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Richmond For The Win: From Making Ads To Making Change

Rachel Scott Everett | December 23, 2020

Topics: (the other) tim barry, Abu Ngauja, ADWEEK, ARCHITECTUREFIRM, Arts & Letters Creative Co, Ashley Sommardahl, Billboard House, Caley Cantrell, Charles Hodges, Creative Mornings, Danny Robinson, EVERGIB, Familiar Creatures, Girls for A Change, Hamilton Glass, history is illuminating, Kristen Cavallo, KT Schaeffer, Lauren Barry, Mad Box Made, Marcus-David Peters Circle, Mending Walls RVA, noah scalin, Old Navy, OnHoldAtHome, Overcoast Music, Quirk Gallery, Rainmaker Studios, Spang TV, Studio Two Three, Super Bowl commercials, The Martin Agency, Think, Tom Scharpf, Vann Graves, vcu, VCU brandcenter, VCU Institute of Contemporary Art, WORK Labs

In the midst of an extremely difficult year, increasing recognition for Richmond creative organizations like The Martin Agency, Arts & Letters Creative Co, and VCU Brandcenter have shown the rest of the world what locals have long known — that Richmond is one of the top creative cities the US has to offer.

In a dark year, Richmond’s creative scene is shining bright. 

A triple threat success from The Martin Agency, Arts & Letters, and the VCU Brandcenter has strengthened Richmond’s status as an epicenter for creativity.  

It’s no exaggeration. For the first time in over a decade, The Martin Agency has been awarded Adweek’s U.S. Agency of the Year, one of the highest accolades in the advertising industry. Newcomer Arts & Letters ranked #5 of Fastest Growing Agencies in the World, along with being named one of the Top 50 Best Places to Work in the U.S. And the VCU Brandcenter reported a record 26 alumni who contributed to 18 different Super Bowl commercials this year, solidifying the school’s reputation as the preeminent graduate program for creative problem solving. 

The achievements are remarkable given the backdrop of a global pandemic, a politically divided nation, and a resurgence for social justice. While many have been simply trying to survive, Richmond’s top creative entities have found a way to thrive.

According to Adweek, Martin was the only agency finalist to report double-digit growth this year. The agency won nine new accounts and created work for over 90 percent of their clients, involving 400+ productions. Kristen Cavallo, Martin’s CEO, attributes the success to a conscious decision to invest. 

“We played offense. The choice was intentional and required nerve,” states Cavallo. “In 2020, lots of things were in flux – this was true regardless of your industry or business model. If you didn’t harness the wind, you missed the lesson.”

Their core investment: People. Specifically, people who spanned a wide range of perspectives, backgrounds, beliefs – and yes, genders and races. In total, Martin welcomed 70 new hires, including 50 percent BIPOC talent.

“In nearly every study, diversity in leadership results in higher profits and engagement,” adds Cavallo. “It doesn’t matter whether you are a feminist, equalist, or capitalist, it’s to your benefit to change the way you run your company… Moreover, it’s riskier not to.”

The Martin Agency has been awarded Adweek’s U.S. Agency of the Year, one of the highest accolades in the advertising industry. Above, the agency’s leadership team. Photo courtesy of The Martin Agency.

Martin didn’t waste any time in their efforts to “Fight Invisibility.” Beginning at the top, they comprised their leadership team of 63 percent females and 38 percent people of color. They overhauled their candidate interview and talent onboarding experience to center the individual, rooting out exclusive aspects like language, bias, and hiring manager expectations. And in agency-wide conversations, they consistently spoke up around racial reconciliation, white supremacy, and injustice against Black and Brown Americans. 

“We force ourselves to be honest with ourselves, no matter how much bravery it requires,” states Abu Ngauja, Martin’s Associate Director of Talent & Culture. “Honest in our capabilities, in our weaknesses, in our ambition. We cannot be a place that lies. Our bar is too high.”

In short, Martin has become a living, breathing case study for a commitment to overdue structural change in advertising and beyond. 

“We were not awarded Agency of the Year because we were lucky,” states Cavallo. “We built ourselves for growth. Diversity, by race, gender, and thought is a not-so-secret ingredient. We made it a priority three years ago.”

Indeed, when Cavallo assumed leadership, alongside Karen Costello, the first female Chief Creative Officer in Martin’s 53-year history, the agency’s evolution began. In an industry notoriously known for being a boys’ club, having two women at the helm of Martin’s new chapter was a powerful, visible change. One of the first actions taken was conducting an internal audit of salaries to correct the wage gap and enforce equal pay. 

For me, the transition was personal and poignant – not only because it was taking place in Richmond, but because Costello, a highly accomplished, well-respected industry leader, was my former creative director and mentor at Deutsch LA when I first started out in advertising. Having a big ad star, not to mention one of few female CCOs, in little RVA was proof our humble city was making headway. 

In August, Martin celebrated another milestone with the appointment of Danny Robinson, the agency’s first Black Chief Creative Officer, following Costello’s return to Los Angeles. Having been with the agency for 16 years, Robinson attests to the progress they’ve made. 

“I am so proud of the work we’ve done this year,” states Robinson. “But I am even more proud of the way we did it – with impatience and perseverance, and with support and belief in each other.” 

Arts & Letters ranked #5 of Fastest Growing Agencies in the World and was named one of the Top 50 Best Places to Work in the U.S. Above, the growing portrait wall of current employees. Photo by Mel Calabro.

Like Martin, Arts & Letters credits much of their success to people – employees, as well as client and production partners. 

In 2017, Arts & Letters opened as a small agency in Scott’s Addition. Founder & Executive Creative Director Charles Hodges, once a former Creative Lead at Google, retained the tech titan as a client, and later acquired ESPN and NBC News. With the increased work, the agency grew. This year, it doubled in size, expanding to a second office in Shockoe Bottom, with the majority of people starting remotely. 

