Check out this short video inspired by origami workshops being held around town as part of the Charleston Peace Crane Project. It’s part of a collaborative public art effort to create and display 1,000 or more origami cranes to promote a peaceful resolution to conflict and to the Iraq war. The video was filmed during a Charleston Catholic High School class taught by art teacher and occasional ArtAttack art blogger Rebecca Burch (whose amusingly named ‘Carpe You Some Diem’ blog can be found here). The song scoring the birth of this particular crane is “The Littlest Birds” by the The Be Good Tanyas, who just performed in Charleston on Sunday’s “Mountain Stage” at the Cultural Center Theater.

Gazz received this response from Charleston artist Helen Z. Chilton to the review of Harold Edward’s Clay Center exhibit, found a few posts below:

After a wonderful article written the week before about Harold Edward’s stunning exhibit of his work at the Clay Center, why would you print the terrible review the following week written by Rebecca Burch? I know nothing of Ms Burch’s qualifications, but the article was trite and harmful to both of the artists “compared,” Harold Edwards and Charly Hamilton. I hope Ms Burch is not the new blog writer permanently for The Gazz “Art Attack” Where did you get that name?

To emphasize my point, may I first say that the two men’s work is in no way similar except being made of wood and paint. There was no reason to mention Charly’s work in reference to Harold’s show. This is Harold’s time to shine. To say that Charly’s work is static is a shame, it’s anything but! To say that Harold’s work is “generally nonobjective assemblage of ready-made shapes” is insulting.

Each of the thousands of pieces in Harold’s sculptures are hand-designed, handmade, hand-cut, hand-painted, and hand-assembled, by Harold! There are mathematical formulas involved, and many symbolic shapes. They literally undulate from the walls and floor, and it’s a fabulous exhibition of “Evolution,” some of his past and present work. They do not look like “futuristic toys for robot children,” although I think children would enjoy his work immensely. Many of the pieces hold great sentiment for Harold and those that know him.

As an artist, I hope I am never subjected to this kind of comparative criticism. All my life, I have experienced wonderful constructive criticism both in my high school and college days and even today. I welcome anything constructive by any of my collegues and the public as a whole. Remember that each artist is striving for their own individual expression of their souls when they display their art work for you to enjoy, experience, dislike, or even to hate, as long as you feel an emotion to it. Please respect the artist’s right to self-expression, and don’t “compare” us to each other.

– Helen Z. Chilton, Charleston

By Rebecca Burch
For the Gazette

When I first saw the exhibit of Harold Edwards’ work at the Clay Center, I was immediately reminded of some favorite pieces by one of my favorite local artists — Charly Jupiter Hamilton. The vibrant colors, rhythmic patterns and shapes that seemed to dance right off the walls and floors immediately brought Hamilton’s work to mind.

However, as I looked closer, I began to see differences in the two artists’ works. Hamilton’s almost tribal-styled art is usually carved in wood and painted, while Edwards’ pieces seem almost technological, assembled from pieces of wire and painted metal.

Hamilton’s works are mainly static. Edwards’ older works are static, but his newer pieces move around and seem to come to life on their own. Also, Edwards’ works are generally nonobjective assemblages of ready-made shapes, whereas Hamilton’s works are typically representations of animals, people and buildings, which are drawn and carved into the artwork.

Edwards’ newest pieces take on an almost otherworldly feel, looking almost like futuristic toys for robot children. It’s hard not to touch them because it seems like they really should be interactive pieces to play with. Some pieces are actually motorized, so they move on their own.

If you’re a fan of Charly Jupiter Hamilton but are unfamiliar with the work of Harold Edwards, chances are you’ll love this exhibit. If you’re not familiar with either, you’ll still love this art. The animated, jazzy, energetic pieces are the perfect cure for cold, gray, January days.

“Evolution: An Installation by Harold Edwards,” is on view at the Clay Center through April 1.