Compliments of Dan Shanner — ———————————————————————— AMERICANTHE MAGAZINE CELEBRATING LIFE IN AMERICA LIFESTYLE Riffing on a Sunset - pg. 30 | Indoor/Outdoor Arts in Seattle - pg. 24 | Some Like It Hot - pg. 14 | Making Textiles Sing - pg. 6 678 678 56 12345 67890 Front of Tear Out Card 1 Dear Bill and Judy, Welcome to American Lifestyle magazine! I wanted to take the opportunity to connect and share this terrifi c gift as a thank you for your continued support through business and refer- rals. American Lifestyle is a celebration of the fl avor and fl air of life in the United States, and takes the reader on a journey of the nation’s Dan Shanner sights, sounds, smells, and tastes. This 48-page publication features articles on interior design, travel, technology, restaurants, and culture. Toll Free: (866) 458-4226 Entertaining writing coupled with gorgeous photography makes this magazine a must read. Office: (610) 878-5000 Fax: (610) 878-2000 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. www.remindermedia.com 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. The Shanner Group 1100 First Avenue Suite 200 Dan Shanner King of Prussia, PA 19406 Dan Shanner The Shanner Group Toll Free: (866) 458-4226 Offi ce: (610) 878-5000 Fax: (610) 878-2000 E-mail: [email protected] www.remindermedia.com Back of Tear Out Card 1 The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406 CONTENTS 24 INDOOR/OUTDOOR ARTS IN SEATTLE 6 Making Textiles Sing KATE TROYER’S WIPPOWILLOW LINE Kate Troyer took her degrees in art history and sculpture and carved out a niche in textile surface design, leading to the launch of Wippowillow textiles. 14 Some Like It Hot HOT SAUCE RECIPES TO TRY AND SHARE If you’re craving a little spice with your food, take a peek at this mini collection of hot sauce recipes excerpted from Hot Sauce! by Jennifer Trainer Thompson, photography by Tara Donne, used with permission from Storey Publishing. 20 Ron Maxwell STORYTELLER EXTRAORDINAIRE Independent film director and writer Ronald Maxwell talks the Civil War, fatherhood, filmmaking, and artistic vision. 24 Rain or Shine INDOOR/OUTDOOR ARTS IN SEATTLE Explore all things arty with a guide to Seattle’s art galleries, museums, theater venues, music outlets, and other bits o’ culture. 30 Riffing on a Sunset KIMZEY WALTMAN INTERIOR DESIGN Missouri-raised Kimzey Waltman carves out a design path for her clients that best reflects their tastes and aesthetic sensibility. 38 Motors and Mayhem RECOUNTING THE FIRST INDY 500 Enjoy a taste of the historic car race in an excerpt from Blood and Smoke by Charles Leerhsen. Copyright © 2011 by Charles Leerhsen. Reprinted by permission of Simon & Schuster, Inc. 44 The Perfect Pairing CHEF PAT MCLARNON’S IRISH CUISINE Dublin-based Chef McLarnon dishes about his childhood, his foraging adventures, and what it takes to make it as a chef these days. TEXTILES WHEN DID YOU START DEVELOPING AN INTEREST IN ART AND TEXTILES? I was a very creative child and was involved in dance, visual art, and theater early on. Like most children, I had a very active imagina- tion, but I really decided that pursuing fine art was my path sometime in high school. I had incredibly supportive art teachers who strongly encouraged me to pursue my pas- sion and believed in my talents. I was also fortunate to have parents who supported my creative interests and believed in the impor- Making Textiles Sing tance and validity of the arts. I explored a lot KATE TROYER’S WIPPOWILLOW LINE of other art forms in my twenties before I dis- covered that working with textiles was what I text: KATE TROYER photography: ADAM L. SMITH loved most! Kate Troyer took her degrees in art history and sculpture and carved out a niche in textile surface design, leading to the launch of Wippowillow textiles. I attended a liberal arts college and received a BA in sculpture and art history. It wasn’t until the end of my time as an undergraduate that I began experimenting with fabric as a sculptural medium—using textiles to create soft sculptures and wearable art. From there, I took some time off to travel and ended up working in a small town in North Dakota as an Artist in Residence. I continued experi- menting with soft sculpture, which sparked my interest in textile surface design. I re- ceived my master’s of fine arts in textile art and design from the University of Wiscon- sin with a concentration in large-scale textile print design. Since then, I designed a line of women’s dresses and handbags while regu- larly teaching classes at local art colleges. 