Jack Dura

For over five years now, the Trollwood Performing Arts School has taken up residence at the Bluestem Center for the Arts, leaving its park venue in north Fargo in 2008. Generations of area students have entertained audiences across the years with soaring musicals and community collaborations, and for one Trollwood performer, this summer’s show, “How to Succeed in Business Without Really Trying,” marks the end of five years with the arts program.

Samantha Raun, recent graduate of Davies High School, will take the stage for the final time this summer as Trollwood’s most seasoned performer. Her roles have varied in past productions, and in this musical, she is glad to have an exciting challenge with her secretary character Smitty.

“This year has been a really nice kick in the butt and challenge for [dancing] because I do have to dance and I do have to be a part of those big chorus numbers, and really, I haven’t actually done that even being out here for five years,” Raun commented. “It’s been a really good challenge but it’s been a lot of fun with that as well.”

In the fast-paced plot of “How to Succeed,” all cast members have to be on their toes, and Raun is happy to go out on a show like this. Following a window washer who navigates the corporate ladder from the pages of a book, this show brings the retro lifestyle and scenery of the 1960s to the stage of the Bluestem Amphitheater.

That’s just another thing Raun likes about her role and the show.

“It’s really fun because it has an urban feel to it. It’s set in the ‘60s, and that’s kinda fun to incorporate that in contemporary times, bringing back some of that vintage style with costumes and props you see,” she said.
Dozens of students from all over the Fargo-Moorhead area come together in the cast, crew and pit orchestra of this show. Twelve-hour days of rehearsals in the heat of summer are a labor of love for those involved, and often feels like a full-time job. For Raun, it all comes back to the mantra of “choose a job you like and you will never work a day.”

“[P]eople up here who do this love it so it doesn’t feel like so much work,” she said, adding, “there are times I want to splash in a pool when it’s 1 p.m. and blazing hot.”

When opening night roles around and Raun and her fellow performers mount the stage, it will be a broad collaboration of area youth bringing the wit and style of a fashionable ‘60s show to the community at large. And for Raun, who has seen the turnover of Trollwood students over the years, she gets to see it start all over again for those in their first season.

“It’s kind of a sad feeling but it’s also exciting because I’m at the point where I can see the cycle starting to start over,” she said. “That’s been a big goal of mine as somebody older here to be able to make this summer as enjoyable and as magical as it was [for me] for the younger kids.”

IF YOU GO
WHAT: “How to Succeed in Business Without Really Trying”
WHERE: Bluestem, 801 50th Ave SW, Moorhead
WHEN: 8:30 p.m., Wed-Sat, July 16-19, 23-26, 30-August 2
TICKETS: trollwood.org

By Sabrina Hornung
thealabasterdisaster@gmail.com

Meredith Lynn is one busy lady. Not only is she the new interim director at The Rourke Art Museum in Moorhead, but she has also served as director of Nemeth Art Center in Park Rapids, Minn., for the past three years and is the fourth artist in residence as part of The Arts Partnership’s community-centered initiative in collaboration with TMI Hospitality.

Her latest body of work, “Elkhorn Ranch,” consists of 13 drawings and a limited-edition artist book that explores the ideas of grief and place.

“It feels natural to grieve in Fargo in the winter,” Lynn said. “But there’s something about the harshness and isolation of the environment that continually snaps you out of it. I’ve lived all over the country, and in no other place have I been so routinely reminded of my own fragility as I am here in the winter.”

Though she has never been to Elkhorn Ranch, she uses the name as a metaphor for Teddy Roosevelt’s pre-presidential experience in North Dakota, where he went to grieve the deaths of his wife and mother. Lynn made her own parallel as she grieved the tragic death of her college roommate. 

“I like to think that [Roosevelt] had the extreme version of my own experience,” she said. “The cold, the wind, the harshness, the difficulty of just maintaining life here in the winter probably took up all his emotional energy. And once he was OK again, he moved back to Washington and ran for president.”

The artist uses herself as a model for many of the drawings “to capture an emotive quality often not found when working with another,” according to her artist statement. It only makes sense for an exhibit that is so deeply personal. She also incorporates text within the pieces, giving the work a very distinctive graphic quality that ties in nicely with her interest in the book arts.

The young artist was introduced to book art in college at the University of Iowa. At first she started to take books apart to make them her own, and she eventually studied book production.

