Categories
Arts Culture

To hell and back

Years before the 2020 pandemic, artist Michelle Gagliano developed a fascination with Dante’s Inferno and set out to interpret each of the poem’s 34 cantos through one painting per week. She completed the project, and exhibited it in 2017. But as the virus and social and political unrest escalated this spring, the work called her back. She knew there was hope in Dante’s journey through hell, and she wanted to convey that to the modern world. Enlisting poet/musician Stuart Gunter to react to her work, Gagliano then combined Gunter’s prose with her paintings to create a book. Originally intended for her sons, the collection evolved into a playful, hopeful, reinterpretation of optimism, just like Dante’s quote: “I saw the beautiful things that the sky holds: and we issued out, from there, to see, again, the stars.” 

Michelle Gagliano: “My favorite during this period of a boiling political climate is Canto 12, ‘Violence Against Neighbors,’ or ‘Neighbors Against Neighbors.’ The image portrays two couples staring at each other, one sitting on a big lawn mower, their chins jutted out with angry faces and attitudes. Suburban anger. I painted the background with an image of a clogged artery, thinking how internally toxic we’ve become. Dante traveled inward to self-reflection, and part of that means confronting issues clogging us all.”

Stuart Gunter: “I think the whole idea is a testament to Michelle’s artistry—as far as we can determine, she is the first female artist to reinterpret Dante’s Inferno. Her whimsical but intense treatment of each canto really makes me think hell is all the more beautiful and all the more daunting. I think ‘An Everlasting Quarrel’ (Canto 30) is pertinent these days—it puts me in mind of a story I recently heard about a Nelson County octogenarian discussing the fact that if anyone stepped onto her property to install the pipeline that was recently defeated, she would simply shoot them.”

Categories
Culture Food & Drink Living

Spirit guidance: The catch is in the rye for Square One vodka’s Allison Evanow

It was the middle of the night in 2004 when Square One organic vodka founder Allison Evanow saw her future. Evanow’s career, marketing fine beverages had taken the Waynesboro native to Spain, Mexico, and California, working for the Jose Cuervo family before entering the wine industry in Napa.

Maybe it was insomnia, maybe it was the over-exhaustion that stems from new parenthood—or maybe it was a spirit guide. But Evanow, then the mother of 6-month-old twins, describes waking with a bolt of inspiration that caused her to start planning a new business, her mind flashing back to an advertising campaign she’d come across in Food & Wine magazine earlier that day.

“There was an ad for an American vodka with an old farmer that touted ‘all natural’ and I remember thinking, if it’s all natural why wouldn’t they just go all the way to organic,” says Evanow. “You can cheat all natural.”

She was living in northern California at the time, immersed in the movement toward organic, green, and eco-friendly consumption. Evanow describes the realization that no one was distilling organic spirits as “going off like a bell.” That bell sounded an idea that would alter the spirits business and define her as an innovator in a niche industry.

“I wrote down the name Square One,” says Evanow. “The idea that if you start at square one you’re doing it the right way. No herbicides, no pesticides, no fake stuff. You’re telling the truth in your marketing—and no sexy bikini marketing!”

Initially, she thought she’d run the table and produce organic vodka, rum, and gin. After writing the business plan, she says reality set in, and the challenges of building her own distillery caused her to focus solely on vodka.

“People ask if I started a vodka company because I like vodka and I say, ‘No I started it because I hated vodka,’” laughs Evanow. Vodka’s bad image on the cocktail scene at the time stemmed from using less expensive, synthetic ingredients, and Evanow says she decided to “focus on the category that needs the most help because they’ve done the most fake stuff.”

Sixteen years after that fitful night, the Square One brand operates from Evanow’s home office in Ivy and features five labels of vodka: clear, cucumber, bergamot, botanical, and basil, plus a line of mixers and ready-to-drink canned cocktails—all of them organic. Evanow’s farming, fermentation, and distillation processes are certified organic, and use 100 percent organic American rye. This is far more difficult to pull off than the conventional distilling process, but Evanow never deviated from her goal.

“That was the idea, all organic, all real botanicals, plant-based infusions,” she says. “Deriving the extracts or essences from the real plant instead of some guy in a lab coat pretending he made strawberry out of chemicals.”

Evanow made two other key decisions. She used rye to make her vodka and she took a culinary approach to the science of distillation. Get her going on botanical formulas and she utters poetic streams of ingredients: Pear, rose, lavender, chamomile, lemon verbena, coriander, rosemary, and citrus peel…mandarin, navel, and tangerine…juniper, ginger and coriander. “Our original distiller said, ‘No one has ever talked to me about their spirits the way you do. You come at it like you’re a cook,’” says Evanow.

