RezaRitesRi.com

By Reza Corinne Clifton

(This article appeared in the August 31 edition of The Providence American Newspaper.)

(Artist and Loom Gallery/Studio co-founder, Marie Popko; artist and Straight Mixed Culture co-founder, Sidney Tillet)

PROVIDENCE, RI - Although I like to consider myself a thoughtful and moderate, if not mild merrymaker, not the strangulation of critical air conditioning on a humid mid-August night, the gnawing, shooting pains on the balls of my feet, nor the look pleading a goodbye in hostess Marie Popko’s eyes could stop me from wiggling, grinding and swaying on the dance floor on a recent Saturday night.

This was not the scene of a strobe light-engulfing, high-energy dance club, nor a classic, explosive house party. This was Straight Mixed Culture V (Five) at Loom Studio/Gallery at 64 Eagle Street in Providence, on August 19. It was an event that started at 7:00 PM on Saturday that saw people leaving a few minutes short of sunrise on Sunday, and the fifth in an explosive art series.

The first Straight Mixed Culture (SMC) took place at Monohasset Mills and it featured artists Tet Pwav, Damian Ewens, and Sidney Tillet, as well as poet Christopher Johnson and critically acclaimed local hip hop group, Riders Against the Storm (RAS).

Explains Tillet, SMC cofounder and artist:

“SMC started with a conversation between [artist and former colleague of Tillet’s] Damian Ewens and I. He saw my work—which was not as crisp then as it is now, and this led us into a conversation, and then follow through. We put it together on a whim, and all of the expenses came out of pocket.

“It really came together at SMCIII (three),” continues Tillet, “which was at the Ron Wexler Studio. It was people who really understood the mission, who understood how much hard work it takes; people who said we’re all here because of SMC. It’s not about the money, but the art and getting people together to enjoy it.”

(During a perfromance at SMCV, two members of Didakan, Brian DiMartino and Zack Jaebar, look toward the group’s lead drummer, Issa Coulilaly, who is not shown. Didakan is a RI-area drum troupe that performs in a West African style.)

SMCIII was significant financially, though, for many pieces were sold. But there was a clear impact for the development of what is not just art series, but a “grassroots organization providing a culturally aware forum for the celebration of art and life.”

One of the featured artists in the show was Shane Flox, who was later selected by one of the founders to co-manage SMC alongside Tillet. One of the attendees seeing Flox’s work for the first time was future cofounder of Loom Studio, Andy Trench. Explains Trench:

“Shane and I met at SMCIII. I remember seeing Shane’s stuff and just being so impressed and thinking ‘where did this guy come from.’ Then we met [there] and started talking, and soon after SMC, we started working together.

“SMCIII really rekindled my belief about the Providence art scene. [Contrary to what he has witnessed with SMC,] The art scene here is very exclusive.”

Popko also attended SMCIII, and she recalls having a similar reaction as the one of Trench: “I already know Andy, but I arrived at SMCIII late, after Andy, Shane, and others had left. When I saw Shane’s work, and the other works, I thought, who is this?” As an arts and mentoring coordinator at AS220, Popko remembers being plagued with the question of “How can I help?” and the thought, “They need to meet the people I know!”

Not long after SMCIII, Trench and Popko finalized the vision and plans for Loom Studio/Gallery to, as their mission states, “exhibit art, create art, and meet artists,” with an emphasis on local and lesser-known artists. Flox and Trench were working together as they had since SMCIII, and earlier this year in March, Popko, Trench—and Flox—moved into the Loom space, on Eagle Street. The building’s use, they report, dates back as far as the late 1800’s, when it was used as a “wool dying and weaving factory that manufactured material used in Union Army uniforms during the Civil War.”

By March, Flox was also working full time with Tillet on organizing SMCIV (four), which was slated to take place again at Ron Wexler Studio.

Almost immediately after Popko, Trench, and Flox moved in, and about a week before the March 10 SMCIV show, Flox and Tillet received word that the show could no longer happen at Ron Wexler Studio. Without hesitation and with goods still boxed Trench offered up use of the Loom space, which sent him, Flox, and Popko accelerating the moving and refurbishing. Explains Popko, “We literally painted all night for 3-4 days straight—after full days of work!”

Their hard work paid off, though. SMCIV was a great success, in terms of the diverse makeup of the crowd, the financial gains for displaying artists, and the broad array of works displayed, while Loom successfully subsequently hosted several other exhibits. “SMCIV was the very first show here at Loom, and it was a great way to open and introduce the space,” explains Trench. “People were so impressed with the quality of the art and the quality and diversity of the content. There was no better way to introduce the space.”

(The trombonist from the New York City-based Salsa band, Grupo Sazon, shows his might or blows his might in a corner of the stage area in Loom Gallery.)

Yet SMCV proved that the SMC-Loom marriage is still in a honeymoon phase. Expanding its repertoire of art, the summer event featured not only the astounding work of SMC mainstays—paintings, photographs and prints by Tillet, Flox, photographer Jack Lenk and others—but also original jewelry by Alex Aponte and Katie Scudieri, film by people like Darcie Hanaway and Bruce Kaplan, performance art by Christine Hajjar and sculptures and other works by a total of 21 artists—including Trench and Popko.

It was an art extravaganza that brought out everyone: white, black, brown; high-heeled, low-heeled, and shoe-laced; students, laborers, and performers.

And the dancing till sunrise? Well there were the opening performances by SMC regular, Chris Johnson, and his spoken word poetry group, Spittin’ Images; and hip hop artist—and featured painter—B-more 7. There were the DJ’s—The Spindlers, Blade Mon and other guests—whose selections never betrayed the dance-intoxicated attendees. But perhaps most aligned with the vivid visual surroundings were performances by the vivacious, rhythmic wonders of West African and American drum troupe, Didakan, headed up by leader Issa Coulibaly, and the foot-tapping, hip-swaying sounds of New York City salsa band, Grupo Sazon.

It was a night where every type of artist bared her soul and illustrated his craft, and where in return, with admiration and solidarity I and others danced till dawn.

Reza Corinne Clifton is a community organizer for high school reform at RI Children’s Crusade for Higher Education. She is also a freelance writer whose articles can be seen in The Providence American Newspaper, Motif Magazine, The Warwick Daily Times, The Kent County Daily Times, and at www.RezaRitesRi.com. She can be reached by emailing rezaclif@aol.com.

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