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Interview with Jackie Malpass, June 18, 2008 | UNCW Archives and Special Collections Online Database

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Interview with Jackie Malpass, June 18, 2008
June 18, 2008
Interview with local artist Jackie Malpass. Jackie taught 1st and 2nd grades and Special Ed for 32 years and is married to Carl Malpass, former Dean of Students and Finance Chair at Cape Fear Community College. Jackie has been Chair of Art Association shows and volunteers at the New Castle Street Art Association Shop showing the works of many members. She continues to study and is also a member of The Color Wheels, a group of artists who paint Plein Aire.
Phys. Desc:

Interviewee:  Malpass, Jackie Interviewer:  Jones, Carroll Date of Interview:  6/18/2008 Series:  Arts Length  48 minutes


[Note: due to the volume of ambient noise during the interview, there are some audio gaps in the following transcript.]

Jones: ...former chair for several years of art shows. She is a member of the colored wheels, I understand, who paint together ________________ and is a very funny lady, from what some of her friends tell us so...

[ audio off then on ]

Jones: ...and go from there.

Malpass: Okay.

Malpass: I had ________________ trying to talk about other people and listen to their lives and my own and I'll tell you a little bit about myself. I was born in Goldsboro, North Carolina, and I moved to Moorhead City when I was six years old. My father was working with civil service in ________________ in building ________________.

Jones: Oh, building it.

Malpass: And building it. We moved there in 1941 so that was in the midst of the war and so I started first grade there and grew up in Moorhead City, went to school in the same building first grade through the 12th. It was one of those schools. My mother was a teacher there. She taught for 40 years. I went back there to teach after I finished college.

Jones: Did you really? Where'd you go to college?

Malpass: I went to Greensboro College. It was a Methodist school. You may be thinking about...

Jones: Oh, I was.

Malpass: ...[inaudible]

Jones: ________________ women's college.

Malpass: that time. But this was a Methodist college and our class has just completed its 50th anniversary reunion. So, after I finished there, while I was at Greensboro College, I had planned to major in religion and be a director of religious education but working with children in a children's church, I decided that I would choose my mother's profession and become a teacher.

Jones: What grade was your mother...

Malpass: Seventh-- my mother taught seventh and eighth.

Jones: That's difficult.

Malpass: Yes, it was. And so I wanted to teach the young children. I enjoyed the little ones so I started teaching first grade. I taught for 32 years.

Jones: Oh, my gosh. First and second or first grade?

Malpass: First and second grade for 32 years with the exception of 12 years in special education. And that was, back then we called it the teaching ________________ for the mentally retarded at that time. Of course, it's changed now. They don't give labels like that any longer. But the...

[ audio off then on ] [wind audible in microphone]

Malpass: ...North Carolina Department of ________________ and so that was the only opening they had so I took the job and I knew nothing about...

Jones: This was...

Malpass: ...special education.

Jones: At Cary?

Malpass: At Cary. And so I took the job and I went to the library and I studied and I found out everything I could find out about special children and took my first class and, the first day, I chased a little boy all over the playground. (laughs) He was running away from me.

Jones: Thought it was a game.

Malpass: I caught him and we got along fine after that and I did very well in special ed. and enjoyed it quite a bit. In fact, one of my students lives in Wilmington now. She was eight years old when I taught her and she's now 50 and I work with her sister in the art gallery. You know, I was really surprised when I saw her and met her after all those years. But, anyway, after I went to Cary and taught there for-- we lived in Cary about six years where our children were born, had three children, and, by the way, my husband is Carl Malpass, who is a financial aid director and dean of students at Cape Fear Community College for several years. He's been retired almost 20 years now. So, anyway, we have three children, Carl, Becky and Carolina.

Jones: Carolina?

Malpass: Carolina. She really got a lot of response from that name...

Jones: I bet.

Malpass: ...growing up, especially when her brother went to State. (laughter)

Jones: Oh, yes.

Malpass: So I'm rambling and...

Jones: No, you're not.

Malpass: ...I probably shouldn't be.

Jones: That's fine.

Malpass: But I taught school and, throughout my school experience, I have art in the back of my mind. Go back a little bit, right out of college, I took oil painting lessons and so I loved painting and I loved...