“The engineering and problem-solving side of it is appealing to me, as is the capacity for creativity. I love thinking of an object — the way it should move and operate,” Lynn said.

She is also the mastermind behind Rust Belt Bindery, a Moorhead-based book bindery.

“I created Rust Belt Bindery as a way for me to do book art work and collaborate with artists and writers without monopolizing the ownership of the projects,” Lynn said. “For Rust Belt, I invite artists and writers to collaborate, and I design, print and bind the fruits of those collaborations.”

As The Rourke’s new interim director, Lynn is focusing on nourishing the museum’s already strong roots.

“The amazing thing about the organization is the rich history and long-standing relationships individuals have to the place. We’re working hard to honor the traditions established over the past 50 years while updating some of the practices,” she said.

“One thing I feel very strongly about is education. Museums have an obligation to provide strong educational programming and occasionally leave the comfortable confines of the museum building, so we’re developing some exciting educational and community-based opportunities.”

With her roles as an artist, book binder and director, Lynn has her hands full. But having what seems to be the Midas touch of creating and supporting a creative community, she’s golden.

IF YOU GO

Meredith Lynn’s “Elkhorn Ranch” drawings
Opening Thurs., July 17, 5:30-7:30 p.m.
On display till Nov. 9
TMI Hospitality, 4850 32nd Ave. S., Fargo

By Sabrina Hornung

They say the world is a stage and if it’s a small world it’s time to build a small stage. The Plains Art Museum is offering a free Toy Theatre Workshop this July 14 to 17 for artists ages 16 and up as part of its “Living as Form” artist-in-residence series.

Those participating in the workshop will build tabletop stages for a performance that will address, explore and question the relationship of oil and water in a production of “Its Presence Reaches Everywhere.”

The production will be led by Sandy Spieler, artistic director of In the Heart of the Beast Mask and Puppet Theatre, best known for its mask and puppet artistry that’s inspired by centuries-old traditions and multicultural references.

The Heart of the Beast, based out of Minneapolis, produces original plays at its home base in Minneapolis and for touring purposes. It teaches puppet and pageantry workshops and residencies that benefit not only children, but also adults, educators and communities. Spieler has directed events in South Korea, Los Angeles and the Dominican Republic, and has led residencies throughout the region.

The Heart of the Beast is also known for its iconic MayDay Parade and Festival, filled with music, dance and large-scale feats of puppetry. A full-on mobile theatrical experience, festivities also include the Tree of Life Ceremony, which brings in 200-300 all-age participants and over 35,000 spectators. 

Visual artists, performing artists and educators are all encouraged to participate in this free workshop. All participants will receive a letter of participation that may be used for recertification purposes. All groups involved will participate in a public performance, Thursday Night Live, on July 17 at 7 p.m. Snacks and drinks will be available starting at 5. One could consider this post-work event an art-inspired happy hour.

July 17 will be a big night for the Plains Art Museum. Not only will there be puppet shows inside of the museum, design students, artists and community members are invited to aid in the construction of Nature Experience & Shelter Transformer (NEST) with Moorhead-based artist Dwight Mickelson. According to plainsart.org, NEST is “a portable center for experiencing nature-based art, music and dance in the FM landscape built on a mobile trailer.” Visitors are invited to view NEST the following day to return to the natural world after the rigors of the street fair and enjoy prairie grasses between your toes as they enjoy the shade, art and music that will be provided.

IF YOU GO:

Toy Theatre Workshop
Mon-Thur, July 14-17, 9 a.m. to 4 p.m.
Plains Art Museum, 704 1st Ave. N, Fargo
Deadline for registration: July 10
Performance: Thurs, July 17, 7 p.m.
FREE
plainsart.org

Jack Dura

Leading into its 12th season, Theatre B is offering an outing for fans and theatergoers to see what’s up the road at the downtown theater in 2014-2015. Another season of award-winning plays is around the bend and Theatre B has much in store for those in attendance.

What started as a simple way to say thank you to supporters and socialize outside of the theater has become something a little more exciting. Keeping things casual, the preview party takes a look at the shows in the coming season while fans have the chance to hobnob with those behind it all.

“[W]e don’t really have social space at theater so we wanted an opportunity to have a social time,” executive director Carrie Wintersteen said.

Theatre B takes to the Dakota Medical Foundation building in south Fargo for this evening of art and appetizers. Wine tasting from Bernie’s and hors d’oeuvres from Mezzaluna are all lined up, and it couldn’t be easier to attend.
“You just come,” Wintersteen said. “We appreciate RSVPs just so we have an idea of how much food to have on our hands.”

