Artist Kristine Mays’ first introduction to Serenbe happened totally by chance, when Steve attended the opening of her exhibition, Rich Soil, at the Atlanta Botanical Gardens. Now, Serenbe is the latest stop in this stunning traveling show, which comprises 29 metal wire sculptures, all of which are full of life and movement. Set in the woods at Deer Hollow Park, these pieces are meant to evoke a number of things - feminine energy, agriculture, nature, soil - with meanings as varied as the viewers themselves. In this episode, Steve and Monica catch up with Kristine about finding rejuvenation in nature, the path that led her to becoming a full-time artist, and where Rich Soil will travel next.
Show Notes
Artist Kristine Mays’ first introduction to Serenbe happened totally by chance, when Steve attended the opening of her exhibition, Rich Soil, at the Atlanta Botanical Gardens. Now, Serenbe is the latest stop in this stunning traveling show, which comprises 29 metal wire sculptures, all of which are full of life and movement. Set in the woods at Deer Hollow Park, these pieces are meant to evoke a number of things - feminine energy, agriculture, nature, soil - with meanings as varied as the viewers themselves. In this episode, Steve and Monica catch up with Kristine about finding rejuvenation in nature, the path that led her to becoming a full-time artist, and where Rich Soil will travel next.
Show Notes
1 (13s):
Artist Christine Mays first introduction to Sandby happened totally by chance. When Steve Neron attended the opening of her exhibition Rich Soil at the Atlanta Botanical Gardens, Steve connected with Christine. Christine connected with the art farm, and now Sandby is the latest stop for her gorgeous installation of 29 wire sculptures all made to look like figurative forms full of life and movement. They're located in the woods at Deer Hollow at Sandby, and these pieces can evoke a number of things, feminine energy, agriculture, nature, soil, but individual interpretations are left up to the viewers themselves. In this episode, Steve and I talked to Christine about fine rejuvenation in the woods at Sandby, the path that led to becoming a full-time sculptor and the power of art and natural settings.
2 (1m 1s):
Anytime you can put creative people together and play off of one another, that's always great. And you know, there's no better environment to do that in than such a natural, beautiful place like Serenbe.
1 (1m 17s):
I wanna welcome everybody back to Serenbe story. Today of course we have Steve Nygren. Hey Steve, how are you?
0 (1m 23s):
Good afternoon, I'm great.
1 (1m 25s):
We're so excited to talk with sculptor Christine Mays today. Christine, welcome Toby Stories.
2 (1m 32s):
Thank you. I'm excited.
1 (1m 34s):
Yeah. Well everybody's got a story for this amazing pieces that you've installed at B and so typically ask what's your story like? How did it come to you? How did B come into your life? But I also wanna note that the art farm and Steve are really what brought you into our lives. So I'd love to hear how you found us and then I'd like to hear Steve's version as well.
2 (1m 58s):
Wow. I must say it was very organic and very much a surprise in the way in which I was exposed to Seren B I had my work on display at the Atlanta Botanical Gardens. There was a V I P reception one night, and so I flew to Atlanta for that and found myself interacting with a handful of people at the reception. And at one point I was speaking with two or three ladies and Steve was standing there. They were asking me questions about the work and we were talking about it and sharing experiences. And I noticed that, that Steve was not talking, he was basically taking in what was happening and he had this expression on his face that I could not decipher for anything.
2 (2m 47s):
So I found myself observing him listening to us. And then at towards the end of the conversation, one of the ladies asked where the work would go after it left the botanical gardens. And I said, I'm not quite sure I would love for the show to continue to travel, but I'm not sure where it will go next. And then at that point Steve said, I do. And then he just walked away. So I thought, Okay, this is funny. I was amused by it, but I thought like, Who is this guy? And so the very next day I received an email from the director of the Botanical Gardens and she said, I have a person I'd like to introduce you to.
2 (3m 32s):
He has a very beautiful, unique community and he'd love to host your show. And so we connected via email and then we had a Zoom call in which I met a good handful of the art farm staff and then here we are.
