Revision of Tony Shore's portfolio from Tue, 09/13/2016 - 16:39

About Tony

Baltimore City - Highlandtown A&E District

Tony Shore is a Baltimore-based artist who paints on Black velvet mostly recognized for his autobiographical paintings of blue-collar life in Southwest Baltimore . Tony is a recipient of a 2017 Franz and Virginia Bader Grant and a 2016 Rubys artist grant. He is the 2007 winner of The Walter and Janet Sondheim Prize as well as the 2005 winner of the Bethesda Painting Prize. He was a 2008 and 2016 finalist for the Trawick Prize and has been the recipient of several Maryland State Arts Council… more

View Tony's Resume

Sense of BELONGING - Remains of Shadow (2005-2007)

These two pieces explored my relationship with Japan and America. My place in this country, what it means to be here, history, personal memories.

This was the first time I consciously and overtly examined my Japanese heritage. I wanted to explore my relationship with Japan and America and how the relationship between two countries has influenced me in my life. History, personal memories, and unresolved conflicts became the driving force of these pieces.

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REMAINS OF SHADOW (2005-2007) - full-length

Conception, direction, choreography, environment/costume/object design, performance

The piece consisted of two parts. First part being the journey of a blue-eyed doll that was sent from America to Japan during WWI as a token of friendship. The second part was about the experience of going through various stages 49 days after death.

Material - translucent cloth, plastic

Lighting design by Sabrina Hamilton (Ko Festival)
Projection design by Chas Marsh

Premiere - Spring 2005 @ Ko Festival of Performance, Amherst, MA, Tour - 2006 Questfest, 2006 Capital Fringe Festval, 2007 Theatre of Yugen

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KAWATOKAWA (Skin/River 2012) - full-length

Concept, direction, choreography, environment/object/costume design, and performance

An autobio extravaganza, drawing from my research about “space, body, and language” in Tokyo and Czech Republic.

This full evening piece was a departure from my usual mode of performance. The piece consisted of 12 vignettes based on the memories and the landscapes of my childhood and what could have happened to me if I had lived in Japan. I'm trying to figure out what my Japanese-ness and where I belong. The quick shift from one vignette to another required a comedian/clown’s immediacy and Kabuki actor’s finesse.

Dramaturgy by Juanita Rockwell
Lighting design by Kel Millionaire

May 2012 @ Baltimore Theatre Project

Kawatokawa (2012)@ Baltimore Theatre Project, MD

The stage environment was created with three chairs, one table, and various objects that have appeared in my previous productions. In a sense, it was like going through an inventory of Naoko both in personal life and artistic creation. "The audience is clearly touched as the piece rises toward its final paroxysm, even if the precise cause of that chiseled touch remains veiled."- Baltimore Theatre Journal
Remains of Shadow (2005-2007)@ Questfest, MD

"...performed with compelling emotion-plausibly and poignantly conveying confusion, anguish, and displacement.” – The Washington Post
Kawatokawa (2012)@ Baltimore Theatre Project, MD

Cockroaches are prevalent in Japanese summer. I made a cockroach dance honoring the longevity of this grotesque creature. "Moving from one prop or boldly colored piece of clothing to another, Maeshiba skillfully expresses the passions proper to each stage of transition…Humor and pathos alternate as the life of the often-baffled protagonist unfolds." - Baltimore Theatre Journal
Remains of Shadow (2005-2007)@Capital Fringe Festival, DC

“In one stunning sequence Maeshiba…delicately crossed toward an offstage light…a subtle tilt of Maeshiba’s head, and her straw hat fell to the ground, evoking the sudden transportation of thousands of souls into their next journey on 6 August 1945.” - Theatre Journal
Kawatokawa (2012)@ Baltimore Theatre Project, MD

My face is obliterated by a a face written by Japanese characters. What is written on the other side is the Article 9 of Japanese constitution called 'peace constitution' which outlaws war as a means to settle international disputes involving the state. It went into effect during the American post-war occupation of Japan. There has been a debate whether to alter its constitution by removing Article 9,
Conventions detail

The gloomy light added an atmosphere of weariness to the shoes as they serpentined along the floor.
Kawatokawa (2012)@ Baltimore Theatre Project, MD