The event is not a fundraiser, but those in attendance are welcome to contribute however they would like.

“We obviously would accept donations, and in many cases, the fans who come do think of this as a marker of time to renew their membership and time to renew their season tickets,” Wintersteen explained.

Season 12, coming soon …

Several scenes from Season 12 will be glimpsed at onstage this Tuesday. But for those who can’t make it to the preview party, here is what to expect.

Season 12 gets rolling with the award-winning “Wit,” a play Wintersteen described as “perhaps one of the funniest plays about cancer that you might see.” Weaving the story of an academic professor stricken with stage four cancer, “Wit” takes its audience and actors on a journey through its main character’s roller-coaster ride in an aggressive, experimental study to treat and cure her cancer.

“It’s interesting because the medical community is not viewed in a particularly sympathetic way, and she as a character is not viewed in a particularly sympathetic way,” Wintersteen commented, adding that the journey between the two makes a “brilliantly written play.”

“Storefront Church” follows “Wit” at Thanksgiving time, offering a story of decisions and all the ramifications that result. A pastor’s crisis of faith and solutions from an unlikely place encapsulate this holiday show.
Perhaps the biggest show of Theatre B’s new season is “33 Variations,” an intertwined tale of Beethoven, a musicologist and the famous works of the 18th century composer. As both characters decline in body and mind to their respective ailments, the keys to creating and unlocking Beethoven’s masterpiece are shared in this collaborative offering.

Teaming up with the Fargo-Moorhead Symphony, the Fargo Public Library, the Fargo Brewing Company and others, Theatre B will produce a work it has striven to show for years. Hampered by its small settings for some time, the key to working with its space was in getting creative, and February will be a special time for Theatre B when this play rolls around.

“We’re actually hoping to do a community-wide February festival,” Wintersteen said. “The Fargo Brewing Company is going to make a ‘Beer-thoven’ brew, so it’ll be February Fest … The library is involved, there’s several screenings of films that they’re going to show.”

After this, in April, the season closer will be Christopher Durang’s “Vanya and Sonia and Masha and Spike.” Described by Wintersteen as Anton Chekhov’s “Three Sisters” meeting the sitcom “Frasier,” this parody play has unexpected turns and plenty of comedy.

IF YOU GO

Theatre B’s Sixth Annual Preview Party
DMF/Impact Foundation, 4141 28th Ave S
7 p.m. Tues, July 15
FREE
RSVP: 701-729-8880, info@theatreb.org

By Jack Dura

For 32 years, the Gooseberry Park Players have entertained audiences with shows containing family-friendly messages for the whole community. This summer’s offering is no different, and those putting it on — actors between ages 11 and 18 — have found something special in “The Sound of Music.”

Director Debbie Griffith, in her second year with the players, places great worth in this story and production. Not only does it sport a strong message, but it offered an opportunity for a vision of hers, and those are just a couple of her favorite things.

The show’s design is something Griffith has wanted to take a risk on for a while. With the idea of beginning in black-and-white and bringing in respective colors over the first act, Griffith’s vision had positive potential here. Through costumes, set pieces and lighting, the various colors gel well with a story that Griffith extolls as hopeful.

“Music and art bring life and hope to any situation, no matter how dark or despairing it may seem at the time,” she said. “This story, being a true story, is one of courage and of hope.”

Based on the true-to-life Von Trapp family and their flee from Austria following the Anschluss, “The Sound of Music” is most known in its film format. Starring Julie Andrews and Christopher Plummer, the 1965 cinematic classic snatched a slew of Academy Awards and pounded a passel of songs into pop culture.

With all of that comes the strong message of courage and conviction in the face of unimaginable odds, embodied by all members of the Von Trapp family, especially Captain Georg von Trapp. His situation is what Griffith points to as a prime example of the message of the musical.

“He was a good man with a good heart, and even with that risk to everyone in his family, he chose not to fly the flag, he chose not to follow Hitler, he chose not to take his position in the navy and he fled the country with his family,” she explained. “That takes courage, and I think that’s a message we all need to hear. Courage doesn’t mean the absence of fear, it means going forward in spite of it.”