Jones: Was that the first time you...

Malpass: Yeah.

Jones: Right out of college?

Malpass: Right out of college. I had done a lot of drawing before but I had never studied it formally and so I painted in oils for awhile.

Jones: Oh, really.

Malpass: And then, when I had children, they wanted to help me.

Jones: Sure.

Malpass: That didn't work.

Jones: No.

Malpass: (laughter) So I gave up oil painting. I gave up painting period and I...

Jones: Really? When the children were little?

Malpass: When the children were little and I was teaching. I had to take care of a family and teach, plan for teaching and take care of my husband. So I used my art in my classroom. I used it for comprehension skills. The children drew pictures of what they had read. They used it as I was reading stories. You know how they get squirmy? I let them draw.

Jones: Now, you're talking about the special ed. children...

Malpass: These were regular classroom children.

Jones: The regular classrooms.

Malpass: Yes. My first and second graders. Well, I used it in special ed., too.

Jones: Because I've understood...

Malpass: They drew and the children were always drawing something. In fact, I had special centers in my classroom where we had crayons all the time. We had an easel set up all the time so they were free to paint and they were free to express themselves in that way.

Jones: I understand that's really very, very good.

Malpass: It was. And we also used it in math. Everything that I could use the art, I did, because it was the best way for children to express themselves. Some couldn't express themselves any other way. I felt good about that and, after the children grew up, went to college, then I decided that I wanted to start painting and I had seen many water colors that I loved so I decided that's what I would prefer.

Jones: Must have been...

Malpass: And I still do-- it is supposed to be the hardest and it's not easy but I don't think any art is easy. People seem to think that artists just go to the easel and they ________________ or, you know, you see these pictures of the girls or ladies sitting out in the sun painting and it looks like they're doing a masterpiece and it's not like that. Art is hard work and you have to be mentally healthy to do art.

Jones: Are you sure? (laughter)

Malpass: My husband says, when I start complaining that I'm going to throw it in the trashcan, it's time to frame it. I used to take his advice and go ahead and frame it.

Jones: And he's been right.

Malpass: But he's been right.

Jones: Are you a perfectionist?

Malpass: I think so but I think that I'm getting away from that now.

Jones: Are you one of these people that, when you have a blank canvas, do you have something in mind in the first place or are you just sort of letting...

Malpass: Yeah, I have to have a plan, structure, and even though I have that, I don't always go by it because, as you paint, as you develop a painting, then you ________________ the changes that all ________________. Things have to balance and then, when you put color after the drawing, you put color, again, color is so relative that you have to make changes ________________. So, even though my paintings would mostly be what I intended them to be, they would be very different than I had imagined. I think most artists are like that.

Jones: That's what I hear.

Malpass: To a degree. To a degree.

Jones: We've interviewed I don't know how many artists. They're all different, they all have different backgrounds and histories. It seems that, in each case, just about each chase, they've all changed in mid stream some how, their techniques, the type of painting or what they do and I find it fascinating that you can start out one way and all of a sudden they see something but none of them are really satisfied.

Malpass: No, you're never satisfied. That's why I say you have to really be mentally happy to be an artist.

Jones: (laughter) [inaudible]

Malpass: I knew you were going to say that.

Jones: I know.

Malpass: Some people.

Jones: Oh, there were a few of the masters that I think were a little off balance and that's what made them unique.

Malpass: That's true. That's true. But, for an ordinary person painting, I've seen that in classes that I've taken, and I've seen the same kind of thing in children, they see something and think they have to make it perfect and they have to make it just like they want it but you've got to be willing to be able to compromise and change and you've got to be able to accept what you've got and...

Jones: [inaudible]

Malpass: ...and do the best you can with it and then go on. I've seen a lot of my fellow students take classes from Mary Ellen Golden, I've been a student of hers for...

Jones: [inaudible]

Malpass: ...eight or nine years. She is one of the finest people...

Jones: She is one of the truest, bestest, goodest[sic]...

Malpass: She is.

Jones: ...human beings I've ever known.

Malpass: Absolutely.

Jones: I've known her for, well, since the early 1980s, I guess.