"Especially striking is the emotive range of Maeshiba's choreography and peformance...the basic emtoions of fear, curiosity, and rejection float off the stage with carefully calibrated movements." - Baltimore Theatre Journal
Remains of Shadow (2005-2007) @ Ko Festival of Performance at Amherst, MA

“Remains of Shadow probed subtle regions of emotion and memory in the liminal spaces between cultures, countries, and histories…while technology enhanced the production, the virtuosity of performers Maeshiba and Aoyagi proved its centerpiece. Their bodies bear traces of rigorous physical training as well as everyday socialization across cultures.” - Theatre Journal
Kawatokawa (Skin/river 2012) @ Baltimore Theatre Project (MD) - concept/direction/choreography/object,costume, sound design/performance

This full evening piece was a departure from my usual mode of performance in that I played a clownish character who established an intimate relationship with the audience. The piece consisted of 12 vignettes drawing from the memories and the landscapes of my childhood, recent accident in Fukushima, figuring out what my Japanese-ness. The quick shift from one vignette to another required a comedian/clown’s immediacy and Kabuki actor’s finesse.
Remains of Shadow (2005-2007) Premiere: Ko Festival of Performance, Amherst, (MA), Tour: Questfest (MD), Capital Fringe Festval (DC), Theatre of Yugen (SF) - concept/direction/choreography/environment, costume, object, sound design/performance

The piece consisted of two parts. First part being the journey of a blue-eyed doll that was sent from America to Japan in 1927 as a token of friendship, which was burned or destroyed during the WWII. The second part was about the experience of going through the buddhist rebirth cycle of 49 days. This footage features the excerpt from the first part.

"Can't We All Just Get Along" Exhibition and "Still Funny" Series

Scuplture

Still Funny Series: Lover 2

From the Still Funny Series: Lover 2, 2011 Japanese ceramic figurine, beadwork, thread 5 1/2 x 3 x 2 3/4 in. (14 x 7.6 x 7 cm) Scot-1013-C// Exhibitions: “Philosophy of Figure” November 20, 2012 – January 18, 2013, Goya Contemporary, Baltimore MD, Curator: Amy Eva Raehse "On Kilter", Sept 12- Nov 10 2012, Goya Contemporary, Baltimore MD, Curator: Amy Eva Raehse/// Catalogues: "On Kilter" Sept 12 - Nov 10, 2012, Goya Contemporary, Baltimore MD, Pg. 9, ISBN: 978-1-4675-4223-4
Still Funny Series: Lover 1

From the Still Funny Series: Lover 1, 2011 Japanese ceramic figurine, beadwork, thread 8 1/2 x 3 x 3 3/4 in. (21.6 x 7.6 x 9.5 cm) Scot-1012-C// Exhibitions: “Philosophy of Figure” November 20, 2012 – January 18, 2013, Goya Contemporary, Baltimore, MD, Curator: Amy Eva Raehse; "On Kilter", Sept 12- Nov 10 2012, Goya Contemporary, Baltimore MD, Curator: Amy Eva Raehse/// Catalogues: "On Kilter" Sept 12 - Nov 10, 2012, Goya Contemporary, Baltimore MD, Pg. 9, ISBN: 978-1-4675-4223-4
Still Funny Series: Flutist

From the Still Funny Series: Flutist, 2011 Japanese figurine, beads, thread 5 1/2 x 3 3/4 x 3 in. (13.97 x 9.53 x 7.62 cm) SCO-0383-C// Exhibitions: "On Kilter", Sept 12- Nov 10 2012, Goya Contemporary, Baltimore MD, Curator: Amy Eva Raehse; "Prospect 2, New Orleans", Oct 22 2011 - Jan 29 2012, New Comb Gallery at Tulane university, New Orleans, LA Curators: Dan Camron, Sally Main/// Catalogues: "On Kilter" Sept 12 - Nov 10 2012, Goya Contemporary, Baltimore MD, Pg. 7, ISBN: 978-1-4675-4223-4 "Prospect 2, New Orleans", Oct 22, 2011 - Jan 29, 2012, New Comb Gallery at Tulane university, New Orleans, LA, pg. 116, ISBN# 10-0615549497
Still Funny Series: Mammy / Penis

