This project is a metaphor for that inner place we go to when we take creative risks. It also represents the playful creative spaces we built as children, like a tent made of blankets, or a shelter made of branches, places where we felt secure and free to express ourselves. I have to silence the outer world sometimes, so I asked myself, When have I felt the most secure.
~Jeanne Nikolai Olivieri
Wait. If The Lounge was a place to relax, what’s The Retreat?
Perhaps it’s a lounge that’s a little farther out but more inside your Self.
Look around. Read the artifacts, like laundry hanging to dry.
Strike a pose like nobody knows. This is your retreat.
Just don’t forget to leave your own artifact: a message, a hope, a musing.
There’s room on the line for everyone.
This project was a knee-jerk reaction to the phrase ‘think outside the box.’ To me, it’s trite and empty. I mean, every brushstroke, every creation, is a risk. When we take our biggest risks, we go inside. That’s why this is called ‘Inside the Box,’ because it’s like getting inside the self.
~Jeanne Nikolai Olivieri
A Drawing Room? Isn’t that like The Lounge and The Retreat?
Does the name of the box dictate what I must do?
Ah . . . no lava lamps or hewn logs here. Only a chandelier of freedom.
Take a risk. Draw a nude. Announce your calling. Preach the light.
I don’t like the word ‘should.’ It’s a difficult word. I’d prefer ‘I could do ___.’ This is all about letting go of ‘should’ so that people have the freedom to create what they want. These are safe spaces, then, with no requirements. I ask people to try to refrain from using the word ‘should’ while they create in the boxes.
~Jeanne Nikolai Olivieri
Jeanne Nikolai Olivieri’s INSIDE THE BOX exhibit runs through March 4th in The Pfister’s Pop-Up Gallery. The immersive environments invite you to leave a mark on the world, to share part of your Self (in fact, the word “character” comes from the Greek kharakter meaning “engraved mark” or “symbol or imprint on the soul”).
Jeanne works mainly with watercolor, acrylics, and mixed media, so these large-scale boxes certainly challenged her artistically (and logistically–once you see how tall they are, think about how she got them into The Pfister’s elevators and doorways . . .). She comes from a long line of artists, including her four sisters, her mother, her uncles, and her grandfather. Her studio is located in the Marshall Building, 207 E. Buffalo, Suite 602.
Accompanying the boxes are selections from her series “Cabled Together,” which, according to her artist statement, explores the “often-overlooked power lines, cables, and wires that connect us. The tangled webs of wire, the ways in which they divide space, the mystery of the many gadgets that accompany them, and the structures on which they hang or which they support are intriguing and fascinating. I travel frequently, thus my work represents cables in a variety of environments.”
Robin Campbell, The Pfister Hotel’s house carpenter for eight years, retired two years ago. But he came back for Gallery Night last Friday to see the work of his friend Stephanie Barenz, the Hotel’s fifth Artist-in-Residence (AiR), as well as the work of the other AiRs past and present. When she arrived, she described him in avuncular terms as they greeted each other warmly. “I designed the huge frame for her painting in the hallway,” Robin beamed.
I had originally attended the opening of “Bridges: Artistic Passages“–an exhibition of current works by all eight AiRs, including the exhibit curator, Pamela Anderson–with the intention of writing about bridges and passages, with interviews of the AiRs and guests. It was, perhaps, too early in the evening to capture a good story: downtown was spilling out onto the streets and into cars and buses, homeward bound. Perhaps some of them would make their way back downtown for some art appreciation. Many of the artists were also participating in Gallery Night at other studios. (I plan to go back and capture my impressions of the exhibit in a future blog; you should visit, too!)
In the meantime, however, I caught the eye of someone across the room, who looked at me almost knowingly, inviting me to his table like he had something important to tell me.
