and
Jaamal Sheatspresent an artist relationship that is rarely witnessed in a such a shining public spotlight. The Fisk University art professors — formerly teacher and student — were the only Nashville artists selected to create two of the eight major public artworks in the Music City Center. Last night they discussed this opportunity during the Fisk ARTalk Series.
I will admit that part of the draw in attending this talk had to do with the fact that Henry is an artist of few words. This was one of the rare opportunities to hear her explain her work. Second to that, I have been curious to know the story behind the selection of the public-commissioned installations at the convention center.
The two artists spoke about the materials they used and the process behind their individual installations.
Sheats took the “music” theme to heart and created a series of eight metal-relief (aluminum) panels to form a fragmented guitar. He revealed his perfectionist side when he told us that he wasn’t satisfied with the first round, so he recreated them a few months before the MCC opened. Henry returned to her dominant subject matter of the human figure in a grid of twenty-one canvases. She mostly spoke about the copious amounts of yarn and thread she worked with. Regarding the concept, she expressed that the most important thing was that it would be “harmonious.” When asked what kind of student Sheats was, she said, “Excellent.”
Two things remained unchanged following the discussion. After listening to a series of one-word responses, I can officially say Henry is a fortress. If I ever have a serious secret I need to share with someone, I will go to her. Second, I am still unsure of the process behind the selection of public works. Regardless, two solid artists, former teacher and student, are getting serious exposure in a venue that will see more foot traffic than any Nashville museum could ever dream of getting. Question is — do those feet have eyes? Hope so!
