Community Calendar

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

Abilene Interfaith Council will present "Light, Motion, and Spirit in Central Texas Rock Art." ACU professor, Jeremy Elliott, will discuss the content and meaning of prehistoric Paint Rock petroglyphs on Monday, April 13, 7-8:30pm. A business meeting follows for AIC Board elections. First Central Presbyterian Church, 400 Orange St, Fellowship Hall. Questions? Linda Goolsbee, 325-692-3353

The ACU Percussion Ensemble and Steelband will present its spring concert on Monday, April 13, at 7:30 pm. The performance will take place on the ACU campus in the Williams Performing Arts Center Recital Hall. The first half of the program will include recently composed standards for percussion ensemble, and the second half will feature samba from Brazil, selections for steelband, and Afro-Cuban salsa in a performance with the ACU Jazz Ensemble. Admission is free. For more information, contact Dr. Allen Teel at teela@acu.edu.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.

The Texas Church Project began as an exhaustive survey of the more than 15,000 churches in Texas. Utilizing Google Street View, the artist collected some 2,000 images that fruitfully served as a trajectory in his endeavor. For the second aspect of the project, Rothfuss created large-scale paintings, emphasizing the relationship between the building and landscape. For these, no attempt was made to hide the source of the images, and in fact the keys, maps, and watermarks of the original screen save are included in the final work. Finally, Rothfuss transformed the digital images into three-dimensional models of churches that project from the wall as reliefs.

Jian’s Cell Series installation includes elements of collage and various drawing techniques to depict seemingly unrelated images. Inspired by the format of personal scroll paintings, where the movement of time is compressed without the feeling of an end, Jian’s works highlight ephemeralness. At times the individual images engage with one another or float independently in a sea of translucence. Shunning the conventional means of presenting works on paper, the artist constructs presentation devices that engage the unique spaces and constantly transform the works as the light of the day shifts with time.