Malpass: And she's been responsible for the success that I've had.

Jones: Is that right?

Malpass: Yes. And I've seen so many people who are in her class that will start a painting and tear it up. So, this year, one of the ladies was-- she has had that problem throughout the years that we've been taking classes with Mary Ellen and so I finally said to her, I said, "I challenge you to finish the next painting you start."

Jones: Had she ever finished one?

Malpass: And she did. This year. And what she has done has been really good. She wanted her painting to be like everyone else's paintings and everyone has his own ________________ and everyone has his own ________________ and so that's what we all have to ________________.

Jones: So your husband has told you that it's frameable and you listened to him?

Malpass: Uh huh.

Jones: And when you go back and look at it, are you happy with it?

Malpass: Yes, a lot of times, I am. And I think, especially if someone has bought the painting and I see it later hanging in their home or somewhere, then I'll think, why in the world did I ever get so uptight over that one little area that I'm looking at? Because it turned out ________________. But I think we all are too hard on ourselves a lot of times.

Jones: I've heard...

Malpass: When we do anything.

Jones: ...a lot of professionals in the medical field say that, that their hardest on themselves.

Malpass: Yes.

Jones: Expect more. Well, are you happy when you paint?

Malpass: Extremely. I go through phases. The first phase is creative. The first phase, you're starting something new. You're enthusiastic, you know, you just want to get to it and I don't paint anything that I'm not enthusiastic about. That is simply something I can't do. Then, after I get into it and it's something with watercolor, you know, you've got things that happen that you don't intend it to happen and then I get discouraged at times but then I've found a way to overcome it. I use all little tricks to fix it and then I'm pretty satisfied when I get it framed and...

Jones: You said that you studied with Mary Ellen. I find this interesting that a lot of really good artists will study and study and study for years with one mentor or another in spite of the fact that they might be considered accomplished. What is it that causes you to do this? To continue studying when you are probably heads and shoulders above, let's say, somebody else coming behind you or who is your peer?

Malpass: You don't think of it like that. You think of it as something that you're always learning something new and I've told Mary Ellen, I've said to her that even though I know what you're doing, you may be teaching something or demonstrating something that was not relative to me at the time and, later on, it was. See what I'm saying?

Jones: I see what you're saying.

Malpass: Because she, in all the years I've been taking her from her, she is always doing something different. It's really amazing to watch her and to learn from the other artists who are learning. So many of them will say, this is no good, this, you know, I don't want to show this but they don't realize that you're learning from what they're showing, even though it's not the best in the world but you're saying and you're thinking to yourself, well, this is why that's not working. In her class, this is how we discuss things. We all, you know, are free to do that. So then I learn, I have a lot of resource books that I study, techniques with other artists. Even though you may study with another artist or study their work, I've got a lot of videos, too, that I study, your own creativity is going to show through.

Jones: Your particular style.

Malpass: You can, you know, you never want to-- you're not going to copy anybody else or try to be like another artist. Your own style is coming through.

Jones: Well, that's good.

Malpass: That has to be. That's your creativity.

Jones: Do you enjoy painting with other painters?

Malpass: Oh, yes. Have more fun with the color wheels. We are a traveling group.

Jones: That's what I hear.

Malpass: And we just have the best time. Everyone does his own thing, of course, we find our own little spot when we take a trip and we just started in the past year so we're relatively new at this and we go out and we paint the different places. We've been to Fort Fisher several times. There is so much to paint there that you can just go for weeks. Then we've gone to the ________________, which is [inaudible] which is a wonderful place to go. Though coming here last week...

Jones: [inaudible]

Malpass: ...hydrangeas.

Jones: I wouldn't [inaudible]

Malpass: [inaudible] so they could come this time.

Jones: Is there a set group of you who gather or do you...

Malpass: Yeah.

Jones: ...kind of interchange at times?

Malpass: We have a basic group but we ________________ other people, too, because, you know, people can't come every time. There's seven of us that are basic.

Jones: Do you critique each other's work...

Malpass: Uh huh.

Jones: ...or do you just leave it alone? You do?

Malpass: Oh, yeah, we always give critiques. That's how we learn.

