March 4, 2020 | By Margo Hammond
Isn’t it ekphrastic?
Writers + Artists (and sometimes Actors) Forge a Creative Marriage
of the Verbal and the Visual
. . .
Bob Devin Jones performing a piece written by Frank Wells and inspired by Suzy Schultz’s painting, ‘Receive’ – photo by Tim Arruda
Isn’t it ekphrastic?
From the first Fantastic Ekphrastic event in 2015 at Soft Water Studios in the Warehouse district sponsored by Keep St. Pete Lit to last month’s trek by Wordier Than Thou to Tampa International Airport to write about the public art there, ekphrastic events are all the rage in Tampa Bay.
Ekphrasis/Ek’phrasis (ekphrastic is the adjective), a tradition that dates back to Homer describing in great and dramatic detail the shield of Achilles in The Iliad, is the literary description of or commentary on a work of art. The marriage of the verbal and the visual.
The area’s next ekphrastic event will held on March 8 at The James Museum of Western & Wildlife Art in downtown St. Petersburg. Led by Sean Sexton, a poet and painter whose family has been in the cattle ranching business on Florida’s West Coast for the past 78 years, Wildlife Art as Muse: An Ekphrastic Poetry Workshop will use the museum’s paintings to inspire poetry.
“It seemed like a natural for a museum in an urban setting,” says Sexton. “We can’t go outside and write about nature but we will be only steps away from works of art.”
I am talking to Sexton by telephone. He is at his family home, the Treasure Hammock Ranch, a 600-acre spread in Indian River County near Vero Beach where three generations of Sextons have run a cattle business and where he lives and works alongside his wife and fellow artist Sharon Sexton.
What should workshop participants expect from the ekphrastic workshop at The James?
Before workshop participants head into the galleries to create their own ekphrastic poems, Sexton says, he will give them examples of classic ekphrastic works such as John Keat’s “Ode to a Grecian Urn” and John Ashbery’s “Self-Portrait in a Convex Mirror,” based on a Renaissance painting, and also some of his own. Sexton has written two ekphrastic poems based on etchings by his friend Michael Kemp, a printmaker whose studio is in Micanopy (Sexton often goes there to do his own printmaking).
Collaboration between writer and artist can run both ways, he points out. A visual work of art also can be inspired by a verbal one. Charles Demuth’s 1928 painting Saw the Figure 5 in Gold, for example, was inspired by “The Great Figure,” a poem written by his friend William Carlos Williams. The poet wrote the poem after he saw a fire engine speeding down a rainy New York street.
Sexton is a natural to give a workshop that combines words and images. Now 65, he has been a poet and painter nearly all of his life. Like a lot of kids, he started to draw in grade school, but unlike most kids who grew out of it, he never did. “I grew it up inside me instead,” he tells me. Writing on a regular basis didn’t come until college. He took a class where the assignment was to keep a journal. “I never stopped,” says Sexton.
In 2016 Sexton was named the first poet laureate of Indian River County. In addition to poetry (“I write lots of poetry”) he also writes creative nonfiction pieces on topics ranging from his dealings with cattle at the ranch to a memorable trip he took in 1995 to Washington where he braved a government shutdown and a blizzard to see a Vermeer exhibit at the Smithsonian.
On March 7 at 2 p.m., the day before the ekphrastic workshop, Sexton will appear at The James for an author talk called Florida Made: Cowboy Poetry, Art & Cattle Ranching. He will show some of his artwork, talk about ranching and read poems from his second book of poetry, May Darkness Restore, published last year by the Winston-Salem-based Press 53. An example of his artwork graces its cover: a massive 72-inch-by-84-inch oil painting called Allegory of Work, a still-life of farm tools, a slab of steak, a roll of barbed wire and a skull.
Every year since 2009 Sexton has read his poetry at the National Cowboy Poetry Gathering in Elko, Nevada, but he admits he doesn’t completely embrace the cowboy poet moniker. How does he prefer to be labeled? “A post-modern, post-existentialist pastoralist,” he chuckles.
Nick Cave in collaboration with Bob Faust, Palimpsest, 2018. Installation at the Tampa International Airport Rental Car Center. Photo: Seamus Payne. Courtesy Tampa International Airport
Next time you’re taking a flight out of or into Tampa International Airport, you might want to bring along a notebook and try an ekphrastic poem or essay yourself. The airport is chock-a-block with art, from the 22 tapestries woven by Swaziland artists in the main Terminal to Palimpsest, a tapestry made primarily of beads by Chicago-based sculptor and performance artist Nick Cave (who was part of Lights on Tampa in 2015) in the Rental Car Center.
Last month members of the Wordier Than Thou Meet Up for Writers and Book Lovers did just that, gathering at TIA for an Ekphrastic Writing Workshop. Wordier Than Thou, founded by Tiffany Razzano, has been organizing events throughout West and Central Florida since in 2012.