She chose rye because she didn’t want a sweet style like you get with corn, or an “uber neutral” vodka, typical when using wheat or potato. “What I love about rye is it’s got character,” she says, also quick to note that working with rye is not easy, due to its lower yield and a tougher process to make it certified organic. After getting her formula down, the next step was to expand the product’s flavor profile.

Square One’s real cucumber flavored vodka was another industry first and it became a bestseller. “That was a beast to make,” says Evanow. “It tasted like pickles, it was so bad.” The flavor solution came from the world of fine perfumes. “My distiller had been in the perfume biz before…and went out and worked with six different perfume and flavor companies to find stable extraction essences.” The result tastes fresh from the garden.

At first, the bartending community was lukewarm about putting a new vodka into the lineup. But the use of rye, and the authenticity of Square One’s mission, made it a valid addition to the craft cocktail movement.

Now the vodka is a fixture on cocktail lists at high-end restaurants like Morton’s The Steakhouse and boutique hot spot Goose & Gander in Napa Valley. Jason McKechnie at The Ivy Inn tries to feature a new cocktail with Square One vodka seasonally “because the flavors are unique, bold yet balanced, and it’s a product I can trust through and through,” he says.

As with the ingredients and process she uses in her Square One spirits, integrity and authenticity are important to Evanow personally. She’s one of the first women to start her own distilled spirits company, and it’s an industry in which the glass ceiling is still very high. “I’m asked, ‘Did you do this with your husband?’ and I say, ‘No, I started the company and he does not work for me,’” says Evanow.

More women in leadership roles can expand the industry creatively, says Evanow. She makes sure her brand and marketing is never “dumbed down” and that people know Square One is founded by a woman. “Because, I don’t think a bro would do this,” she says as she carefully inhales the essence of a basil vodka. “I don’t think a bro would care about the quality in this way.”

 


How-tos for tasting the hard stuff

Start from scratch
Before tasting, be sure your palate is clean and neutral. Drink water and avoid spicy foods and strong flavors.

Hold the rocks
Sip the spirit at room temperature, neat.

Don’t nose it
Wave the glass gently to get the aromatics. Hold the glass slightly away from your face, with the nose outside the glass as you inhale, in order to avoid the “burn” of the alcohol.   

Double dip
Don’t judge by the first sip. Take it slow, and take a few.

Savor the flavors
Depending on the base ingredient, you’ll discover bready/yeasty/cereal notes
(vodkas made from grain), vanilla/caramel/butterscotch notes (oak-aged spirits),
smoke/brine/peat (scotches), herbal/vegetal/earthy (tequilas), and citrus/botanicals
of all kinds (flavored spirits like vodka, gin, and aquavit).


From the Ivy Inn
Perfect pear

 1 oz. Square One Organic vodka

 1.25 oz. spiced pear liqueur (preferably St. George Distillery Spiced Pear
Liqueur or Rothman & Winter Orchard Pear, infused with 2 cinnamon sticks and
14 clove pods for 36-48 hours)

 .25 oz. elderflower liqueur

 .25 oz. maple syrup

 .5 oz. lemon juice

Shake with ice for 20 seconds and strain into a chilled coupe/martini glass. Garnish with freshly grated cinnamon or a pear wheel, or both!

Categories
Arts Culture

Get closer

Mixed-media artist Brielle DuFlon’s work speaks of comfort in bold ways. Imagine putting on your favorite sweater, wrapping up in a fuzzy blanket, or donning a lacy garment. DuFlon takes those emotional aesthetics to a textile reality in her show, “huddle,” at New City Arts.

Using repurposed and reclaimed materials, DuFlon’s dramatic pieces are a playful tug of war between exciting and calming that confronts the viewer with vulnerability and honesty. She describes them as “physically deep works, that the audience looks into, rather than at.”

DuFlon has been showing her work publicly since 2011, and “huddle” is her first solo exhibition in four years. Creating these pieces, she says, taught her about trusting herself with unusual materials. And timed with our societal need for closeness and empathy, DuFlon says she could not have predicted how relevant the theme of her show would be when she began working on it in the spring of 2019.

‘Legacy: heirloom’

Brielle DuFlon: “This piece, a jacket made completely of plastic produce mesh packaging, is one of three ‘legacy’ pieces in ‘huddle’ that speak to what we leave behind, as individuals and as a species. The concept of an heirloom garment is widely known, but in this case the piece is handed down to the next generation because it cannot biodegrade. ‘Legacy:Heirloom’ is a coming together of my passion for environmentalism and my flirtation with garment making (and yes—it actually fits me!).”