I had not known that the Hotel had a “house carpenter” (I wondered where the workshop might be). “In my shop at home,” Robin informed me. He then proceeded to flip through his phone’s gallery, like an eager teenager, to show me tables he had masterfully refinished, cabinets and shelving he had designed and built, and an impressive moveable wall in an upstairs ballroom. He regaled me with a story about how all the doors in the ballrooms had needed tweaking one year (“None of them would close, they were all crooked”) and how he saved the Hotel a lot of money by correcting all eighteen or so doors–in only a day and a half! As his finger swept through the photographs, it dawned on me that the beautiful glass case on the grand staircase landing was probably–“Yes, I made that, too.” (I was embarrassed that I had walked by the case so many times without realizing that the dazzling blue dress encased within it was crafted by Timothy Westbrook, the fourth AiR. I thought it was, well, what did I think? A ball gown from 1893?)
He also designed the case for Niki Johnson‘s Tether, the deep red tub lined with feathers and fur that sits across from the art studio.
There’s also a massive butcher block table that looks like puzzle pieces that Chef Brian Frakes pulls out for special presentations, and Paint Department Supervisor Mary Rose told me later that he also built all the podiums in the hotel and the long tables in the basement’s Salve Staff Canteen.
It was clear that Robin took exceptional pride in his work, as well he should. He turned that pride to humility for a moment, though, when he told me how Stephanie had honored him in one of her paintings during her residency. The woodwork was interesting, but now I wanted to follow him down this path.
Stephanie had joined forces with Narrator Molly Snyder to collaborate on a book of paintings and writings inspired by their time at The Pfister. Called The Carriers, this collection is both rooted in Milwaukee and transient with departures and travels and arrivals. In one of the rooted painting-story pairings, “Robin & the Fisherfolk,” a small fishing boat in the foreground is overwhelmed by a turbulent magenta-yellow sky and a tower of concrete, construction cranes, southside homes, and a strangely dark and imposing Allen-Bradley Clock. One of those homes is the one Robin grew up in.
During his childhood, his family lived five blocks from the Allen-Bradley Clock Tower. His house was on the west side of the street, looking east. It’s the house on the middle-right in Stephanie’s looming tower, the one with the porch. The moonlight was so bright it would shine right into his house and onto the desk in his room. His family, as did many in the Walker’s Point neighborhood, called it the “Polish moon,” a sobriquet in honor of the Polish immigrants of Walker’s Point. What I love is that Robin made it seem like it was only his family that called it that; there was that sense of pride again. As an accompaniment to Stephanie’s painting, Molly captured a similar special pride in her short story:
“We never had to have a clock or thermometer in the house,” Robin mused, “because all we had to do was look out the window. And my school was two blocks away. We’d watch the guys washing the glass of the clock–especially when we were studying. It was so cool, how could you blame us?
Robin had been enjoying the appetizers and had somehow devoured all but a lonely raisin, which he picked up, then placed back on the plate. I understood that the stark white plate was one of the 40-foot, 3-1/2 inch clock faces. “You knew it was a big clock, obviously, but when you saw a man up there? Then you told yourself, ‘That’s a big clock!'” The only photo I have of Robin is this one of him pointing to the raisin man:
We saw Stephanie arriving, but before they greeted each other with friendly memories and hugs, Robin left me with this: “Eventually, I got to work as a painter in the offices and parking lot of Rockwell Automation– and guess what? I was up there on the side of the building on one of those swing stages, just like the guys I’d see from my school window. It’s funny how everything comes full circle, isn’t it?”
Suggestion: Turn up the volume on your device, click play, and prepare to get happy!