“For the most part, we’re really a group of strangers who recently met and have had to come together in a very real way to navigate extremely challenging circumstances and find a way to still move forward,” states Hodges. “Our motto has always been ‘We’ll figure it out,’ from when we were eight people to now 145. As people, as companies, as communities, we’re all a work in progress. We’re excited that we have the chance to build something.”

Hodges believes Richmond plays an integral role in bringing that vision to life. He intentionally chose The River City as the agency’s headquarters for a variety of reasons – among them, the vibrant creative community and incomparable quality of life. 

“People can do major market work with global impact, but not live in a major market,” explains Hodges. “This allows people to really build their career around their life, instead of their life around their career. It’s an important distinction that we think would have been hard to find anywhere else in this part of the country.”

No doubt about it, Richmond is on the radar of top agencies, brands, and tech companies looking to recruit the best graduates coming out of the VCU Brandcenter. In 2018, Richmond native Vann Graves returned to his hometown to serve as the Brandcenter’s fourth Executive Director. 

“Richmond isn’t the same city that it was 20 years ago. The community has really rallied behind its arts district, food scene and the vast array of outdoor activities. It’s a cultural hub and a desirable place to live,” states Graves. “Plus, with the growth of employment opportunities – yes, at top-tier advertising agencies, but also at smaller creative shops, or major companies like Capital One, CarMax, Dominion, and SunTrust — Brandcenter alumni can build a challenging and rewarding career right here.” 

Richmond is garnering attention as a small, affordable city with a high quality of life. Above, locals enjoy the popular happy hour on the lawn at Virginia Museum of Fine Arts in pre-pandemic times. Photo by EVERGIB.

Caley Cantrell, Professor of Strategy and Creative Brand Management, agrees. “I believe RVA is absolutely right up there with what would have once been considered the only places to work: New York, Chicago, San Francisco, and LA. Richmond has a stellar advertising reputation wrapped up in an affordable and enjoyable city.” 

“More and more people are seeing the wisdom of living in a smaller market,” states Tom Scharpf, Professor of Creative and Brandcenter alum. “You don’t need to live in a big city to do big things. Martin has been proving that for decades, but back then, they were the exception. A lot has changed.”

The VCU Brandcenter (formerly the VCU Adcenter) opened its doors in 1996 and quickly gained recognition as one of the leading advertising and design programs in the country. Today, it continues to successfully prepare its students to work for some of the world’s biggest, most influential brands, all while adapting to a constantly evolving industry – even amid a global pandemic.

This year, the school launched three new endowed scholarships in support of a more diverse industry and maintained diversity and out-of-state numbers in its enrollment. Over the past two years, there’s been a 73 percent increase in diverse students, specifically more BIPOC and females.

“I think the Brandcenter has done a great job recruiting strong, diverse candidates,” states Ashley Sommardahl, Director of Student Affairs and Industry Outreach. “We need to work on raising more scholarship funds to help support them because we know that the biggest barrier to attending is the financial commitment.”

In addition to a focus on diversity, VCU Brandcenter Professor and Creative Director KT Schaeffer (also an alum) believes the school’s ongoing success can be attributed to the program’s multi-faceted approach to learning.

“We hold this polymathic view and know, based on experience from our faculty, staff, and alumni, that you don’t wear just one hat in your future job(s),” explains Schaeffer. “There are Strategists who shoot and edit films. Copywriters doing cinema 4D. Creative Brand Managers learning Adobe Illustrator. That crossover learning makes our students better creative problem solvers.”

The Brandcenter is one of 20 colleges, schools, and centers that make up the greater Virginia Commonwealth University, one of the nation’s premier urban, public research universities. Among a host of impressive rankings, VCU, Richmond’s largest employer, reports that 40 percent of its alumni opt to live and work in the city.

The VCU Brandcenter offers a two-year master’s program across five concentrations including art direction, copywriting, strategy, brand management and experience design. Photo by Rocket Pop Media.

Clearly, Richmond is doing something right. 

And yet, we always have been. For years, everyday Richmonders have been working to help this city come into its own. You can see their efforts in our incredible street murals, artisan stores, craft breweries, top-notch restaurants, and buzzing entrepreneurial scene. Creativity abounds.

Like many, I believe Richmond has always been creative, but its potential has yet to be fully realized by the rest of the country – in some cases, not even by the people living here. 

Finally, there is an awakening. Richmond is becoming known, not merely as a backdrop for creativity, but the inspiration for it. Our history less of a burden, and more an impetus for change. Just look to the events this summer. 

Amid BLM protests rising up and Confederate statues coming down, Richmonders got creative. 

One of the highlights was the transformation of the Robert E. Lee Memorial into Marcus-David Peters (MDP) Circle, an extraordinary graffiti-laden sanctuary dedicated to victims of racial violence and police brutality, created by the people of RVA. The reclaimed space received nationwide press and the iconic projections by artists Dustin Klein and Alex Criqui landed on the cover of National Geographic, putting Richmond front and center – no longer the Capital of the Confederacy, but of creativity. 

For Richmond transplant R. Anthony Harris, it’s been a long time coming. He believes we’re seeing the final stages of the city’s 15-year rebrand. He should know. Back in 2005, he instigated Richmond becoming RVA when he founded this publication. 

“RVA Magazine has always been a platform for creative and progressive thought in Richmond,” states Harris. “I am proud of what we have accomplished, with limited resources, for so long by encouraging everyone to be proud of who they are, the way they live, and how they work.” 

Like countless others, Harris has played a significant role in the city’s evolution through tireless work and an aspiration to be part of something greater than himself. That collective desire to shape, influence, and move our city forward, particularly in the face of a complex, fractured past, is exactly why Richmond and its people are so special. 

“There is an opportunity for Richmond to become a model for what a truly great city looks like,” states artist Noah Scalin. “That comes in part by supporting the creative community that already exists within its borders. We have no lack of talented, driven people who are great problem solvers here. They just need to be given the space, trust, and resources to do their thing.”

