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works by Joyce Morrow Jones
Center for the Arts
121 E. Main St. Rock Hill, SC


May 19 - July 8, 2023


Thursday, June 15, 2023
5:30 - 7:30 PM


May 18 - 20, 2023

June 15 - 18, 2023


May 27 - 29 | Closed

July 4 | Closed


O'Darby's Fine Wine & Spirits


An artist dreams and then pulls from the ethers stories, history, and symbols — then, as if by magic, creates what was envisioned. Joyce Morrow Jones's work has strong energetic presence. If you can open yourself to the layers of story, symbolism, and significance, it makes her work more approachable. Jones works in series, creating numerous thematic works, but if there is an overall unifying theme, it would be ancestral tributes. Primarily working with cultural references from Africa and the Diaspora, Jones creates 3D art forms, that express many issues relating to the struggle and history of being African American.



Reflecting on the importance of story, Joyce Morrow Jones works in series, creating numerous thematic works with an overall unifying theme based on ancestral tributes. What she receives from the ethereal realm are stories that the ancestors want to be told through her art. The stories of endurance, perseverance and self-determination speak even louder than the cries resulting from tragic injustices, reminding her that even fragile butterflies can endure hundreds of miles of migration across land, seas, and storms.


Jones envisions an ancestral tribute to honor the beautiful legacies and rich traditions from the African continent and its descendants born throughout the Diaspora. Visually, this tribute is reminiscent of migration, albeit a forced journey from a land to which most would never return. Throughout her exhibition history are numerous stories within the collective representation of the Diaspora that are prominently featured in several series of works: Ancestral Tributes, Indigo & Cotton, and Spirit of the Masquerade


As a fiber and mixed media artist, she is often asked, “What inspires your work?” While she has many insights, it is apparent that the answer is African textiles! Rich vibrant colors, patterns, textures and cloth.  Jones loves Indigo, Mudcloth, Ankara, and Kente.

In many indigenous cultures, what an artist accomplishes may not have a specific name, but magic is probably the best analogy. An artist dreams and then draws from the ether the stories and symbols—then, as if by magic, creates what was envisioned. This is the same artistic process that she uses to create; although, she seldom talked about it, afraid of what people would think. Now, she is more comfortable sharing that she starts with the story first, and then determines what art mediums are best suited to give birth to the object. It is the spirit or energy of that story that calls out during the creation process.


As an artist, Jones is both metaphysical and spiritual. She listens carefully whenever people describe her work, and oftentimes the word “magical" is used in their critique. She focuses intently on “energy” while she is creating, and people can feel it.  Sometimes the response is strong on either end of the spectrum— trepidation and/or appreciation. Other times, more scholarly individuals in the art world say that her work is visual, cultural, and literary as she tells stories about the inspirations that influenced a creation.

When asked about her art process during an interview, Jones responded, “My work has strong energetic presence, so if you can open yourself to the layers of story, symbolism, and significance, it makes my work more approachable.” She has seen this play out in real-time with people not understanding that even artwork has an auric energy field. Perhaps, this is what separates “sacred art” from “fine art,” but her goal is to unify both in her art practice. 




In 2016, Joyce Morrow Jones received her first opportunity to participate in an exhibition entitled Contemporary African Spirituality at the Calabar Gallery in New York City (Harlem), where she discovered that the learning curve for an emerging artist is steep. Currently, many in the art community say that she has arrived as a professional artist because of her prolific creativity and ambition to exhibit her artwork.  Jones has been creating all her life, but she finally understands the wide spectrum that spans from folk art to fine art and how her style bridges that huge expanse. She became serious about doll art less than ten years ago. During that period, her work has evolved in ways that she never imagined.  From storytelling in theatres and community venues as performance art, to sharing the narratives inspiring her work during exhibitions, her artistry and storytelling are now one and the same.

Jones graduated from the College of Wooster, with a double major in Sociology and Religion, with a concentration in Black and African Studies. After graduation, she began working with non-profit organizations and continued for 28 years in positions of program development, grant writing, communications, and fundraising. She has held artist residencies at the Museum of Contemporary Art in Cleveland, Ohio and Karamu House: A Room in the House. She is also a teaching artist, working at the Cleveland Museum of Art and Art House - Urban Bright Arts in Education Program & Orange Recreation Center.

