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Inside the Artist’s Studio: Chance Dunlap

Dunlap_2014_mama-took-one“At the bottom of this mind lies a big, big man.”*

By Derrick White

Every morning at the college you can see him arrive. He stands six foot six and weighs two forty-five.

He’s kind of broad at the shoulder and narrow at the hip and everybody knows you give him no lip.

Move over Paul Jones, there’s a new lumberjack in town. We recently hired a new, big, bad art professor named Chance Dunlap at Tyler Junior College to protect ourselves in case of an emergency, for example, should our building ever, inexplicably collapse. We feel comfortable knowing this giant of a man would hold up beams and bricks like a colossal oak tree allowing us to scramble to safety. Of course, I’m just joking (sort of). Dunlap joins the dynamic assembly of professors and professional exhibiting artists in the vibrant and energetic art department of Tyler Junior College. He is teaching Sculpture, 3-D Design and Art Appreciation. He doesn’t say much, he’s kind of quiet and shy, and if he speaks at all, he usually just says hi. But, I thought, for your benefit I’d ask him a few questions, pick his brain, see what’s on his mind, and allow our community to get to know him a little better. As it turns out he is a considerate, conversant, and attentive artist who didn’t once try to grind my bones to make his bread.

Dunlap_2010_jollyroger_bobber_kamikazeChance Dunlap earned his Master of Fine Arts degree with an emphasis in sculpture from The University of North Texas, Denton, a BA from Southeastern Oklahoma State University, Durant, and an Associates Degree from Grayson County College. Currently, he spends most of his studio time working with wood and paint, but he began by creating welded steel sculptures. “I started making found object, welded pieces, before taking art classes at community college. Welding was a process I learned in high school, so after I saw some sculptures in Denison, Texas, I tried it and then never looked back,” states Chance. In graduate school at UNT Chance became dissatisfied with welding and went back to the roots of his art-making to methods from when he was a child. Chance says, “My family built thousands of rustic birdhouses using old wood or scraps from cabinet shops. I love working with wood. It is very tactile and there are lots of unique power tools that one can accumulate.”

Dunlap_2015_fruit-cocktail-fishing-luregroupWhat else is on his mind? Fishing lures! “I started a project a couple of years ago that has become a major part of my practice, in making fishing lures. I had collected old fishing lures since I was a kid, but one evening in my studio I made one. In the past two years, I have created more than 200 and combine my interests in wood carving and metalworking to create distinctive singular fishing lures that are interesting, aesthetic, and functional. I also maintain a web blog focused on homemade and folk art fishing lures, and I am under contract to author a book on alternative lure forms such as duck, bird, gopher, and other creature or critter lures,” explains the artist.

Dunlap_2011_Dum-DumbsThe first exhibition Chance saw in an actual art gallery was in Denison, Texas (416 Gallery). Eric McGehearty embedded books in concrete and made steel armatures that restricted books from opening (with the intention of raising awareness for learning disabilities). Chance remembers, “Before I started taking classes my perception of art and artists was based on stereotypes found in movies and television. Growing up we were encouraged to be creative but never really considered anything we did art. Looking back there are many experiences that seemed to shape where I am now as an artist. One is that my grandmother always gave us blank paper to draw. She also bought weird vibrating pens from the Avon lady. Maybe my love of power tools is embedded in these objects? My other grandmother would hang cow bones from trees around the farm to frighten trespassers. Another major impact is that my parents would drag my brothers and me all over Texas seeking flea markets and yard sales. Most of our family vacations had the ulterior motive of being in the general vicinity of a major flea market.”

When asked about what art has brought to his life, Chance answers, “The best thing is meeting my wife Bobbie at a gallery. She was showing her work and I happened to go in while she was there. We have been together ever since. Another important thing is gaining confidence in my abilities and actions by making art. I was incredibly timid and introverted for most of my young life, but once I developed a voice with objects, I really came around.”

Dunlap_2012_Confection-No“The most frustrating part of being an artist is the general public’s perception. I have struggled with the concept of ‘artist,’ especially using the term ‘sculptor.’ I really avoid it. I think of a sculptor as somebody, like Michelangelo, who made gloriously skillful representations. I play with materials in a serious sort of way but relate much more to carpenters or people who have their yards full of junk. I like the term ‘painter’ because often a person will just assume you paint walls or something. If I reply that I make intellectual artsy paintings, that person will put me in some category of otherness. I do not really separate being an artist from my everyday activities. When I grill a steak, wash dishes, start a campfire, or make art, I find that many of my basic creative needs are met. As a teacher I try to get students to understand art is much more than what ends up hanging on a wall,” states Chance. His work is influenced by artist Chris Martin (Brooklyn, New York painter) whom he says, “I love how Martin incorporates found objects and ephemera into his art, and is not afraid to use materials.” Dunlap also enjoys the work of Thornton Dial (Alabama, self-taught assemblage artist), and Forrest Bess (visionary Texas painter).