Every Saturday, TIA offers an all-access gate pass to non-traveling guests who want to check out the food, drink and art offerings. The Wordier Than Thou group chose Airside F for its ekphrastic session where they could write up descriptions of three installations: Goodbye My Love Tampa Seven Days a Week, a hanging sculpture composed of seven wings by Cuban-born artist Esterio Segura; Verdant Tampa Bay, a landscape painting by Tampa-based Elisabeth Condon (she used to teach at USF before quitting to do art full-time), and Tendril, a hanging sculpture made of ribbon-shaped metal strips and LED screens by Madrid-based Daniel Canogar.
My favorite art at the airport is n + 1, a sculpture by American artist Ralph Helmick of a leatherback sea turtle suspended in the SkyConnect area in the Main Terminal. Floating behind the 10-foot wide turtle are a thousand tiny sculptures of turtle hatchlings hung to echo exactly the shape of the larger turtle.
Most people from the Tampa Bay area first heard the word ekphrastic when Keep St. Pete Lit held its first Fantastic Ekphrastic fundraiser on January 24, 2015 at Soft Water Studios in St. Petersburg’s Warehouse District. The group, led by poet Maureen McDole, has offered a half a dozen ekphrastic events since.
I met up with McDole inside the cavernous space of the Behar + Peteranecz Architecture firm at 2430 Terminal Drive South, near the site of that very first Fantastic Ekphrastic. The firm, which offers Keep St. Pete Lit desk space and use of its facilities, is readying for the launch this fall of a project called The Factory St. Pete, a massive art space (eight warehouses spread across 6.5 acres) where McDole’s nonprofit will finally have permanent headquarters.
. . .
Poem by Helen Pruitt Wallace, sculpture by Katee Tully
As I entered the cavernous room, appropriately, I was greeted by an ekphrasis: a pink bicycle (well, half of one anyway) by sculptor Katee Tully placed under a poem on the wall by Helen Pruitt Wallace that begins “A girl on a bike” from her poetry collection The Pink Streets (listen to Wallace read that poem here. The pairing was part of Keep St. Pete Lit’s 4th annual Fantastic Ekphrastic.
How did the first Fantastic Ekphrastic come about? “Back then everyone was staying in their own lane,” McDole explains, referring to the early days of starting up Keep St. Pete Lit. “I was looking for a way to think outside the box.”
She wanted to find a way to marry writing and art. “That’s called ekphrasis,” Heather Jones, a playwright and creative writing teacher who was on the Keep St. Pete Lit board, told her. It was the first time McDole had heard the word. She decided Keep St. Lit needed to sponsor an ekphrastic event. Jones came up with the title Fantastic Ekphrastic.
The clever name struck a chord. The event sold out and put Keep St. Pete Lit on the local arts map.
The show paired 16 local writers and 16 local artists with the added cache of adding actors to the mix. The alternative weekly Creative Loafing called it “a unique melding of the visual, performance and literary arts.”
Creative Loafing had been one of the event’s sponsors and Its editor, David Warner, one of its participants. Warner now credits Fantastic Ekphrastic for bringing him back to writing, says McDole. “No one knew that he had a degree in drama.” (Warner got a master’s degree in theater from Villanova.)
The show was so popular the group did it again In 2016, using the same formula, but expanding it to two days on February 19 and 20. The poster, which featured one of the artworks that was to be included (Identifiability by Saori Murphy) promised “Sixteen pieces of art, interpreted by writers, acted live.”
Actor Becca McCoy with Lance Rodgers’ Bikini Atoll Bombshell
That year Creative Loafing’s Best of the Bay touted The People’s Choice Winner for Best Collaboration at the 2nd Annual Fantastic Ekphrastic. It went to Lance Rodgers, Sheila Cowley and Becca McCoy. Cowley wrote a one-act play inspired by Rodgers’ painting Bikini Atoll Bombshell which was performed by McCoy. [Disclaimer: Sheila Cowley is Managing Editor of the Arts Coast Journal.] Second Place went to Sall & Son by Cora Marshall, described by John Pendygraft and performed by Sandra Gadsden. Receive by artist Suzy Schultz, writer Frank Wells and actor Bob Devin Jones took third place. As he did for the first Fantastic Ekphrastic Devin Jones directed the evening’s performances.
By 2017 people knew to get tickets early to the sold-out sessions held on February 24 and 25, again at Soft Water Studios and again combining the talents of writers, artists and actors. “See it… hear it… watch it said,” read the event poster.
All proceeds went to help fund Keep St. Pete Lit and its activities, including low-cost writing classes at the Morean Art Center, LitSpace Writers Residency program at Craftsman House Gallery, the annual SunLit Literary Festival, a used bookstore at Morean Art Center and kids summer writing camps.