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First Friday Roundup, 4.5.13

<p>Anne Davis Mulford. COURTESY: GINGER BRUNER</p>


<p>&amp;#8220;Kiss Slowly,&amp;#8221; by Connie Norman. COURTESY PHOTO.</p>

&#8220;Kiss Slowly,&#8221; by Connie Norman. COURTESY PHOTO.

Nevada Ballet Theatre


Nevada Ballet Theatre dancers will grace the streets of First Friday with flash mob-styled dances occurring spontaneously around The Hub. It’s being described as a “slow-motion, laid-back, jazzy, ’50s-era dance party.”

NBT Artistic Director James Canfield: “Dance, but more specifically ballet, has always struggled with the ability to take the ‘art’ outside of the walls of a studio and onto the stages of performance venues. The primary reason is due to not only needing an ample amount of space, but the need for a specialized dance floor. … Luckily, when Celine Dion’s first show closed at Caesars Palace, NBT was the recipient of her dance floor — the exact same floor that we utilize in our rehearsal studios and on Reynolds Hall stage at The Smith Center. This special sub-floor … provides cushion, absorbs shock and allows the dancers to execute their movements on a surface that will keep them from being injured.

“Because the donated floor was originally designed in 4-by-8-foot sized pieces, we asked ourselves what could happen choreographically on just one section of the floor …? We wanted to do more than just demonstrate exercises, so the dancers and I got together in the studio and went to work … we soon realized that by creating choreographic works on this very compact space, we would have a unique opportunity to bring our 4-by-8 self-contained floor anywhere with us — all over the city …”

Various locations around Colorado Avenue and Casino Center Boulevard,

Connie Norman

Recent Works

Cached among the cheerful pink and orange posies and whimsical graphics of Connie Norman’s ceramic sculpture, streams of sage counsel form playful patterns of advice.

“All my life I have struggled with writing, now my work is completely covered in text. This paradigm shift has allowed me to experiment in different art forms, and face fears through the medium of art. [It’s been] an interesting adventure in self-discovery! The text in my pieces acts on several levels. For instance, it has texture, pattern, mystery and a path to look inward to decipher a glimpse into my private thoughts. I am fascinated by the rhythmic qualities created by color, texture and patterns.

“The piece … titled ‘Don’t Take Your Secrets to Your Grave,’ is about the day we buried my father at Arlington National Cemetery. The Chaplin asked to recall some of my father’s military stories, and I realized that I didn’t know very many of them anymore, and I had taken them for granted.

“[The piece] ‘Kiss Slowly’ is a statement I frequently have to say to my 5-year-old son. He has many kisses he likes to give — crazy kisses, sad kisses, laughing kisses, scary kisses — and after one of these sessions, I usually say, ‘Just kiss slowly.’”

Clay Arts Vegas, 1511 S. Main St.,

Zak Ostrowski


Charred painted surfaces resemble stained glass maps, skins of ancient lizards and pixelized abstractions all at once.

Ostrowski: “The process for the pieces … takes direction from the traditional Japanese wood-burning technique shou sugi ban (or yakisugi). I experimented with a mix of pine and oak lumber for most of the pieces.

“My work uses the organic shapes and textures of the burnt wood as a starting point for the paint process. [‘Char WR-157’] in particular took many forms. I burned it twice and then repainted it twice. During the charring process, the soft pine wood cracked and split on me a bit more than anticipated, creating miniature micro-fractures between the individual pieces of wood … [creating] opportunities to play more with the color and form of the piece.”

Brett Wesley Gallery, 1112 S. Casino Center Blvd.,

Various Artists

Asleep in Vegas

This exhibit invites you to a nap with artist Anne Davis Mulford for her two-night sleep performance “Night Surface” taking place in the gallery window. During your visit, contemplate other facets of sleep such as defining darkness through light with Daniel Clark; a book made of bedding by Mary Hill; and “The Big Sleep” explored through cycles of life and decay by Charles Morgan.

Mulford: “In addressing sleep as a performance piece, I am inviting the viewer to observe an aspect of life that is typically intimate, mysterious, secret … when I sleep and especially when I dream, I long for the restoration, but also relief that sleep provides, from my thoughts and anxieties … and I hope for the revelations my dreams may offer. With Asleep in Vegas/Night Surface, I have the challenge of wanting to create something that reaches under the surface of sleep by utilizing my own “surface” — my own body — and my actions within the performance, hoping I will allow myself to find moments that combine consciousness and the unconscious to reveal something deep and unexpected.”

RTZvegas, 1017 S. 1st Street, Suite 195,