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at meeting the emotional and financial demands of child rearing.
Marshal] also provided another look at Rappahannock’s people through her sensitive portrayal of an elderly farm woman peeling apples and her portrait of Clarence Dealing, his huge
hands symbolic of his giant stature in the county’s black community.
TIM KILBY’S stark photographic images in such disparate subjects as a dead puppy lying frozen in winter’s cold and old cars parked around a modest rural home give off auras of loneliness and isolation. But his slow shutter speed shot of a Last Minute Wood Company rehearsal - part of a mini-exhibit focusing on Sally Nash’s dance troupe-was friendlier, dreamlike and reminiscent of the work of photographic pioneers.
The opposite end of the emotional spectrum to Kilby’s photography was touched by SCOTT ROBINSON and LINDA HEIMSTRA.
Heimstra, whose colorful Pennsylvania Dutch hex signs decorate the county’s barns, offices and living rooms, moved eastward with her Oriental inspiration of a mandala of bright butter'" es.
Robinson’s watercolor of supermarket apples relied on vibrant, electric colors and softly rounded shapes to lift the spirits. This was a painting for a bedroom or breakfast nook, a painting to see first thing every morning to banish any remnants of a nightmare’s gloomy hangover.
Following the visual tour, a panel of Rappahannock artists - Laurie Marshall, Sally Nash, Tim Kilby, Henpr Eastwood and Charlie Tompkins - discussed their work and answered questions from the audience. “They wanted to know how we supported ourselves out here, how the country affected our art, how something like Middle St. Gallery could survive,” reported Dan Lewis, artist and proprietor of Middle St.
“Some saw it as a hard, isolated life,” said Laurie Marshall. “Others saw a unique relationship between people. They saw us doing what we want with our lives. You can do that anywhere - in the city or the country - but it’s rare to find,” she said, adding that most of the visitors seemed to envy the lifestyle in Rappahannock.
“They were city people who dreamed of living in the country,” Lewis concluded.
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