While there isn’t a wide age range of actors in this show, Griffith stands by her youthful actors and is proud of what they bring to the roles. The show two leads in the parts of Maria and the captain are 13 and 15, respectively. Yes, this is a story with ages from elderly to under 11, but the Gooseberry Park Players take it all in stride.

“The maturity and the authenticity they bring to the roles is amazing for having only those many years in their life and only a certain amount of experiences,” Griffith said, adding that she has drawn from experiences in her life in the roles of wife and mother to help her actors bring further believability to the roles.

“… I can communicate ideas of how a husband and wife might yell or walk away, but that’s because I’ve also experienced it. Being able to try to communicate and draw those same emotions for those connections with the characters is a little bit more challenging because they don’t have as many experiences to draw on.”

Regardless of the challenges presented with this show, the Gooseberry Park Players have put in the time and talent to make “The Sound of Music” everything it should be. With family-friendly content and a message to remember, it’s a show for everyone to enjoy.

IF YOU GO:

“The Sound of Music”
Concordia College’s Frances Frazier Comstock Theatre
7:00 p.m., Tues-Sat, July 15-19 & 1:00 p.m., Sun, July 20
218-299-3314, gooseberryparkplayers.org

By Jack Dura

Find a night in July and mark it on the calendar for a show unlike anything else on the schedule this summer. Blur, a new, innovative, creative performance collective, has taken F. Scott Fitzgerald’s classic novel “The Great Gatsby” and re-imagined it in a whirl of choreography, music and visuals for a new kind of showmanship experience.

In film, stage play and even operatic formats, “The Great Gatsby” has been told and retold through many means. The story is a well-known one and if someone didn’t read it in high school, they may have seen the recent film version starring Leonardo DiCaprio. It’s a classic, plain and simple, but old becomes new with Blur’s adaptation of this American treasure.
“We’re exploring what theater could be, not what theater is,” director/choreographer Ryan Domres said. “That’s why we’re taking an American classic and trying to … broaden its horizons and to explore what it could be beyond what it already is.”

Driven by Fitzgerald’s text and infused with music, Blur’s “Gatsby” relates the tale through staying true to the story but venturing beyond the usual boundaries. Music with flavors of the Jazz Age but also of modern times helps propel the show and blend the Roaring ‘20s with 2014.

“I think it speaks to Fitzgerald’s writing because it’s timeless,” ensemble member Kelsey Schroeder said. “You choose to set it in the ‘20s because that is the story. It’s based around themes of what happened in the ‘20s.”

“The dancing, prohibition, changing social norms and customs — it all ends up being still very timeless and relevant,” assistant director/ensemble member Jordan Krsnak added.

Preserving Fitzgerald’s language and exploring new territory through music and choreography are the keys to Blur’s adaptation, and an ensemble of 12 artists carries this all out. Trained in the triple threat of acting, singing and dancing with individual arts experience to boot, every member of the ensemble has the guns to deliver a production of this caliber. In a story told through movement, everyone has to be on their toes.

What’s more is that Blur has chosen to design the show in such a way that roles are unknown. Propelled by ensemble power, this “Gatsby” brings its performers together to tell the story as one. There are a couple reasons for this nameless casting as Blur wants its audiences to follow the story as they tell it, not get caught up in pinning down performers with their characters. There won’t even be a program, as a matter of fact, but a cast list outside the venue is available, albeit sans roles.

“I think that our focus is that, since this is a classic, is on the ensemble,” Schroeder commented, “and it’s about the story that we’re telling, not about who’s telling what, and it goes in the theater world that a lot of times, it’s like, ‘Oh my gosh, did you hear that so-and-so is playing so-and-so?’ and that’s not our aim. Our aim is to tell the story in the way that we’re telling it.”

This show’s performance space also furthers the experience offered by Blur. Moving away from the amenities of North Dakota State University’s Festival Concert Hall where 2013’s “Grease” was staged, Blur will plop down a pop-up performance dome in downtown Fargo (at an as-of-yet unrevealed location) for this production. Seating 200 and one of the first pop-up shops for theater in the region, Blur’s new staging came with some big pluses.

“[T]o do it in downtown Fargo, just to be part of the atmosphere, contribute to commerce there, to be part of the flourishing art and theater scene that is happening in downtown Fargo currently,” Domres explained. “We feel it will be a really innovative backdrop for the show.”

If its one-of-a-kind venue is not enough, the whole show is staged in-the-round style and follows a few veins of Cirque du Soleil with movement and actions going on at all times, stimulating the senses throughout the whole 70-minute performance. In fact, there’s something for almost every sense here, as not only eyes and ears take in the show, but the nose as well.

