Zach Cooley

Month: August 2025

Philippines native brings soulful art to Southwest Virginia

Vall Dino was born in the Philippines and came to America at the age of nine, when his mother married a man from Virginia. One of three children, he and his younger sister left their island home and settled in Smyth County, Virginia, stepping into a world that was entirely new in both language and culture. When Vall entered Sugar Grove Elementary School, he couldn’t speak a word of English. Yet he carried with him a gift that transcended words — a gift that would endear him to countless classmates and, eventually, to an entire region. “I may not have been able to speak to them,” Vall told me during an August 14th telephone interview, “but I could draw them a picture.” That simple statement is more than just a childhood memory; it is a thread that has run through Vall’s life ever since. His artistic ability, once a quiet bridge between him and his peers, has now blossomed into a talent recognized across the Southwest Virginia region. I first met Vall this past winter at The Art Place in Chilhowie. Entering the gallery, I was instantly struck by his work — pieces that seemed to lift images straight from a dream, vivid with color and emotion, and tinged with the smoky shadows of 1940s film noir. That period of American history has always fascinated me, and Vall’s art seemed to capture its essence without imitating it. But more than his technical skill, I was moved by his warmth and kindness, the openness of someone who carries both depth and generosity in equal measure. I was humbled when he presented me with a copy of one of his most celebrated works: a black raven perched on a bare limb, silhouetted against a brilliant red and orange sunset. “The raven represents the darker side of life,” he explained. “It’s a part of all of us. The sunset — with those deep reds and oranges — represents the difficult periods we all go through.” It is a gift I will treasure for the rest of my life. The raven was created as part of a pair, its counterpart a white owl resting against the backdrop of a clear blue sky. “The owl represents the daytime, the lighter side of life,” Vall told me. “I wanted it to be pure white to balance the dark color of the raven.” Though he has not returned to the Philippines to live, the now 28-year-old artist admits he misses its pace of life — and, especially, the family he left behind. “I have way more family in the Philippines than I do here in Virginia,” he said. “I think that’s part of why I paint so much — I miss them, and I miss the life I had on the island.” Vall’s artistic roots stretch back to his childhood there, on his grandparents’ farm. “We would make things from clay,” he recalled. “We’d draw with charcoal and burned wood from the cooking fire. We’d weave art from coconut tree leaves we tied together.” Those early days of improvised creativity were the beginning of a lifelong practice. When Vall entered high school in Smyth County, he began participating in art competitions. “I didn’t win at first,” he reflected. “But over time my passion grew, and I got better at it.” Vall’s first languages were Bisayan and Tagalog, but after years of speaking mostly English, he now finds his native tongue slipping away. “My mother still speaks to me in our language, and I can understand her,” he said. “But I have trouble speaking it now.” Following the death of his stepfather, Vall’s mother remarried and had another daughter, now ten years old. Through the changes in his family life, Vall’s art remained a constant — though he treats it with humility. “Art is always an aside for me,” he said. “I have a full-time job in a factory. I keep art as something I work on until I can save enough to really do something with it.” When asked about his goals as an artist, Vall’s answer is simple: to inspire others. He also values the personal commissions he’s received over the years. “I want to use my art to create self-awareness for people who need it,” he told me. “We all know the mental health struggle is real, and we should use our gifts to help people through it.” His connection with The Art Place in Chilhowie began, as he put it, “out of necessity.” “I’d been looking at The Art Place for a long time, thinking I’d like to display my work there,” he said. “Eventually I worked up the courage to talk to someone, and they let me bring my paintings in. I’ve had several shows there now.” With a warehouse full of paintings and space running low, Vall also approached the gallery about storing some of his work. That decision brought more than storage — it brought community. “I’ve met so many great people there,” he noted. “I wish I’d gone to them sooner.” One of those people is our mutual friend, Liam Besneatte-Cullinane, a fellow artist whose work often uses unconventional materials like newsprint as a base. Where Liam’s palette is more muted and textured, Vall’s style bursts with color, making their work a vivid complement to one another. “Liam and I are planning another art show there in the next couple of months,” Vall said. “We’re looking forward to that — and to more in the future.” As our conversation drew to a close, Vall summed up his philosophy simply: “Art is the expression of the soul. It’s the language we cannot speak.” As we wait to see what new visions his soul will offer us next, I remain grateful for his friendship and for the blessing of knowing someone with such talent and such heart. I am in awe of his gift — and eager to see how his art will continue to illuminate the lives of so many….