One of the many privileges of being human is that we experience emotions. While some might argue that other creatures express emotions, too, or that it’s not much of a privilege that we have to experience the painful ones, no one can argue with the fact that we are indeed “moved out of ourselves” (Latin emovere – “move out, agitate”) by a myriad of complex feelings stemming from the four basic emotions of happiness, sadness, fear/surprise, and anger/disgust. These emotions, each registered by different combinations of our 42 facial muscles, can cause us to love, cry, scream, or punch. Sometimes we bottle them up or keep them hidden; sometimes we let loose and express them with reckless abandon. And in our digital world, we don’t just register emotions with our faces: think of the billions of emoticons and gifs and memes that we use now to express our feelings. Emotions are the stuff of our lives–and the building blocks of the stories we write about ourselves. One such story—the directorial debut of Michael Patrick McKinley–hit the screens during the recent Milwaukee Film Festival.
While the festival is over, if you missed the Milwaukee premiere of McKinley’s delightful documentary Happy, don’t fret. Just put on a happy face and head over to The Pfister’s Pop-Up Gallery for a glimpse into the sketchbooks of the subject of the film, Leonard Zimmerman. Curated by Steven Uhles and hosted by Artist-in-Residence Pamela M. Anderson, “Don’t Erase Your Crooked Lines” features numerous prints from Leonard’s sketchbooks, an enormous collage of 32 photographs with Happy stickers in them, and an extended trailer of the film created just for this exhibit.
Uhles describes Leonard’s art, with its whimsical robots and recognizable motifs, as “art as memoir.” Even though this exhibit can only offer visitors a miniscule, microscopic fraction of his sketches, one can find even in it Leonard’s story of love and loss, depression and recovery–a story of falling in love and creating a life with Brian Malone, then losing him to cryptococcal meningitis. The sketches depict Leonard’s subsequent depression and how his art became therapy, how it helped him hold on to his love for and memories of Brian and recover his capacity for boundless happiness. Additionally, as with all good memoir, one can find in the sketches echoes of one’s own life events.
The collage of Happy stickers–created by the Coalition of Photographic Arts–speaks to the participatory nature of Zimmerman’s art: the ubiquitous stickers of his Happy campaign, with the endearing smile and flashing bulb that people all over the world have attached to parts of their cities then shared with Leonard through social media. While the yellow smiley that appeared in 1963 stares blankly ahead, this smiley tilts its head, its eyes have life, its bulb flashes a message of happiness. Anyone can get free stickers by sending Leonard a self-addressed stamped envelope.
One of the first things we hear about Leonard in the film comes from Alex Wier of Wier/Stewart, the branding, advertising, and graphic design company where Leonard is a designer. Alex says, “Leonard comes from a different planet.” Yes, Leonard’s infinite number of smiles and laughs are contagious, and yes, he can bring “childlike enthusiasm” to seemingly bland ad campaigns like ones for banks. Yes, Leonard loved Christmas so much as a child that his tinsel and light displays rivaled, surely, Clark Griswold’s, and his parents even wondered, “Where does this child get all these things?” But I have an inkling that Leonard is not really an alien from outer space, that his story is the story of being human on this planet. One of wonder and delight, and one where there’s room for pain and suffering.
We embrace our pains in different ways. Leonard seems to have embraced it in every way possible. In the film, we hear him embrace it with raw honesty, as when he describes for the camera the spinal fluid from Brian’s first spinal tap. He describes how he embraced it with confusion and disorientation after Brian died, as when he would walk into the grocery store only to abandon it in tears because Brian usually did the shopping–he didn’t know what to buy. He embraced it with self-medication, too, (“I didn’t think I would hurt”) and eventually had to move back home to Augusta after he lost his job and the house that Brian and he had bought together in Savannah.
“My best friend was my notebook,” Leonard says in the film. His sketches, some of which can be seen in the Pop-Up Gallery, allowed him to express his early love, the loss of his love, and the love that remained after his loss. What emerged were lovable robots, some distinctly Leonard and Brian, others distinctly masculine or feminine, but more often than not, his robots eschew gender or race or sexuality. Which brings us back to memoir as art: he has interpreted his life for himself, then shared it with us so that we can interpret it and interpret ourselves into it. As one guest at the gallery’s opening night says, “His art is refreshing. It makes you think about your own emotions, where you go through break-ups, life, death. This one is about holding in that bad and not wanting to release the negative energy. And in this one he has an indifferent face–but he has a bag puppet which suggests that he still has emotions.”