An image of George Floyd is projected on the statue of Confederate general Robert E. Lee at Marcus-David Peters Circle, a community gathering spot created earlier this summer. Photo by EVERGIB.

This year alone conveys the ambition of Richmonders. Along with the creation of MDP Circle, locals took action in other ways. Nonprofit arts center Studio Two Three led the charge on a variety of programming aimed at uplifting the voices and visions of RVA artists. Among the initiatives, History is Illuminating, a series of recontextualized signs on Black history in Richmond, and For as Long as Such Images are Needed, an exhibition in partnership with the Institute for Contemporary Art (ICA) at VCU. 

Artist Hamilton Glass developed Mending Walls, a public art project bringing together RVA artists from different cultures and backgrounds to create murals around racial and social justice. VCU Alum and digital strategist Altimese Nichole, partnered with nonprofit Girls For A Change to launch a scholarship opportunity for local African American youth. Photographer Tania del Carmen created #OnHoldAtHome, a photo series raising awareness on community challenges during the pandemic. And Tim and Lauren Barry turned their home into the Billboard House, featuring dynamic projections that reminded Richmonders, even those in suburbia, to get into good trouble. 

“Richmond is a creative hub,” says Lauren Barry, who works as an art director with event management firm, Markham. “The city has always been buzzing with creative energy – it’s one of the reasons we decided to put down roots here. You can’t escape art and creativity in Richmond.”

It’s true. And when Richmond’s creative worlds collide, amazing things happen. Such is the case when Martin tapped Scalin earlier this year to collaborate on an initiative to promote their client Old Navy. The national retailer planned to donate $30 million worth of clothing to families affected by COVID-19. The end result was a time-lapse video featuring Scalin in action, applying one of his signature techniques to create a large-scale portrait of an American family made entirely out of Old Navy clothing.

“It drew a ton of national attention not only to Scalin’s work, but to The Martin Agency and [innovation studio] SuperJoy,” states Amanda Russell, Co-Founder and Creative Director of motion graphics studio, Cream. “I love that they are choosing to highlight our city and the talent within, rather than hide from it.”

Director Adam Dorland of Quirk Gallery believes that Richmond is gaining attention by companies embracing and encouraging local artists. “Having organizations like The Martin Agency, Arts & Letters, and VCU’s Brandcenter based in Richmond promotes the idea that artists and creatives can make a life for themselves here.” 

“Richmond is exploding,” says Jason St. Peter, Founder & Creative Director of Think branding and creative agency. “And much of the credit is due to the creative minds here who influence positive change every day.” Cabell Harris, Founder & Creative Director of WORK Labs, agrees. “I always say create work you love, with people you like, in a place you want to be.” 

“The Journey Forward” is part of Mending Walls, a community project created by local artist Hamilton Glass that aims to facilitate dialogue and foster empathy through public art. Photo by Katrina Boone.

Richmond is definitely a place people want to be – and return to. 

“I spent six years with Martin and fell in love with the city,” states Executive Producer Scott Friske of animation studio Hue & Cry, who recently moved back, having spent over 20 years of his career in Los Angeles. “The success of these three organizations puts Richmond in the conversation with towns like Portland, Oregon and Austin, Texas, where you see a concentration of creative output.” Additionally, Richmond has retained its unique identity – an asset that has helped, rather than hinder, its growth. 

“Richmond truly seems to be experiencing a turning point in creativity,” says Macy West, Partner & Executive Producer at Mad Box Made. “There is a grit that has always run through RVA’s veins, but it is coming to the forefront, rather than only being the ‘underground’ movement.”

Executive Producer Melanie Cox says her company, Spang, was purposely built around working with agencies like Martin and Arts & Letters, as well as the innumerable other creative shops in town. “We designed our studio and edit suites to be an extension of creative agencies, a place where they can work, enjoy creature comforts and continue to churn out strong ideas,” she states. “The fact that Martin was founded in RVA and has chosen to stay in RVA has spawned work for an entire production community to flourish.”

J.L. Hodges, Partner & Creative Director of Overcoast Music + Sound says that people know they don’t need to leave Richmond to get extremely high quality work. His company applies a “locals first” approach as well. “Although we work with a global network of writers and composers, a large part of our talent pool is based right here in Richmond,” states Hodges. “We love that we are in a position to provide opportunities for the ‘home team,’ so to speak. We have always been proud ambassadors for Richmond.”

Danny MacNelly, partner at ARCHITECTUREFIRM, the local team behind the design of Arts & Letters’ new office space, states, “As a small business trying to do work in Richmond, we are amazed at what these groups are doing. Not amazed that the talent is here, but just in awe of their ability to create and communicate and attract some of the biggest clients anywhere to our town and keep them coming back. They are driving this city forward.”

After all we’ve endured in 2020, the concept of moving ahead – making progress, as well as an impact – feels strangely promising. Because let’s be honest, not everyone can look back on this year and feel successful. For many Richmonders, especially artists, entrepreneurs and small, minority- and women-owned businesses, this year has been a serious challenge.

Virginia Repertory Theatre is just one of countless creative organizations, along with local artists, entrepreneurs and small businesses, that will be relying on community support in the coming year. Photo by EVERGIB.

“My hope is that Richmond continues to work and thrive from within,” states Jolinda Smithson, Owner of Shapes & Colors and host of CreativeMornings Richmond. “That people decide to work, live and play here… found businesses, rent or buy their houses here, send their kids to local schools, and participate in local organizations.” She admits that Richmond is not always the easiest place to live, but feels optimistic seeing it grow and shift in positive ways. 

Unlike major cities, Richmond’s relatively low cost of living also allows people freedom and opportunity to take more risks. But for the success to continue, “Richmond needs governance and economic development that preempts, promotes, and supports this growth with smart planning strategies,” states Kristin O’Connor, Owner & Executive Producer of RainMaker Studios. She wants to see responsible development and the right support from local government to further advance the community in its many diverse districts, small businesses, and large corporations.

