Category Archives: Bring Your Canary

Bring Your Canary: Peter Galle

In this, the newest installment of Bring Your Canary, we’re diving into the performing arts again.  BYC is a little trip into the minds of some of the most talented local artists who you know, or should know.  Peter Galle is just such a one.

Peter Galle of Threshold Rep

Galle is the marketing, social media and grants coordinator for Threshold Repertory Theatre, one of the city’s newest companies that is really making a name for itself in professional theatre.  He is also the lead in their current production of playwright Martin McDonagh’s Lieutenant of Inishmore, playing through February 19th.

The young actor was born and raised in Charlotte, where his mother worked with several “equity” theatre companies before relocating to Charleston four years ago.   In 2007, Galle moved to Charleston to attend the College of Charleston, where he studied Philosophy & English.

After graduation, Galle spent several months traveling solo through Europe and India.

In The Lieutenant of Inishmore, Galle plays Padraic, the decidedly unhinged militant son of Donny.  Poor Donny has been put in charge of guarding Padraic’s precious cat, Wee Thomas, while he’s away planting bombs and torturing drug dealers.

When Padraic gets wind that Wee Thomas is doing ‘poorly,’ he returns to his hometown of Inishmore with a vengeance, and the bloodshed begins.

Joey and Donny ponder the state of Wee Thomas

The cast spent 135 hours preparing for this production, working with a dialect coach, meeting independently with the director, and in intensive rehearsals.  The accents were impressive.  About those dialects, Galle says:

Padraic didn't take the news well...

“I’m a very young actor, and I know that, but what I have found in my process is that after a certain amount of time…a really special thing happens for each character, and they start speaking from a place in my body…that’s when I know I’m becoming performance ready,” says Galle.

“Padraic speaks from the front of my lungs, and the back inside my body and down to my sacrum…a lot of that are is your primordial, physical…instinctual center, and I think we all have the ability to encompass every single human emotion…the beauty of acting like any art, it can allow us to access the most human emotions.  I know Padraic exists somewhere inside of me,” says Galle.

Galle’s portrayal of the madman Padraic is frighteningly good.  The manic, madman state literally shines through his eyes.  “[Padraic’s] got bite to him.  He’s obviously a very damaged person, because he wants to hurt all the time, and that comes from a place of pain,” he says.

The Lieutenant of Inishmore plays through Sunday at Threshold Rep‘s new home, 84 1/2 Society Street, between King and Meeting.  Performances: Thursday, Friday, Saturday (February 16 – 18) at 7:30 pm, Sunday (February 19) at 2:30 pm.  This is not for the little ones, but the babysitter will be well worth it.  Check out The Lieutenant of Inishmore this weekend.

words: Stacy Huggins


Bring Your Canary: Nick Bailey of Nick and the Babes

For the very first musical Bring Your Canary, I’m talking to Nick Bailey, lead guitar and vocals for Nick and the Babes, an Americana-rock-and-roll band based out of Greenville, NC.

The big news: just released on November 21, 2011, My Favorite Gifts, a Christmas compilation cd released by Ramseur Records, features NATB alongside other NC darlings The Avett Brothers, Paleface, The Wood Brothers and more.  I picked up a copy at Monster Music and Movies–probably the first time I’ve been in a record store in five years.  Hey, buy local, be local, right?

It’s a fantastic cd, and as if giving Christmas music that’s actually good wasn’t enough, all profits from the sale of the album go to the Vickie Honeycutt Foundation, to help cancer victims.

Personal Note: Bailey is a long time friend of yours truly, and I am so proud to see his hard work paying off.  It is an honor to have been part of so much of it, if only as a fly on the wall.

When did you first pick up the guitar?

Age 12. My mom had an old acoustic lying around the house. She showed me a few chords. I was half interested in it. About a year later, I discovered MTV and the glamor that came with being in a band. At that point I knew I had to actually learn how to play the thing.

What was your favorite childhood toy?

A pillow case full of G.I. Joes. I was a typical boy in that sense. Graham (my twin brother) and I would play with them for hours on end.

Nick and the Babes: Rob Wank, Graham Bailey, Nick Bailey and Dail Reed

What’s your dream job?

A full time TV/Film composer. I’m lucky enough to actually do this in my spare time. I freelance for Influence Music Publishing based out of NC. Through IMP and other production companies I’ve had the fortune of working for some amazing projects.