When people like his sister and old art teacher got him canvas, encouraging him to take his sketches one step further, he started painting again and Leonard was born again. His paintings became a timeline of his emotions and experiences, his process one that echoes his own life: “I always paint messy, then clean it up along the way.”
One of the best sequences in the film, for me, is one in which we watch Leonard painting in his studio, a soft spotlight on him and his easel in the middle of the room, the background darker. With headphones jamming–probably to Sam Smith or Telepathic Teddy Bear, both featured heavily on the film’s soundtrack—and red Chuck Taylors on his feet, he swoops around his painting with gusto and giddiness, with bright, broad brushstrokes and thick black outlines. We see his messiness and what he does to “clean it up.” Ane we can only imagine what he’s thinking as he paints. Probably something like the quotation from Mother Theresa that he used during a TEDX Talk in 2014: “Every time you smile at someone, it is an action of love, a gift to that person, a beautiful thing.”
Seeing the TEDX Talkfor the first time brought director Michael McKinley to tears. He says that something stuck with him, until six months later, while he was in Las Vegas and had his “epiphany”: to make a documentary about Leonard’s story. An audience member at the film’s showing that I attended asked Michael why directors don’t make more inspirational movies instead of ones that leave viewers feeling ambiguous about their feelings or just plain empty. He replied, “There need to be more movies that do the opposite of movies that make you feel sad and crummy. Now I’ve got the bug.”
Another audience member wanted to know when she could see the film again so she could share it with her family and friends, but Michael reminded her that releasing a film to DVD or streaming while it’s still going through the film festivals gets tricky. It could be another year, he said, to which she replied, with an apocalyptic tone, “The world doesn’t have twelve months.”
Well, you’re going to have to wait awhile before you can see the entire documentary, though, because Happy is indeed enjoying the film festival circuit. It premiered at the Historic Imperial Theater in Augusta, Georgia, delighted viewers at Milwaukee’s festival, and will soon show at New York City’s Chelsea Film Festival as one of only 24 North American films selected. It will also appear, so far, at the Savannah Film Festival later this month, and the Southern City Film Festival in Aiken, South Carolina, in November. Its likely that Happy will make it into other festivals as well. So you could hit the road and head east or south–or be satisfied for now with the “Don’t Erase Your Crooked Lines” teaser, which will remain popped-up in the gallery through October 23.
And in the meantime, do as Leonard does: “You can make the choice to be happy, because happiness matters.” And visit Leonard’s website and Facebook page to follow his adventures. And don’t forget: self-addressed stamped envelope sent to him will get you four Happy stickers all your own!
Esme was taking care of some really important business as she stormed the Pfister to look at some art.
You’d never say that she was in the way as she rushed around with her furiously important agenda, but you could say that she was somewhat underfoot. Real close to underfoot, as a matter of fact. Esme is one young busy body who is probably still measured in inches rather than feet.
Esme was barking out commands as she was twirling around the Pop-Up Gallery looking at some art. Twirling for real. Not some figurative idea of a hard charging boss lady. Twirling because her dress looked a lot more fun when she twirled.
“I’m really busy right now. REALLY busy. I’ll call you back.”
Esme yanked a flip phone from her cheek as she ended her call. She began a heat seeking search for a piece of art that featured her mother as a prominent subject. For someone with as much hustle in her bustle as this young tycoon, I was surprised that Esme wasn’t screaming into something like an iPhone 27, you know, that super new model of smartphone that only the most important of the important people seem to be able to get their hands on.
I had to know how Esme dealt with all her business with a simple old school clamshell mobile dealio. I mean, my dad has one of those and he likes to brag about how he only makes one call a year on it. I couldn’t imagine how this worked for someone who seemed to have so many things to take care of in the here and now. She cleared up my confusion right away.