Dalton Gallery

AnceSTORY Events
Artist Residency with Joyce Morrow Jones
May 18 - 20, 2023 | June 15 - 18, 2023
in partnership with


AnceSTORY Events


Dialing Out
works by Dylan Bannister

May 19 - July 8
, 2023
Thursday, June 15, 2023 | 5:30 - 7:30 PM​


Website |

Instagram |


This exhibition consists of selected works from my ongoing Pay phones on Film series, in which I am photographically documenting the remains of public telephones, strictly using 35mm film. Most are in disrepair, some have been reclaimed by nature, though a select few still yield a dial tone. The resulting images are presented here as photo transfers on shaped panels.


The process for these works begins as a sort of scavenger hunt: when I travel, I am scoping out the remnants of these public fixtures that have held out and avoided removal. Finding pay phones to photograph in the current age requires me to search in unconventional places, to look past the veil of hiding in plain sight, and to pull these relics out of the peripheral view.


The role that film plays in these images is an essential one, as its luminous qualities are omnipresent, and I find it fitting to utilize a medium that has been pushed to the wayside by many of the same technological advances that made the pay phone largely obsolete. When composing images for this series, I take into account the individual characteristics and surrounding atmosphere in each location. As each pay phone has its own history and worn aesthetic, I consider this to be a series of portraits, despite the subjects’ inanimacy. Additionally, I view the surrounding fixtures such as bollards, air compressors, utility poles, etc. as recurring characters throughout the series.


Rather than printing and framing the resulting images, I have elected to present them instead as photo transfers on shaped panels. As a result of the transfer process, the images are interrupted by imperfections that may reflect mark-making and brushstrokes - not unlike the weathered surfaces of the pay phones themselves. The panels are intentionally fashioned to mimic the rounded-rectangular shape common in phone booth enclosures, and their sides are hand-painted in coordination with the image. The resulting pieces are art objects that I physically create, bringing together processes from multiple mediums.


As a member of the final generation to utilize pay phones for their intended purpose before their hasty abandonment, I aim to explore the urban decay causing these once-vital public utilities to fall into disuse and disrepair, and to keep them alive through this body of work. I hope to summon feelings of nostalgia in those who recognize them immediately, and to evoke curiosity and wonder in those who do not.


Note: Images with “(R.I.P.)” in their title indicate locations which have had their pay phones removed since photographing them.



Dylan Bannister is a visual artist whose multi-disciplinary works are based in memory, nostalgia, and antiquated tech. He maintains his studio practice in Rock Hill, SC, where he engages with the town’s growing arts community. Bannister earned his B.F.A. from Winthrop University in 2016, where he then taught as an Adjunct Instructor of Fine Arts for two academic years. Having exhibited throughout the southeast, he has also organized and curated exhibitions, designed web-based galleries, and assisted other artists.


In 2022, Bannister joined the ArtPop Street Gallery staff as Project Manager of its Inspiration Projects division, where he contributes to the nonprofit's mission to make art more accessible to the communities it serves, while bringing paid opportunities to local artists.

Perimeter Galley


Compass Prep Photo Exhibit

EXHIBITION | May 19 - July
 8, 2023
Friday, June 2
, 2023 | 5:30 - 7:30 PM​

Compass Prep is a multifaceted environment where we partner with home-school parents to give students in grades 9 through 12 a place to grow socially and intellectually. The structure of Compass Prep fosters growth and academic success and also offers opportunities to encourage the whole person. Classes are provided by independent instructors and are at instruction levels needed for college preparation. Social activities for peer-group interactions are planned monthly alongside meaningful, community service projects throughout the year.This well rounded approach satisfies the home-schooled, high school students' need for independence and fellowship.​

Lewandowski Gallery

For private viewings, call
(803) 328-2787

For inquiries, contact:
Devann Gardner
Gallery Manager

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