Jones: ________________, I said when are you going to stop painting Martians? She says, well, all I do is step out the door [inaudible] (laughter)

Malpass: Talking about funny. She is funny.

Jones: I don't think a day goes by that I don't get an email with some terse comment about it and I just crack up. So I send her things constantly. But, anyway, yeah, I do absolutely am very fond of her, very fond of her.

Malpass: Very special person.

Jones: She is. She truly is. What type of scenes or pictures do you like? Are they outdoors, nature, people?

Malpass: I love doing people.

Jones: You do?

Malpass: Mm hm.

Jones: I bet you have a field day with grandchildren.

Malpass: Oh, I do. I've got several of those.

Jones: Now, do you paint from photographs as well?

Malpass: Uh huh, yes.

Jones: Because I know Mary Ellen does because John will take them. She told me one day she was doing something for us and I said, "Well, Mary Ellen, you're always here..." and I think John's son was here one time. I said, "Where do you paint? Where's your studio?" She said, "It's on my kitchen table."

Malpass: It is. We all gather around her counter, bar. She's got a big bar. We all gather around, all around it and she paints right there in the kitchen.

Jones: I said, "How in the world can you do that?" She said, "Oh, it's just one of those things. I'm used to it." (laughter)

Malpass: She is so special.

Jones: She is. She'll call up and say, "I didn't quite get the color I want on that man's coat." What man's coat? And I'll run and take a look at the coat. "Oh, dear, what you did." (laughter)

Malpass: But she always has something interesting to say. She really doesn't like to paint people that much.

Jones: I know. What about you?

Malpass: Oh, I love to paint people.

Jones: Do you really?

Malpass: Yeah, I've done a couple commissions where...

Jones: I was going to ask you two things. Do you do commissions? And also do you take students?

Malpass: I have not taken students. I have-- I don't really have the time if I paint. I have thought about it. I think I would love to do that but I don't-- it would take a lot of study and preparation to take students on. But you were asking me what did I paint. My favorite thing is water. Back home, from growing up in Moorhead City, and I lived a block from the water and we were always, even when I was seven or eight years old, go down to the sand down there and wade in the water and see the waves lapping up on the shore, just the natural things. Growing up, going to the beach, [inaudible] something [inaudible]

Jones: It's ever changing.

Malpass: It's ever changing. And so that's what I like to paint. [inaudible] a lot of beach scenes and just things that are interesting. I've painted, you know, some scenes around [inaudible] grandchildren [inaudible]

Jones: Do you go to visit other people's work? I've noticed-- and before I finish, I'm not saying this correctly, I know, but I've noticed that, during, several times a year, downtown might close off Front Street and they have all kinds of artisans and there's lots of artists and City Market has lots of little stalls with artists and so forth and I take a look at those and I think, you know, why has this become such a Mecca for artists? And I've heard everything from because of the light here, I've heard that. I've heard there's an opportunity [inaudible]. I've heard there's a variety of things to paint from. And then I've heard several people who are pretty well known artists say that they come hoping to be discovered. Now, is this such an artist's Mecca? Has it become that way? Do you feel?

Malpass: I don't think so. I think a lot of artists come here because of the beauty of the area and I really don't know because I can't say for sure but even though there are a lot of artists here, a lot of art galleries here, many more than when we first came to Wilmington in 1969, but art is not promoted. The local artists are not promoted here as more [inaudible] Southport promotes their local artists.

Jones: They do.

Malpass: And I can name many other places and we have tried, being a member of the Riverton Gallery, we have tried to promote our gallery and we tried to get help from the city council, the county commissioners, and we have not been successful because they are just not interested in promoting the local artists. They seem to be more interested in Thalian Hall...

Jones: Yes, ________________

Malpass: ...________________ Center and of course ________________. And all those places, they seem to be more interested. But, as a local organization, the Wilmington Art Association, many people are calling and wanting answers about it. I was working in the gallery Monday and a lady called and wanted to know why we didn't have a group here that really promoted artists coming into town.

Jones: Is there...

Malpass: Now, a lot-- we did. We used to.

Jones: Was that the art...