“It’s an eraser. A PHONE eraser,” Esme said. Esme put a big stress on the word PHONE lest I continued to have any confusion about the function of the thing she had been shouting into.
I mentioned to Esme that a phone eraser might revolutionize the world of cellular technology.
“I don’t know,” said Esme. “Sure.”
Esme flipped into action mode and was on to her next bit of business. That biz seemed to be taking the measure of a man. Or, at least, a man’s head.
Reaching into her obviously very important itsy, bitsy purse, Esme produced a tiny pink kaleidoscope that she daintily held up to her eye. She pointed the end of the kaleidoscope in the direction of my head, twisted its body, and gave me her very solemn report about the state of my ever-loving noggin.
“Your head looks weird. Really weird.”
Out of nowhere, Esme’s sidekick appeared. Her sidekick also happened to be her brother Milo. This lad was a tad taller, but I’d lay better than average odds he answers questions about his height based on double digits inches, too.
Milo grabbed the kaleidoscope out of Esme’s hand and focused in on my head as his sister just had. He did not linger, as lighting fast action seemed to be the defining characteristic of the Esme and Milo bloodline. Milo sang out his own contrarian report with a big, gooey smile.
“I don’t think your head looks weird at all.”
Nice kid, that Milo.
And Esme? Well, she might have crushed my spirits for the blink of an eye, as any rough riding business lady can do from time to time, but, boy oh boy, I can’t wait to work for her someday.
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How many times have you looked at a piece of art hanging on the wall and said, “My kid can do that?”
And how many times have you taken brush in hand to find out that kids are cute, but making art isn’t for the feint of heart.
It’s with this sense of awe for the process of creation that I come to the continuing confirmation that the people who work for and support the Pfister and its parent Marcus corporation aren’t just pros of the highest degree, they are artists. In the case of a current display of talents in the Pfister’s Pop Up Gallery, this statement is both literal and figurative.
Last Friday the Pop Up Galley was the site of the opening reception of the Art of Marcus Show. This was no display of a group of disgruntled employees acting out their frustrations over a hostile work environment with tortured splashes of oil paint on a dirty cloth calling for overthrow of “the man.” No, indeed, the art on display showed that the concept of “Salve”, the motto of welcome hospitality for all prominently on display as part of the ceiling fresco art in the Pfister Lobby, has warmly wormed its way into the psyches of all the Marcus employees presenting art.
It’s not for nothing that a hotel that has its own Aritst-In-Residence and Narrator puts value on showing off the off hours talents of their staff. I get a kick out of the fact that the same bartender who mixes the world’s best Bloody Mary has an eye for landscapes. And this is no, “My kid could paint that,” kind of show, either. It’s a true celebration of how the people that make it their business to ensure a comfy stay for all our guests stretch their artist souls.
When, as a writer, I think, “Boy, I’m so busy…how can I produce anymore words?” I remember that Kurt Vonnegut sold Saabs from 9 to 5, Harper Lee punched a clock as an airline ticket reservationist, and William S. Burroughs was an exterminator. It’s my reminder to stop whining and sit down with pen in hand and start my real life’s work. Those notable writers didn’t just define themselves by their day jobs and clearly knew that being an artist meant more than dreaming about it—for all of them it meant showing up and simply doing the work.
Having seen the work of the Marcus employees, I will now take inspiration from their efforts and realize that while these hard working stewards could be kicking off their shoes and cracking a cold brew at the end of the day, they have chosen to take off their work clothes and put on that soft shirt that won’t suffer from a splotch of paint. I’m happy that visiting guests get to know our staff as more than champions of comfort and see that there are some real serious artists walking the halls of the Pfister.
I hope you enjoy these images of the Art of Marcus Show, and I hope you’ll stop by soon and experience these delights in person.
