AMERICAN LIFESTYLE

THE MAGAZINE CELEBRATING LIFE IN AMERICA

Compliments of Dan Shanner

Sandwich Sampler - pg. 28 | Cherry Blossom Festival - pg. 16 | Tailored Safari - pg. 6 | Honey, Honey: The Art of Beekeeping - pg. 22

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Dear Bill and Judy,

Welcome to American Lifestyle magazine! I wanted to take the opportunity to connect and share this terric gift as a thank you for your continued support through business and referrals. American Lifestyle is a celebration of the avor and air of life in the United States, and takes the reader on a journey of the nations sights, sounds, smells, and tastes. This 48-page publication features articles on interior design, travel, technology, restaurants, and culture. Entertaining writing coupled with gorgeous photography makes this magazine a must read. I hope you will enjoy receiving this magazine periodically and that you will allow me to continue to provide great service to you in the future. Please feel free to share this issue with friends and colleagues. I would love to hear what they think of the magazine too. Thank you again for always keeping me in mind. Dan Shanner

Front of Tear Out Card 1

Dan Shanner Toll Free: (866) 458-4226 Office: (610) 878-5000 Fax: (610) 878-2000 www.remindermedia.com

Dan Shanner
The Shanner Group

The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406

Toll Free: (866) 458-4226 Ofce: (610) 878-5000 Fax: (610) 878-2000 E-mail: info@remindermedia.com www.remindermedia.com

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The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406

CONTENTS

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THE ART OF BEE KEEPING

Tailored Safari

THE INTIMATE IN THE INFINITE At Shambala Private Game Reserve, a two-and-a-half-hour drive north of Johannesburg, visitors can tailor their safari to their personal tastes.

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Speed of America

THE APPEAL OF HOT RODS Article excerpted from Hot Rods by Alan Mayes (Motorbooks, 2010).

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Field of Cherries

WASHINGTON, D.C. CHERRY BLOSSOM FESTIVAL The Cherry Blossom Festival marks springtime in the nations capital, and represents the relationship between Japan and the United States.

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Honey, Honey

THE ART OF BEEKEEPING After being introduced to the beekeeping lifestyle at thirteen years old, Ted Dennard has had a relentless passion for bees.

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Sandwich Sampler

DELICIOUS PICKS FOR ANY MEAL OF THE DAY Recipes excerpted from 400 Best Sandwich Recipes by Alison Lewis 2011 Robert Rose Inc. (www.robertrose.ca) Reprinted with permission. All rights reserved.

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Hip Sophisticate

ANTIQUE AND VINTAGE IN A MODERN WORLD Californian designer Rozalynn Woods creates a home that melds hearty and rough with elegant sparkle.

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Reality Show

THE ART OF ADAM VINSON Sometimes described as a trompe loeil painter, Vinson likes painting elements like masking tape to further fool his audience.

CEr TAiN jOurNEyS, ChArACTErS ,

T H E I N T I M AT E I N T H E I N F I N I T E
text: MARTHA STEGER photography: SHAMBALA GAME RESERVE

Tailored Safari

and settings jump out as romantic because they go far beyond our everyday lives into the worlds of our imagination. A South African safariwith many exhilarating yet relaxing optionseasily moves into that romantic world of the imagination. Its not just any South African safari that can accomplish this feat: Some safaris are cookiecutter experiences shared by large numbers of guests, set schedules, and game drives rigidly set for two or four oclock. At Shambala Private Game Reserve, a two-and-a-halfhour drive north of Johannesburg, only eight Zulu-style chalets exist for guest accommodations, so you definitely wont be sharing your experience with a crowd. Youll choose the times you want your meals, whether you want a game drive before or after breakfast, and whether you sit down in the evening to a silver-service dinner or an open-air barbecue.

of wildlife roaming freely on the reserve, for safety reasons. The elephants, on which Shambala guests take early-morning game drives, were originally relocated here from Zimbabwe, where their existence was under severe threat. They are trained and cared for by their experienced trainers, with whom they have a close bond. Each elephant responds to its name and has its own personalitybut elephant-safari manager Fritz Lichtenberg cautions these are wild animals that spend the majority of every day out on the savannah. Count on seeing a few animals that you might never have heard of previouslyblesbok, duiker, gemsbok, kudu, nyala, and steenbok. You will easily spot the tall, elegant giraffe, herds of wildebeest, and troops of zebra, but bush pigs are harder to see as they trot through the underbrush with their stiff, little tails pointing upwards. Caracal and large-spotted genet are among the smaller cats, and you might even be lucky and see a porcupine with its quills erect, or a leopard tortoise lumbering along. A guide will point out the conservancy camp for raising various species of animals, such as the wild dog, whose numbers have greatly declined. As for birds in this bushveld setting with the Frikkie-se-loop River running through it, you awaken to the plaintive calls of the fish eagles, see the regal steppe buzzard and redwinged starling among others during the day, and go to sleep with the soft trilling sound of the nightjar, a relative of the seldom-seen but often-heard North American whippoorwill. When youre out on a safari, youll note the red-billed oxpeckers on the rhinos backs, which remove insects as the large animal kicks up dust in walking.
ArriViNG, rELAXiNG, DiNiNG

TrAVEL

At Shambala Private Game Reserve, a two-and-a-half-hour drive north of Johannesburg, visitors can tailor their safari to their personal tastes.

WiLDLiFE ViEWiNG

Shambala covers 30,000 acres of natural landscape in South Africas Limpopo Province. Located in the picturesque central region of the Waterberg Mountains, where the climate is sub-tropical and pleasant for most of the year, it is home to Africas famous Big Fivethe leopard, lion, elephant, black and white rhino, and buffalo. Other wildlife inhabit these grounds like numerous antelope species, including the endangered sable antelope, black impala, and tsessebe, plus the Cape mountain zebra, cheetah, spotted hyena, hippos, eland, ostriches, and a unique population of Nile crocodiles. The South African fall (the American spring) is the optimum time for seeing wildlife: The animals are more active when the weather isnt as warm, and theyre more easily seen when the grasses arent so high. While closeup game viewing in a very small group, with highly qualified, experienced guides and game rangers, is the biggest thrill of Shambala, visitors are not permitted to go on unaccompanied walks among the many species
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Martha Steger

Located in the picturesque central region of the Waterberg Mountains, where the climate is sub-tropical and pleasant for most of the year, it is home to Africas famous Big Fivethe leopard, lion, elephant, black and white rhino, and buffalo.