Malpass: Yeah. I'm not really sure because I was not that involved in it at that time but I do remember that there was a ________________ that the city council completely quit supporting it. Do you remember that?

Jones: No and I don't understand why they would do it anyway.

Malpass: I don't, either.

Jones: Because I know Sam Bissett was quite active in promoting local-- he would do-- he was trying to capture North Carolina as it used to be, you know?

Malpass: Yes.

Jones: Those scenes. I've heard people say it wasn't a very good artist and others say that he was more of a commercial type person.

Malpass: Some of his work is outstanding.

Jones: I have seen some that is.

Malpass: We just had a special show with his work in the gallery trying to get people interested...

Jones: Now, is his son and daughter releasing some of his originals?

Malpass: Yes.

Jones: I did his collection for the university but saying he did it and special collection have archived all of it. I knew him so he trusted me and, at one point, I asked to get even a print done of the railroad car, the streetcar going down the old Shell Road, it was the way it was just-- it hit me and he said, "I'm not having prints made. I'm giving all these to my children. It's for the children's education, their children's education. I'm not releasing them." And I know that, after he died, I talked to ________________ and David and they said, "No, they will not be released." Now I understand that they're doing copy after copy after copy.

Malpass: Okay. We, like I said, we just-- last month, we had an exhibit of his work and I met his son and talked with him for awhile and I was asking. I was disappointed because I had wanted to see his paintings of the...

Jones: Oh, yes.

Malpass: Have you seen those?

Jones: I have seen those and I also have the negatives and I have all the drawings and the communication with the doctor in Australia who did this.

Malpass: That's great because they're in the archives at university...

Jones: University. I've done every one of them.

Malpass: That's what his son...

Jones: Hundreds.

Malpass: ...was telling me.

Jones: Hundreds.

Malpass: And I wanted to see those but he said that...

Jones: He developed a new system where they reached out and found what they think is another universe, you see.

Malpass: They did? Really?

Jones: With this doctor in Australia.

Malpass: Well, I was disappointed that he-- he had some really great paintings on exhibit there and they were for sale and we sold a couple of them. Also, he had prints for sale. Now, whether they're ones that you were interested in, I don't know.

Jones: Well, I don't, either, but, you know, I was just told that-- he told me that he wasn't going to have any prints. That was during his lifetime.

Malpass: But, like I was saying, at the gallery, we had a special show of Minnie Evans' work and I understand the Cameron Museum was not interested in showing, having a show about her. We had it and it was very successful.

Jones: I'm sure it was.

Malpass: We've had, you know, we're trying to involve the community in the gallery as a non-profit organization. So we're struggling with rent and we had been down at ________________...

Jones: [inaudible]

Malpass: And then we went to down on Castle Street.

Jones: Right.

Malpass: But we are still hoping...

Jones: But do you think-- is that-- I haven't been into that gallery but I can't help but wonder if Castle Street has developed enough of a reputation as being a safe place to go day or night.

Malpass: That's the problem. That's the problem.

Jones: Even though they have a lot of things going on there and even they have jesters there and other things going on there but not everybody is still aware...

Malpass: They are not. And this, like I said, it's a problem and you have to explain to them that-- I remember when I went to teach at Peabody School, I thought, after teaching in College Park for many years, that going to Peabody was the jumping off place. It turned out to be one of the most pleasant experiences that I've ever had in teaching in that old broken down school building that we had. The neighborhood was wonderful. The people were friendly. It was really a good place. Castle Street, I have never felt great there. I can't say that ________________ because there were times that I felt a little apprehensive walking through their parking lot, especially after a lady had been mugged who had been to our gallery. So, you know, Castle is coming along the way. ________________ Jester's Java there. It's a fun place to go. [inaudible]

Jones: Well, I hope it does, too.

Malpass: But if, you know, the town, if they could just give us a place to have our gallery, it would be so wonderful.

Jones: Now, where is it? It is north fourth street where-- ________________ Gorham has a workshop. He does metal works and so forth, Jennifer Cavanaugh has her ________________ studio. I've been up there and...

Malpass: Is she at Acme?