Justin Bajan, Co-Founder & Creative Director of ad agency Familiar Creatures, believes Richmond has become a viable and respectable spot to continue or start a career. “My hope for the future is that the growth and success of Martin and Arts & Letters is just the beginning of what’s to come here. That the great talent within those walls don’t use this town as a stepping stone, but instead stays in town and builds more agencies with individual flavors and capabilities. Agencies that reflect the independence and boldness you see all throughout Richmond.”

Having grown up in Richmond myself, I was pleasantly surprised to see how much it had changed after being away for 12 years. When my husband and I moved back in 2014 to start our creative studio, EVERGIB, what stood out most to us were the people – other local entrepreneurs and organizations who took time to offer us guidance and advice; who became allies, colleagues, and friends. After living in big cities like New York and LA, it reminded us about the importance of community. Looking out for your neighbors, as well as lifting them up.

The recent achievements of The Martin Agency, Arts & Letters, and the VCU Brandcenter are undoubtedly a collective win for our city, as are their efforts behind increased diversity, equity, and inclusion. But critical to the city’s ongoing evolution is a commitment to continued investment in Richmond and its people.

As we enter a new year of possibilities, let’s remember that we’re all working to build something special here. 

Together, we can make it happen.

Top Photo: The Martin Agency leadership team. Photo courtesy of The Martin Agency.

“Other” No More

Brooke Nicholson | August 7, 2020

Topics: art, black lives matter, corey pemberton, creature comfort, creature comfort exhibit richmond va, Quirk Gallery, quirk richmond va, richmond va artists, Virginia artists

Many people are marginalized in society, but how does the idea of “other” change when we see people in a different light? Corey Pemberton’s latest exhibit at Quirk Gallery takes us into locals’ homes, rich with content and energy. 

During recent protests, it’s been especially important to highlight the stories of Richmond’s many diverse communities, especially those that would not have been heard if it weren’t for the hard work put in by all involved with the movement. This sentiment is also true for the newest exhibit at Richmond’s Quirk Gallery. Spotlighting a local artist that has switched up his medium, creature, comfort celebrates those society has marginalized, while shining a light on the concept of “otherness” and the way it interacts with the concept of “home.”

Corey Pemberton describes himself as having always been artistically inclined, and he’s never been focused on just one type of art. “From a young age I was drawing, painting, making beaded jewelry, sculpting clay,” Pemberton said. “It made sense that I landed in the craft department at VCU, where you can explore a plethora of materials and processes.”

It was this point in Pemberton’s artistic career that he drifted away from two-dimensional work, and began to work with three-dimensional objects.

“I worked that way, making decorative objects for about seven years,” Pemberton said. “It wasn’t until a few years ago, while completing a fellowship at the Penland School of Craft in North Carolina, that I shifted back to drawing and painting.” 

Pemberton is a mixed media artist, currently living in Los Angeles, who majored in Craft and Material Studies at VCU. His main focus was on glassblowing. Since graduating in 2012, Pemberton has taken on various roles — including Adjunct Professor at the Chrysler Museum of Art’s Glass Studio in Norfolk, and Production Glass Blower working with a multitude of different artists from around the country. 

PHOTO: “Bursting Clouds,” Corey Pemberton

“I spent many years selling my wares on the craft fair circuit, at shows like the VisArts Craft and Design Show here in Richmond,” Pemberton said. “More recently, however, I have taken a break from that life, and have pivoted my focus to this painting practice. I still blow glass several days a week for an artist in Los Angeles, but as far as my personal practice goes, my passion currently lies with this body of mixed media portraits and interiors.”

Pemberton’s latest exhibit, creature, comfort, invites others into the homes of those marginalized by society. 

“The work in creature, comfort deals with ideas of ‘otherness’ and ‘home.’ I depict friends and acquaintances who have been marginalized by society in some way, doing everyday things in their domestic spaces,” Pemberton said. “Whether they have been ‘othered’ for the color of their skin, sexual orientation, or socioeconomic status, I aim to both celebrate my subjects and simultaneously make them relatable to the viewer. By welcoming the viewer into their homes to spend time with their objects, which are rich with content and energy, the subjects are made instantly inviting and intriguing.” 

Gleaming with speckles of yellow, neutral tones, and hyper-realistic photos mixed into each painting, Pemberton describes himself through art with his own personal struggles, and prides his artwork for “constantly evolving.” 

“Living in rural North Carolina for over five years, I grew exhausted by the weight of being the only Black person, and the only queer person, in the majority of spaces I was occupying,” Pemberton said. “Straight cis white people don’t realize what a luxury it is to fit in.” 

PHOTO: “She Was Raised White,” Corey Pemberton

“Don’t get me wrong, I love most parts of myself, and wouldn’t trade them for the world,” he continued. “But it becomes work after a while, serving as sole representative for an entire demographic, or several demographics,” Pemberton said. “That said, I view my sheer presence and persistence to join the conversation in predominately white, hetero spaces as a form of activism. And by extension, this body of work is doing a similar thing. The White Box gallery [inside Quirk] is a venue that has historically served and preserved the story of a very limited portion of society. This makes it a terrific vehicle for presenting these ordinary, yet complex, depictions of the ‘othered.’” 

Elaborating on the state of the nation right now, Pemberton feels that recent protests have given his art a better chance to shine. He describes the exhibit as being well-received, and notes a recent evolution in the attention his work has been received. 

“The strange thing to me is that while [galleries] have been eager to show this work for a couple of years now, only recently has anyone shown interest in purchasing and living with these works,” Pemberton said. “I have no doubt that the current civil uprising in our nation has played a role in my recent success. Everyone is looking to address the issue of racial injustice in our country, and a part of that is showing support for entrepreneurs and makers of color. I think one hundred years from now, art historians will look back on this time as a sort of Black Renaissance.”