Chance Dunlap recently exhibited his artwork at the Amarillo Museum of Art, the Bathhouse Cultural Center in Dallas, and 500X Gallery in Dallas. His art is represented by Ro2 Art Gallery of Dallas and they recently displayed Dunlap at the Houston Contemporary Art Fair.

For more information, go to

The Fishing Lure Blog is at

*Shout out to country music legend Jimmy Dean.



Bloom Where You are Planted, Buy Local

ben wheeler

By Derrick White

Glasstire is an online art magazine covering topics in Texas contemporary art. They produce thoughtful art criticism and are the journal of record for our extensive Texas visual art community. The website’s name is a reference to the glass tire sculptures of East Texas native Robert Rauschenberg (1925 – 2008), who was from Port Arthur. Glasstire holds the belief that great art can come from anywhere. In the last few years the website has expanded into the realm of podcasts. In their podcast titled Art Dirt: The Personalities of Texas’ Art Cities, Publisher Brandon Zech and Editor-in-chief Christina Rees discuss what makes each of Texas’ distinct art regions tick and the potential for success for visual artists. 

Rees was the juror for the University of Texas at Tyler’s 34th Annual International Exhibition and witnessed some of the dynamic art aspects happening here. As you might imagine, the bulk of the podcast is devoted to the larger visual art market cities of Dallas, San Antonio, Austin, and Houston; but they also talk about the panhandle, West Texas, southern border cities, and East Texas gets a shout out towards the end.  

Christina states, “What happens if you go out to East Texas, with a place like Tyler, is you’ve got the universities, you’ve got schools, you’ve got faculty. They are there to stay. They make art and they are bringing up students through their programs and it’s sort of a ‘bloom where you are planted’ thing. Start your own art scenes. Have an art community, busy making work and making it for its own audience – you know, those aren’t necessarily places to move to if you don’t already live there but if you are there, there is a way to make something, however small, feel quite thriving and to have dialogue and to have a community, an actual working community.” 

Brandon Zech responds, “Or maybe they are places to move to depending on if you have this really cool idea as long as you can get local support and you can band together with people who also think your idea is awesome, especially if you are moving into a community you don’t know. But the real crux of this: it only takes one person to really change and make an impact on an art scene, be it in Tyler or in Brownsville, or really even in Houston.” 

Rees concludes, “Once you reach a certain age you will have friends who have moved to big art centers, New York or Los Angeles, and have burned out. They got up there and they had to work two full-time jobs and they stopped making their art because they were too busy making a living and paying rent. They want to come to Texas, or come back to Texas, or figure out a way to be able and have a studio and make work and live comfortably and be creative. I don’t think being completely stressed out by having to make a living all the time and not getting to make your work is necessarily ennobling. I don’t think it’s creatively inspiring, and I think this whole character building up exercise of moving to New York City and living in a (dump) and working sixty hours weeks and trying to get some traction is not necessarily the only way to go anymore. There are a lot of different art worlds and you can make your own art world. Things are changing rapidly.”

Things are changing rapidly. That statement struck a sympathetic chord with me and reiterated a belief I stated in a podcast interview with ETX Creatives founders Addie Moore and Lisa Horlander. “I like what is changing in East Texas and in our visual arts community and the arts community in general. It’s got legs and a driving force it hasn’t had before. East Texas, in general, is changing for the better and I think there are more opportunities coming for visual artists in our region than before. Sixteen years ago, if I had an aspiring visual art student in class, the best advice I could give them was … move. Go to Dallas, go to Austin, go to Houston, go to Abilene, all these different communities supporting their arts so much better than we used to. I really believe this is changing now better than it ever has been, and if we could introduce some of the money here in East Texas to some of our local creatives and get it all off the ground, then I think the sky’s the limit for what is coming in the future,” I declared. 

We are at critical mass for visual art. We have excellent regional museums, universities, and colleges with inspiring art programs filled with professional artists, and we have amazing emerging student artists who are sticking around and building supportive, innovative communities. We have support from new and established locally owned businesses and civic communes throughout East Texas giving opportunities to local visual artists. What we need is collector financial support, people willing to invest in budding talents here at home. Start buying original, local art.