Jones: She's at Acme Arts. Right. And that's where a number of them are and maybe they're also divided, you know, you have to have a map of the town that you discuss-- Market Street divides this, you see. Yeah. Well, it'd be fun if you could all get together and have a big showing, you know? Aside from St. James Church once a year, which my husband and I go to.

Malpass: Yeah, yeah. Well, see, that's the art show that I was chairperson of for three years. The last year that I did the show, we had it at St. James for the first time. We had ________________ at St. John's two years before that and we really had been pleased with St. James, having it there. This year, it's going to come to [inaudible]

Jones: Jackie, tell me this, how does-- you say that you paint on commission. Do people ask you to paint anything? Is there anything you would turn down?

Malpass: (laughs) No. I would-- I have-- [inaudible] I have done a commission for Prince. The biggest problem, of course, is painting it the way they wanted. For example, when I had a picture of the beach and their two daughters walking on the beach and she wanted that. Well, the composition was horrible. It was just-- the photograph was horrible and I just couldn't-- I didn't want to do anything and put my name on it that I knew was not going to be a good design or whatever. So I drew it, I drew a large-- she wanted a large painting. So I drew it and spent a lot of time getting it ready to show her. [inaudible] she wanted it like the photograph so the photograph had a huge sand dune on one side and then the ocean on the other. Well, there's nothing to balance it. Everything was on this side so I did get her to really put some really heavy clouds in the sky and that balanced it.

Jones: Were you afraid that, if you did it exactly the way she wanted it, and put your name to it, somebody would say, "What is wrong with that woman?"

Malpass: (laughs) Well, no, it was because I knew it was ________________ itself. You know, other people are not going to [inaudible] really doesn't make any difference to me but there'll be somebody who does and so I-- when I do something, I want it to be correct. And so, no, that's [inaudible]

Jones: What would you like to do that you've not done or have you done just about everything you wanted to do?

Malpass: Oh, gosh, my artwork needs to come up a lot to a different level. I have talked to a lot of well known artists who-- Nancy Handlan being one.

Jones: I've interviewed her.

Malpass: Nancy is wonderful. About being more abstract in my painting.

Jones: She has that unique...

Malpass: Sally Gores has made an about face in her work. Karen ________________, I don't know if you know her?

Jones: No.

Malpass: Karen ________________ is an interesting person. She [inaudible] She-- these people had just-- they had grown to a point and then it seems like they had just been trained ________________ in their artwork and I haven't seemed to have grown like that and I would like to do that. There seems to be a block right now that-- and I think it has to do with my preoccupation with illness. If I can get through that, I'd like to improve, to come to a different level.

Jones: It's interesting that you would feel this way and recognize this in yourself and I'm sure others wouldn't. They don't know what's inside of them. I guess you bring whatever's there out.

Malpass: Yeah.

Jones: And that's part of it. That's very interesting.

Malpass: I think we all have something within us that we can express. If we don't, it's not that we can't. We don't know how. But I always am amazed at a ________________ I had who ________________ my daddy's people were farmers. There were tulip farmers and they were very poor growing up but they were smart people. So my daddy had five brothers and his youngest brother has written a book that will just-- it floors me to read it. I've read it over and over again. The descriptions that he writes. And you would never know it by looking at this man that he comes up-- when I was growing up, the only thing I ever heard him come up and say was, "How you doing?" And just an old, bald man...

Jones: [inaudible]

Malpass: ...with this book, his descriptions were-- and he talks about how life was when he was growing up. He's written two of them. In fact, he was the editor of the newspaper in ________________.

Jones: Really?

Malpass: Uh huh. And he had an eighth grade education. But...

Jones: He was born with the talent, then?

Malpass: He was. And so many people are.

Jones: Yeah, I agree with you.

Malpass: So many people are and it never comes out. Before he wrote the book and I always wanted to take one of his descriptions and paint a picture of it and I did.

Jones: And?

Malpass: And it got in the ________________ southeastern North Carolina [inaudible]

Jones: Really?

Malpass: The last exhibit they had.

Jones: Really?

Malpass: I was so proud of that.

Jones: I bet you were.

Malpass: But it does go to show you that people will say, "No, I can't draw, I don't know how to do that," but they've never been dedicated enough to really try or they haven't wanted to learn. [inaudible]

Jones: Something inside is keeping...