Along Route 33, after the town of Vaalwater but before Shambala appears, purple lavender grows in the native sandstone soil in summer, as well as young peach trees and
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WiTh iTS OWN priVATE ENTrANCE, EACh ChALET, DECOrATED iN ChiC

Afro-French Provincial style, is spacious, with a dressing room leading to a large bath and an enclosed outdoor shower.

vineyards. Youll take a slow drive through shallow waters to the distinctive entrance for Shambala, at once impressive for its thatched Zulu-dome design and completely natural for its surroundings that allow wildlife to thrive. (Wire mesh covers all thatching throughout the camp to prevent baboon damage.) Its hard to resist an afternoons open, landcruiser safari upon arrival at Shambala; but the schedule is completely tailored to you. If you want a spa treatment or a refreshing dip in the plunge pool first, a driver and guide will oblige you with the driving safari sometime before dinneror you need not take a drive at all on your day of arrival. A single or couples spa treatment including extracts of the indigenous fynbos plant is a luxurious way to wind down in the bushveld. Take something from the spas refreshment bar out onto the wooden deck adjoining the treatment rooms, and enjoy the views of the riverbed, with the sound of the water as the perfect backdrop for relaxing. The world-class chefs here will seek your food preferences upon arrivala three-, four-, or five-course dinner of African delicacies such as game, South African lamb, boerewors (spicy, South African farmers sausage seasoned with coriander and cumin)or whatever your heart desires. Each course will be paired with a wine from classic vintages of the renowned Western Cape wineries and international wine estates. Trying the traditional South African dessert (a milk tart, flavored with vanilla and cinnamon) is a must, as is sampling Amarula, the South African liqueur made from a fermented, indigenous fruit, distilled to get the alcohol content, and then mixed with cream.

Johannesburg and Cape Town:

After dinner, enjoy your Amarula or some other nightcap in the lapa (cooking/dining) area, where a fire is lit every evening to take in the great African sky. Youll note Venus higher above the horizon in the southern hemisphere than it is in the United States. Even a few minutes in the African bush under the Milky Way is magical; and, depending on the weather and time of year, you can have a grand view of the Southern Cross constellation. With its own private entrance, each chalet, decorated in chic Afro-French Provincial style, is spacious, with a dressing room leading to a large bath and an enclosed outdoor showera fanciful experience where you can hear the squawky Hadeda Ibis in the savannah beyond as you shower. The doors from the bathroom open out onto a wooden deck with views of the surrounding bushan inspiring way to open a new day. Your imagination gets many indulgences at Shambala: A chef will pack you a gourmet picnic for an unforgettable lunch in the bush. But the pice de rsistance has to be the sundowner cruise on the Steyn Dam, where you enjoy refreshments while the hippos flirt with you as their eyes bob up and down from beneath the waters surfaceand the bushveld slowly turns to dark. Before you depart Shambala, arrange to drive by Nelson Mandelas Centre for Reconciliation, which Mr. Steyn had built for the African leader and Nobel Peace Prize winner. Seeing it reinforces the English translation of the Tibetan word Shambala: paradise on earth.
AL :: www.shambalagamereser ve.com Martha Steger is a Midlothian, Virginia-based member of the Society of American Travel Writers.
Saxon Boutique Hotel Saxon Boutique Hotel

BOOkENDS FOr A SOuTh AFriCAN jOurNEy

South African Airways offers excellent service into Johannesburgs Tambo International Airport from the States. The Saxon Boutique Hotel, Villas, and Spa in Johannesburg voted the Worlds Leading Hotel every year since 2001 makes an excellent base for your stay before and after visiting Shambala. Owned by the same major South African business leader who owns Shambala (Douw Steyn), the hotel is located on a quiet, tree-lined avenue in the Sandhurst suburb, close to Sandton, the citys upmarket business area. Originally designed in 1990 as a private residence for Mr. Steyn, this idyllic spot with ten acres of gardens is where Nelson Mandela edited his best-selling autobiography, A Long Walk to Freedom. Staff will arrange for your airport pick-up and your transportation to Shambala. Premium Presidential Suites and the Nelson Mandela Platinum Suite include the service of professional butlers, who are in attendance at all hours. The full breakfast buffet and a few hours at the hotel spa are not-to-be-missed experiences. A well-stocked library, decorated in African motifs, is a haven of peace and quiet. To make your South African journey complete, add two nights in Cape Town, a two-hour flight from Johannesburg. Plan to use The Last Word Constantia as a very gracious, intimate, five-star accommodation and a convenient base for enjoying local vineyards, tranquil gardens (one of which is at this hotel), and, of course, the scenic beauty of Table Mountain and Cape Point. The hotel employs an excellent driver who speaks very good English and knows his way around the Western Cape for your personal explorations. If youre tired and dont care to venture far after returning from an active day, Peddlars on the Bend, next door to the hotel, offers an excellent, reasonably priced menu including British favorites such as fish and chips.
Martha Steger

above An outdoor sitting area at the Saxon Boutique Hotel in Johannesburg, South Africa. below Dining room tables set for mealtime at the Shambala Game Reserve.

above Pastries and cakes are served for high tea at Saxon Boutique Hotel. below Judy Maconachie, the Irish gardener at The Last Word, stops to admire a flowering shrub on the hotel grounds.

www.saxon.co.za www.thelastword.co.za www.flysaa.com

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CuLTurE

Speed of America
THE APPEAL OF HOT RODS
text: ALAN MAYES photography: AS NOTED

Article excerpted from Hot Rods by Alan Mayes (Motorbooks, 2010)

hOT rODS ArE CArS MADE

by and for a chosen few. Not everyone has the personality or stamina to drive a hot rod. They are extremely basic; little more than wheels, an engine, a steering wheel, and a seat plus the bare necessities required to hold those elements together in a functional vehicle. Or, in some cases, a dysfunctional vehicle. Most of them are noisy, they often rattle, they may be dusty, and sometimes they stink of gas and oil and exhaust fumes. The prim and proper will not like them. Hot rods belong to America. They were invented in America; they were developed by Americans, utilizing American cars and American ingenuity. There are hot rods in other countries, of course, but nearly all of them are built from American cars with American engines and American speed equipment. Even in Japan, New Zealand, France, or Sweden, hot rods are American. No Toyotas, no Volvos, no Peugeots; just Fords, Chevys, Plymouths, and Willys, with few exceptions. Hot rods were the brainchildren of American servicemen returning from World War II. These were restless men with extra money, a lot of time on their hands, and a quest for

speed and power fueled by their experiences in war. Well, thats the popular story anyway. That story doesnt explain all the hot rodded Model Ts that were running on tracks and back roads in the 1920s and 1930s. Nor does it explain the 1930 Ford roadster that has been a hot rod since 1936, nine years before the end of World War II (and five years before the United States even entered the war). The truth is, hot rods have been around in some form almost since the automobiles birth. Ever hear of a guy named Henry Ford? He and other early automotive pioneers were building hot rodsstripped-down versions of their production carsas early as 1901 in order to create publicity and raise funds for their fledgling car companies. Those were the beginnings of hot rods, and early hot rodders followed in that vein. The glamorous, sunny, and warm climate of Southern California was the original hot bed of hot rodding. The areas dry lake beds offered miles of wide-open, flat spaces where hot rodders could test both their mettle and their metal. Drivers worked on their cars during the week and drove them back and forth to work too. Then on the weekend,

Craig Mayes

above Make: Owner: Builder: Engine:

1929 Ford roadster (rat rod) Lou Lewis Gary Monday/Lou Lewis 1973 Chevy 350

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Far-out paint schemes; unfathomable driving positions; crushed-velvet, diamond-tuck, overstuffed seats; tires wider than those on any drivable street vehicle; and chrome, chrome, and more chrome. Rolling fantasies, thats what show rods were.