Stretching the imagination and the possibilities with an old classic like “The Great Gatsby” should make for a surely singular experience, and combining so many elements of entertainment into one imaginative production is what comprises this outing.

“We’ve all been to theater where you can sit down for two hours and then you’re so separated from what’s happening,” Krsnak said. “We just want to totally immerse them in an engaging, evocative experience that just really blurs the lines between audience and actor.” 

IF YOU GO
“The Great Gatsby”
The Fargo Theatre
July 17-21 at 7 p.m. and 9 p.m.
$25-$30, 701-212-8274, experienceblur.com

By Jack Dura

Photo by Amanda Citrowske

After four shows so far in their 51st season, the Straw Hat Players of Minnesota State University Moorhead are wrapping up another summer with a musical that has been a mainstay of theater and pop culture.

“Fiddler on the Roof,” the classic Broadway musical, serves as this finale, relating the tale of poor Jewish dairyman Tevye and his family in the uncertain social climate of 1905 Russia. Combining some memorable musical pieces with a story of clinging to convictions while outside forces threaten to undermine everything, “Fiddler” offers more than the usual Straw Hat gaiety.

“The piece makes us, as audience members, reflect on what is important to us as human beings,” director Craig Ellingson said. “Either we choose to change or we don’t, and I think that if we don’t change and evolve as things around us change and evolve, then oftentimes we’re left behind.”

With five daughters, three of whom are out to marry, Tevye finds his faith and culture tested when prospective husbands don’t fall in line with his ideals and customs. On top of this, the political and social movements in Czarist Russia threaten to upend the family completely, as Jews become evicted from their villages and violence starts to erupt.

By searching his soul, and with a little song-and-dance, Tevye reaches inside himself to grapple with the struggles gripping his family and village. Songs such as “Tradition,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “If I Were a Rich Man” serve as vehicles for explaining the issues of the play’s day, like arranged marriages, poverty and social roles.

“If people are not familiar with the play, they are definitely familiar with the tunes,” Ellingson said.

Ellingson admits “Fiddler” was most primarily chosen for being such an excellent example of good family theater. Its music and choreography is entertaining and main character Tevye is one whom nearly everyone can identify with in some way, shape or form. This title is also a popular piece for high schools and colleges to perform and has its roots planted firmly in our pop culture with countless TV references, parodies and cover songs.

“Fiddler” is also a grand example of what the Straw Hat Players are all about, and Ellingson cites this show as a must-see for anyone who has not attended a Straw Hat piece before. It not only involves everyone (plus a few extras), but it caps off another season showcasing young talents all around.

“It is a great title and everybody who has seen the other shows are going to continue to be entertained by this great company of young actors that we’ve put together.”

IF YOU GO
“Fiddler on the Roof”
MSUM’s Hansen Theatre
7:30 p.m., Thurs & Fri, July 10-11, Tues-Fri, July 15-18
218-477-2271

By Jack Dura

A full-fledged musical production doesn’t usually pop up for another run a year after closing, and with its cast still mostly intact. Such is the case with Act Up Theatre’s “bare: a pop opera,” the social justice theater company’s August 2013 production that created a space for discussion on social issues facing today’s youth and LGBT community.

Deciding to remount this socially relevant show came out of a couple reasons — the biggest of which was to answer to those who felt they knew someone who had to see “bare.”

“One of the things we heard over and over again was ‘I wish so-and-so could’ve seen this production’ or ‘I’d like to bring my children to this show’ or ‘I have a friend who really needs to hear this message,’” director Rebecca Meyer-Larson said. “During the talkbacks … the repeated message was somebody needed to see this show and the conversation needed to continue.”

Talkbacks following last year’s performances created a specific space for conversation on issues such as mental health, youth suicide and coming out. Religious leaders from various faiths in the community as well as youth advocates such as the Jason Foundation and the Trevor Project were all on hand for discussion on the themes seen in “bare.”

From questioning sexuality to teenage pregnancy to body image to drug use, “bare” covers a lot of ground with its themes of youth struggles. Its characters, all students at a co-ed Catholic boarding school, each face troubles in their lives, troubles that are very real for many in today’s society.

