Rhett for his latest EP Southern Thang.

Saturday, January 6. $10-15, 7:30pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

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Arts

ARTS Picks: Elvis & Bowie Birthday Bash

“Elvis is a major hero of mine,” said David Bowie in 1996, according to The Ziggy Stardust Companion website. “I was probably stupid enough to believe that having the same birthday as him actually meant something.” And rumor has it that Elvis Presley was impressed by Bowie as well. Country star Dwight Yoakam claims that during a backstage chat in the ‘90s, Bowie “mentioned that just six months before Elvis’ death in 1977, the King had called him out of the blue to discuss Bowie possibly producing his next album.” A slew of local talent comes together at the Elvis & Bowie Birthday Party to celebrate the two legendary showmen, and what might have been.

Saturday, January 6. $10-12, 6pm. The Southern Café and Music Hall, 108 S. First St. 977-5590.

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Arts

First Fridays: January 5

As a painter, I’m always looking for the state of surprise and enchantment,” says Martha Saunders, whose “Transmutations” show is on view at Chroma Projects Gallery this month. Most of the paintings in the show will come from Saunders’ decade-long project Reading Series, a rumination on how the human system digests information. The series “started as a musing on the departure from words, slipping into a visual language,” Saunders says. “Later, the imaging or conjuring of the image-object-painting was involved with the concept of digesting printed information—this is when the figure of the page appeared as a recurring image.”

The paintings, rendered in beeswax and pigment, relate a constant state of flux, where the boundaries of space shift, dissolve, evaporate. “These materials allow for a suspended surface where the viewer is aware of matter which can change, creating a live surface,” says Saunders. “I work toward creating paintings that represent a verb, where the painting is in a state of becoming.”

First Fridays: January 5

Annie Gould Gallery 121B S. Main St., Gordonsville. An exhibition of work by Jane Angelhart, Jenifer Ansardi, Fax Ayres, Hallie Farley, Alex Gould, Jennifer Paxton and Peter Willard. Through January 8.

Art on the Trax 5784 Three Notch’d Rd., Crozet. “American Icons,” featuring acrylic paintings by Carrol Mallin. Artist reception January 13, 4-6pm.

The Bridge PAI 2019 Monticello Rd. “Coexist: A Prayer Flag Project,” featuring a creative participatory experience led by Jum Jirapan. Opening Friday, January 12 at 5:30pm.

FF Chroma Projects 103 W. Water St. “Transmutations,” an exhibition of Martha Saunders’ abstract paintings featuring her ongoing observation and interpretation of how information is processed and expressed. 5-7pm.

FF CitySpace Art Gallery 100 Fifth St. NE. “A VisionWest: Roadtripping Through American Nature,” a landscape photography exhibit. 5:30-7:30pm.

C’Ville Arts 118 E. Main St. Member artists slash prices on selective items; sale items will be marked with yellow “sale” stickers.

FF Firefly 1304 E. Market St. An exhibition of watercolor and charcoal abstractions by Emma Brodeur. 5-8pm.

The Fralin Museum of Art 155 Rugby Rd. “Oriforme” by Jean Arp. In the Joanne B. Robinson Object Study Gallery, a set of objects including Chinese bronzes, ceramics and sculpture, ancient Mediterranean coins, African masks and figures and more; “Feminine Likeness: Portraits of Women by American Artists, 1809-1960,” featuring works from The Fralin Museum of Art collection, opening January 12; “A Painter’s Hand: The Monotypes of Adolph Gottlieb,” an exhibit of works from one of the original Abstract Expressionists, and “From the Grounds Up: Thomas Jefferson’s Architecture and Design” opening January 26.

Jefferson School African American Heritage Center 233 Fourth St. NW. “Karma,” featuring work by Lisa Beane that addresses privileged racism. Through January 13.

Les Yeux du Monde 841 Wolf Trap Rd. “Cantos for the Anthropocene,” featuring Millicent Young’s work interested in altering perceptions and recognition in hopes of invoking change; and “Pelago d’Aria,” featuring work by Kris Iden inspired by recent travels abroad to places of personal significance.

FF McGuffey Art Center 201 Second St. NW. In the Sarah B. Smith Gallery, “Clay, Fiber, Wood,” an exhibit of collaborative work by Carol Grant, Jill Kerttula and Renee Balfour; in the upper and lower hallway galleries, a showing of work by new McGuffey artists; in the upper hallway gallery, “In the Shell: Midterm Works by McGuffey Incubator Artists,” featuring work by Alison Rose Berner, Daniella Chadwick, Jolene Dosa and others. 5:30-7:30pm.

FF Mudhouse Downtown 213 W. Main St. “siren x silence,” an exhibit of work by Madeleine Rhondeau inspired by the graphic nature of kabuki theater and the evanescent quality of memory. 6-8pm.

Second Street Gallery 115 Second St. SE. “Drawn to Charlottesville: A Group Exhibition of 12 Local Artists,” featuring work by Bolanle Adeboye, Chris Danger, Brielle DuFlon, Murad Khan Mumtaz, Clay Witt and other artists who moved to Charlottesville from elsewhere. In the back room, an exhibit of work from Aaron Eichorst.