TrADiTiONAL hOT rODS

The name traditional hot rod has been bandied about quite a bit lately, and not necessarily with a lot of clarity. Its used to describe everything from old survivor hot rods from the early days to fiberglass street rods to rat rods to 57 Chevys. Obviously, unless traditional hot rod is a vague term with all the meaning of car, those are not all traditional hot rods. Also obvious is that there is no official meaning of the term, but rather a generally accepted understanding shared by a majority of hot rodders. Plainly put, a traditional hot rod transcends time frames. Even looking at its details closely, it will be difficult or impossible to discern exactly when it was built. Thats because it will have a timeless design and execution that ignores all fads and short-lived trends. Traditional hot rods, as a matter of definition, follow traditionspecifically the traditions set forth by early hot rodders. Those were pretty simple. Basically, they took an early

car, usually a roadster or coupe, and stripped it of every unnecessary part that didnt make it go, stop, or steer. Then they did everything in their power (and budget) to make the car go as fast as it would go in a straight line or on a curvy road. With one or two exceptions, most of these cars seldom, if ever, see a trailer, and they are driven quite a bit because their owners built them for that purpose. They rightly assume that it is pointless to build a hot rod that is not going to be driven. Wheres the fun in that?
ShOW rODS

Mitzi Valenzuela

These were restless men with speed and power

fueled by their experiences in war.

extra money, a lot of time on their hands, and a quest for

Ah, show rods. What gearhead among us does not have memories of attending a World of Wheels, Autorama, Motorama, or Cavalcade of Customs as a child, staring longingly at the wild creations on the other side of those velvet ropes? Show rods were the mainstays and the drawing power to those indoor car shows, often held in colder climes in the

theyd drive out to the dry lakes and test the weeks work. On Sunday, after all the racing was done, theyd go back home and start the whole cycle again. California was only one of many hot rod hubs, though. Rodders in the East and Midwest were doing the same things but testing their cars on the beaches of Florida and South Carolina or on Michigans frozen lakes or Kentuckys back roads. No matter where they were, the procedures and results were the same. Stripping the non-critical partsfenders, running boards, extra seats, tops on roadsters, bumperswas the same as buying horsepower except that it was free for a few hours of labor spent unbolting all those heavy parts. Taking off ten percent of the cars weight was
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the equivalent to raising the horsepower by ten percent. Lowering the weight not only made the car go faster, it made it handle better, and it stopped better too because the brakes were slowing down a smaller mass. Of course, that mass was capable of going faster, so it might have been a tradeoff! More horsepower was added by hopping up the existing engine or swapping in a more powerful one from a different car. Most guys did their own work and helped their buddies do the same. Early hot rod clubs, some of which have survived sixty years, were formed around this camaraderie. They shared tools, knowledge, and skills to help fellow club members accomplish the goal of all hot rodders: to go as fast as possible with what they have.

Plainly put, a traditional hot rod transcends time frames. Even looking at its details closely, it will be difficult or impossible to discern exactly when it was built. Thats because it will have a timeless design and execution that ignores all fads and short-lived trends.

top left Make: 1934 Ford pickup (traditional rod) Owner: Scott Karuza Builder: Fred Stoke/Scott Karuza Engine: 1966 Chevy 327 right Make: Owner: Builder: Engine:

1929 Ford roadster El Tiki (show rod) John Cooper Tom Culbertson 1955 Oldsmobile 324 V-8

Craig Mayes

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 Alan Mayes

winter. They also sold millions of model kits for companies like Monogram and Revell.

distinction, but it has since gained acceptance as a general term, though certainly not an easily defined one. Its somewhat humorous that several individuals claim to have coined the term or built and owned the cars that started the trend. As far as the name goes, who knows? And how would we be able to tell? As far as the cars themselves, the cars that some people claim to have started the trend are no different than cars that have been running around hot rod circles for fifty yearsbare-bones, primered cars with a little road wear, some dust, and maybe a few dents; in other words, hot rods that have been on the road awhile and driven hard. Look in any of Albert Drakes excellent books chronicling the early days of hot rods, and youll see the same cars. Rat rods of today have transcended the traditional hot rod category and have become somewhat of an art form. Some owners at one end of the spectrum think that any vehicle (even a 94 Chevy S-10) thats in primer or rusty is a rat rod. Those people are wrong. The other end of the range goes to great effort

Anna Marco

Lowering the weight not only made the car go faster, it made it handle better, and it stopped better too because the brakes were slowing down a smaller mass. Of course, that mass was capable of going faster, so it might have been a tradeoff !

Far-out paint schemes; unfathomable driving positions; crushed-velvet, diamond-tuck, overstuffed seats; tires wider than those on any drivable street vehicle; and chrome, chrome, and more chrome. Rolling fantasies, thats what show rods were. They still are. Show rods are the result of artistic inspiration. Ironically, they also serve as artistic inspiration for others.
rAT rODS

Alan Mayes

hot rods belong to America. They were invented in

America; they were developed by Americans, utilizing American cars and American

ingenuity.

top of page Make: Fritz Schencks Outlaw clone (show rod) Owner: Fritz Schenck Builder: Fritz Schenck Engine: 1950 Cadillac 331 above Make: Owner: Builder: Engine:

1929 Ford roadster (rat rod) Sammy Vildosola Sammy Vildosola 1968 Chevy 350

Cars defined as rat rods make up probably the single most polarizing category to ever enter the realm of hot rods. Their wildfirelike spread and acceptance have taken the rodding world by storm, pulling new fans in and alienating some old-time hot rodders at the same time. Although some of the milder rat rods are similar in appearance to what were once called beaters or jalopies, the more radical vehicles are a game unto themselves. The term rat rod was originally coined as a derogatory

to create a one-of-a-kind car that is sometimes barely drivable. Open, ear-level exhausts; rust (sometimes even helped along by applying salt water to the bare body); severely chopped roofs; missing windows; floorboards full of holes; and uncomfortable seats are the norm at the radical end of the spectrum. Mad Max would be afraid to ride in some of these cars.
AL :: www.motorbooks .com above Make: Owner: Builder: Engine: 1928 Ford pickup (rat rod) Rod Hadfield Rod Hadfield 1948 Lincoln V-12

Anna Marco

top of page right Make: 1931 Ford roaster (traditional rod) Owner: Roy Caruthers Builder: Roy Caruthers Engine: 1949 Ford flathead

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trees have become synonymous with springtime in Washington, D.C., with the National Cherry Blossom Festival acting as the unofficial marker of the changing of seasons. People worldwide gather at the nations capital during the weeks surrounding the peak blooming period to watch the swarm of cherry blossoms burst open and spread like wildfire across Potomac Park, framing the already impressive landmarks and architecture in a sea of pink and white. Although the natural beauty of the budding trees takes center stage at the annual festival, it is the historical story behind the trees that has people gathering in the first place.
FLOWEriNG ChErry BLOSSOM

WA S H I N G T O N , D . C . C H E R R Y B L O S S O M F E S T I VA L
text: MARIE PENN photography: NATIONAL CHERRY BLOSSOM FESTIVAL

Field of Cherries
The Cherry Blossom Festival marks springtime in the nations capital, and represents the relationship between Japan and the United States.