2011 Commercial shaker, beadwork, thread, glue 3 3/4 x 2 x 2 ¼ inches PRIVATE COLLECTION/// Exhibitions: "On Kilter", Sept 12- Nov 10 2012, Goya Contemporary, Baltimore MD, Curator: Amy Eva Raehse; "Prospect 2, New Orleans", Oct 22 2011 - Jan 29 2012, New Comb Gallery at Tulane university, New Orleans, LA Curators: Dan Camron, Sally Main/// Catalogues: "On Kilter" Sept 12 - Nov 10 2012, Goya Contemporary, Baltimore MD, Pg. 7, ISBN: 978-1-4675-4223-4 "Prospect 2, New Orleans", Oct 22, 2011 - Jan 29, 2012, New Comb Gallery at Tulane university, New Orleans, LA, pg. 116, ISBN# 10-0615549497
Bad Graffiti

2014 Glass beads, thread, Ambrotype ( glass photography), wire, Blown glass 23 x 3 1/2 x 3 inches PRIVATE COLLECTION
Sex Traffic (Detail)

Sex Traffic, 2014 Hand-blown Murano glass processes with metal, beads, thread, and leather 76 x 16 x 9 ½ inches Scot-1068-C// Exhibitions: "Joyce J. Scott: Can't We All Just Get Along?", September 14, 2014 - November 7, 2014, Goya Contemporary Gallery, Baltimore, MD Curator: Amy Eva Raehse/// Catalogs: "Joyce J. Scott: Can't We All Just Get Along?", Sept. 14, 2014 – Nov. 7, 2014, Goya Contemporary Gallery, Baltimore, MD, pgs. 7-8, ISBN 978-1-4951-2405-1
Sex Traffic

Sex Traffic, 2014 Hand-blown Murano glass processes with metal, beads, thread, and leather 76 x 16 x 9 ½ inches Scot-1068-C/// Exhibitions: "Joyce J. Scott: Can't We All Just Get Along?", September 14, 2014 - November 7, 2014, Goya Contemporary Gallery, Baltimore, MD Curator: Amy Eva Raehse/// Catalogs: "Joyce J. Scott: Can't We All Just Get Along?", Sept. 14, 2014 – Nov. 7, 2014, Goya Contemporary Gallery, Baltimore, MD, pgs. 7-8, ISBN 978-1-4951-2405-1 "Reflecting Humanity and Igniting Conversation," Raehse, UMUC publication, 2015 available through issuu
War Woman III

War Woman III, 2014 Hand-blown Murano glass processes with beads, wire, thread, and plastic dice 28 x 9 x 8 inches Scot-1066-C/// Exhibitions: “Truths and Vision,” Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL, Curator: Patterson Sims, Aug, 28 – Oct. 9, 2015/// Catalogs: "Joyce J. Scott: Can't We All Just Get Along?", Sept. 14, 2014 – Nov. 7, 2014, Goya Contemporary Gallery, Baltimore, MD pgs. 1-2, ISBN 978-1-4951-2405-1
War Woman II

War Woman II, 2014 African sculpture, fused and painted mosaic glass, glass/plastic beads, thread, wire, metal keys and cast glass guns 25 x 18 x 18 inches Scot-1042-C/// Exhibitions: "Joyce J. Scott: Can't We All Just Get Along?", September 14, 2014 - November 7, 2014, Goya Contemporary Gallery, Baltimore, MD Curator: Amy Eva Raehse/// Catalogs: "Joyce J. Scott: Can't We All Just Get Along?", Sept. 14, 2014 – Nov. 7, 2014, Goya Contemporary Gallery, Baltimore, MD, pg. 6, ISBN 978-1-4951-2405-1
War Woman I

War Woman I, 2014 African sculpture, dice, glass/plastic beads, thread, wire, and cast glass guns 30 x 20 x 20 inches Scot-1043-C/// Exhibitions: WPA, 2015, curator: Laura Roulette; "Joyce J. Scott: Can't We All Just Get Along?", September 14, 2014 - November 7, 2014, Goya Contemporary Gallery, Baltimore, MD Curator: Amy Eva Raehse/// Catalogs: "Joyce J. Scott: Can't We All Just Get Along?", Sept. 14, 2014 – Nov. 7, 2014, Goya Contemporary Gallery, Baltimore, MD, pg. 5, ISBN 978-1-4951-2405-1; "Reflecting Humanity and Igniting Conversation," Raehse, UMUC publication, 2015 available through issuu