There are many reasons original art brings fulfillment to those who collect. When purchasing art, you may think about décor and how it will fit into your home. Are you looking for an exciting piece, something comfortable and welcoming, or are you looking for something striking out as a room’s focal point? Whatever original art you choose, you will eventually find yourself enchanted by how it becomes a part of your home and a part of your life. By seeking out and supporting emerging artists, collectors may find the pieces they have bought increase in value as emerging artists become established. 

Owning original art enriches your life and has the potential to make you happy. You enjoy the satisfaction of having a good eye for what fits your personal aesthetic. You get the gratification of having helped and encouraged a local creative who may have depended on your purchase as sustenance they needed to keep going. You have added to the cultural enrichment of our region. You own one of a kind art not existing anywhere else in the world. 

Writer’s note: The Art Guys, a collaborative performance art duo based in Houston, sadly lost Michael Galbreth, who died in October 2019. Galbreth was married to Rainey Knudson, the founder of Glasstire. Condolences.

ben wheeler

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Burning Love, Mary Ann Post: Inside the Artist’s Studio

By Derrick White

“My career as a Tyler artist and teacher has brought me much joy and deep experiences from which to create my art. Art has brought me contentment and happiness. I love to talk with people about art. I learn what is in their heads and in their hearts. Moreover, I love to teach art. For two decades I have watched students challenge themselves to draw, paint, or sculpt in creative explorations that end up thrilling them. I continue to encounter adult students I taught when they were in elementary school. They remember me and recall my lessons. I feel I chose the correct profession for my life,” states local artist Mary Ann Post.

She continues, “My experience creating art spans many decades. I have painted people throughout my life. My earliest memory of exhibiting my artwork comes from the first grade when my tempera paintings of George and Martha Washington were framed and displayed in the hallway of Bluebonnet Elementary School. During my later elementary years, I took art classes three times a week at the Museum of Science and Natural History in Fort Worth. I continued to make art as I completed my high school years and started college at The University of Texas at Austin where I received a Bachelor of Fine Art degree.” 

After college, Mary Ann moved to Tyler to start a career as an artist. She accepted a position at an advertising agency and designed advertisements and illustrated furniture. Mary Ann Post later married, and she and her husband raised a family of three daughters. During this time, she completed her Texas Teaching Certification in Art for grades pre-kindergarten through twelfth grade. She put this certification to good use by teaching art in a public elementary school for seventeen years and in a middle school for about two. “Presently, I am attending The University of Texas at Tyler where I am a graduate student. In the spring of 2021, I will have completed my Master of Art History and Master of Studio Art degrees. I will celebrate this milestone with a solo exhibition to be held at the Meadows Gallery located within the R. Don Cowan Fine and Performing Arts Center on the campus of The University of Texas at Tyler,” she states. I encourage you to seek out Mary Ann Post’s artwork whenever and wherever possible and make note of this exhibition next year in 2021 because these are works of art you are going to want to see up close and in person.

Mary Ann’s work is figurative, and she commands her materials with exquisite detail and skill. Her works reveal a real sense of her subjects’ personalities coming through her process and having a powerful connection to the shared human experience with the viewer. The works are executed with great attention to small details, tremendous patience, and obvious love for both technique and subject. The artist explains, “I focus on a person’s essence. The essence is one’s unique characteristics, the tilt of the head, the posture of the body, the expression of the face, the gesture of the hands, and the objects included. Additionally, I usually only include a single person in my work. I place him or her in a setting defined only by a single color or the grain of the wood. This setting serves as a metaphysical space, thus inviting the viewer to imagine the place and to focus primarily on the human form.”

Post uses two main mediums, painting with acrylic and oil, and pyrography, the art or technique of decorating wood or leather by burning a design on the surface with a heated metallic point, creating beautiful subjects onto the plane of plywood. She describes, “First, I paint the under layers of my figures with acrylic and paint over some of this area with oil. The acrylic paint provides vibrant colors for shadows and local color of clothes. Next, I paint the clothing, skin, and hair using oil paint. The thickness of the paint depicts the heavyweight of the clothes and the velvety appearance of the skin. Secondly, I burn images of my friends and family into various kinds of plywood. The grain of the wood and figure hold equal visual importance. The layers of the wood grain symbolize the passage of time, especially when it passes through the face, creating wrinkles. Thirdly, I occasionally combine paint and colored pencils with my pyrography, or wood-burning. I carefully control the use of color so that it does not overpower the merging of wood grain and the figure.”  