hiSTOry

Long before the blossoming trees graced the Potomac banks, Eliza Ruhamah Scidmore and Dr. David Fairchild began planting seeds for the present-day field of cherries. Influenced by the beautification movement sweeping through the nations capital at the turn of the century, the renowned travel writer and the agricultural explorer for the United States Department of Agriculture (respectfully) had fallen smitten with cherry blossoms during visits to Japan, and both longed to transform Washingtons Potomac Park with the lively foreign blooms. Scidmore spent twenty-four years pitching the notion to government officials to no avail, while Fairchild used the flourishing Japanese cherry trees he planted at his Maryland estate to gain press attention and popularize the plant. By 1909, the idea finally began to take root after a note to the then First Lady, Mrs. Helen Taft, sparked full support from the White House. News quickly spread that the First Lady wanted to adorn Washington, D.C., with imported Japanese flowering trees, inspiring the Japanese government to donate 2,000 cherry trees in honor of the growing friendship between the two nations. Led by Dr. Jokichi Takamine (a world-famous chemist) and Yukio Ozaki (the mayor of Tokyo), the gift intended to show appreciation to the United States government for the kindness shown to
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Although the natural beauty of the budding trees takes center stage at the annual festival, it is the historical story behind the trees that has people gathering in the first place.

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Japan during the Russo-Japanese war. Unfortunately, when the botanical shipment arrived to the States in 1910, the trees suffered from insects and disease, and had to be destroyed in order to protect American growers against foreign pests. Undeterred by the setback, Japanese officials donated a second batch of 3,020 cherry trees from twelve varieties two years later, supervising the selection of trees to assure the U.S.D.A. that the specimens were pest-free. Deemed to be ideal, the second freight was graciously accepted on behalf of the United States. On March 27, 1912, First Lady Taft and the Viscountess Chinda, wife of the

Japanese ambassador, planted the first two cherry trees on the northern bank of the Tidal Basin in West Potomac Park, solidifying the cherry blossom tree as the living symbol of friendship between the Japanese and American peoples. The National Cherry Blossom Festival is held every spring to commemorate this enduring friendship. Considered to be one of the nations greatest springtime celebrations, the festival spans several weeks, straddling March into April, and includes daily events promoting the beauty of nature and international camaraderie. More than one million people visit with friends and family annually

to admire the blossoming cherry trees and relish in the array of diverse entertainment.
ChErry-FiLLED CuLTurE

Ron Engle

More than one million people visit with

blossoming cherry trees and relish in the array of diverse entertainment.

friends and family annually to admire the

Simon Williams

The festival kicks off with a fruitful display of cultural excitementfrom Family Day and the Opening Ceremony to the performance stages that line the National Mall, there is something for everyone to enjoy. One of the largest spectator events during the festival is the energy-filled parade which bursts down historic Constitution Avenue in a grand spectacle of music and showmanship. Gigantic blossom-shaped balloons and Japanese lanterns swarm the sky, accompanying the two-hour procession of grandiose floats, celebrity talent, and special production numbers. Following the parade is an equally monumental affairthe Sakura Matsuri Japanese Street Festival. As Americas largest one-day exhibition of Japanese culture, both contemporary and traditional elements are represented throughout the marketplace, live performances, and hands-on demonstrations of Japanese arts and culture.

One of the largest spectator events during the festival is the energy-filled parade which bursts down historic Constitution Avenue in a grand spectacle of music and showmanship. Gigantic blossom-shaped balloons and Japanese lanterns swarm the sky, accompanying the two-hour procession of grandiose floats, celebrity talent, and special production numbers.

Ron Engle

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pArTiCipANTS ArE iNViTED TO SuBMiT iMAGES

that capture the essence of the festivalbe it the natural beauty of the environment, the unparalleled entertainment, or the community spirit that permeates through every event.

BLOSSOMiNG Ar TiSTS

The performing arts continues to energize the crowd throughout the entire festival, using lively interactive entertainment to enhance the experience of being surrounded by beautiful cherry blossoms. The daily eclectic performances on the Sylvan Theater Stage feature music from soloists and bands, performances from dancers and drummers, and much more. The Cherry Blast: Art and Music Dance Party is one of the many venues where you can delight in multiple displays of the arts in one shot. Thanks to the creative work of D.C.-based curators in the realms of music,
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visual art, and performance, the multimedia event gathers the sounds of the latest bands and musicians for people to enjoy while exploring an art gallery of display exhibitions. While savoring all of the artistic experiences at the National Cherry Blossom Festival, attendees are encouraged to pick up a camera and participate in the annual photo contest. Participants are invited to submit images that capture the essence of the festivalbe it the natural beauty of the environment, the unparalleled entertainment, or the community spirit that permeates through every event.

David Luria

David Luria

FESTiVAL FOr FOODiES

Area chefs know that nothing triggers community spirit quite like food feasts. So to celebrate the National Cherry Blossom Festival, restaurants offer Cherry Picksalluring entres, desserts, and cocktails that boast a special cherry twistthroughout the signature springtime event. The festivals Pink Tie Party fundraiser features an eight-course progressive tasting menu geared around some of these delicious cherry- and blossominspired dishes, prepared by rising-star chefs who represent Metro D.C.s diverse neighbor-

hoods. Another popular culinary tradition is the Gala Dinner Cruise aboard the Odyssey. While gliding along the Potomac River, guests can take pleasure in a wonderful evening filled with great food and entertainment while drinking in the nighttime views of the breathtaking cherry trees.
CENTENNiAL CELEBrATiON

As monumental as the festival is every year, event officials anticipate the 2012 National Cherry Blossom Festival to be an unprecedented and once-in-a-lifetime celebration,

marking one hundred years since the historical gift-giving of cherry trees. To honor the beloved botanical treasures, and to celebrate this living reminder of international friendship and the beauty of nature, the centennial festival plans to expand into an epic fiveweek spectacular, from March 20 though April 27, that will unify and electrify the city, the nation, and the world. Signature events will be enhanced with creativity and innovation while ground-breaking programs and new highlights, like a historical tree planting reenactment, will be added to ensure that

this years exposition amazes and delights the community with timeless traditions and rich cultural experiences. The extravagant production throughout the Centennial National Cherry Blossom Festival is sure to set the right tone for the next one hundred springtime celebrations to come.
AL :: www.nationalcherryblossomfestival.org

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NATurE
TED DENNArDS pASSiON

Honey, Honey
text: ELLIE LAWRENCE

THE ART OF BEEKEEPING

for honeybees is infectious. From his narrative description of how worker bees fan their wings over nectar-filled honeycomb cells to boost sugar concentrations, to how he goes on and on in great detail about the subtle nuances within the varying types of honey, one cant help but want to view the honeybee through the same enamored perspective. For a man who has followed honeybees his whole life, this fervent sentiment comes naturally. Ted was first introduced to the lifestyle at thirteen years old when beekeeper Roy Hightower approached the Dennard family in search of sites suitable for gathering honey from white tupelo trees. After receiving permission to keep his bees on their one hundred acres of forested property off the coast of Georgia, Roy took the young boy under his wing; and together, they would spend their weekends in the swamps diving into the hives. I never thought that much about bees before Old Roy came along. But once he did, I was completely interested. I couldnt wait to go out and look in a beehive, describes Ted. What I remember hooking me was just pulling a frame of honeycomb out of the bee box, and putting it against the sun. There were different colored honey in different parts of the framekind of like how stained glass looks. There were red honey, amber honey, and even green honey. Youd put your finger in one and taste it, and it would taste different than the next one. It was so cool to meits still cool to me. And so a young apiculturist was born. Ted kept Roys bees throughout high school and into his collegiate career. While attending Sewanee, a small liberal arts school in Tennessee, Ted rented a cabin from a retired minister and fellow beekeeper, who taught the student endless facts about bees while they worked the hives. I learned the love of

photography: SAVANNAH BEE COMPANY

After being introduced to the beekeeping lifestyle at thirteen years old, Ted Dennard has had a relentless passion for bees.