6 AL 7 Wippowillow was born in the summer of shaped who I am, and therefore, my work is Wippowillow is a 2011 and has continued to grow and devel- highly influenced by both nature and story- combination of the words op every day. I debuted Wippowillow’s first telling. I wanted the company name to capture line of textiles at the IDS West Interior De- a union of nature and narrative. Wippowil- willow tree and sign Show in Vancouver, British Columbia, low is a combination of the words willow tree whippoorwill birds, both that fall. and whippoorwill birds, both of which hold of which hold specific specific meanings. The whippoorwill bird meanings. The whippoorwill DID YOU ALWAYS ENVISION USING YOUR was a common sound in the northern woods HANDMADE TEXTILES AS THE BASE TO PRODUCE and mentioned in many of our family camp- bird was a common sound OTHER PRODUCTS? fire stories. The sound of the whippoorwill’s in the northern woods and Yes! However, it took me a while to get there. call is simultaneously lovely and eerie. The mentioned in many of our I started out by designing women’s dresses willow tree symbolized strength and comfort family campfire stories. The and handbags out of fabrics I purchased, but and has also played an important role in past felt somewhat limited by the fabrics I could stories and tales. I felt that the combination of sound of the whippoorwill’s buy. Since my educational background is in these two words into Wippowillow captured call is simultaneously lovely textile surface design, I decided I needed to the essence of something plucked straight out and eerie. The willow tree figure out a way to include that into my fu- of a fantasy world or fable. The word comes symbolized strength and ture designs. Since then, we have developed from a place of memories and sincerity which relationships with boutiques, designers, and I try to translate into my textiles. comfort and has also played architects selling our hand-printed hanging an important role in past drum lampshades, fabrics, and pillows. I am WHAT IS IT ABOUT TEXTILES THAT DRAWS YOU IN? stories and tales. very excited about some of the new products Textiles are incredibly influential and impor- we are bringing to market including limited tant in our lives, although we don’t always edition handbags, tabletop mats and runners, think of them that way. They have a rich his- and area rugs. I am also always open to in- tory and play many roles ranging from neces- teresting custom projects with architects and sity to luxury. Textiles can be used to cover interior designers. the body for protection or may be worn to express rank, position, cultural association, EXPLAIN THE NAME WIPPOWILLOW: gender, and individuality. Additionally, I love My family has a cabin in Michigan’s Upper that textiles can be two- or three-dimensional, Peninsula. Growing up, we spent many week- taking on shapes and forms of their own, and ends in the woods and evenings around the the right textile can really liven up an interior campfire. I believe these memories really environment or create the feeling of a warm 8 AL 9 I love combining urban and inviting home! I am a very tactile person; influences with natural when I see an appealing fabric, my first incli- elements to achieve a modern nation is to touch it! look. For instance, the other TALK ABOUT THE PROCESS OF CREATING day I saw some graffiti on the A TEXTILE: sidewalk and loved the Typically, we start with a drawing or a sam- juxtaposition of the gray, pling of sketches which are scanned into the computer and manipulated into a repeatable gritty pavement and the pattern. We then print off one unit of the pat- bright, artificial blue paint. tern to scale and critique whether the design Using this contrast of muted needs to be reworked or changed in any way. natural color and a pop color Once we have a final design unit, we print a “positive” onto a transparent substrate and is something I am currently use a photo sensitive process to “burn” the using in my prints. design onto a large silkscreen measuring five feet by three feet. The design is then large enough to print on fabric measuring ap- proximately fifty-six inches wide. The fabric is pinned down onto our printing tables, the repeat system is carefully measured, and two printing partners silkscreen the length of the fabric with the capability of printing up to thirty feet at one time. WHY DO YOU CHOOSE TO HAND DRAW? It is important to me that I retain the integ- rity of the initial drawing or painting when I design a pattern.