1 (3m 50s):
Amazing. And this was what, last spring?
2 (3m 53s):
This was, yes. Last spring,
3 (3m 56s):
Yes.
1 (3m 57s):
Yeah. Okay. Steve, your version, you're standing there and not saying anything, what were you thinking?
3 (4m 3s):
I was looking forward to the opening of the Orchid house and of course this is a great networking time. So it's dinner and it's for supporters of the botanical gardens. And it's always fun to see old friends and meeting new friends that are supporting the garden. And so I'm just looking forward to the social aspects and seeing the orchid display. And many times they now have artists in the various displays. And as I walked into the orchid house, here were these very interesting forms that looked like rebar and they just spoke to me in some way that as art does, you're not sure what it is that draws you in. But it was very interesting as I walked through and saw the various forms coming out of plants and I was very curious about it.
3 (4m 49s):
I ran into Mary Pat, who is the director of the Botanical Gardens there, and I said, Wow, very, very interesting art. And she said, Well, the artist is here, she's around the corner. You should go meet her. And so as I, you know, came around and of course Christina had a big crowd around her, a lot of people wanting to talk to her. I, meanwhile, I'm standing in line to talk to her, I'm talking to other people that we've seen. So I finally get up and she's having an engaging conversation. So I'm certainly not gonna interrupt, but the one thing that got me is she's expressing the art that's coming from the earth and the pent up feminine that's in the earth. There was something like that that you said and I said, Whoa, that's so much what we're looking at at Cy and the whole environmental movement and it's the feminine movement and of course all the things we're doing with agricultural and soil health.
3 (5m 39s):
And I had no idea that that's what was being communicated through these pieces of sculpture that I was just drawn to. And so that message obviously was coming through to me in a way where I had no idea, I just was looking at pieces of art, but I was moved by it. And so, so I was just fascinated with the conversation that was going on. It was basically with the other two women that were standing here. And so I think I asked a couple questions, but then I didn't want to take up her time because she had fans waiting to talk to her. But I knew I needed to go talk to Mary Pat. So that's what I did.
1 (6m 17s):
I
3 (6m 17s):
Love it. And and the rest pretty well falls into what happened next then was Mary Pat connected us and now your sculptures are in our woods.
2 (6m 27s):
They are.
1 (6m 28s):
I know. Christine, describe your work for our listeners because we've talked a little bit about, Steve made a few mentions, but we really haven't described them. We'll put show notes and links to all of your work and the pieces, but tell us what are they about
2 (6m 43s):
As far as materials, I'm using a heavy steel wire. It actually is a rebar tie. So lots of times Rebar tie is used for like construction sites and it's placed in the middle of concrete for foundations and used to mend fences. And so I'm basically taking the wire, which is on big five pound spools, and I cut them into hundreds of thousands of pieces that I loop and hook together in a way that creates shape and volume and form. And in the midst of that, the human form emerges.
2 (7m 23s):
And so this show in particular is inspired by the Alvin Ailey dancers and it's inspired by this thought of rich soil, which is the name of the show I'm working with. The idea of really giving honor to the people who have toiled the land and all of the blood, sweat and tears that has gone into the land and into creating what we live upon, you know, and what the United States is made up of or any land or areas made up of. And so it's really giving honor to the ancestors and my thought around it is that their spirits are rising up through the soil and now that they don't have to labor anymore, their spirits can dance.
2 (8m 12s):
And so that's really the expression of this joyful dance that's taking place.
1 (8m 18s):
I love that. And is this the second place that it's been then Botanical Gardens was the inaugural for the show or was it in San Francisco prior?
2 (8m 27s):
It actually started in the San Francisco Bay area at Foli Historic House and Gardens. And originally it was created for them. So in my mind I really didn't, I was living in the present moment and I didn't think of it going anywhere else, but it was discovered by a curator out in Washington dc She's over at Hillwood Estates Museum and Gardens in Washington DC So she asked if they could tour, if they could possibly send the work and have it on display. So it was there for six months.