As the idea of a Black Renaissance becomes clearer, Pemberton hopes it’s a movement that lasts. 

PHOTO: “You Could Taste The Love,” Corey Pemberton

“I hope that this effort by white America is not fair-weather, but rather sustained for years to come,” he said. “Not for my sake, but for the sake of our country as a whole. The voices being amplified by the art world today need to be folded into the canon in perpetuity, so that we are telling a more representational story for the books.”

Thinking on challenges he’s faced when creating his artwork, Pemberton most notably said that it is “impossible” to choose a favorite piece of artwork. He’s working on ideas to combine his glass pieces into mixed media paintings. 

“For years, I have been struggling to find a way to connect the blown glass objects to the paintings,” Pemberton said. “They both came out of me, and so there is a natural connection that doesn’t need to be forced. Since my home is filled with handmade objects, they end up often creeping into paintings that are set in my home.”

With Pemberton’s art ever-evolving, he doesn’t plan on slowing down any time soon. He mentions a few exhibits planned in the future, with a couple back-to-back shows in Seattle, and having the chance to do a few commission pieces. 

“The first [show] is at a brand-new space called Das Schaufenster, which is run by my friend Anna Mlasowsky at her home and studio north of downtown,” Pemberton said of his next Seattle exhibit. “The gallery is entirely visible from the street, so it can be viewed while practicing social distancing. She wanted to create a space where she could give exposure to underrepresented artists during this time of inactivity.”

PHOTO: “I Have Nothing To Wear,” Corey Pemberton

In addition to gallery showings across the country, Pemberton is working on commissions right now as well.

“I’m also about to begin a commission of three pieces, depicting three different Black unsung heroes from history,” Pemberton said. “This will present an interesting challenge of working with subjects whom I have never met. But at the same time, I think it will fit in nicely with what I already do.” 

Pemberton hopes his art will give people the chance to view others from a different angle, noting that stereotypes are too often one-dimensional and “extremely harmful.” 

“I hope that people leave my show with a new understanding that people are never just one thing,” Pemberton said. “That we are all complex and layered, like these paintings, and worth the time that it takes to understand one another.”

Pemberton wants those who view his work to practice the idea of “thinking twice” before judging those who are not you. 

“I want people to realize they were wrong about what they thought they knew about someone, based one their appearance or presentation,” Pemberton said. “To anyone who is reading this and vibing with what I am saying, I want to encourage you to fold this thinking into your everyday practice for the rest of your life. We have to strive for equality and understanding every single day, even after the headlines about Black lives have faded from the front pages.”

View Corey Pemberton’s exhibit creature, comfort, on display at Quirk Gallery, located at 207 W. Broad St in Richmond’s Arts District, until August 30th. To see more new work, find Pemberton and Quirk Gallery on Instagram. 

Artist Blythe King Aims to Lift Up the Female Form & Identity in Her Latest Exhibit at Quirk Gallery

Ash Griffith | March 29, 2018

Topics: art, Blythe King, collage art, mixed media, Quirk Gallery, RVA ARt, women's issues

When you hear the word collage, most likely images are brought up of newspaper clippings, old Elmer’s Glue, and a ton of glitter that will never leave you. Emerging Richmond mixed-media artist Blythe King instead is taking collage work and photography to a new level by incorporating such elements as gold leaf, circle motifs, and pages from catalogs from the 40s, 70s, and 80s.

In her newest exhibit Two Sides of the Same Coin, which recently opened at Quirk Gallery, King uses her unique collage style to not only examine the female form, but also to lift it up and praise it. Taking a cue from her influence Andy Warhol, the Pittsburgh native pulls commercial images of women from old Montgomery Ward catalogs of the 40s, 70s, 80s and brings them to life with elements of Eastern iconography.  Feeling inspired by the unique level of empowerment felt from these images, she raises them to their goddess level by enshrining them in beautiful gold leaf.

Collage by Blythe King

Flipping through a 1940s catalog one day was what sparked the idea for these collages for this avid collector.

“I spend a lot of time looking through images, and I have a huge collection of catalogs,” King said.  “I found this catalog in my neighborhood, I brought it home, and I was just fascinated by it. It was the first time that I had seen women depicted [with this] dignity and strength to their poses that I hadn’t seen before in advertising. So I kind of felt like I uncovered this little blip of time and it felt like I needed to show people these images, they need to be seen again.”

King is also originally drawn to collage work because of its inherent double meaning, the familiarity, and the accessibility. She uses the foundation of these recognizable, commercial images to lure in audiences. Much like the multiple layers of the collage work are complex, as is the multiple layers of the women in question that she chooses to focus on.

Collage by Blythe King, Richmond, Virginia

While it is hard to deny that King’s work is of course visually and aesthetically striking, it is also out with a not so undercover mission. As society enters deeper into a stronger, more unified and intersectional renaissance of feminism, King uses her art to support the cause and unify all women in today’s stormy climates.

“I feel like I have a mission. My work is especially urgent right now. It’s finally a point in history where we are no longer tolerating violence against women. Women’s voices are being heard,” King said. “I feel that it’s even more important that I continue this work and make this work, and allow people to see it.”

Image may contain: 3 people, people smiling

King, who studied religion and art at the University of Richmond, has exhibited in South Carolina, Georgia, Illinois, Pennsylvania, Massachusetts, Virginia, and DC. Prior to delving into collage work, the mixed media artist produced tablet covers from vintage women’s shirts for her Louisiana-based online textile startup, iSockits. However, as some things naturally do, when the business found its end almost like clockwork, she ran across the first catalog that would inspire her series.

“I didn’t have a focus then. It was something that I did. That business, I did everything so it was pretty all consuming. The business sort of ran its course and it was about that time that I found that catalog in my neighborhood in Church Hill, and it got me thinking.”