Some of them being: 18 Kids and Counting (TLC), My Deadly Appetite (TLC), Crime 360 (A&E), Known Universe (Nat. Geo), Last American Cowboy (Animal Planet), Dad Camp (VH1), Lock Up (MSNBC), Pit Bulls and Parolees (Animal Planet), What’s Eating You (E!), Car Warriors (Speed), Searching For (Discovery), Chicago Trauma (A&E), Make Me Superhuman (Nat. Geo), Fact or Faked (SyFy),, Police POV (Tru TV), Legend Quest (SyFy), Duke Children’s Hospital Promo Video, Duke Hospital Video featuring Jeff Foxworthy, Wrekless Mindz: New York Stand Up,, A Work in Progress (film), Intel & Lenovo, Breaking Down the Bars (OWN TV), In the Bedroom with Dr. Laura Berman (OWN TV)

Who was your most positive influence as a budding artist?


Bailey with mother Becky

I’d have to credit my parents as being the biggest positive artistic influence in my life. Bob and Becky Bailey have always supported and encouraged me to do what I love. Both are artists themselves and understand the importance of nuturing art in any form. My parents have never given me the ‘get a real job and quit this music dream’ that so many might hear. Without their support I would not be doing what I’m doing today.

What inspires you to create?

Good news inspires me to get creative. So many people say that oppression is the best artistic influence, but for me it’s the oposite. I heard yesterday from Scott Pearson (Influcence Music Publishing, owner) that I’d be working on season 6 of TLC’s “19 Kids and Counting” and for me that makes me want to write music. When Bob Crawford (Avett Brothers) called and asked Nick and the Babes to do a song for their Christmas album I immediately jumped on my guitar and began writing. A lot of the ‘Nick and the Babes’ material may seem sad, about failed relationships and fear of commitment…but I can only begin the writing process once I’ve gotten over it. It’s hard for me to reflect on a situation until I’m out of it. “Punch you in the face,” one of NATB’s biggest crowd pleasers is about a failed relationship, but it came out about a year after the end of it….probably on a day when I met someone new.

If you could live anywhere in the world, where would you run off to?

I just recently visited Nashville and sat in with a band on Broadway. It was an amazing experience. If I could find a nice cozy house in the mountains of Music City I’d be pretty happy. It’s filled with energy and amazing musicians. I’m pretty indecisive, so if you asked me this next week I might say a tropical paradise spot like St. Thomas.

Finish the sentence: When I run off to the circus, I will…

make sure that no one knows about it…because who really wants to be known as a circus act?

Thanks Nick!  Make sure you check out Nick and the Babes on My Favorite Things and ‘Like’ them on Facebook!


Bring Your Canary: Jason Baxley

Mr. Baxley's Mustache

Until recently, if you knew Jason Baxley, it was probably for his insanely long beard, which has recently been hacked down to nothing.   But what you should know him for is his photography.

You can find him at the Charleston Farmers Market every Saturday from March – December, selling his photos of Charleston shot from all sorts of angles, tilt-shift perspectives and panoramic scenes.  But tonight you can find him at Buzzworthy 2, a mobile gallery and project of Stephanie Burt and The Beehive PR, taking place at The Cocktail Club, 479 King Street, from 7 – 10 pm.

Check out what Baxley had to say to the Canary:

When did you first pick up a [paintbrush/camera/pencil/charcoal/etc]?

I was 6 years old and my Aunt gave me one of those learn to draw books and I think I drew every single turtle and blue jay in that whole book.

What was your favorite childhood toy?

My J.I. Joe Hovercraft with exploding depth charges! Lotsa fun in the tub.

What do you love about your medium?
I think everyone sees the world a little differently. Photography gives me a chance to show you my perspective.

If you could live anywhere in the world, where would you run off to?

I’m exactly where I want to be. Wouldn’t mind an extended vacation in the Alps though.

Finish the sentence: When I run away to join the circus, I will…fall in love with the bearded lady.

Bring Your Canary: Kristy Bishop

the artist

Mixed media artist Kristy Bishop will be part of tonight’s Buzzworthy 2 mobile art gallery, featuring emerging artist who are doing cool things but not represented in town yet, a project of Stephanie Burt of The Beehive PR.  Check the show out — it’s at The Cocktail Club, 479 King Street, from 7 – 10 pm.

We caught up with Kristy this afternoon to ask her a few questions for Bring Your Canary–come tunnel with us through this artist’s mind!