2 (9m 7s):
And then I must say all of this has been very organic. It was there for six months. Towards the end of that show, the curator or the director of that establishment contacted her friend who happened to be the executive director of the Atlanta Botanical Gardens. And that's how it ended up there. And so then the story continues. So this is the fourth stop.
1 (9m 33s):
Oh, I love it.
2 (9m 34s):
Yes.
1 (9m 35s):
Okay, so we're gonna set in pension cause your pieces are here through the spring with us.
2 (9m 40s):
Yes. And then it'll go to the Memphis Botanical Gardens after that.
1 (9m 44s):
Okay. So we have a fifth stop already. And do you have a couple more planned or?
2 (9m 49s):
I don't, but it seems as if word is traveling. So it's been very beautiful to see the way in which it's very much a new show at each venue because of the environment that it's in. And also because of the context changes with each stop and the community around it changes as well. So it's been very exciting to me because it really does reveal itself in a different way.
1 (10m 17s):
Yeah, they're dancing across the country.
2 (10m 19s):
They are.
1 (10m 21s):
I love that. So when you came, you gotta then stay at therapy for a bit. And I know you met a lot of people. Tell us about that experience. And I know our good friend Jimmy hung out with you quite a bit and kept your sculptures in her front patio for a while. Tell us just about your time here.
2 (10m 37s):
It was incredible. I realized personally that I struggled to relax And so, so that was quite an adjustment. I think that Seren B is special in the sense that it is a place to just be and to find a sense of peace and serenity. So it was beautiful to actually discover that. I felt like I came out of it with some personal growth in just the fact of being able to have a moment of pause and a moment of reflection. And so I think that was the most beautiful part of it. Of course, like the community has been really beautiful.
2 (11m 20s):
I met a lot of very welcoming people and aesthetically the place is gorgeous and, and so it's just been, it was a very special sacred time.
1 (11m 33s):
Well, and you know that when you're an artist and resident, you now are an alumni and so you're always welcome back. And now you have all these friends who probably will come see other shows throughout the country. It's quite fun the way the residents connect with the different artists that come and stay and make new friends and relationships. Prior to your work in Rich Soil with these wire dancers, were you always working with wire and metal, or is the new foray? Tell us a little bit about your trajectory of your work.
2 (12m 4s):
I've worked with Wire for 25 years now. I've been an artist my whole life. I started out as just a kid painting and drawing. And then throughout elementary school, all the way through high school, I always kept a sketchbook and I would observe people and do a lot of people watching. And having lived here in San Francisco my whole life, I'm always around people in the hustle and bustle. So there's been lots of sketchbooks filled with drawings on the bus of very people on the bus. So I went from that to working with beads and making these long dangly beaded earrings.
2 (12m 48s):
And then at that point, during this whole journey with searching for beads, I found the wire at a bead store. And so I just played around with the wire. And at that point I still had this idea that I'd love to do more with my hands and, and to make something into a physical form. And so through experimentation, that's how I came upon creating what I create. Now
1 (13m 15s):
Were they smaller pieces originally or were you always doing, Cause these figures are pretty much life size,
2 (13m 22s):
Right? They were like hand size like, okay, like my original wire people were like 12 to 14 inches and they were very whimsical and just sort of this process of wrapping wire around in spirals. But as I played with it, I realized I really wanted to capture a sense of movement and to capture a moment in time and to freeze frame that. So I experimented to find a way in which I could do that and create wire that looked fluid and had movement to it, but at the same time kept its shape. So that's what I've been able to do at this point.
1 (14m 4s):
And you do it all by hand, right? So I mean there's no, I mean you probably use some tools, but this is a hand process and I would assume, or I'm gonna guess that that's pretty rough on you, on your hands. And tell me about that and how quickly can you build one of these or do you need to take a lot of breaks?
2 (14m 22s):
I use needle nose pliers and I wear cotton gloves on my hands. And I use, really, it's just the wire, the gloves in my hands. And so I tend to sculpt six hours a day at this point. I'm working as an artist full time. I work for three hours in the morning and then I sort of have the middle of the day to do whatever else I'm doing. And then at night I do another three hours. And I've found that that helps me with regard to just being able to do what I enjoy and maintain the health of my hands.
