Sterling Edwards Workshop

Sterling Edwards Workshop: Watercolor from A - Z

Registration forms avaiable at the Depot or contact Peggy Jones, Event Coordinator email: This email address is being protected from spambots. You need JavaScript enabled to view it. or call 704-664-1347.

Location: Mooresville Arts Depot

Date & Time: Nov. 16, 17, 18 from 9am to 4pm

Price: $300

A $100 deposit will hold your seat. Deposit non-refundable after 10/15/17

Balance of $200 must be paid by 11/1/17

Seating limited to 25  


Payment Options



About the Workshop

Materials List

Sterling Edwards Brief Bio


Beyond Brushes And Pens 2017


A workshop to engage in a deeper dialogue between the visual arts and words.  Poet and teacher Terri Wolfe will introduce the process which requires a closer examination and contemplation of a  piece of art to create a poem. This event is hosted by Charlotte Writers’ Club North in cooperation with Mooresville Arts.


Saturday, October 7, 9:00 a.m.-1:00 p.m.


Mooresville Arts Depot, 103 West Center Avenue

How To register:

Contact Caroline Kane Kenna at  $35 for CWC members and $45 for non-members.  The fee includes a $5 donation to Mooresville Arts, a non-profit. 





Terri Wolfe 

 Terri Wolfe holds a BA from UNCC and an MFA

inPoetry from Queens University of Charlotte. She

is the co-author of Riding Out: Poems of Grief and

Redemption (Mayflower 2008). Her publications

include poems in Cave Wall, Iodine Poetry Journal,

Main Street Rag, Only Connect: The Charlotte

Writers'Chub Anthology, and Aftershock: THe Poetry

of Recovery Anthology. She resides in Denver, North

Carolina and currently teaches small group poetry



Le Dejeuner, 1873-1874

after Monet


--Terri Wwlfe


Tea has been served in two blue-patterned cups.

The white cloth, dappled with sun and

one discarded rose— or is it gardenia?— say

the repast is over.  Two women strolling

beside the pink house. An embroidered bag and

sunshade rest content on the green slats

of the bench where they wait to be retrieved.


From a twig a straw hat waggles in the breeze,

its black band and trailing ribbon jaunty

above a planting of red pelargoniums, their aroma

thick in the air. Isn’t that a bee

hovering about the compote of peaches,

grazing the half-full glass? They must be busy

among fuchsia in the green planter box

though no one hears their industry.


Here in the Musée d’Orsay I find myself

placing word upon word,

not unlike the child in the foreground

sitting cross-legged, intent, making

the most of what lies before him,

stacking block upon block,

his cheek reflecting roses.


 Bedroom in Arles

after Vincent Van Gogh, 1888


-Caroline Kane Kenna

1280px-Vincent van Gogh - De slaapkamer - Google Art Project

A rectangular space

in the little yellow house, haven

with a view in the countryside

of France. The lonely

room tinted lime and blue,

single bed with a red coverlet, “this place”

you wrote to your brother,

“is rest for the brain.”


An easel and palette, paint-caked

brushes left in the kitchen sink.

Landscape that turned your water color dreams

to art. The Sulfur sun and cobalt sky stoked

visions, an inkling perhaps your zenith


was Provence. A maddening year

and a half spent capturing butterflies,

armature of the Langlois bridge, peasants’  

faces and hands harvesting haystacks, evenings

at the café, stars on the Rhone,

orchards and purple iris fields, sunflowers

shedding petals like tears.


Two Sisters (On The Terrace)

after the painting by Pierre-Auguste Renoir, 1881


-Sandra Phillips 

Renoir On the Terrace

In our red, white and blue sailing costumes,

we create a fanciful impression—

sisters sitting on the terrace edge

whiling away an afternoon.  Our eyes 

tell another story 


You, the younger one, disconnect, 

stare straight ahead toward an artist painting

at his easel.  Tilting my head to the right, I cast

a sidewise glance toward the street,

watch a retreating figure disappear.


At our backs, thin metal curls like horseshoes,

mimics a landscape of curves.  Summer foliage—

yellow and green—cascades to riverbanks

where boaters blissfully paddle.


No good luck for us today.  Rigid railings pierce

the scene.  We are not what we seem.



American Gothic

after the painting by Grant Wood, 1930


--John Stone

Grant Wood - American Gothic

Just outside the frame

there has to be a dog

chickens, cows and hay


and a smokehouse

where a ham in hickory

is also being preserved


Here for all time

the borders of the Gothic window

anticipate the ribs


of the house

the tines of the pitchfork

repeat the triumph


of his overalls

and front and center

the long faces, the sober lips


above the upright spines

of this couple

arrested in the name of art


These two

by now

the sun this high


ought to be

in mortal time

about their businesses


Instead they linger here

within the patient fabric

of the lives they wove


he asking the artist silently

how much longer

and worrying about the crops


she no less concerned about the crops

but more to the point just now

whether she remembered


to turn off the stove.


*from Where Water Begins:

New Poems and Prose, published

by LSU Press, Baton Rouge, LA, 1998









Harold Frontz Workshop

Capturing the Moment: a Plein Air Painting Workshop

Harold Frontz will conduct a 3-day Plein Air Workshop, August 22, 23 and 24, in both oils and acrylics.  Harold will select three sites, one for each day. A welcome, get to know each other picnic, will be held on Tuesday evening, August 22 (day 1) after the workshop.



♦ Registration for Harold Frontz Workshop $175


♦ $75 Nonrefundable deposit will hold your place for the workshop with the remainder due before August 14, 2017.


♦ Workshop limited to 15 participants


♦ Maps, schedules and other relevant information will be forthcoming.

♦ Harold Frontz website:


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