Strictly Observing

Atlanta Rhythm Section rocks Millwald

Twenty years ago, the Atlanta Rhythm Section lit up the Chautauqua Festival in Wytheville in what was promised to be one of the most exciting performances our hometown summer tradition had ever seen. By all accounts, it was. Unfortunately, I missed it—my father was undergoing open-heart surgery in Cleveland, and I was staying with a relative who couldn’t take me to the show. Two decades later, I finally had another chance to see this legendary rock ’n’ roll group in my hometown. This time, it was in the beautifully restored Millwald Theatre, playing to a sold-out crowd of more-than-enthusiastic fans—many of whom had waited as long as I had, and some even longer. I had the added career highlight of interviewing the band’s original lead singer, Rodney Justo, before the event. He assured me I would not be let down. That turned out to be a serious understatement. The Atlanta Rhythm Section delivered a non-stop, 90-minute set of pure rock and roll. They started at 7:30 on the dot on Saturday, August 9, and didn’t let up until the last note rang through the Millwald. “We’re not a band who jumps around the stage or does a lot of gimmicking,” Justo told the crowd. “We play and sing songs—that’s our job. We come on stage, we do our job, and that’s it. We have a good time doing it, and we want to make sure the audience has a good time as well.” As my Aunt Hazel would say, a good time was had by all. The Atlanta Rhythm Section has been steadfast for 56 years, and their fans have been equally loyal. One woman sitting behind me—barred from sneaking backstage—waited after the show to tell Justo, “I fell in love with you all when I was 12 years old. I’m 61 now, and I’m still in love.” Every one of the dozen-plus songs blended high-energy rock with the soul and blues edges that make ARS impossible to pigeonhole into a single genre. “Some people like to say we’re a Southern rock band,” Justo said. “But we don’t sing about trailer hitches and Jack Daniels. We like to sing songs with a clear message from beginning to end—musically and lyrically.” Opening with “Homesick” and “Champagne Jam,” the band treated the crowd to “Spooky”—a nod to the Classics IV, the band from which ARS was formed. “Half of us came from the Classics IV,” Justo explained. “The other half came from Roy Orbison’s backing band, The Candymen.” The set rolled on with “Doraville,” their tribute to hometown Georgia, followed by rousing dance numbers “Large Time” and “Boogie Smoogie.” “I’m Not Going to Let It Bother Me Tonight” was paired with a medley of “Do It” and “Angel.” Then came “Crazy,” and finally, their 1977 Top 10 hit, “So Into You,” which featured a blistering five- or six-minute guitar solo from Steve Stone that brought the crowd of 500 to its feet. From my front-row seat, I had a direct view of guitarist David Anderson, whose shimmering gold electric guitar matched his flawless playing. Drummer Rodger Stephan drove the evening forward with riveting licks, while bassist Justin Senker kept the funk alive and keyboardist Lee Shealy added the bluesy textures. Before launching into another of their biggest hits, Justo grinned and said, “The Atlanta Rhythm Section is the only band in history who can predict the future. Everybody wants a selfie with us these days—we were writing about selfies decades ago. Back then, we just called it ‘Imaginary Lover.’” That tune sent the band offstage to a roaring ovation before they returned for one last electrifying number: “Back Up Against the Wall”—the perfect closer for Wytheville’s rock ’n’ roll party. I’m grateful to my friend Jeremy Miller for getting me to the show, and to Donnie Bales, Lydia Showalter, and Mastin Paisley at the Millwald Theatre for ensuring this night was a career highlight—from the concert to my interview with Rodney Justo. Meeting all the current members of ARS was an honor. Justo, still holding his own at 80, and the rest of the band—none under 50—played non-stop jams for the entire set. They may not be household names like some who’ve passed through ARS’s ranks, but these men have spent decades—three, four, even five—keeping the band’s legacy alive with the highest class and talent. Here’s hoping they make good on their word and return to Wytheville. If they do, it will be our reward.  

Strictly Observing