Mary Ann Post draws inspiration from skilled old master artists like Rembrandt van Rijn (1606-1669). She expounds, “He was the master of painting the spirit of the people in his portraits. Not only did he paint each person’s unique characteristics, but he led his viewers to focus on the people by his use of dramatic lighting. Occasionally, he mixed sand in his oil paints which acts like glitter to sparkle when the painting is illuminated by candlelight. Moreover, Rembrandt documented his own life by painting numerous self-portraits. They show his audiences throughout the centuries the mystique and mastery of painting.”

Let us conclude with a speed round of artist facts. Mary Ann says she has dyslectic tendencies, which serve her well for making art, but torment her when she writes or speaks formally. Impressively all three of their daughters were valedictorians at Robert E. Lee High School. Mary Ann enjoys riding bicycles, both touring and mountain. Her favorite national park is Sequoia National Park, CA and her favorite state park is Caprock Canyons State Park, TX. Mary Ann and her husband have been married for thirty-five years. She has known her two best friends for fifty-six years and they talk and get together frequently. Finally, Mary Ann’s cocker spaniel, Penny, is thirteen years old and has the supernatural ability to read Mary Ann’s mind and the dog snores loudly.

For more information about the incredible art of Mary Ann Post, visit:

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Online UT Tyler MFA and BFA Art Exhibits Now Available

The University of Texas at Tyler has announced online art exhibitions featuring the work of students who graduated this spring with Bachelor of Fine Arts and Master of Fine Arts degrees.

Traditionally held on campus, the exhibitions were modified for online viewing as a safeguard in response to the coronavirus. The work of four MFA and eight BFA graduates can be viewed at

“While we are heavy-hearted about the inability to celebrate our student achievements face to face, we recognize the importance of taking precautionary measures during this time,’’ said Merry Wright, professor and chair of the Department of Art and Art History. “We are pleased to announce our online exhibitions, and we are incredibly proud of the students featured. They have remained steadfast in their commitment to creating and have approached the unfolding events with the highest caliber of professionalism.’’

MFA Exhibitions

Artists featured in the MFA exhibitions include:

Jessica Sanders of Tyler makes delicate-looking ceramic sculpture. Her exhibition is titled “Attach | Manipulate | Respond.” “This body of work deals with form, space, and visual accessibility,’’ Sanders said. “The pieces are made up of small, individual ceramic pieces that are attached together with wire, making flexible ceramic sheets.”

John Miranda’s exhibition, “Pan Dulce in the Sauce,“ features sculpture and paintings inspired by his hometown of Del Rio. “My work is a visceral response to a lived reality, an abstraction of space and memory,’’ he said.” Inanimate entities become communities within space as I try to find a balance between cultural history and personal experiences.”

Laminda Miller of Gladewater makes animal sculptures of epoxy clay and mixed media. Her exhibition, “Intentions,’’ features deceptively whimsical works that are allegorical representations of the social, psychological and literal constructs of identity.

Nora Schreiber of Tyler explores a curiosity of the world around her in her exhibition titled “ALL IT CAN BE IS WHAT IT WAS NAMED.” She asks her audience to step into a visual exploration of the mundane in their daily lives, with a theatrical twist.

BFA Exhibition

Artists highlighted in the BFA exhibition, titled “Nascent,’’ include

Lidia Alvidrez of Dallas – Avridrez’s work as a ceramic artist is influenced by her life experiences and dealing with a mental disorder.

Katherine Emmel of Overton – Emmel’s work is focused primarily in painting and reflects


several dystopian and emotional narratives found within everyday society.

Willow Lanchester of Tyler – Lanchester works primarily in clay and metal sculpture. Her art pieces are focused permutations of form that explore themes of concealed information.

Maggie Pierce of Tyler – Pierce uses photo-based printmaking techniques to create highly altered versions of desert landscape. Her work examines the landscape and our relationship to it as something that is mediated by various technologies.

Payton Poole of Tyler – Poole works with multimedia, three-dimensional sculptures, both interactive and wearable, that open conversations about mental illness and the stigma against it.

Grace Richardson of Troup – Richardson uses screen-printing methods to create non- objective forms that render familiarity through their interactions and emphasis on color. A vocabulary of shape and color is established through these arrangements, creating a relationship and language between form and viewer.

Justin Witherspoon of Kilgore – Witherspoon is a printmaker who works in both relief and mono-type. His current body of work is focused on contrasting hard lines and stark objects with nebulous color, inviting exploration.

Teresa Young of Marshall – Young is a sculptor whose works incorporate disposed items such as shipping material and objects from nature. The items signify abandonment and reincarnation.

For more information about the exhibitions, contact Michelle Taff, UT Tyler gallery and media coordinator, at 903-566-7237 or

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