What inspires you to get creative?
A lot of times its other artists. I am going to Art Basel next month so that will be the ultimate inspiration.  Also a lot of times when I am experimenting with something that leads to a new technique or idea


Are you a bankers hours kind of artist or whenever the mood strikes or up all night?
I usually work everyday even if its just for a little bit.  I guess I would say that I work usually from 12 to five and then again at night.

What artist(s), living or dead, would you like to have dinner with?
Frida Kahlo

If you could collect any artist’s work, regardless of price, who would you buy?
Lauren Dicioccio  

What do you love about your medium?
I feel like I can work more abstractly and the possibilities are endless.  I’ve begun working in more relief using fabric and I want this to lead to more sculptural/3-d work.

The Mossman Cometh: CJO’s Latin Night is Sold Out!

Michael Mossman will join the CJO for Saturday's Latin Night

Art Mag got the chance to ask trumpeter, composer and educator Michael Phillip Mossman a few questions about his upcoming visit to Charleston to join the Charleston Jazz Orchestra for their sold out, third annual Latin Night.  Check it out!

Is this your first visit to Charleston?

Yes, this is.

Any special plans while you’re here?

I hope to meet and interact with as many jazz musicians and fans as I can and enjoy our community, Charleston style.

What are you hoping to communicate to the Charleston audience through your music?

The music we are focusing on is Afro-Cuban Jazz. My experience with this music started with Mario Bauza, Dizzy Gillespie and Machito. All three of the were clear in that this music is people music, all people, to enjoy whether you are a hip jazz aficionado (so the music is never “dumbed down”) or a newcomer just looking for a good time (or a chance to dance a bit!)

As a performer, what is your favorite moment of a one-night show like the CJO’s Latin Night?

Well, a one-nighter like this is kind of like a wine tasting. Just enough to come away with a impression and, hopefully, good reason to come back and spend more time.

As a composer?

As a composer, those motivations are more a combination of personal taste, desire to give the musicians something fun and challenging to play, and give the audience an enduring experience.

What instruments will you be playing for this weekend’s performance?

Looks like I’ll just be bringing my trusty Yamaha Xeno trumpet! I sometime bring my trombone, but it makes the travel a bit more difficult these days…

What is next on your plate?

I just returned from Bilbao, Spain where I rehearsed their symphony orchestra in a program we will do in December. The program includes a Latin Jazz ballet called “Beneath the Mask” I composed (and my wife Mayte Vicens choreographed) originally for Jon Faddis’ Chicago band. The music is now re-orchestrated for jazz quintet and symphony orchestra. Aside from that, I’ll be doing a week at the Blue Note in NYC celebrating my hero, Jimmy Heath’s 85th birthday!

I hope you enjoy your visit to Charleston!

My pleasure, ma’am!

Best wishes,

The Charleston Jazz Orchestra is Charleston’s resident big band, and they’re always doing some amazing things.  Make sure to sign up for their emails and buy your tickets in advance.  It’s always a stellar show!

The Jazz Artists of Charleston mission is to develop, promote, and support a vibrant and creative jazz culture through concerts, special outreach events, and educational programs.  Support them today!

Bring Your Canary: Fiorenzo Berardozzi

“Some people would say I’m a potter. I consider myself a sculptor who happens to work with clay.” That’s how Fiorenzo Berardozzi clears up his role at Cone 10 Studios, a loose co-op of twenty-seven artists and four owners, including Berardozzi.

Before he was a sculptor, Berardozzi was simply a kid helping out his father, a bricklayer and stonemason. His parents immigrated to a South Dakota Indian reservation from Italy not long after Berardozzi was born so help was needed as the family found its feet in America.  From age eight to twenty-two he worked with his father and uncle every summer learning about structure, materials and hard work. At eighteen he went to school for mechanical engineering but found his studies restraining. It was on breaks where he would travel to see his sister at a liberal arts college that he discovered he wanted to be artist. After talking to the dean, he began taking some classes in pottery and sculpture. The trouble was back then you were either a sculptor or you were a ceramicist. Trapped between the two, Berardozzi kept pushing his professors, “Why can’t clay be a fine art material?” Consequently he spent his days sneaking back and forth between the sculpture studio and the ceramic studio.

