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The Lexington Art League is pleased to welcome five artists to the Loudoun House to re-imagine the 160-year-old Gothic Revival architecture of the historic building, which also serves as LAL’s flagship gallery.
Each artist has thoughtfully manipulated material in careful consideration of context, responding to the space with meaningful work. These site-specific installations are a response to their immediate environment, and as such will never be seen elsewhere in duplication. 
ALISA DWORSKY
Inside Out: Open Form 1 is made from a series of tetrahedrons, regular polyhedrons made of four connected triangular planes. Inspired by tent and kite construction, the tetrahedrons are made of dowels and tensile fabric panels assembled with lightweight connectors. The repetition of this shape, varied in its enclosure and orientation, creates a crystalline landscape. The experience of this landscape changes as one moves around the piece.
White fabric emphasizes the shade and projected shadows in the work. The white panels also reflect the subtle color shifts that take place as the light changes over a day. The triangle and the tetrahedron are remarkably efficient and strong forms… forms that are the basis of the visionary work of the engineer and designer Buckminster Fuller whose work influences this piece. The artist is interested in how one can build light forms that compact and ship efficiently and yet deploy to activate and define a space by expanding when assembled. 
BLAKE EAMES
Artist Blake Eames’ creative aesthetic and professional expertise collide in the main hallway of the historic Loudoun House in THE GIANT LOOK BOOK OF EXPLODING DANDELIONS {…its all for you and now in full color}. As an interior designer, Eames is keenly attuned to sightlines, the path the eye takes from a point of observation to a point of designation, often times an architectural detail.
This site-specific installation draws upon the tunneling of the nearly 40-foot-long main hallway to create an immersive experience where the historic value of the home converges with the contemporary art it houses. Graphic perfection and bursts of color create angles for the eye to follow, and exploding dandelion forms generate movement that integrates all levels of the space. Inter-visible objects, or those that share a direct line of sight with one another, propel the viewer in new directions and draw him/her in more deeply, where the visceral appeal to the eye becomes a mental investigation of process. Eames’ pristine hand-fabrication conveys the artistic energy of the piece, sometimes amplified and sometimes subdued, but always evolving and progressing into its final form. Colors in the installation are also a product of mood and further inspire the viewer to see what can be, to evaluate the environment in a new way, and to delight in the unexpected. 
LIZ MILLER
Architectonic Onslaught uses imagery from Gothic architecture as a point of departure, splicing it with forms from weapons and invasive species. By conflating decorative elements with signifiers of violence and aggression, the artist calls into question how precarious perception is--and how easily it can be tampered with. Forms that at first appear benign reveal themselves as sinister upon further inspection. The viewer becomes immersed in a fictional world of beauty and danger.
Miller’s mixed media installations and drawings recontextualize simplified shapes, signs and symbols from disparate historical and contemporary imagery to create abstract fictions. Existing forms from a multitude of sources are co-opted, altered, and spliced to adopt hybrid identities. Through the process of appropriation and subsequent recombination, shapes lose their real-world connotations and take on fictitious roles. Recent projects pit Baroque and Gothic pattern and ornament against forms derived from armor and weaponry. Seemingly oppositional pairings create duplicitous environments where conflicting messages are conveyed. The use of felt, foam, and other tactile materials further complicates questions of source, masking the identity of forms while allowing them to inhabit both sculptural and two-dimensional space. 
CHEE WANG NG
The Chinese invented porcelain and is synonymous with “china” since its ancient trade route days. In today’s global economy, a bowl made in Sri Lanka with New Zealand clay, funded by Japanese investments using English technology and German-made kilns for the US market is still called “china” in common English usage.
The fascination of porcelain, from ancient China where the entire kilns was devoted to making imperial ware, to the European court where it was known as “White Gold” still hold true today – “as thin as paper, as white as jade, as bright as a mirror, and as sound as a bell” 薄如纸、白如玉、明如镜、声如磬. “Rice Bowl” is a loaded dice for the Chinese for it underpins the whole civilization and culture. The form of a porcelain bowl is a vessel of fragile strength, in this case manifests 360 times making into a Labyrinth. What wondrous manifestations will it reveals as a whole from within? Welcome to the 360 Walks of Life Labyrinth! 
JASON PARADIS
Lexington Kaleidoscope consists of paintings based on star formations that would be visible if you looked out the windows of the gallery and could see the stars, moon, and planets.