Those few jars flew off the shelf, and Dennards rich honey quickly became a hot

commodity.

There were different colored honey in different parts of the framekind of like how stained glass looks. There was red honey, amber honey, and even green honey. Youd put your finger in one and taste it, and it would taste different than the next one. It was so cool to meits still cool to me.

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honey through Old Roy, but I learned how fascinating honeybees were from this retired minister, Ted remembers, as he goes on a fact-filled tangent about queen honeybees. (Did you know that the queen can lay 3,000 eggs a day?) After graduating college with a philosophy and religion degree, Ted followed the insect overseas to Jamaica where he taught beekeeping to village farmers for the Peace Corps. There were over one hundred beekeepers whom I visited, some more regularly than others, and I taught about that many kids in schools, recounts Ted. I would be up in some small, remote mountain community teaching beekeeping, working with beekeepers, building beehives, and climbing big trees to cut hives down. It was beautiful and fun hard work. And at that point, I learned to love the keeping of the bees and the actual art of beekeeping. Although deeply engrossed in the hobby, Ted followed every avenue except beekeeping when it came time to start a career. When I was thinking about what I was going to do with my life, I literally wrote down on a piece of paper everything that I loved and was passionate about, and I just crossed out beekeeping, admits Ted. I never wanted to do it for money. I didnt want to ever adulterate that love for bees and beekeeping. Instead, he chose to juggle multiple miscellaneous jobs to fuel his pastimeoperating a wilderness adventure company in Colorado, resurfacing countertops and bathtubs in the Georgia heat, taking adjudicated youth out on weeklong wilderness therapy trips, and even mildly flipping cheap houses with his brother. When asked how the beekeeper, steadfast about keeping avocation out of his vocation, ended up establishing a thriving honey operation, Ted answers truthfully: I am one of those people who backs into just about everything they do in life, and this business was no different. I did not mean for it to startit just happened. The beekeeper narrates the
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fateful day back in 1999 when his roommates held an intervention to convince the hesitant salesman to sell his home-extracted tupelo honey at a friends store in Savannah. Those few jars flew off the shelf, and Dennards rich honey quickly became a hot commodity. In between his day jobs, Ted would bottle his honey in their kitchensqueezing the honey out, spinning the frames in an extractor, filtering the collected honey through cheese cloth into a bucket, transferring the buckets contents into an iced tea pitcher, and finally pouring honey into jars affixed with hand-painted and color-copied, taped-on labels. After two years of selling his product in over twenty-five high end grocery stores and cheese shops, Ted was ready to concentrate on the business full time. I told myself I am going to give this business one year. If it is going to fail, I want it to fail in the first year. I am not dragging this on anymore. I need to figure out what I am going to do in this world, Ted rationalizes. In 2002, armed with his first price sheet and no business plan, he quit every other job and focused only on honey. Ten years and four Savannah Bee Company retail stores later, Ted has successfully expanded his reach to include ten varieties of honey along with a line of natural and organic body care products.
ThE Ar T OF BEEkEEpiNG

In between his day jobs, Ted would bottle his honey in their kitchen squeezing the honey out, spinning the frames in an extractor, filtering the collected honey through cheese cloth into a bucket, transferring the buckets contents into an iced tea pitcher, and finally pouring honey into jars affixed with hand-painted and color-copied, taped-on labels.

Whether in the Caribbean mountains or standing in the Georgia swamps, gathering honey has always been more of an art form for Ted. To harvest rare tupelo honey, for instance, he takes his few boxes of beeseach stack of boxes being one colony, comprised of one queen and up to 80,000 workersand moves them to where the trees are about to bloom. The tupelo tree only grows in the rivers, along the banks of rivers where the Cyprus trees grow, from the South CarolinaGeorgia border down the coast and over to West Florida, informs Ted, whose honey is mostly derived from trees rather than ground flowers. So youre having to wait around in
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The bees have something called flower fidelity, so once the bees determine the best source of nectar, that is where they go to until that best source is no longer available. Then they move onto the next best source of nectar. You have to be really watchful, he continues. It is a lot more of an art than a science. As soon as they stop bringing in the tupelo honeyas soon as you see those flowers dropping off or the bees have moved onto a different source of nectaryou take those honey boxes off, isolate and separate them, and then extract that honey together so that you pretty much guarantee youre making pure tupelo honey. The modern process of extracting honey uses the same tried-and-true equipment that has been in place forevera box with eight to ten frames, a veil, and a smoker. The smoke covers up the alarm pheromone, which warns the other bees to be on the defense, while the beekeeper removes the honey-filled frames. Every hive has its own personality. You might have one that is as sweet as pie, and you might have another that will sting you right as you pop the top, explains Ted. But youll get stung no matter what when you are robbing honey, as we call it. At some point, you and the bees are just overwhelmed; and the bees just quit stinging, and you stop caring if you get stung anymore. Even in the midst of this chaos, Ted views beekeeping as a zen-like activity. Similar to if youve ever rock climbed or scuba dived, you are not thinking about anything except that moment. You just get lost in it, the southern man illustrates. There is something almost therapeutic and meditative about going in beehivesthe colors of the bees, their little shaking movement, their sound, and the smell of the ripening honey. Youll think youve been working the bees for an hour, and it will end up having been four hours.
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The same can be said about the variety of honey available at Savannah Bee Company the more types you taste, the more you are able to appreciate the subtle characteristics that make each one unique. Every honey has its own flavor. The tupelo has a buttery sweetness that you taste on the back of your tongue where as the orange blossom honey has more of a candy-like sweetness with a hint of citrus. Ted reports that the only factor which determines the color, texture, flavor, and fragrance of the honey is the flower nectar. The sourwood nectar, for instance, is collected from sourwood trees growing in the high elevation of the southern Appalachian Mountains and is light brown in color with a slight purple tintthis darker honey has a gingerbread-maple spice combination of flavors that has won the World Honey Show multiple times. The black sage honey, on the other hand, is really light in color, and is made from sage bushes in the lower Sierra Nevada mountains of Southern California its mineral, earthy taste is almost polarizing, and people either love it or dont like it at all. When I look back at my life, reflects the apiculturist, two things amaze me: first, the fact that one little contact with honeybees at thirteen years old has expanded to become such a huge thing to me; and secondly, the fact that it took me this long to figure out that this was my calling in life. But in the end, discerning palates are thankful his meandering journey panned out so sweetly. People nationwide are enjoying Savannah Bees raw honeycombs, beeswax hand creams, and every artisan honey in between, while the humble beekeeper rejoices in being able to share his passion with everyone he meets. Perhaps in doing so, hell be passing along the lifestyle to the next generation of beekeepers, like Old Roy did for him way back when.
AL :: www.savannahbee.com

ThErE iS SOMEThiNG ALMOST ThErApEuTiC AND

meditative about going in beehives the colors of the bees, their little shaking movement, their sound, and the smell of the ripening honey.

