The Art Of Editing Is My Livelihood

Kevin Reiner edit

The weight of my work is in creating videos in Advertising and Marketing – commercials, corporate videos, capital campaign videos etc. The wonderful thing about Clark Creative is that we also get involved with many local arts and nonprofit organizations, including The Bemis Center for Contemporary Art, The BLUEBARN Theater, KANEKO, Omaha Performing Arts, and Opera Omaha.  Because of this, I always feel that my work is going for worthwhile causes.

In 2005, artist Jun Kaneko approached Fred Clark, the owner of Clark Creative Group, and me to seek our help in creating video animations for his upcoming opera production of Madama Butterfly done in collaboration with Opera Omaha. It seemed like a fun project, one that landed outside our usual territories.  Jun was very organized and specific about his needs, so the job was more about bringing his visions to fruition than creating something from scratch. The experience turned out to be a great success. When Kaneko was asked to design the production of Fidelio for Opera Philadelphia in 2008 and a production of The Magic Flute for the San Francisco Opera in 2012, he graciously brought Clark Creative Group along for the ride.

My whole role in all 3 opera productions was to provide background animations that were projected during the performances. Each opera production seemed to get a little more complex, culminating with The Magic Flute which contained a total of 9 screens using over 11 hours of animation for each performance.  For The Magic Flute, I animated in video what Jun does with the art. Using a program called Adobe: After Effects, I recreated the drip art and lines that Jun had created and animated them according to his storyboard.

The equally difficult challenge came in delivering the files. During the live performance, all of the animations must be cue-able to the score; the tempo can change drastically from night-to-night.  This entailed a ton of planning and cooperation between the opera technical staff and myself.  I ended up learning how to follow an opera score and timing my animations to that score, making sure that my animations were able to be looped and allow for correct cueing.  Difficult enough for one screen, but we were working on up to 5 screens at one time.  All of those screens had to stay in sync.  It was a challenge to say the least.  I leaned on my editing partner Mark Grossardt and after many long nights, we delivered The Magic Flute animations to the San Francisco Opera. One of my proudest moments was when the crew in San Francisco asked if I could bring two or three of my crew members out there.  Little did they know it was only two of us working on the entire production.


About KevinKevin Reiner

Kevin Reiner grew up in a tight-knit family in Omaha, NE. After graduating from Omaha Creighton Prep, Kevin went on to graduate with a Bachelor of Arts in Broadcast Journalism from the University of Nebraska-Lincoln.

In 2000, he was hired by Clark Creative Group as their video editor. With the use of books, online user groups, and trial-and-error, Kevin taught himself the art of editing.  Kevin’s loves in his life include all types of music (indie, pop, punk, folk, alt, alt-county, classical, ska etc.), film (Coen brothers being the favorite), and food (cooking and eating).  Kevin states the most important aspect in his life to be family, his wonderful wife, Kim, and their two kids, Henry and Charlotte.  “They keep me going.”

Kevin’s work can be seen in April 2015 when Opera Omaha presents the Jun Kaneko production of Fidelio.



Clay and Fun Are My Livelihood

Iggy’s Storydotted cone
It started in Detroit as a kid when I took a class in ceramics. I was attracted to fire and heat and the fact that you need muscle to carry around the heavy clay. My instructor was someone I could ask questions of, like if certain ideas were good or if the piece could hold together structurally. He encouraged me to explore for myself whether it was going to work or not, and let failures be a natural part of the learning and creativity process.

I asked myself what was going to be fun for me and I decided I wanted to make my existence to revolve around creating with clay. And so I continued to push myself.

I got my degree in ceramics and sculpture, and when I finished school, I worked forsigns a year at Detroit’s Pewabic Pottery doing outreach for youth. Not long after that, I found my way to Omaha and worked for Jun Kaneko for three years. I learned from Jun just how much ability one person has. I had my first personal studio space at Kaneko, and learned what studio culture is really like. Seeing the conversion of raw material into polished product was intriguing and drew me into studio work with a passion.

I learned from Jun just how much ability one person has.

In 2009, I started to think about what was next for me after Kaneko. I did an art
show at Jackson Artworks, now Anderson O’Brien. It was a very positive experience, and the community was hugely supportive and interested in my work. I went to Omaha ClayWorks and spent two years renting space and showing work, exploring concepts, and learning to maintain my own space without infrastructure or support. I made really good friends in the Omaha art community. My show at The New BLK in 2010 was a great experience for me because a whole new group of people was exposed to my work. It gave me another level of confidence. When people believe in my work, it pushes me to believe in what I’m doing even more.

When people believe in my work, it pushes me to believe in what I’m doing even more.

I moved to my current studio in 2012. I enjoy the experience and recognition I birds on wirereceive as an independent studio artist. I do a lot of community education and outreach for people with different abilities. I work with WhyArts?, I’m an artist-in-residence at the Bemis Center for Contemporary Arts, and I teach ceramics and sculpture at College of Saint Mary.

With my art, I like speaking in a universal language of colors, shapes, and forms. I’m not super conceptual and I don’t focus too hard on context. It can be disorienting. I like making something you can see and understand right away. I like to put an emphasis on everyday things you might overlook, like sewer caps or birds on a wire. My art merges the natural world and industry, not in a negative way, but in a more ambiguous and thought-provoking way. I like my audience to do a little thinking for themselves, so I tend not to give people the answer.

I like to put an emphasis on everyday things you might overlook, like sewer caps or birds on a wire.

About Iggy
Michigan-born ceramic sculptor Iggy Sumnik received his BFA from Detroit’s Wayne State University in 2004. He currently maintains a studio in Omaha, Nebraska.

After Sumnik’s three-year ceramics apprenticeship with international sculptor Jun Iggy SumnikKaneko, he emerged from the master’s studio and mentoring to create a Fantasia all on his own. Though his 3D art acknowledges Kaneko’s influence, particularly with regard to organic shapes, geometric patterns, repetition and technical skill, there the similarity ends. Sumnik’s objects are smaller in scale and less idealistic. Instead, his Jelly Beans, Cloud Forms, Zulu Pipes, Totems, Hybrids, and additional representational forms dance and pose like figures from the Disney animated symphony. Beneath the whimsy and humor of this wizard’s imagery is a social conscience whose main objective is achieving balance with all natural and manmade environments.

One of the least known and appreciated faculties of Sumnik is his power of observation, particularly when it comes to the little things in life, or the details in a finished work of art. The artist is aware of his environment underfoot and all around with an appreciation of both industrial and natural design, especially where they overlap or coexist.