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Todd Mrozinski and Nina Bednarksi unveiled the delicious paintings that make up the Infinite Landscapes show in the Pfister’s Pop Up Gallery as their contribution to Gallery Night and Day last night. This story was inspired by their artistry and the alchemy of their talented eyes and I read it before a friendly crowd of art lovers with writerly glee. Enjoy.
Leonard’s shoulders relaxed as he stood next to Jenny who was warmly wrapped in the terry robe she had found hanging in the hotel room closet while they stared out the window of their upper floor suite at the infinite landscape filled with the sight of puffy white clouds, cheap a perfect V-shaped formation of geese floating and flapping peacefully on the thin rarified air, one dynamic streamlining airliner making a white line in the sky as it headed to exotic lands, squared off fluorescent lights from the city’s swankiest apartment buildings and most imposing office towers glowing warmly in the dusky evening sky, that very same light pole that Gene Kelly danced around dripping wet from movie magic showers in “Singin’ in the Rain”, the extraordinary 957th homerun ball soaring over the center field wall that Slappin’ Joe McCracken had just soundly pummeled from his mighty seismic bat he cutely called My Girl Kitty, Joey Mason and Dottie Saldina sharing their shy and tentative first kiss stolen in the cool shade of the jasmine bush that Elmer Dill had planted back sometime in the early aughts just to see if he could grow something prettier than the rows and rows of cabbage in his garden that all somehow resembled the bust of William Henry Harrison, Drum Major Sal Temple’s twirling baton spiraling through the air just ready to drop into her waiting hand so the Moosetown Leather Heads could start their woodwind heavy version of “Louie, Louie” in sharp 4/4 time with a lot of gusto right off the bat because it “Wasn’t grade A until it was forte!” as Band Director Dr. Julius Hindin always reminded the freshmen through senior corps, the rocket’s red glare and the bomb pops of freedom bursting with red, white and blue sugary flavor on a sticky and humid August afternoon when it was better to chase the ice cream man’s ding-dong song than wade in the waters of the Stockton Civic Swim Center even though all the bathers religiously abided by the posted warning that there was no “P” in the “OOL” and everyone should always keep it that way, an awkward encounter between two pretty burly insurance salesmen as they both reached for the same double thick butterscotch malt when Ricky Steven’s cracking 15-year-old tenor that would soon drop into baritone was heard announcing the order from the red microphone at Narder’s Drive-In, you know the one that was just for people who had ordered sundaes or fountain drinks but definitely not double cheeseburgers and onion rings even though those were the specialties of the house and everyone agreed that Togo’s Sweet Shack was really the best place in town for ice cream, that tear-jerking moment of Ute Franz’s triumphant ascent of that Swiss Alp that wasn’t quite as big as Matterhorn but was surrounded by all the better fondue places so was the one that really mattered to anyone who cared about cheese which was really everyone because cheese is that one thing that should be loved and cherished like a newborn baby, maybe even more so because cheese sleeps through the night and has never cried over a dirty diaper, Rayburn Jessup’s blue ribbon steer once again somehow lifting the latch on the gate that led into Tully Arnold’s soybean field so the bull could saunter into a soft patch of soon-to-be-tofu leaves for a good lay down just because it felt so nice on his plump rump roast, a hot minute when Gwen Mitchell snubbed out a cigarette and declared “That’s it! I’m done, and this time I REALLY mean it!”, the exciting final results of the recent contentious election that proved that democracy sure wasn’t perfect but it was way better than whatever system of government they were acting out during this year’s Renaissance Fair that had just moved into town for a six-month set down since the Civil War reenactors had pulled up camp and traveled North for the summer, the telecast of the penultimate match between sisters Pluto and Nirvana Thomas that forever proved that Wheaties really did make you faster and stronger if your mom made you eat them every morning before curling practice, the heaven sent puffs of white smoke announcing the legendary and universally praised selection of Pope John Mohammad Tozen Bobo Marjorie Solowitz to lead the world towards enlightenment, peace and a refreshing hip hop approach to liturgy, Tarzan swinging from a tangled vine and swooping down to within inches of the jungle floor to grab Jane gently but firmly to save her from the razor sharp jaws of an advancing King of the Forest even while his monkey Cheetah sat in a nearby tree laughing like a hyena because the world’s smartest chimp saw that there was no danger since the advancing beast was none other than the Milwaukee Lion and everyone knew that it was nothing but a miniature horse out on a weeklong bender, that one really comfy afghan that Grandma had made that had gone missing for 17 months but somehow mysteriously reappeared in the family room when Uncle Timothy showed up that one night to crash for a few hours as he was trucking across America with a load of plump limes because it was Mojito season and the Southern Californians were getting thirsty, and a few other fuzzy shapes farther away that he couldn’t quite make out because it was time to get his eyes checked again and the sun had dipped pretty low beyond the horizon.