Remounting “bare” to once again open the door for conversation on the issues seen in the show is what this rerun is all about. For Meyer-Larson, revisiting “bare” is paramount to the aims of Act Up Theatre, and this production certainly fulfilled its purpose the first time around.

“It’s okay to say ‘I’m hurting,’ and there are people there who want to help and that’s our goal,” she said. “It goes beyond a really beautiful show and an important message. If we aren’t connecting the community with people who can help, then we have failed in our mission.” 

This summer’s run of “bare” doesn’t end with Fargo, however. A three-show stop at Minneapolis’s New Century Theatre follows the dates at The Stage at Island Park, and then the production packs up for a jump to Scotland. Appearing as part of Edinburgh’s International Fringe Festival in August, “bare” will join over 3,000 other productions for the world’s largest performing arts festival.

“If we want to continue the conversation on a global scale, that’s the place to take it,” Meyer-Larson said.

With the production dormant for 11 months, rounding up the cast of “bare” for this revival wasn’t as difficult as it may seem. Students of high school and college mainly comprised the cast and through the difficult subject matter and intimate conversations, the cast bonded and became like family.

“There was a lot of healing that happened last summer,” Meyer-Larson commented, “and yesterday we were at rehearsal and [one of the performers] said ‘I was aching to get back to these people,’ and so it’s been like coming home.”

Like last year’s run of “bare,” there will be opportunities for conversation on the show’s themes. A Friday talkback on youth suicide will take place, and Meyer-Larson points to these discussions as paramount to Act Up’s mission of arts for advocacy and social justice theater.

“I don’t fear conversation. People don’t need to be scared to talk about this,” she said. “If we could just open up our hearts and have real conversation, there’s healing that happens from that and nobody should fear conversation.”

IF YOU GO
“bare: a pop opera”
Thurs-Mon, July 10-14 at 7:30 p.m.
The Stage at Island Park, 333 4th St. S
actuptheatre.org

Each CJewelry piece sparkles with an unique and authentic story. The one-of-a-kind piece is a mix of upcycled material, refashioned vintage jewelry and crocheted wire.

CJewelry creator Cortnee Jensen credits her jewelry-making start to necessity rather than direct ambition. In fact, in the past, Jensen would’ve stated that she is not creative at all.

“I started going to school for biology and was in hard science classes, moving little bit of liquids back and forth, that didn’t ft,” Jensen said.

Jensen went from the lab to doing national service for a year with AmeriCorps, working with sexual violence victims. From there, Jensen worked with the Salvation Army and moved up through the organization to work in public relations and marketing. Then Jensen was offered a job as a host for a radio morning show.
While working in radio, Jensen was asked to help with planning numerous events.

“In Rochester, Minn. I was invited to be on the board of the Aids Prevention group. We planned this huge wonderful awareness event with the Rochester Street Fair,” Jensen said.

The Rochester Street Fair gave the Aids Prevention group use of the stage for the day under one condition: Since it was a craft fair, the group had to make something to sell.

“We all kind of looked around and said, does anyone make anything?” Jensen said.

Jensen suggested the group make little, jewelry-like awareness ribbons.

This jewelry-making mindset propelled Jensen’s curiosity at home. She saw her husband’s roll of hardware wire on the kitchen counter and thought, “hmm I wonder if I could crochet wire?” In the past, Jensen crocheted baby blankets to donate. Jensen wasn’t too impressed with her first attempt to manipulate the wire.

“It was horrible, hideously ugly, but once an idea is in your head, you just kinda just keep going till you figure it out,” Jensen said.

In the beginning, Jensen creatively used a variety of different items for the jewelry, including shoe buckles, belt buckles and beads from both old dresses and bedspreads.

“It’s amazing what you can find to use,” Jensen said.

Jensen continued to add items to her crocheted wire pieces. She first refashioned vintage jewelry when she wanted to keep some of her grandmother’s items after she had passed.

“I just keep thinking, this isn’t my style, this isn’t what I wear or what I do,” Jensen said.

Refashioning her grandmother’s jewelry allowed Jensen to hold onto sentimental jewelry while intermingling her own taste and style. Jensen began to wear her homemade, unique pieces and people took notice, asking how they could purchase a necklace like hers. Motivated by these frequent inquiries, Jensen attended several craft fairs selling her refashioned necklaces, earrings and rings. 

“The beauty of my work is that every piece is one-of-a-kind. The challenge of that is that there is only one of each, so having a website is difficult, because you post something, it sells, people keep seeing it and want it,” Jensen said.

