Beyond Brushes And Pens 2017

What:    

A workshop to engage in a deeper dialogue between the visual arts and words.  Poet and teacher Terri Wolfe will introduce the process which requires a closer examination and contemplation of a  piece of art to create a poem. This event is hosted by Charlotte Writers’ Club North in cooperation with Mooresville Arts.

When:   

Saturday, October 7, 9:00 a.m.-1:00 p.m.

Where: 

Mooresville Arts Depot, 103 West Center Avenue

How To register:

Contact Caroline Kane Kenna at www.charlottewritersclub.org.  $35 for CWC members and $45 for non-members.  The fee includes a $5 donation to Mooresville Arts, a non-profit. 

 

TERRI WOLFE

 

WORKSHOP INSTRUCTOR

 

Terri Wolfe 

 Terri Wolfe holds a BA from UNCC and an MFA

inPoetry from Queens University of Charlotte. She

is the co-author of Riding Out: Poems of Grief and

Redemption (Mayflower 2008). Her publications

include poems in Cave Wall, Iodine Poetry Journal,

Main Street Rag, Only Connect: The Charlotte

Writers'Chub Anthology, and Aftershock: THe Poetry

of Recovery Anthology. She resides in Denver, North

Carolina and currently teaches small group poetry

workshops.

 

Le Dejeuner, 1873-1874

after Monet

 

--Terri Wwlfe

Dejeuner

Tea has been served in two blue-patterned cups.

The white cloth, dappled with sun and

one discarded rose— or is it gardenia?— say

the repast is over.  Two women strolling

beside the pink house. An embroidered bag and

sunshade rest content on the green slats

of the bench where they wait to be retrieved.

 

From a twig a straw hat waggles in the breeze,

its black band and trailing ribbon jaunty

above a planting of red pelargoniums, their aroma

thick in the air. Isn’t that a bee

hovering about the compote of peaches,

grazing the half-full glass? They must be busy

among fuchsia in the green planter box

though no one hears their industry.

 

Here in the Musée d’Orsay I find myself

placing word upon word,

not unlike the child in the foreground

sitting cross-legged, intent, making

the most of what lies before him,

stacking block upon block,

his cheek reflecting roses.

   

Two Sisters (On The Terrace)

after the painting by Pierre-Auguste Renoir, 1881

 

 -Sandra Phillips

Renoir On the Terrace

In our red, white and blue sailing costumes,

we create a fanciful impression—

sisters sitting on the terrace edge

whiling away an afternoon.  Our eyes 

tell another story 

You, the younger one, disconnect, 

stare straight ahead toward an artist painting

at his easel.  Tilting my head to the right, I cast

a sidewise glance toward the street,

watch a retreating figure disappear.

At our backs, thin metal curls like horseshoes,

mimics a landscape of curves.  Summer foliage—

yellow and green—cascades to riverbanks

where boaters blissfully paddle.

No good luck for us today.  Rigid railings pierce

the scene.  We are not what we seem.

 

American Gothic

after the painting by Grant Wood, 1930

 

--John Stone

Grant Wood - American Gothic

Just outside the frame

there has to be a dog

chickens, cows and hay

 

and a smokehouse

where a ham in hickory

is also being preserved

 

Here for all time

the borders of the Gothic window

anticipate the ribs

 

of the house

the tines of the pitchfork

repeat the triumph

 

of his overalls

and front and center

the long faces, the sober lips

 

above the upright spines

of this couple

arrested in the name of art

 

These two

by now

the sun this high

 

ought to be

in mortal time

about their businesses

 

Instead they linger here

within the patient fabric

of the lives they wove

 

he asking the artist silently

how much longer

and worrying about the crops

 

she no less concerned about the crops

but more to the point just now

whether she remembered

 

to turn off the stove.

 

*from Where Water Begins:

New Poems and Prose, published

by LSU Press, Baton Rouge, LA, 1998