Malpass: Uh huh. Something inside.

Jones: That's very, very interesting. You have a little studio here at home.

Malpass: Mm hm.

Jones: You sell your paintings at the gallery only? That's the only place?

Malpass: I did sell them at Art on the Wild Side.

Jones: That closed down.

Malpass: And that closed.

Jones: The reason I ask, and I will tell you this, Sherman Hayes, who's the university librarian and he developed this particular oral history project which is not just artists but he's particularly interested in artists. They received a grant to buy various works from different artists. We have quite a few in the library. ________________ there, they go through the various buildings trying to highlight local people ________________ so he'll probably be in touch with you. I don't know where he's going to go. I guess to Castle Street to see or you can call him.

Malpass: Yeah. That's good. I also sell prints.

Jones: Do you?

Malpass: [inaudible]

Jones: Of...

Malpass: [inaudible] I've had those there for years, several years. Just, you know, in our different shows. I have one now at Fort Fisher Aquarium, the art association is having a show there throughout the summer.

Jones: Okay. I'll tell him that, too. That's interesting. So what's next on your list? Are you just waiting [inaudible] every day and see what happens? Is there something that you want-- that you would prefer-- that you want to paint that you've not done? A scene? A person? A place?

Malpass: I've got lots of photographs that...

Jones: Have you ever done any of the farm life that your family came from, that type of setting?

Malpass: Yeah. I've done a barn and smoke house. You know, I did an old house ________________. It was an old farm house that had bales of tobacco and stuff all around it and I had it in the art show in-- we were getting ready to open the art show and a man from England came in and saw the painting before it was even hung and we sold it and he took it with him to England.

Jones: That's wonderful.

Malpass: Evidently, he said it was something that reminded him of where he lived.

Jones: [inaudible]

Malpass: Yeah.

Jones: There are some scenes I have seen in areas of southeastern North Carolina that are pretty barren, ________________ old house on it or something and the north of England is very much that way.

Malpass: Is it really?

Jones: Mm hm.

Malpass: I've painted-- my sister does a lot of traveling and she took some beautiful pictures out in California and so I've painted some of those but local people are not interested in those.

Jones: No? Of course, they can get [inaudible]

Malpass: They can. And I've got one that's in the gallery now and you were asking me what I wanted to paint. Yeah, I would love to paint one of those California paintings now...

Jones: What part of California?

Malpass: Yosemite.

Jones: Yosemite. Up north.

Malpass: Up north. Yeah. And so the old mountain with a field of wildflowers.

Jones: Lots of them. And hills with multicolored flowers.

Malpass: Uh huh. I went to California many, many years ago [inaudible]

Jones: I grew up there. That's my home.

Malpass: Did you?

Jones: Southern California but all throughout, yeah. There's a lot of-- still, there's some areas that are still unspoiled with just the natural beauty of that ________________. Yeah. But I think every place has something that god created that's beautiful.

Malpass: [inaudible] Every place is different.

Jones: Well, did we miss something? Is there something you want to tell us? Oh, I do want to find out, you are involved in your church?

Malpass: Yes.

Jones: What do you do there?

Malpass: Right now, I just am active in [inaudible] circle. When I was in another church in Trinity and I was across from the high school, I taught adult Sunday school classes for 27 years.

Jones: Did you?

Malpass: And we moved from that church over to Westlake and Paul and I both retired from our teaching [inaudible] said 27 years is long enough.

Jones: I guess so.

Malpass: But, yes, we support our church and the different activities.

Jones: That's good. That's good.

Malpass: We're not as active as we used to be. When retirement comes, you sort of have a change of lifestyle.

Jones: Yes, you do. Or should.

Malpass: Yeah.

Jones: I see some people who work harder sometimes. Well, Jackie, thank you for letting us come and visit you.

Malpass: Well, I've enjoyed it.

Jones: This is pleasant. Absolutely pleasant.

Malpass: You were delightful.

Jones: Well, thank you. Thank you. And so I'm going to come visit your gallery and get to know you better through that. Yvonne was right, you are charming and I want to see some of your pieces inside before we leave. Thank you.

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