The modern process of extracting honey uses the same tried-and-true equipment that has been in place forevera box with eight to ten frames, a veil, and a smoker. The smoke covers up the alarm pheromone, which warns the other bees to be on the defense, while the beekeeper removes the honey-filled frames.

the swampswhich has its own haunting beautyas you watch and watch for the trees to bloom. Once you see these flowers opening, the bees start bringing in the tupelo nectar.

They are just enthralling little creatures, and the more you learn about them, the more you appreciate them.

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FOOD

D E L I C I O U S P I C K S F O R A N Y M E A L O F T H E DAY
text: ALISON LEWIS photography: COLIN ERRICSON

Sandwich Sampler

Californian
SERVES 4 THIS IS ONE OF MY FAVORITE SANDWICHES. I LOVE THE SIMPLICITY OF GOAT CHEESE AND MAYONNAISE AS THE SPREAD ON THIS COLORFUL VEGETARIAN SANDWICH.

Recipes excerpted from 400 Best Sandwich Recipes by Alison Lewis 2011 Robert Rose Inc. (www.robertrose.ca) Reprinted with permission. All rights reserved.

ingredients:
1/2 cup mayonnaise 1/3 cup crumbled goat cheese 1 1/4 cups thinly sliced yellow squash (about 2 small) 1 1/4 cups thinly sliced zucchini (about 1 large) 3 Roma (plum) tomatoes, thinly sliced 1/4 teaspoon salt 1/4 teaspoon freshly ground black pepper 2 tablespoons olive oil 8 slices multigrain bread (1/2-inch thick slices) 2 avocados, thinly sliced 1 cup alfalfa sprouts

cooking instructions:
Preheat oven to 450F. In a small bowl, combine mayonnaise and goat cheese. Cover, and refrigerate until ready to serve. Place squash, zucchini, and tomatoes on a large baking sheet. Sprinkle with salt and pepper. Drizzle with olive oil. Place in preheated oven, tossing occasionally, for 20 to 25 minutes or until tender. Spread mayonnaise mixture equally over one side of bread slices. Top 4 slices equally with roasted vegetables, avocados, sprouts, and remaining bread slices, pressing together gently. Serve immediately.

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Greek Pita Pocket

SERVES 4 THIS GREEk-STYLE SANDWICH IS A DELICIOUS COMbINATION AND IS SO EASY TO MAkE. WE LOVE MAkING THESE ON bUSY WEEkNIGHTS.

ingredients:
1 cup plain nonfat yogurt 2 tablespoons freshly squeezed lemon plus 2 teaspoons juice 1 tablespoon chopped fresh dill 1/2 teaspoon lemon pepper, divided 12 ounces lean ground beef 1/2 cup diced onion 2 cloves garlic, minced 1 cup quartered cherry tomatoes 1 teaspoon Greek seasoning 4 (6- to 8-inch) pitas with pockets 1 1/2 cups chopped romaine lettuce 4 teaspoons reduced-fat crumbled feta cheese

cooking instructions:
In a small bowl, combine yogurt, 2 tablespoons of the lemon juice, dill, and 14 teaspoon of the lemon pepper. Set aside. In a large nonstick skillet over medium-high heat, saut beef, onion, and garlic, breaking up meat with a spoon until beef crumbles, for 5 minutes or until beef is no longer pink and onion is tender. Stir in tomatoes, Greek seasoning, remaining 2 teaspoons of lemon juice, and remaining 14 teaspoon of lemon pepper. Cook for 5 minutes or until heated through. Place pitas on a work surface. Spread yogurt sauce equally in each pita. Place lettuce, beef mixture, and feta cheese equally in each pita.

To make your own Greek seasoning: In a small bowl, combine 14 teaspoon each dried oregano, dried parsley, dried garlic powder, and salt.

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Huevos Rancheros Wraps

SERVES 4 THE FIRST TIME I EVER HAD HUEVOS RANCHEROS WAS IN bOULDER, COLORADO, WHEN I WAS IN COLLEGE. I ATE THEM EVERY SATURDAY MORNING WHILE I WAS LIVING THERE. I LOVE MAkING THESE STILL TODAY.

ingredients:
4 large eggs 1/4 teaspoon salt 1/4 teaspoon freshly ground black pepper 1 tablespoon butter or margarine 1 can (14- to 19-ounce) black beans, rinsed and drained 1 small tomato, sliced 1/3 cup sliced black olives 2 tablespoons chopped red onion 1 cup salsa 4 (8-inch) flour tortillas, warmed 1 cup shredded Cheddar cheese 2 avocados, thinly sliced 2 tablespoons chopped fresh cilantro

cooking instructions:
In a bowl, whisk together eggs, salt, and pepper. In a medium skillet, melt butter over medium heat. Saut eggs for 3 to 4 minutes or until scrambled. Set aside. In a large nonstick skillet over low heat, combine beans, tomato, olives, and red onion. Stir in salsa, and saut for 5 to 10 minutes or until heated and slightly thickened. Place tortillas on a work surface. Divide egg mixture equally in center of each tortilla. Arrange cheese, avocados, and cilantro equally over top. Fold both ends over filling, and then roll up tortilla. Serve immediately.

Tip: Cilantro, also called Chinese parsley or coriander in its dried form, has a pungent flavor and fragrance and is used in many cuisines. Choose bunches with leaves that are bright and vibrant with no sign of wilting. Tip: Dont forget to drain and rinse canned beans to get rid of excess salt.

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Warm Apple Pecan Wraps

SERVES 4 THIS TWIST ON AN APPLE TURNOVER DESSERT IS GREAT SERVED IN A WARM WRAP .

ingredients:
1/4 cup butter, divided 3 1/2 cups diced apples (about 2) 1/4 cup pure maple syrup 1 teaspoon ground cinnamon 1/4 teaspoon kosher salt 1/2 cup pecan halves 4 (6- or 8-inch) flour tortillas Vanilla ice cream, optional

cooking instructions:
In a large skillet, heat 2 tablespoons of the butter over medium heat until melted. Add apples, maple syrup, cinnamon, and salt. Reduce heat to low, and cook, stirring occasionally, for 10 minutes or until tender. Stir in pecans, and cook for 2 minutes more or until heated through. In a separate skillet, heat remaining butter over low heat. Add tortillas, one a time, and heat, turning once, for 2 minutes or until lightly browned. Place tortillas on a work surface. Divide apple mixture equally in center of tortillas. Top with ice cream, if using. Fold ends over filling, and roll up. Tip: When selecting apples for recipes, 2 large or 3 medium apples yield about 3 12 cups chopped apples. Tip: I used Braeburn apples, but Granny Smith or Gala apples work great, too.

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A N T I Q U E A N D V I N TA G E I N A M O D E R N W O R L D
text: ROZALYNN WOODS photography: GREY CRAWFORD PHOTOGRAPHY

Hip Sophisticate
Californian designer Rozalynn Woods creates a home that melds hearty and rough with elegant sparkle.