Categories
Arts Culture

Cast your eyes on the 2020 Virginia Film Festival

Unprecedented, unexpected, insane…we could go on, but after months of living in a world with coronavirus, a presidential campaign, and a series of transformative social justice movements, well, you get the idea.

To combat it all, we’ve been baking, we’ve been Zooming, we’ve been sitting six feet apart at social gatherings.  We’re ordering takeout, enjoying a cocktail (or five!), and streaming entertainment—a lot. During this strangest of autumns, movies have provided distraction, affirmation, education, and so much more.

Despite having to rethink audience participation, the Virginia Film Festival is a beacon of normalcy at a time when nothing feels normal. Gone are the tightly packed movie houses of previous years, but the quality programming and insightful guests remain the same. The pivot to virtual screenings gives everyone a front-row seat, and a return to drive-in movies offers a nostalgic connection to a bygone era.

We will miss the smell of popcorn, the collective laughter and tears, crawling over legs to the middle seat, and even that guy at the Q&A session who just won’t quit. But the time is still right for the 33rd annual Virginia Film Festival. Stay safe, promote peace. And I hope to see you sitting next to me next year.

Categories
Arts Culture

PICK: Lost Home, Win Home

For the win: Playwright Shelby Edwards explores the conflicting emotions attached to her native Charlottesville in Lost Home, Win Home. Through the intricate thinking of a chess master, Edwards reconstructs the trauma of the Unite the Right/Neo-Nazi rally that took place here on August 12, 2017. Her expertly delivered solo performance strikes at the heart of our community’s wins and losses.

Through 10/18, Suggested donation $15, 8pm. Live Arts. Zoom required. livearts.org.

Categories
Arts Culture

PICK: Lola Flash

Action shots: Photographer Lola Flash’s art and activism are inextricably connected. For decades her work in genderqueer visual politics has challenged stereotypes and preconceptions about gender, sex, and race. Her exhibition “salt” is part of the Seeing Black: Disrupting the Visual Narrative Speaker Series, and captures women who are over 70 and still thriving in their field. An example herself that vibrancy and creativity do not lie solely with the young, Flash says she “welcomes sharing ideas with those who are willing to not only look, but also see.” The exhibition opens on October 17.

Through 1/16/21, Free, times vary. Jefferson School African American Heritage Center. jeffschoolheritagecenter.org.

Categories
Arts Culture

PICK: Fleabag

Biting humor: If you’ve been binge-watching TV over the last eight months (and really, who hasn’t?), you probably have a “Fleabag” story. Phoebe Waller-Bridge’s clever, outrageous, sex comedy-drama had everyone talking about their own relatable experiences when it jumped from an award-winning one-woman play in London to an Emmy-sweeping Amazon Prime series in 2019. See the original stage show starring Waller-Bridge in National Theatre Live in HD’s rebroadcast.

Friday 10/16, $11-15, 3 and 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333. theparamount.net.

Categories
Arts Culture

The 2020 Virginia Film Festival offers an abundance of virtual and drive-in programming

Due to our need for social distancing, the 33rd annual Virginia Film Festival looks a little different this year, but organizers say that shouldn’t deter anyone from exploring the 50-plus offerings of virtual screenings, conversations, and drive-in movies.

UVA Vice Provost for the Arts and Director of the Virginia Film Festival, Jody Kielbasa says his team dealt with COVID-19 by “moving into a new festival model that was being developed in real time all around us.”

With virtual all-access passes already on sale, Kielbasa and Program Manager Chandler Ferrebee announced a diverse program that opens with Regina King’s highly anticipated directorial debut, One Night in Miami…, a fictionalized story of Cassius Clay, Malcolm X, Jim Brown, and Sam Cooke, as they celebrate  Clay’s February 1964 win over Sonny Liston in Miami Beach.

Also on tap this year are the centerpiece film Ammonite, a romantic drama starring Kate Winslet and Saoirse Ronan; Boys State, a Sundance Grand Jury Prize-winning documentary that reflects our national political divides; and Nomadland, which features Frances McDormand as a woman who hits the road after losing everything in the Great Recession. 

Ferrabee noted several other highlights, including Alice by local flimmaker Eduardo Montes-Bradley, and Shithouse, a story that unfolds around a lonely college freshman attending a frat party.

Online appearances to support the screenings include Annette Bening, Leslie Odom, Jr., Ethan Hawke, NPR host Diane Rehm, bandleader Doc Severinsen, and Terminator franchise star Linda Hamilton. 

The full festival program will be posted online on Thursday, October 8 at 10am, and tickets for the drive-in film screenings and special presentations will go on sale that day at noon. More information can be found at virginiafilmfestival.org.