While lifting women’s voices up is her aim, King admits that it may not be initially obvious when audiences first see her work. Because the medium is not always so obvious, she admits that sometimes the perception is different depending on what medium audiences think it is. However, she does have a large hope of what audiences will take away from her art.

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“My biggest goal through my art is that it affects our culture, that it actually changes the way people see, so that actually has an effect on a larger scale. I feel like if you would understand that all women are gods that that will change the status of women in our culture. And you can do it through just one person at a time,” King said.

In addition to the Two Sides of the Same Coin exhibit, King is also working on a book about her artwork, which she hopes to have ready by the summer. The book will feature all of the pieces showcased in the then exhibition, which you can check out at Quirk Gallery through May 6.

 

 

 

MASS APPEAL RVA: Fashion Photographer Bree Davis, Liberatus Jewelry, Love This, & A Look at Mac’s Smack

Megan Wilson | September 4, 2017

Topics: C'est La Bree, fashion, Liberatus Jewlery, Mac;'s Smack, Quirk Gallery, RVA fashion

A movement has been building for some time in Richmond. The city has become globally known for its creative talent pool and has proven fertile ground for startups and entrepreneurs. Industries such as technology, music, food, crafts, advertising and more have taken root and created a community to sustain them.

Though VCU’s Fashion Design and Merchandising school is anchored in the city center and brands like Ledbury and Need Supply have set up home base here, Richmond has yet to become known for its position in the world of fashion.  Not many VCU graduates decide to pursue fashion-related careers in Richmond.  For those that stick around, the opportunity to build a community is what compels them to stay put. Bree Davis is one of them.

This article was featured in RVAMag #29: Summer 2017. You can read all of issue #29 HERE or pick it up at local shops around RVA right now.


Davis: has a fine arts degree with a focus in photography. She’s one of a few working fashion photographers in the city. Davis has opened her own studio in the Fan last year. Here, she’s has built a business working with Richmond based boutiques including Mod & Soul and Tailor, up and coming brands like Stitch and Urban Mint Couture, skincare brand Mac’s Smack, as well as local musicians. A growing network of stylists, make-up stylists, and artists round out a rolodex of professionals she brings together to create magic and build a community.  We sat down with Davis recently to talk about her inspiration, her path, and her vision for Richmond.

Wilson: Why photography?

Davis: This story starts a long time ago. When I was younger, if one of my siblings or I was interested in a hobby, my mom tried to get us all involved somehow to save money and bring us closer. My sister got into modeling. I went to a photoshoot with her. I knew right away I didn’t want to be in front of the camera. I helped the photographer that day, though. I held the reflector and had so much fun being behind the scenes. I started to do photos for my friends in high school. By the time I was applying for college, I knew this is what I loved and what I wanted to do. VCU was the only in-state school I applied to and I got in, thankfully.

Wilson: How did VCU shape you and your craft?

Davis: I didn’t know about the foundations courses I needed to take for my degree. I had never taken art classes before. I had to take sculpture, painting, drawing and more. I had to do something that was really foreign to me. I really gained a lot from doing all-nighters with people who were really good at things that I’m not good at. It was an intense year of being surrounded and learning what fine arts really meant. I think learning the fine arts perspective of photography helped me be a more well-rounded photographer. I have a more inclusive take on what I want to shoot. I also slow down and hone in on details and design more than others might.

Wilson: When did you start actually working as a photographer?

Davis: I always had freelance work. I would shoot for architect firms, do portraits for the school, quick photoshoots for apparel and brands or just assist people with their shoots.

Wilson: When did fashion photography become a career interest?

Davis: Matt Licari was a really important person for me. He was in Richmond for a couple years during my junior and senior years at VCU.  He specializes in fashion photography. He spoke on a panel and I knew I wanted to pick his brain. I started helping him with shoots in Richmond and in New York. I would do anything from hold lights and reflectors, to work with stylists on hand and help spot details. I’d even stop traffic for his photos.

Wilson: Did VCU help bring fashion and photography together for you?

Davis: I would have loved it if there was a fashion element to that major. The only thing we had was a studio class where I learned about lighting and back drops, which is how a lot of fashion photography takes place. I also took a Fashion for Beginners class as an art elective. I’d love to see a fashion photography course or series of courses. Once you learn it, you understand that it’s a skill in and of itself.

Wilson: What makes Richmond different than other cities known for fashion and where many graduates wind up migrating)?

Davis: There’s not a crazy large fashion market here, yet. People are still more likely to hit the internet or the malls for what they want. You can see pockets of the growing community though. I think the First Friday’s area has become known as a fashion area with boutiques popping up and becoming successful. That is really great, but I think we need to see more of that as a community. We have to make an effort to get out and shop at their stores more. You can even shop local stores online instead of a more big box version. There is an opportunity for businesses to expand more if we as consumers support them before they decide to relocate elsewhere.

Wilson: How can these businesses expand and grow from their home base in Richmond?

Davis: We’ve all proven here that we can use the power of the internet to reach new markets. Lots of businesses are doing it. Round Two has opened a second location in Los Angeles and Utmost has grown a large following online. More and more we have great shop owners who are well educated and ahead of the trends. They’ll provide more and more competition for other places doing the same thing and it will grow.  It’s going to happen here eventually.

Wilson: Who have you worked with here in Richmond lately?

Davis: Recently, I shot Tailor’s summer line. She has a great group of girls and it’s obvious they are all genuinely excited about the clothing they are modeling. It’s cool to see that the girls she uses as models are her customers, too. I’m working with Chanel G. of Stitch to create images to revamp her website. She just finished RVA Fashion Week and has a lot of energy. She’s going to make some of the pieces she showed there buyable. We worked to create a cohesive lookbook and shoppable site. I’m working with a high schooler behind Urban Mint Couture. She is killin’ it in the entrepreneur game. I just love seeing people, especially young people, hustle and sacrifice for their career to start something for themselves and their community. When people show up, I want to give them 100% of my time and mind and I want them to know how excited and thankful I am to be doing what I love to do every day.