DESiGN

Was there a distinct moment When you realized that designing Was your passion?

My entrance into the field of interior design came about unexpectedly. Shortly after graduating college with a double major in public relations and music, I purchased and decorated my first house. I was immediately drawn to the whole creative process that surrounded interior design, and the end result of my finished home left friends and family wanting me to decorate theirs as well. Inspired by the encouragement, I began contemplating a shift in careers. While I possessed a natural knack for interior design, I realized there was much to learn, so I enrolled in the design program at U.C.L.A. Upon graduation, I worked with a high end, high style designer in Los Angeles, where I acquired hands-on experience of the business. I eventually became a partner in the company and now have my own firm.
talk about the first home you designed for a client:

Art. We traveled to Portugal to purchase antique Portuguese tiles; and there, in a remote, off-the-wall antique store, we found a polychrome figure representing one of the Three Wise Men. We later found out that it was the missing piece to a well sought-after set, worth more than all of the furniture in their house! It was a really great experience traveling to so many places in search of unique items for their home.
describe your style:

Accumulating meaningless items defeats the purpose of design, so I typically dont insert elements into a home for the sake of building up a space. There should be reason for each piecewhether it is for comfort or design or both.

I would consider it to be a clean, sophisticated style that translates to many types of architecture and lifestyles. My projects are highly influenced by both the clientswho they are and what their lifestyle is likeand the architecture. However, in the end, the house always tells me what it wants. At the same time, I do not like period work, so I strive to bring in a mix that not only reflects the architecture and the clients tastes, but also represents a current point of view. My style remains pretty unique in that I like to incorporate dcor that has some intrinsic value to it, by using antique and vintage pieces or unique original designs. Accumulating meaningless items defeats the purpose of design, so I typically dont insert elements into a home for the sake of building up a space. There should be reason for each piece whether it is for comfort or design or both.

The home boasted a Mediterranean style of architecture; and the clients, who were inspired by their frequent travels, wanted the dcor to reflect more of an international feel. So right out of the chute, we were buying things from all over the world, rather than limiting ourselves to just Los Angeles. We bought a pair of lamps that were decommissioned from the Metropolitan Museum of
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What do you hope to accomplish through your Work?

My goal as a designer is to create an appealing aesthetic where my clients can feel good in their space.
What Were the clients looking for When they approached you to design their home?

The young couple wanted this house to function in two ways: first, it needed to be comfortable and function well with a family (they have three young children); and secondly, it needed to be stylish. The clients also liked to push the boundaries to create something unique and unexpected. Because they are well traveled, theyve become very aware of designand as a result, wanted their home to reflect something fresh and new.
What Was the space like before you began the project?

The home was untouched, with nothing remarkable or interesting about it, so the clients decided to do a major remodel that would better meet the needs of their young family. Throughout the project, I worked closely with the architect and the landscape architect to ensure that my design decisions coincided with the function of their work and vice versa. It was a really wonderful team.
describe the ambiance you hoped to achieve:

Items like the Alison Berger sconces on the walls in the living room and the pendant light in the powder bath strung with long ropes of cut crystals create the necessary sparkle to balance the darker, richer colors and heavier scale.
the other. The combination of contrasting textures supports the hearty/rough vocabulary that we were trying to express, as does the color scheme and scale of the furniture in the living and family rooms. Items like the Alison Berger sconces on the walls in the living room and the pendant light in the powder bath strung with long ropes of cut crystals create the necessary sparkle to balance the darker, richer colors and heavier scale.
talk about the color scheme:

Upon entering the home, I want to engage the owners and guests so that they are interested in their surroundings. I also want the space to feel inviting, be comfortable, and yet hold an element of surprise. It is nice when people experience an Ah-Ha moment as they uncover the unique treatments and design features of a space.
sum up the theme that united the dcor:

The theme we were trying to express can be best described as hearty and rough, yet elegant with a hint of sparkle. We used that vocabulary to dictate most of our design choices. It was really important that we create the balance between these two elements between the hearty and the rough with the style and the sparklebecause a person loses visual interest when you have one without
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I learn something from every project I work on, and with this project, I learned how to work in a completely different color palette than I am used to. The clients chose the color scheme, which was a deep, rich aubergine mixed with wonderful earth tones and some oranges and reds. Throughout the home, we
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ON ThE COuCh, WE MiXED

two hand-printed Fortuny pillows with a fluffy, Mongolian lamb pillow.

transformed what would normally be just a regular, dark eggplant color, into a color of interest by using a gloss finish on the walls. This was especially successful in the living room because the gloss immediately added life to the space which prevented the area from becoming too dark and heavy. In places like the kitchen, we were able to go with a very dark stain on the cabinets as well as dark countertops thanks to the abundant natural light that shines through three out of the four walls. The aubergine and earth tones were reflected throughout the house by using various shades and hues in that color palette.
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talk about elements in the living room:

Because there isnt a lot of pattern throughout the home, we made a conscious decision to layer contrasting textures in the same color palette instead. On the couch, we mixed two hand-printed Fortuny pillows with a fluffy, Mongolian lamb pillow. (Although the Fortuny pillows do have pattern, the mostly monotone color scheme throughout the room helps keep the impact subdued and the design cohesive.) We also brought in a metal coffee table with a sexy shape and a gilted Bergre chair from the 1800s to add dimension.

What inspired the tent-like Walls in the pool house?

The inspiration for the pool house circles back to the clients desire to hire a designer who would incorporate a fresh approach to design while still creating a comfortable, functional space. Thinking creatively, I pondered how wonderful it would be to create a tent out of this room. I pulled some pictures of late nineteenth century rooms that had been completely covered in upholstered stripes to show to my clients. Needless to say, they loved the idea, so we bought yards and yards of awning stripe linen and upholstered
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When I design dining rooms, particularly when they are to

envelope the guests in a cozy, jewel box-like environment.

square shaped and small in size, I like

antique Belgian breakfast table with a zinc top and some wonderful wicker chairs that blend really well with the casual atmosphere of the kitchen.
We also included an

the whole space. The architect, who designed the structure, added a really cool ladder to give access to the loft bed, and also installed a Murphy bed along the back wall. While the space works as a guest room, it also functions quite well as a little pool housewe installed a built-in, metal kitchenette with a refrigerator, counter space, a microwave, and metal shelves to house plates and glasses.
describe the elements of the dining room:

dining room fit those criteria, so we upholstered the walls in a pale aubergine silk, and in an effort to keep the palette pretty similar throughout the room, we surrounded the dark, round table with fully upholstered dining room chairs, done in a pale silvery-purple (the same hue as the walls). The chandelier of fifty hand-blown glass bulbs incorporated a touch of sparkle for balance.
talk about the kitchen area:

When I design dining rooms, particularly when they are square shaped and small in size, I like to envelope the guests in a cozy, jewel box-like environment. This particular

The design vocabulary resonates throughout the kitchenfrom the bold, heartiness of the dark cabinets with the old-world steel upper cabinets (which is a modern spin on

a material used in the late nineteenth century for kitchen countertops and containers) to the glisten of the Alison Berger pendants hanging above the island. The rough, antique flooring brought over from France, juxtaposed next to the black wood and metal cabinets, adds visual interest. We also included an antique Belgian breakfast table with a zinc top and some wonderful wicker chairs that blend really well with the casual atmosphere of the kitchen.
What inspired the headboard in the master bedroom?