Jensen’s personal and unique jewelry will keep her business small.

“Everything I do is very personal. My preference is to have someone bring me their jewelry, their vintage and sentimental pieces and then I create something out of that,” Jensen said.

Jensen maintains a CJewelry Facebook page, so she can showcase her work and connect with customers over the social network. Jensen likes to speak with a person about the item, examine it to make sure it is durable enough for it to be converted, and lastly, to learn about the person’s personal style.

“I always encourage people to hold onto any jewelry because we might be able to make it into something different,” Jensen said.

Although Jensen does not consider herself a crafter, rather a creator, she will attend several craft fairs throughout the area this summer. CJewelry will next appear at Fargo’s Downtown Street Fair July 18-20. Jensen continues to strive to make pieces that empower women.

“It’s so cliche to say that I want a woman to feel beautiful. What I go for is to make a woman light up, for her focus to be on the piece and it just makes her happy,” Jensen said.

YOU SHOULD KNOW:
541-817-9023
2cjewelry@gmail.com
https://www.facebook.com/2cjewelry?ref=br_tf

By Tessa Torgeson

Kristine Wallin’s spunky, charismatic personality shines through in her collage art. It often features Wallin’s witty sayings, such as “Oh, that’s adorable that you think I care,” “Be the change, sassy pants” and “medicated for safety.” Many of the collages are R-rated, so Wallin’s creations, which she calls “Bipolart,” are sold at One World Imports on Main Avenue in Fargo where she does not have to censor herself.
With bright, vivid colors, hilarious sayings and whimsical images, it is not difficult for Wallin to sell her art. The only difficulty is that sometimes vendors won’t place it because they worry kids will see it.
“I’m an acquired taste. I say what people think and won’t say out loud. I just say my thought bubble out loud,” Wallin says.

While Wallin’s most popular collage work are on canvases, she also uses key chains, magnets, buttons, rings, suitcases, tables, TV trays and other found objects. One of the most interesting items she has collaged in a step ladder.

“You can collage anything that doesn’t move,” she jokes.

Not only is Wallin’s art unique, it is also eco-friendly. Inspired by the old adage one man’s trash is another man’s treasure, she often repurposes items she finds at rummage sales or thrift stores. She finds positive and sees potential in old things. Art has helped her see the positive in things and also inspire others to see beauty in imperfection.

“Today I was teaching a little second grade boy how to collage a coaster. He was upset he didn’t cut his piece straight and wanted me to help him make it straight. I told him it did not need to be perfect and his looked good,” Wallin says.

Wallin demonstrates, tearing off a piece of paper with frayed edges, “You can always smooth it over later.”

Wallin had just finished teaching collage to 68 second graders. In addition to selling her art and custom work, she does “Crafternoons.” Crafternoons entail Wallin bringing supplies and teaching collage for a per person fee. Wallin has taught everywhere from schools to treatment centers to psychiatric hospitals. Wallin believes art is therapeutic, and she struggles with mental health herself, specifically bipolar disorder.

“We all have struggles in our life. I am no different from anyone else. The canvas is my counselor. My hands tell the story. The canvas simply listens with no judgment. The paper is my emotions. The glue grabs onto my feeling and the act of placing each piece on the canvas is a symbol of me,” Wallin writes in her artist statement.

Wallin artist’s statement and the name “Bipolart” often captures people’s attention and surprises them. It is brave and courageous for her to publicly come out as bipolar, a condition that is often stigmatized. Wallin uses art as a platform for her belief that bipolar disorder is not a disease, but rather a part of her identity.

Bipolar disorder certainly does not define or hold Wallin back. She feels she is “only limited by my own imagination.” Wallin is a versatile artist and full-time sales representative with degrees in business sales, marketing, commercial art, and cosmetology.

Most of Wallin’s business is generated through word of mouth, including custom pieces such as wedding, graduation and anniversary gifts. One of her memorable project is a 24 by 36 inch family portrait done in her quirky style which she made to match a family room at a lake cabin.

“The biggest compliment is when I see someone smile and they get it. I affected someone I didn’t know with my art. No one got it, or me before, and now they do,  it helps them embrace me,” Wallin says.
Wallin’s art may be found at One World Imports in Fargo and you may contact her for inquiries about custom pieces.

YOU SHOULD KNOW:

facebook.com/kristinethykesoncreationsbipolart
701-200-3438