Leonard’s smile reflected back at him from the glass of the window as Jenny slipped her hand into his and rested her head on his shoulder to complete the sixth time in his life when he had felt he might have a glimmer of what the word “perfect” actually meant.
“Nice view,” he said softly to his love. “I wonder what it looks like from the other side?”
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I’m not a cultural critic. I mean, treatment what do I know?
I’m just a guy who hangs out in classy hotels with his mouth open in awe most of the time.
Case in point…at the opening of Biography of a Stitch, the first show in the Pfister’s brand spanking new Pop-Up Gallery welcoming the world through inviting windows on Wisconsin Avenue, there my mouth was open, dragging on the floor, fully in awe throughout the evening.
This isn’t some kind of critique, remember. I mean, really, what do I know? I’m just a guy with an open mouth.
If someone ever asked me to weigh in with a critical eye, I guess I would have to talk about things like texture and how Todd’s paintings of clothing have a vibrancy because of the dynamic layering of the paint he applies to canvas. I guess I would talk about how I love that he made an image of his dad’s favorite tie into a very personal work of art. I’d talk about how images that could verge on sappy sentiment never veer into that realm, but end up becoming vivid and uniquely personal stories for the eye.
If I had a critical bone in my body I would probably also be pulled into speaking about Timothy’s clothing designs. I might mention that Todd Mrozinski’s wife Renee Bebeau was resplendent in a Westbrook gown that seemed to be tailor made for her even though she had simply slipped into it earlier in the day upon Timothy’s urging. Perhaps it was because the designer intuitively knew that he had found the perfect model for that particular divine pearl colored frock. Perhaps it is because Renee’s joyful heart and easy, honest beauty make Timothy’s clothes soar when she wears them they way they are to be worn. Perhaps it’s a combination of all those reasons.
But what do I know? Right?
Maybe being a cultural critic would also require speaking about the stunning Westbrook combo worn by Deb, Timothy’s figure skating instructor. Maybe I’d write about the special alchemy Timothy seems to have as he weaves together the magnetic tape from old cassettes used in past figure skating routines, a retired scarf from a belly dancer, and someone’s recycled clothing from Goodwill into an ensemble fit for a rock star.
But, I don’t know anything about clothes. I just keep my mouth open with wonder.
I’d also probably be asked to weigh in on the music, food and service as an opinionated cultural critiquer. But how many ways are there to say “stunning” about Janet Schiff and Victor DeLorenzo of Nineteen Thirteen providing the ideal musical track for the evening, a pitch perfect spread of gallery noshes, and smiling bar service that submitted to my request for extra cherries and grenadine in the sodas I ordered for the three children smacked with artistic wonder that I brought to the event? I’d struggle with how to address that, I’m sure, because, let’s face it, what do I know?
I guess I do know that Todd Mrozinski and Timothy Westbrook’s creations are on display in the Pfister’s elegant Pop-Up Gallery on Wisconsin Avenue right now. And maybe, just maybe, if you want to know a thing or two, you’ll stop by.