See more from Bree Davis HERE

Liberatus Jewelry Debuts First Collection At Quirk Gallery

Jewelry designer Ginny Rush launched her jewelry brand Liberatus a year ago, named after the Latin word for “freed” or “liberated.”

“I like giving people the freedom to express themselves through jewelry,” Rush said. I like to think I start the story and my customers finish it. I love what I create, but then people ding up rings and kink necklaces. They live life in it and it becomes theirs.”

Rush, who works days at the Shops at 5807, spends the rest of her time at her studio creating commissioned pieces and developing lines of jewelry that feature minimalist shapes and structures. She has successfully grown her business online, on the shelves of local boutiques, and during festivals.

Local boutique Mod & Soul carries earrings from Liberatus and Rush created an exclusive collection of jewelry for Richmond-based online boutique Tailor. Quirk had seemed like a “far off dream” when she started Liberatus.  “I remember telling my fiancé that when I have my pieces in Quirk, I will have made it,” Rush said.

A year later, Quirk is now carrying 15 Liberatus Jewelry items including stacking rings, men’s tie bars, her new copper tube necklace collection and studs that comprise her “piece of pieces” collection. She works primarily with sterling silver, copper, and brass, which are all ethically sourced. Rush is working with local blogger Kelly LaFerriere of The Good Wear to revamp her studio practices to dispose of chemicals and more.

Find more HERE

Mac’s Smack, A Socially Conscious Skincare Brand Launches First Beauty Collection

MacKenzie Payne calls herself a product junkie. Since she could remember, she was making trips to the drug store to try on new lip gloss colors and foundations. After her first son was born, she became interested in eating an organic diet, growing her own food, and paying extra attention to what she put on her skin.

“I was taken aback by what was in the products we were using on our own bodies,” Payne said. “I decided I could come up with skincare and beauty products from items right in my own kitchen.”

Payne embarked on an intensive research mission, reading labels, talking with skincare and organic lifestyle experts, and experimenting with ingredients to create what became Mac’s Smack. The brand carries lip balms, body butters, facial serums and cleansers. This May, Mac’s Smack launched its first collection of beauty products featuring a trio of tinted lip balms, a highlighter balm, shimmering body oil and hydrating tonic which can be used to help set makeup.

“The whole premise of the new line is ‘How can we enhance the beauty that we already have and take care of our skin?’” Payne said. “I personally have started wearing less makeup and am working on trying to be okay with that. I want to embrace the true beauty we all carry with us.”

In addition to the website, the new Mac’s Smack beauty line is available in Sweetest Stitch boutique, five local Whole Foods stores, Mod & Soul boutique, Ellwood Thompson’s, Little Greenhouse Grocery, Pure Barre, Bliss 5812, Parlor Salon, and more. Payne said she ships to customers as far as Germany, India, and Afghanistan.

“We’re on the cusp of a new way in cosmetics and beauty,” Payne said. “We want to help make products that are true and pure without a bunch of chemicals and make them accessible to everyone.”

Find more HERE

Love This Turns Two and Launches Local Collaborations

The fashion and beauty industries don’t have a very good reputation for being sustainable or ecofriendly. As a consumer, it’s difficult to access the limited amount of socially conscious products available because of high price points and availability. Rupah Singh and Amber Lantz decided to bring affordable handmade and fair-trade goods right to Richmond by way of their silver 1969 Airstream Globetrotter. The duo first began pulling up to customers for business during the Good Day RVA Festival in 2015. They plan to revisit the good Day RVA Festival on June 3 this year to celebrate the second anniversary of Love This.

“Since we opened, we’ve been expanding the line of items we carry,” Singh said. “We used to carry mostly jewelry and now we carry more apparel, shoes, kid and baby clothing and people are responding.”

Love This has become more than a place to find unique items for Richmonders, it’s also become a vehicle for conversations about sustainability according to Singh. “Everyone wants to know how they can make a difference,” she said. “We help show them that they can make a big difference by making small decisions about where they buy their clothing and more.”

Singh recently spoke at Creative Mornings, a series of breakfast talks throughout the city. By educating the community, Rupah feels she can empower more people to make a living from creating products that are sustainable, including local makers.

Love This has launched three new collaborations with local companies who have created items exclusively for sale at Love This. Each product from these collaborations will give 10% back to a nonprofit.

Lightbox Print Co. developed a “She Believed She Could So She Did” tote bag in honor of International Women’s Day and Bulb-e Vases developed a line of ceramic vases for Love This. Singh also reached out to Bethany Frazier of Maven Made, local skincare line known for serums and essential oil products.

“I have been using Maven Made’s facial serum for a while now and I thought Bethany would make a great collaboration partner,” Singh said. “I asked her to create a fragrance that would represent a woman who is confident and believes in herself.”

The final product is the Powerful Babe Fragrance Oil featuring ingredients like lavender, rose, cardamom, and ylang ylang.

Find more HERE

The Road Less Traveled: RVA photog Kip Dawkins discusses his exhibit ‘Vacant’ at Quirk Gallery

Greg Rosenberg | March 29, 2017

Topics: art, Kip Dawkins, Quirk Gallery, Richmond photographer, RVA photography

Local advertising photographer Kip Dawkins did not intend to take his craft, which has long been a professional endeavor, to expressive visual artistry.

He did not expect photographs of the rustic scenery of America’s back roads taken while traveling for his professional photography would revitalize an appreciation in photography as an expressive art. And he certainly did not anticipate an exhibition at Quirk Gallery when showing these photographs from his travels to gallery director, Katie Ukrop. However, his exhibit, “Vacant” is now up at the Quirk Gallery.

Dawkins first got into photography as a means to carve a participatory place into the music scene. Having a passion for music, photography allowed Dawkins a place in the music scene despite not playing an instrument. In time, this led him to a career in advertising photography. However, being a photographer for 20 years, the creative appreciation began to dissipate.

