This Month at Saul Alexander: Alvin Glen

"Low Country Rhythms"

Implementation of the rice pounding sounds into spiritual and secular rhythms changed the pulse of Charleston and the world. The featured images in this exhibition illustrate the brilliant hopes of the freed African -- the sounds of those pounding rice and creating what one can only imagine as the root sounds of gospel and jazz music in America. Observe the images on display, and imagine the rhythms and vocals as the rice was pounded, celebrating freedom, self-sustenance, and the new spirit in the life of the community. Alvin Glen was born in Dorchester, SC, and he grew up in a rural farm area during the end of "Jim Crow" rule. Glen was exposed to civil rights and religious leaders, and his family taught him how to positively blend those exposures. 

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About the Saul Alexander Gallery

The Saul Alexander Gallery provides space for juried solo or group art exhibitions at the Main Library, located at 68 Calhoun Street in downtown Charleston, S.C. The gallery submission period for consideration in 2020 has ended. The open submission period for 2021 artists is open through September 2020. Download the 2019 artists booklet.

The works of each selected artist or group will be exhibited for one month. Artist submissions must include a gallery application, which is available online or by calling Jaclyn at 843-805-6842. For more information, please email [email protected].

Gallery Procedures

The exhibition space serves as an avenue for the respectful exchange of artistic and conceptual ideas within a diverse constituency. Featured artists are selected by a jury of local art professionals, and the CCPL Gallery Committee selects artists and craftsmen on the basis of the quality of their work and its suitability for the space.

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Schedule of Exhibits

January 2020 Alyssa Hopkins Lowcountry Landscapes
February Alvin Glen Low Country Rhythms
March Jirah Perkins MSS MARY MACK: An Homage to Black Girl Nostalgia
April Katherine Taylor The Dream Chaser
May Mia Designs
June CCPL Cynthia Graham Hurd
July Andy Allen Facing Life
August Kalah Craford After the Imagination: The Art of Progression
September TheDoc1998 Dorian's Wake and the Search for Our Disappearing Manhood
October Alston Singletary Sweetness, Pleasantness, My Delight
November Stephanie Ondo Blue, Red, Gold
December Bette Mueller-Romer Remembered Voices: Women In Literature
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Previously in the Gallery

January - Alyssa Hopkins

Images of grassy marshes, twisting oak trees, splashing waves, and large front porches have made South Carolina a place Alyssa Hopkins has always been drawn to, and that she currently calls home. Alyssa hopes to capture this unique spirit in each of her Lowcountry landscape paintings with a focus on color, light, and movement. Alyssa has been working in pastels since 2014, and there is no waiting for layers of paint to dry before proceeding or worrying about brushes drying when a busy life calls her away from the easel.

November - Dayton Colie

Dayton Colie became fascinated by the fact that multiple ancient cultures around the world shared an aesthetic vocabulary despite never having contact with each other. As a result, he spent the last few years exploring the human relationship with the circle. His exhibit uses a mix of sacred, circular and secular math to examine the philosophical, social and symbolic interpretation of circles. What began as an attempt to understand the meaning and math of crop circles morphed rapidly into a reflection on life and the human experience. We all share circles. All of humanity shares a ride on planet Earth as it orbits the powerful universal symbol that is the sun. All of our actions cause metaphorical ripples in the pond that is the universe — sometimes those ripples overlap and react in new and unexpected ways. Dayton hopes everyone who shares his circles goes forth to create a steady stream of positive actions so that ripples of kindness permeate all that surrounds us.

September - Jane Ann Sweeny

The initial choice of a particular wood section is an integral part of her process, as she creates images in collaboration with the knots and grain of the wood. The grain of the wood in her pieces accentuates that the work is in fact a woodcut and not a painting. Once she is finished carving, the woodblock is covered with ink, and the relief image on the wood is transferred to paper using a printing press. The woodblock is reduced by carving and run for each color. The color left on the wood is the last color transferred. This creates a limited edition of original, self-pulled prints.

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