the headboard of the bed, and then the design for the rest of the room fell into place. I do not recall what initially inspired the idea for the headboard; it just felt like the right decision to make in order to create a space that would work well with the rest of the house. Everything falls into place after you make that initial decision in terms of a direction for the room.
did it take a lot of convincing to get the clients on board With your unusual ideas?

those unexpected design elements, like upholstering the whole area of the pool house or using high gloss paint on the walls in the living room. It was really fun to be able to work with people who were open to design that pushed the traditional boundaries a bit. They wanted a comfortable home, but they also wanted that Ah-Ha moment!
AL :: www.rozalynnwoods .com

We decided to use antique Swedish doors for

The clients were very receptive to most of the unusual ideas that we presented. They loved
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4242

T H E A RT OF A DA M V I N S ON
text: ADAM VINSON photography: ADAM VINSON

Reality Show

ArT

Sometimes described as a trompe loeil painter, Vinson likes painting elements like masking tape to further fool his audience.

describe a memory that you attribute to your passion for art:

Every kid draws; I think its a fundamental aspect of a childs growth. I do remember my mother always encouraging my interest in drawing by supplying me with sketchbooks and pencils, and I remember being totally elated when she got me a subscription to American Artist magazine at age eleven.
tell us about your journey as an artist:

I began studies with Anthony Waichulis, a renowned trompe loeil painter, who had recently opened a studio for the instruction of drafting and painting. After finishing the program at The Waichulis Studio, I continued my studies at the Pennsylvania Academy of the Fine Arts in 2002.
describe for us your oil paintings:

it, to read about it, and to talk about it. The motivation and inspiration comes from being engaged in it.
Why do you choose to use oil paint?

I decided to pursue traditional painting immediately after graduating high school. I conveniently lived blocks away from our community college and knew of a reputable painting instructor there, so the natural step was to enroll in their commercial art and illustration program. After finishing that curriculum,

In terms of materials, I paint in oil and primarily on panel as opposed to canvas. Ive always enjoyed the sturdy support rather than the bounce of canvas. As far as the imagery goes, Ive been referred to as a trompe loeil painter (trompe loeil meaning to trick the eye), and although I do a fair amount of work in this style, I do also enjoy traditional still life and portrait work.
What is your motivation for creating these pieces?

Oil paint is a traditional painting medium. It has a long, rich history that appeals to me. I like the way it smells and the way it feels, and I like the versatility when painting with it.
What inspires you to achieve such a photo-realistic quality in your paintings?

We all have things we enjoy doing above all else. Those things we look forward to. Painting is that for me. I love to do it, to look at

It seems Ive always been driven to recreate what I see in an accurate way. Studying with Anthony Waichulis gave me the formal vocabulary to achieve the aesthetic sensibility Ive always wanted while also garnering the ability to analyze and edit what I see so that I can best translate it into a painting.

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inspired simply by seeing something that triggers an idea for a composition or a color relationship, or I can hear something in a passing conversation that inspires a theme or narrative.
I can be

hoW do you pick the subjects of your artWork?

Inspiration seems to come in all shapes and sizes. I can be inspired simply by seeing something that triggers an idea for a composition or a color relationship, or I can hear something in a passing conversation that inspires a theme or narrative. There is no rhyme or reason to the process, and I think that that is true of any creative endeavor.
talk some about painting elements like masking tape to enhance the subject of the painting:

has definitely evolved over the past ten years, but that is expected of any creative process. My goal is to take the intangible idea, create an armature in real life, and then use creative editing to paint it. I usually start with a drawing and work out compositional ideas; and when I begin painting, I try to stay loose and think in abstract and geometric terms before rendering the painting.
describe for us the atmosphere When you are painting:

What do you find visually inspiring that you cant Wait to recreate in your art?

Inspiration is the seesaw on which ideas balance. When I find something that excites me, I usually just go for it. For example, Ive been thinking about painting a Japanese umbrella for a while now, and I finally have the time to take on that project. Maybe tomorrow I might find a traffic cone interesting, and Ill file that away for another time.
What challenges do you face as an artist?

Since much of my work is in a trompe loeil style and the ultimate goal is to fool the viewer into believing that the painting is actually depicting real objects, masking tape becomes a handy tool to convey this illusion. Its flat and recognizable, and it holds objects up well and believably enough to get the point across. I do also use tape as a compositional element to direct the eye around the painting.
hoW Would you say your art/your style differs from other contemporary artists?

I use artificial light when I work, so that affords me the ability to work at any time of the day and in any setting. I find my most productive times of work to be early morning and late at night. Its a solitary practice, so I usually listen to the radio to keep up on current events and sometimes music as background noise. Other times, I just prefer silence when I work. I like to keep materials fairly orderly and clean. Im not a fan of mess.
talk about a moment Within your career that you Will never forget:

The biggest challenge is juggling the creative appetite with the logistical and business aspects of advancing the work from the studio to the market. Aside from dealing with the mental filing of ideas and creative challenges to actually bring a painting to fruition, there are the sometimes laborious clerical and custodial responsibilities to tackle as well.
if you Werent an artist, What Would you be doing?

There are many painters who work with the same aesthetic intentions. Where we differ is in what we choose to paint, how we paint it, and what we want to say with it.
What is the most fulfilling part about your Work?

In my experience, a painting has a surge to it. Its by-the-book in the beginning, it really gets interesting when everything is being fleshed in, and then there are some exciting moments before the finish. Its those exciting moments that are most fulfilling to me.
describe the process of creating a painting:

There are many moments, but one that seems to come back to me from time to time and one that helps me relax when the work starts to become overwhelming is a memory of being around eighteen or nineteen and just learning how to work with oil paint. It was foreign and new, but it was exciting. Remembering the smell of the paint and the innocence of thinking about its endless possibilities is a real treasure to me.
What is your favorite subject matter?

I dont even want to think about that. Sometimes I think its the only thing I can do, and thats why Im still doing it.
talk about your life outside of your Work:

Theres that saying that states if you love what you do, youll never work a day in your life. So for now, I still love what I do. Its probably my biggest passion. Aside from that, I love music, running, and spending time with my family and friends.
AL :: www.adamvinson.net

Once the idea is set into motion, I need to find the best way to illustrate it in life so that I may translate it into a painting. My process
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I find the human face to be challenging and exciting to paint. Its recognizable, and it can give the viewer a sense of familiarity. The face is so identifiably proportioned that when it looks off, it really looks off. Therein lies the challenge.

I find the human face to be challenging and exciting to paint. Its recognizable, and it can give the viewer a sense of familiarity. The face is so identifiably proportioned that when it looks off, it really looks off. Therein lies the challenge.

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Front of Tear Out Card 2

Dan Shanner Toll Free: (866) 458-4226 Office: (610) 878-5000 Fax: (610) 878-2000 www.remindermedia.com

The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406

Back of Tear Out Card 2

American Lifestyle
Dan Shanner The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406

Bill and Judy Smith 123 Main Street King of Prussia, PA 19406