What does it mean to be changed by heat? To be transformed by fire? To smoke incessantly? Indecently? In search of answers, Public Pool is pleased to announce another edition of The Good Tyme Writer’s Buffet.
Building from the art in our current show, “CUT PASTE BORROW BURN,” we have selected 8 authors and asked them to respond with short ten-minute readings to the idea of BURN. Did I mention that two of them are coming all the way California. It’s true!
Between readers, Jeff Fournier will be spinning discs.
Don’t forget, it’s a neighborhood potluck. There will be warm food to fill your stomach. Bring your hunger and your hamburger. Bring your thirst. Bring some yummy dish for our table.
Details on the authors:
John Rodwan is the author of “Holidays and Other Disasters.” (2013)
Tobi Cogswell is the author of the poetry collection “Poste Restante” (Bellowing Ark Press, 2009) and several chapbooks. She’s the co-editor of “San Pedro River Review.”
Jeffrey Alfier is the author of “The Wolf Yearling” (Sliver Birch Press, 2013) and multiple chapbooks. He served in the Air Force for 27 years. He is co-editor of “San Pedro River Review.”
Ken Meisel is the author of “Beautiful Rust” (Bottom Dog Press, 2009), “Just Listening” (Pure Heart Press, 2007), “Before Exiting” (Pure Heart Press, 2006) and “Sometimes the Wind” (March Street Press, 2002). He was a Kresge Fellow.
Joy Gaines-Friedler’s first poetry collection, “Like Vapor,” was published by Mayapple Press in 2008. She facilitates workshops with homeless adults and families of victims of homicide.
Caroline Maun’s latest book, “What Remains,” was published by Main Street Rag Press this year. She teaches at Wayne State.
Michelle Webster-Hein Has published stories in various journals. “River Teeth,” “Upstreet,” “McSweeney’s Internet Tendency,” and “Midwestern Gothic.” She teaches in Ypsilanti.
Steve Hughes publishes Stupor. He’s a member of Public Pool.
Ongoing exhibition: CUT PASTE BORROW BURN the work of Christina Galasso and Anne Harrington Hughes. This show runs through December 21. The gallery is open from 1 to 6 on Saturdays.
About the show:
Both Hughes and Galasso utilize collage in very different manners, but both use it as method to re-contextualize and re-appropriate objects and images from vintage, historic, and contemporary sources.
Hughes’ work is based in domestic life. Marked by a singe of the hot iron, the punctures of the sewing needle, the patterns of textured cloth, and clothes pins pinching the surface of a pillow like little wooden fingers. Beneath the careful composition of Hughes’ work, there is a subtle aggression. “Things like the bandage, safety pin, and clothes pin have functional value in a household. I’m interested in removing domestic tools from their context and exploring how disparate objects might interact,” explains Hughes.
For Galasso, collage is a metamorphosis, a way to reveal layers of seemingly conflicted images. “The images tend to appear random and whimsical,” Galasso says. “But when you look closer suddenly become interconnected.” The resulting visual experience implies movement, energy, decay, build and transformation—all changes that occur with the passage of time. The scenes she creates imply a narrative, a new mythology. For the show, Galasso has created a small library of intimate arrangements.