Shenandoah Valley Art Center 122 S. Wayne Ave., Waynesboro. “Subversive/Domestic Textile and Fiber,” featuring cutting-edge textile and fiber pieces by American and Canadian artists; in the Members’ Gallery is “Small Works,” a show featuring work in a variety of media by SVAC member artists.

St. Mark Lutheran Church 100 Alderman Rd. “Our Underwater World,” featuring underwater photography of sharks, anemone fish, nudibranches, seahorses, manatees, sea otters and more. Artist talk January 10, 7pm.

Studio IX 969 Second St. SE. “Please Don’t Ask It Can’t Be Explained,” an exhibition of new collage works by Lisa A. Ryan.

Thomas Jefferson Memorial Church Unitarian-Universalist 717 Rugby Rd. A show of photographs by Rebecca George. Opening January 7, 12:30pm.

FF VMDO Architects 200 E. Market St. “Memory and Place,” featuring Joey Laughlin’s watercolors that serve as remembrances of uniqueness of place. 5:30-7:30pm.

Welcome Gallery 114 Third St. NE. A pop-up exhibit of original works by Charlottesville artists, including Brittany Fan, Carol Barber, Ézé Amos, Greg Antrim Kelly, Juliana Daugherty, Maggie Stein and others. Opening January 12, 5-7:30pm.

FF First Fridays is a monthly art event featuring exhibit openings at many downtown art galleries and additional exhibition venues. Several spaces offer receptions.

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Arts

Clocking in with math rockers Fanciful Animals

Fanciful Animals songs often begin the same way most rock songs do: with a riff.

While jamming during band practice a while back, Will Ashby picked out a riff on his guitar and it sounded unusually cool. “Play that again,” said bassist Ryan Marley Grant, and so Ashby did, over and over and over again, for about 10 minutes.

As Ashby played, Grant listened closely to count out the time signature—like most of Ashby’s riffs, this was in an unusual meter—so that the band could build more instrumentation around it. Initially, the piece was in 13/8 time, or maybe 13/16 time, Ashby recalls, and at some point, he dropped that 13th beat and started grooving on 12, accidentally bringing the jam into a new meter, thereby creating a new direction and a whole new mood.

After a bit of work from Ashby, Grant and drummer Sebastian Green, that song grew into “1312 BCE”—named for two of the time signatures it traverses over the course of two minutes and 33 seconds—one of the tracks on Fanciful Animals’ debut EP, Digital Pangea, released last month.

Fanciful Animals
Trash House
January 3

Playing around with time signatures is par for the course for Fanciful Animals, a rock band influenced by blues, jazz, experimental, electronic, pop, punk and math. Yes, math.

Math rock is more of a musical technique or perspective than a genre, Grant says—it’s not a specific sound or mood, but a mode of composing and playing while musically “trying to intentionally do something very different from what’s been done before, including what you have already done,” says Grant. It’s about structuring the music—and not relying on effects pedals and other gear—to create difference of sound both for the musician and the listener. That’s where the math comes in.

“What makes playing in odd time signatures so interesting is that it’s unnatural to the musical part of your brain,” says Grant. “My understanding is that music originated with walking, which is a regular 1-2-3-4, 1-2-3-4, so it’s sort of natural, for any musical genre, anywhere in the world, to be based with these square features. When you intentionally break that, it makes it stand out, and to some extent, your brain doesn’t want to deal with it—it just feels wrong; it’s a little unsettling.”

But an odd time signature doesn’t necessarily mean odd listening, Grant and Ashby say, citing Pink Floyd’s “Money” (in 7/4 time) and “Theme from Mission: Impossible” (in 5/4 time) as examples of songs so groovy you don’t even notice the uncommon meter. Finding the middle ground between the two “is such a mental game,” says Grant, and it’s one that he, Ashby and Green all like to play. And then, they consider what they’d like the music to say—since Fanciful Animals is an instrumental band, there’s no vocalist, no lyricist to convey any sort of message.

With instrumental music, “you’re connecting on a different level than conversation, and I think that’s a challenge for listeners,” says Grant.


Adding it up

Math rock is more of a musical style or a technique than an actual genre, one that developed when bands like King Crimson and Pink Floyd began breaking out of the usual 4/4 and 3/4 time signatures. Bands like Don Caballero, Hella, Tera Melos and Chavez are often regarded as quintessential math rock bands, though the math mentality can be found in all genres of music, including jazz, pop and especially metal (Meshuggah is a go-to example).


It can also be exciting. When listening to “Brutal Rutabaga,” a Digital Pangea track comprised of three seemingly disparate parts (in three different time signatures), a listener can’t help but follow along on the adventure: How did they get from the lounge to a swarm of bees? Wait, now they’re storming a castle? How’d they get there? Where will they go next?

Part of the challenge of being an instrumental rock band is finding a way to convey a shift in mood, tone or atmosphere in order to keep a listener’s attention. When a band has a vocalist, there’s always a new lyric for the listener to focus on; jazz bands have frequent and distinct solos from different instruments. And while Fanciful Animals aims for no particular emotion or thought from track to track, or even from song segment to segment, the band hopes to evoke something—at the very least, curiosity—within the listener.

Changing up the writing by constantly working in new time signatures, and by merging seemingly disparate parts into a single, cohesive and groovy track through a mathematical musical mending process “is a way to keep it fresh, to give the listener and ourselves something to think on,” Grant says. “It’s preventing any ideas worth putting out from getting too stale.”