Categories
Arts Culture

PICK: Food From Our Farms

Rewarding harvest: A salad of autumn lettuces and herbs, Asian pear, toasted pecans, and Surryano ham crisp with nectarine vinaigrette. Empanadas made from Caromont chevre, butternut squash, and heirloom apples. It’s harvest time in the Blue Ridge, and the menu for Food From Our Farms: 2020 Edition features the bounty of the season while honoring the Local Food Hub’s work with small family farms and the food community. Support LFH as you enjoy a delivered dinner prepared by APimento Catering and Caromont Farm, with desserts by Albemarle Baking Company, and wine options from local wineries. Orders due by 9/26.

Saturday 10/3. $100 suggested donation. localfoodhub.org/dinner

Categories
Arts Culture

Tragedy and joy: Our Time Machine bridges generational divides

The difference between a nice story and a beautiful one is in the way it’s told. When a retired opera director starts losing his memory, and his son creates a play about a child who invents a time machine so his father can relive great moments from his past, that’s a nice story.

When the father (Ma Ke) is a former artistic director at the Shanghai Chinese Opera Theater, and the son (Maleonn) is a cutting-edge visual artist breaking new ground with puppet technology, and in their collaboration the son discovers new maturity while honoring his father’s legacy—that’s a beautiful story.

This same distinction is also true in documentary films. A diverting tale recounted by talking heads is often entertaining enough, but a greater accomplishment in nonfiction storytelling is the elevation of the subject by discovering truth among the facts. Through emotional and technical intelligence, S. Leo Chiang and Yang Sun make Our Time Machine a touching story of father and son, a procedural drama about the grueling life of a creative professional, and a resonant statement about the intertwined nature of tragedy and joy.

Ma Ke attributes his success to his work ethic and willingness to be demanding of his collaborators. Maleonn suggests his father’s prolific output is to make up for years lost during the Cultural Revolution, when opera was denounced and its practitioners sent to labor camps. It was in that camp that Maleonn was born, and once Ma Ke was allowed to work again, that’s nearly all he did.

The first thing viewers will notice is the striking style of Maleonn’s creation, filled with expressive puppetry, silhouettes against rear projections, and animatronic airplanes. The imagery brings to mind H. G. Wells, a Victorian sensibility of cold gears and hot steam manipulating the fabric of existence, imbued with modern sentimentality. Primarily a visual artist, this is Maleonn’s first venture into theater, and he takes no shortcuts in realizing his dream.

If this were merely a behind-the-scenes feature about a play’s creation, that would be enough to recommend it, simply for the technical marvel. But Our Time Machine is a story about determination and racing the clock, using the time we have now to reconcile with the past in order to brighten our future. Maleonn’s play is a means to get closer to his father, whom he idolizes despite the emotional distance, and though he is much more congenial in nature and collaborative with his team than Ma Ke is alleged to be, Maleonn is equally single-minded, pushing away all unrelated concerns until they threaten his or his family’s livelihood. He moves forward with production when there is no money, and struggles to balance the demands of his work with the question of assisted living for his worsening father. Early on, Maleonn speaks longingly about the possibility of starting a family, but is not forthcoming about his burgeoning relationship with a collaborator (though, charmingly, they do a bad job of hiding their feelings for one another).

Even without consideration for his relationship with his father, Maleonn’s play is still an impressive technical feat with a great deal of compassion for its characters, but at the expense of its soul. Similarly, the context of Our Time Machine is what makes it more beautiful than if it were a series of episodes in an artist’s life.

As a work of art, Our Time Machine is a fascinating look at the relationship between creator and creation, and does not remove itself from that equation. The greatest documentaries, in my opinion, call attention to the observer effect, and do not attempt to fool the audience into believing that the cameras are flies on the wall. The fact that this was documented matters; Maleonn could not have predicted the obstacles, and if everything had gone according to plan, this would have been a featurette on a DVD. But as Maleonn’s life evolves, so does the documentary. Filming continued well past the play’s premiere and into his next stage in life, coming to its own conclusion as a work of art with a soul of its own, separate from its subjects.

Ma Ke and Maleonn came of age in two very different eras in modern Chinese history. Are their approaches at odds with one another, or are they of the same mind with their individual traits shaped by historical circumstances? Their openness about issues like the Cultural Revolution and political persecution is refreshing, and they are equally open about their feelings toward one another. But as Our Time Machine shows, openness is only the first step in establishing a connection. Two people can’t stand at opposite ends of a canyon and just will a bridge into existence; someone has to be the first to start building—like a playwright needs a play before he can connect with an audience.

Our Time Machine / NR, 84 minutes

Streaming (VioletCrown.com)