“I enjoy doing it but it kind of sucks the soul out of it,” said Dawkins. “I got my start photographing punk rock bands and that’s what I love more than anything because music is everything to me.”

Kip Dawkins does plenty of traveling all around the United States and sometimes internationally for his work and has worked with everyone from Better Home and Gardens, Bloomingdales, Destination Hotels, Stolichnaya Vodka, GMC, and Morey’s Piers & Beachfront Water Parks.

To break from the insipid scenery of the highway, Dawkins will often take alternate routes off the highway, which is where his inspiration strikes. .

“If you’re not on 95 going 75mph you just see a lot of different stuff you don’t normally see,” he said.

On the back roads of America, Dawkins began stopping wherever an opportunity for a good shot seemed to be – often abandoned or bucolic scenery.

“I’ve always been drawn to things that are forgotten or lost or you know, just old Americana or whatever it may be,” he said. “It really got started at this abandoned mid-century hotel in Georgia that my dog and I found in the middle of nowhere.”

Once Dawkins inadvertently started the project, he began seeking out places to shoot. “I started using Google maps to find abandoned things and you can always see the swimming pools,” she said. As you may imagine, an empty pool full of algae sticks out.

There are lots of variables on which the value of a shot is dependent on. Dawkins keeps a keen sense of his surroundings while on the road because sometimes, it’s the perspective that makes the shot.

“There was one in South Carolina,” said Dawkins. “There were all these bones hanging in this guy’s driveway. I just happened to drive by there when it was rainy, creepy, dark, cold, and there are cow bones and Halloween decorations hanging up and I just happened to be there at the right time, because years later I drove by in daylight and it doesn’t have the same impact.”

One important lesson Dawkins takes from having an eye for the photogenic is to always have a camera on him. “A long time ago I missed this one shot of a children’s bike chained up to a topless bar in Austin, Texas. Looking back I’m like ‘what an amazing shot that would have been, it was a pink kid’s bike.’ So you always have to have it.”

Through his creative photography, Dawkins’ appreciation for photography in all forms was revitalized. “It wasn’t my intention, I’ve never thought of myself as a true artist. I’m kind of a technician,” said Dawkins.

“I totally fell in love with what I do again too, I started looking at how light was reacting when I was doing different shots. My work went to another level because I think I started to care more about it and I started to understand visual queues more than I used to.”

“Vacant” will be up at the Quirk Gallery until April 9th.

Images via Kip Dawkins Photography

The Road Less Traveled: RVA photog Kip Dawkins discusses his exhibit ‘Vacant’ at Quirk Gallery

RVA Staff | March 29, 2017

Topics: Kip Dawkins, Quirk Gallery, Vacant

Local advertising photographer Kip Dawkins did not intend to take his craft, which has long been a professional endeavor, to expressive visual artistry.

He did not expect photographs of the rustic scenery of America’s back roads taken while traveling for his professional photography would revitalize an appreciation in photography as an expressive art. And he certainly did not anticipate an exhibition at Quirk Gallery when showing these photographs from his travels to gallery director, Katie Ukrop. However, his exhibit, “Vacant” is now up at the Quirk Gallery.

Dawkins first got into photography as a means to carve a participatory place into the music scene. Having a passion for music, photography allowed Dawkins a place in the music scene despite not playing an instrument. In time, this led him to a career in advertising photography. However, being a photographer for 20 years, the creative appreciation began to dissipate.

“I enjoy doing it but it kind of sucks the soul out of it,” said Dawkins. “I got my start photographing punk rock bands and that’s what I love more than anything because music is everything to me.”

Kip Dawkins does plenty of traveling all around the United States and sometimes internationally for his work and has worked with everyone from Better Home and Gardens, Bloomingdales, Destination Hotels, Stolichnaya Vodka, GMC, and Morey’s Piers & Beachfront Water Parks.

To break from the insipid scenery of the highway, Dawkins will often take alternate routes off the highway, which is where his inspiration strikes. .

“If you’re not on 95 going 75mph you just see a lot of different stuff you don’t normally see,” he said.

On the back roads of America, Dawkins began stopping wherever an opportunity for a good shot seemed to be – often abandoned or bucolic scenery.

“I’ve always been drawn to things that are forgotten or lost or you know, just old Americana or whatever it may be,” he said. “It really got started at this abandoned mid-century hotel in Georgia that my dog and I found in the middle of nowhere.”

Once Dawkins inadvertently started the project, he began seeking out places to shoot. “I started using Google maps to find abandoned things and you can always see the swimming pools,” she said. As you may imagine, an empty pool full of algae sticks out.

There are lots of variables on which the value of a shot is dependent on. Dawkins keeps a keen sense of his surroundings while on the road because sometimes, it’s the perspective that makes the shot.

“There was one in South Carolina,” said Dawkins. “There were all these bones hanging in this guy’s driveway. I just happened to drive by there when it was rainy, creepy, dark, cold, and there are cow bones and Halloween decorations hanging up and I just happened to be there at the right time, because years later I drove by in daylight and it doesn’t have the same impact.”

One important lesson Dawkins takes from having an eye for the photogenic is to always have a camera on him. “A long time ago I missed this one shot of a children’s bike chained up to a topless bar in Austin, Texas. Looking back I’m like ‘what an amazing shot that would have been, it was a pink kid’s bike.’ So you always have to have it.”

Through his creative photography, Dawkins’ appreciation for photography in all forms was revitalized. “It wasn’t my intention, I’ve never thought of myself as a true artist. I’m kind of a technician,” said Dawkins.

“I totally fell in love with what I do again too, I started looking at how light was reacting when I was doing different shots. My work went to another level because I think I started to care more about it and I started to understand visual queues more than I used to.”

“Vacant” will be up at the Quirk Gallery until April 9th.

Words by Greg Rosenberg. Images via Kip Dawkins Photography

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