1 (15m 3s):
Yes, yes. And I love that you're a full-time artist. Is that a newer part of your life or is that something that's been going on? Do you feel like these shows are kind of propelling you into that opportunity to be full-time, which is phenomenal?
2 (15m 18s):
Well, thank you. I've been full-time now for 10 years.
1 (15m 22s):
Okay.
2 (15m 23s):
And so much of what happens is organic. For me, originally I worked at a private school and I've completely loved that job. It was at a high school, loved the kids and the community and everything. And then they decided to downsize. So there I was searching for a job while at the same time continuing to make art. And the art opportunities became so abundant that it wasn't a, a matter of me saying like, Oh, I want to take this leap and can I do it? I just sort of was moved into that space of taking on more and more opportunities and, and then eventually before I knew it, I was working full time as an artist.
1 (16m 8s):
That's wonderful. And then sometimes it is, you know, that one door needs to close in order to opportunity to sort of open up for you. So when you did the pieces originally for the Historic House and Gardens in San Francisco, were the pieces always intended to be in a garden in a natural setting?
2 (16m 28s):
Yes. For this show anyway, in the past, I've always shown in galleries and indoor spaces, which is why some of the pieces are constructed with an open back. It's so that there's room enough to photograph it against a flat wall.
3 (16m 46s):
I just don't think they come to life like they do when they're out in nature. I mean, it stands out as a piece of art on a wall, but the man, when they're in nature, they start moving and dancing in a way that's very different than being hung on a wall.
2 (16m 60s):
Well thank you for saying that. I've noticed that too. When F contacted me, I thought like, this is very wild. Like I don't know how this will work with it being outdoors. And so I've had to shift my thinking in a huge way. And I'm so glad I did. I mean, I just, it's opened up a whole new world, so I didn't have any knowledge of what would happen per se, with taking the work outside. What I did know is that I needed to change my perspective on it. And one of the things that I did was I painted the work this copper color, cause it's an anil or an kneeled steel, so it does rust over time.
2 (17m 46s):
And so my thought was if I painted a copper color as it patinas, it patinas to like an orangey color, which is very similar to this copper color. So as it ages, it just turns to more of a matte vibrant coppery color. And so painting it copper made it so that the process is smoother. So you know what to expect as it gets older as opposed to seeing black wire, which it isn't personal form.
3 (18m 17s):
One of the things we know that people notice around here is our free range kids, kids everywhere without lot the parents and, and of course we're working on programs now for free range elders, but when I was standing at your opening, I thought, Oh, now we have free range art with all, all the figures out in art. It's just a wonderful new experience to engage with art and sculptures in nature.
1 (18m 42s):
Yeah, I love that free range art. What struck me and I didn't realize is that in Georgia and in the south we have sort of this red clay earth. I thought that perhaps that was purposeful because it was coming to the south, but it started in San Francisco. And so to me there's this multi-layered meaning behind it that really ties back into sort of that agriculture and then your use of hands. And then the hands of whoever's in the dirt is sort of fabulous. So there were, I wanna say 29 pieces that came. Is that
2 (19m 15s):
Correct? Nine pieces.
1 (19m 17s):
Now, if somebody buys a piece from c b, do they continue to travel or do you then just take 28 pieces to the next place? What happens
2 (19m 26s):
If someone buys a piece, then when the show ends, it becomes part of their life. And what I do is I'll create more pieces that are integrated in. So once again, the show continues to change as it goes from place to place. And some of those changes have to do with the new work that gets integrated into it.
1 (19m 48s):
Oh, that's wonderful.
2 (19m 50s):
In California, a few pieces sold. So then when it went to DC there was a new influx of work that is still in theme with everything. But it's sort of exciting because it makes its debut and joins the circle of dance.
1 (20m 7s):
Yeah, so,
2 (20m 8s):
So with each location there's been at least one piece that cycles out and ends up having a home wherever the location is.