Nowadays the line between potter and sculptor is blurred. The movement began during the Vietnam era as new artists began to use clay like sculpture material, a practice that was unheard of at the time. When teaching pottery began in the nineteen-thirties, universities had always taught students how to make truly refined pots, cups and vessels. To the displeasure of such institutions, artists like Voulkos and Reitz were experimenting by throwing enormous platters on the discs and gouging them out like the abstract expressionists of the ceramic field. Universities disapproved but curious galleries and museums helped launch the new discipline.

Berardozzi shows a piece, pointing out the clay armature that sits inside it. In most sculptures the armature resides in the work only during the building process, but for Berardozzi the armature is part of the sculpture. They’re almost anatomy studies or more precisely like écorché, the process in which the artist draws the bone, then the ligaments and muscles and then finally the skin. However, Berardozzi’s process allows him to do something a painter cannot. When he’s completed the piece, he’ll turn it over to reveal the insides.

“I’ve always enjoyed figures and machines,” he says as he shows me various pieces in stages of completion. “These are ready to be bisqued (fired without a glaze). It’ll be interesting to see what happens when there done.” Unlike most artists, Berardozzi won’t know what his works will look like until they are complete. The same way that those veterans would gash away at their work, the stress from the fire cracks and reshapes the piece randomly. Free radicals will cause the clay to pull apart and distort without pattern. Berardozzi not only acknowledges this lack of control but embraces it.

He shows another piece he’s been working on. Unlike the others which  are flipped to reveal the interior, this piece has had a large section of “skin” cut away and removed. “It’s almost like a grid system in there.  You lay a piece over the top and it takes the shape. You don’t know exactly what’s underneath but you just start cutting blindly.” Rarely does one see an artist so unconcerned with being in complete control and unattached to perfection.

This attitude might all stem from his training. Berardozzi came from a group of brutal professors who would break his pieces in order to break down the idea that one thing could be sacred, because when you think this one thing is sacred and perfect then how do you make another one?  How do you proceed as an artist? Therefore cutting blindly into a piece is okay because it is just clay, it can be remolded, more can be bought, time will be had and perfection is impossible anyway. Achieving something unique and interesting is possible though, but only through experimentation.

There’s a science to pottery. One has to be a geologist, a chemist and an artist all at once. A potter must be willing to put in the brutal hours of calculation and willing to accept the randomness that may proceed.

It might be said that Fiorenzo Berardozzi himself possesses a clay-like structure. First is a nearly measurable balance of dedication and humility in equilibrium like gypsum and feldspar. Next is the unknown constant, the free radical that makes an artist into an individual.

Bring Your Canary: Lisa Shimko

This past week Art Mag had the chance to ask artist Lisa Shimko a couple of questions about her work.

AM: Your work is constantly evolving. The one thing that seems constant is the presence of eyes. What’s your fascination with them?

LS: I never sit down and cognitively make a decision to paint eyes a certain way, it’s just something that surfaces.  I have had many comments about the eyes in my work, mainly that the way I paint them gives my subjects personality.

Defense by Lisa Shimko

 AM: What’s the best compliment anyone ever gave your work? 

LS: It’s an odd answer, but someone burst into tears at my last show. I’ve never found out why exactly.  They were too emotional at the time to want to talk about it.  Don’t get me wrong, I’d rather have people laugh or feel good, but I have to say it was a compliment that one of my paintings could conjure such an acute emotional reaction.

Sleep Owl by Lisa Shimko

AM: The original absurdests were reacting to the violence of WWII and the rise of new technologies and political systems. Is your work a similar reaction to something? 

LS: For so many years I’ve been quite keen on issues of the environment and how sustainable our lifestyles are in correlation to the limited resources & species available on our planet. My art was much more literal in reflecting these issues. The past year I’ve taken much more of the approach of being intuitive and trying to release boundaries in my own processes of painting letting the research and my experiences ferment a little longer and surface in less structured ways.  Maybe the paintings are a cathartic channeling, using the absurdity as a sometimes light, sometimes dark humor.

Owl Red Feather by Lisa Shimko

AM: Do you channel all your absurdity into your art or is your life just chaotic absurdity all the time? 

LS: I suppose I’m embracing the absurdity of life, channeling it into my paintings with a sense of humor.  The title of my last show Stop Making Fence was a good way to sum up not only how I went about freeing myself from my usual conventions in my process, but also how I hope people will approach viewing my work and intuitively have fun with the experience. Blue Rabbit by Lisa Shimko