1 (20m 17s):
No, that's really beautiful. It's, it's almost like you're picking up a friend and dropping off a friend. And Right, again, that dancing across the country with picking up new people along the way do think that you'll continue to work in this medium in the wire. Are you interested in other types of wire, other types of metal? Or do you find that you're very taken with this and you'll continue to move in this direction?
2 (20m 45s):
As far as I know, I'll continue to move in, in this direction. At this point, it's very, I used to say all the time, if I get bored, I'll just stop. And I haven't, you know, I never grow bored with this. There's always something that excites me about it or that I feel challenged to create. So at this point, I will continue with wire. I still do experiment with other things when I'm not working with wire, I sew and I create little handmade dolls at times. And I consider working in other mediums as just playing around like creative play for a warmup.
2 (21m 26s):
So I think I will continue with that. I think at some point I'll end up learning other methods of working with metal, if that's at all possible. But for the meantime, this is my baby at the moment.
1 (21m 40s):
Yeah, it's a wonderful one. So up next is Memphis, but that won't be to the spring. So we definitely, everybody, you know, we're recording this in October of 22 and I think your pieces will be here through March, April.
2 (21m 53s):
That's correct.
1 (21m 54s):
Okay, great. Perfect. And in the show notes, we'll point out where people can come visit them. They're open to the public, dawn to dusk. It is in sort of a green space park and there's not, you know, a ton of lighting, but it is sort of beautiful in that dawn and death period. We had noted that there was an incredible opening due to weather and things happening, you had to go back home. So the opening got delayed, but these incredible dancers glow out of Atlanta came and danced with the sculptures. I know people sent you notes about that, but, and Steve's mentioned a little bit about that, but anything you wanna share about that concept? I dunno whose idea that was? Jimmy's or Janice Barton who's the head of the art farm, or have you done that integration of art before?
1 (22m 39s):
I have
2 (22m 40s):
In Washington DC there were two dance groups, dance plays and the Washington Dance Company, both of those groups visited the space and looked at the work and then they choreographed dance around it. And it was sort of their take on however they perceived the work, which I thought was very beautiful. And with Glo Glo had a original take on the work as well. Very moving, very soulful, just really spiritual it felt to see them move around the work. So it's just been, for me, it makes me very emotional to think about it in the sense that finding a way to do what I find so fulfilling and then to have other people inspired by it and to see other mediums of art react to it.
2 (23m 36s):
So we get this full integration of the senses. I think that's the part that really makes me feel emotional about it. I didn't get to see them personally. I did see a few video clips and I did get a chance to interact with Lori from Glow, and that was an amazing day. So like I said, I think that anytime you can put creative people together and play off of one another, I think that's always great. And you know, there's no better environment than to do that in, than such a natural, beautiful place like Seren B,
1 (24m 14s):
One of the things we always ask everybody, Ons B stories is, in the time that you've spent here, what's your favorite thing that you've done or something that you would recommend to a new visitor that would come?
2 (24m 26s):
I think I would definitely recommend that people just wander and take time to just explore. I think I was the most relaxed when I was on one of the trails in the woods. And I can't forget this image of looking up and seeing the sun streaming through the trees and all the shadows that were cast and just the beauty of it really gave me a chance to just sort of exhale and relax my shoulders. So I would really suggest that people wander. And my second favorite thing was the blue eye daisy.
2 (25m 6s):
So that's a definite memory for me. I think it's such a cute cafe and it was, everyone was so welcoming and there was, and it was just sort of coming from a big city, it was amazing to see people walk in and say hello and greet one another by name. That's a memory that I'll have for a long time.
3 (25m 25s):
And by the time you left, you were an honorary resident. I mean, people you know knew you and
2 (25m 30s):
It's true. It was, it was sort of wild to be wandering around and like, Hey Christine,
1 (25m 38s):
I know it's a lot of fun. Well, Christine, besides coming to see the pieces here and then keeping track of when Memphis is opening, how can our listeners support you? How can we follow you? Are you on social media? Do you have an email list website? Where should we find you?
2 (25m 53s):
The most active thing I have is my Instagram page, which is under my name Christine Mays. And that starts with a K, so k R I s t I M e MAs, m a y s. It's like the month of May with an S on the end. And then my website is under the same name, christine maze.com. And those are the two main spaces that I move in. My website has all of my work on it, even though I must say the Instagram page is updated far more than my website is. So I can be reached at either of those places.
1 (26m 33s):
Perfect. And I bet we'll get to see any updated pieces that get sort of integrated into either of the shows. I bet you'll be sharing those for us as well. Right. And we'll, I'm sure the, the art farm's gonna make sure you're getting all the document, you know, photos or videos, everything. And then hopefully maybe we'll get you back here when you uninstall and move them to Memphis. We see you and see you in person again and maybe really celebrate your work maybe with a closing.
2 (26m 59s):
Right. That's a definite plan at this point.
1 (27m 2s):
Okay, good. Good, good, good, good. Well thank you so much Christine. It was a delight to see you. I mean on Zoom here, wish it was in person, but I hope you're enjoying San Francisco. We're thrilled to have the pieces through the spring and thank you for honoring us with those.
2 (27m 18s):
Well, thank you. And thank you Steve for taking this step into this grand adventure. I really appreciate you and just your vision for all of this. It's just, it's incredible.
3 (27m 31s):
I often say our role is to just show up and stay conscious. And that was in a good example. I had no expectations of anything other than having a nice conversation with old friends and seeing orchids. But the moment I saw the first piece of work, I just sensed there was something more going on. I wasn't even processing it intellectually, but emotionally, I suddenly stepped into a new space and I became more conscious. Your work truly communicates in deep meaningful ways and your personality comes through through your work.
3 (28m 11s):
And we saw that everyone who met you, you totally charmed them with your journey and what you've done. And you can see how your personality is expressed in all those art pieces. And it what's, it's what draws those of us that view them in. So good luck with what you're doing. I think that now that they're being exhibited in nature in many of your upcoming shows, your fame is about to explode larger than it is now. So I'm glad that we are in the beginning of this movement and knew you went
2 (28m 46s):
Well. Thank you. I forgot to mention each, there's seven groupings of the work and there's a tag on one piece of each of the groupings that can be, you know, you'll see a label that gives a little narrative that I've created just to give context to the work. And then there's also a QR code, if you scan it, you'll get an audio tour where I talk a little more. So there's lots of fun to be had out in the woods. So
1 (29m 18s):
I like it. Bring your phone.
3 (29m 20s):
Another thing is we were talking about really honoring these pieces of art. It became obvious that they had not found their correct footing in nature was the one thing that I saw at the botanical gardens is the stands. And so yeah, you shared with us your dream of what you would really like to have them sitting on in nature. And of course Jimmy and the team here decided to make that a reality. And I think that's just another whole journey there of how yes, we met you to help support the energies because we wanted to give them that dignity of having a frame to stand on.
2 (29m 60s):
Frames are beautiful. I can't even say enough about them. They're the other thing that is exciting to me. It sort of made me giggle when we went out to the woods. They were so perfect in accordance to the trees that are out there. Just the fact that there are all these pine trees with these thin trunks and then the stands look like the beginnings of that. And so it's just very incredible. And you know, I hope that lots of people get a chance to experience it. And I always say it's experiencing it as opposed to looking at it because it's definitely an experience.
2 (30m 40s):
You would have an experience if you went out to the woods in and of itself. But then to have the work there and the, this idea of these spirits dancing, it's very much a sensory thing. So I'm excited to see what happens and to see how people interact with it.
3 (30m 58s):
It's gonna be fun to think that as these might travel their foundation from Cy might travel with them.
2 (31m 4s):
That's
3 (31m 5s):
Will always be, cy will always be a part.
2 (31m 9s):
So true.
3 (31m 10s):
Well, it's been fun chatting with you.
2 (31m 13s):
Oh, it's definitely been a joy. I really appreciate this. I think we could talk all day.