Because the gallery is primarily open during the day, you are not able to actually see the stars, so they were plotted via an iPhone app and transferred (in studio) to the canvases exactly as they would appear if you could see them, technically accurate regarding the location and magnitude of each star, while also abstracted to create a visual response and reinterpretation. The star-plot is again transferred on Plexiglas covering the gallery windows to relate to that view outside, each hole representing a star. The pile of stones on the center of the room is meant to represent the general shape of a campfire pit, cairn, or burial mound - all human creations that are universal symbols connecting us to an earlier time. We huddle around the campfire blaze for warmth, food, or protection, we build the cairn to reflect man-made ingenuity, and we have covered the dead (our past) with mounds of rocks. It is specifically around the fire that we have looked up at the stars and contemplated our past, felt the present moment, and have become curious about our future. The colored yarn stretching from the window to the rock pile gives physicality to light – like a kaleidoscope - connecting our planet to the universe beyond. |
INSTALLATION WEEK
May 20-24, 10am-4pm daily FREE for Everyone See ideas come to life as five installation artists re-invent a room in LAL’s Loudoun House Gallery. Patrons will have the opportunity to experience art-making in progress, to see the creative problem solving inherent in the process, and discover the fluidity that comes with structured imagination. Can't make it to the gallery? Watch the LIVE STREAM. Thanks to the many volunteers and community partners who offered support during Installation Week. OPENING PARTY May 24, 6-9pm FREE for Everyone ($5 donation suggested) Celebrate the opening of SITE with Drinks and snacks by DaRae & Friends and food truck grub from That's How We Roll and a one-of-a-kind sound installation by Mick Jeffries. Supported by WUKY and Story Magazine. offSITE SEEING June 1, 8am-12pm at Farmer's Market and 4-6pm at Village Idiot FREE for Everyone Grab your friends and go on an offSITE SEEING adventure. Start the day by picking up a pocket guide to the mini-installations of offSITE at Farmer's Market, wander the streets of Lexington looking for the pop-up installations, then meet up with other offSITE seers and artists at a happy hour reception at Village Idiot. This event replaces the traditional June 4th Friday event, so please adjust your calendars accordingly. Supported by WUKY and Story Magazine. 
SITE is presented thanks to the support of these exhibition sponsors.
Thanks also to City BBQ, Chuy's, Third Street Stuff, and Courtyard Deli for keeping SITE artists and volunteers fed during Installation Week and to Red River Gorge Zipline for making the live stream of installation week possible.
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offSITE is an mini-installation exhibition on the streets of Lexington presented in complement to SITE. The exhibition, which features the work of more than 20 artists living in our community, is part of the Lexington Art League’s larger initiative to highlight the work of local talent and celebrate the extraordinary creative work being made in Central Kentucky. LAL is committed to cultivating a vibrant and healthy community with art and art-making at its core, and offSITE is one of several projects supporting that effort.
The following local artists have been commissioned to produce installation surprises in unexpected spaces throughout the city. On June 1, LAL will host offSITE SEEING, an artful day trip followed by a happy hour reception. Pick up your offSITE pocket guide at Farmer’s Market from 8am-12pm, then meet up with other offSITE seers at Village Idiot from 4-6pm.
The following local artists have been commissioned to produce installation surprises in unexpected spaces throughout the city. On June 1, LAL will host offSITE SEEING, an artful day trip followed by a happy hour reception. Pick up your offSITE pocket guide at Farmer’s Market from 8am-12pm, then meet up with other offSITE seers at Village Idiot from 4-6pm.
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GOOD THINGS for GOOD PEOPLE
By Graham Allen Location: 440 Old Vine St. The mural will remain up for the duration (May 20- July 20) and after or until requested to be removed. After which, the mural will be available for purchase and displayed how owner sees fit (preferably in view for the public). The mural is intentionally de- signed to weather, as would any old ‘barn art’ but will have a sealed coating to extend the life of it. HC SVNT DRACONES By Charlie Campbell & Scott Horn Location: Arcadium (574 N. Limestone) HC SVNT DRACONES, is an interactive installation by Charlie Campbell and Scott Horn which pits its participants in mortal combat against a legendary, mythological creature. Only after hours of battle and many lives lost will the great serpent fall. A smart phone, laptop, tablet or other wifi enabled device is required to participate. The hero who deals the fatal blow to the beast will be awarded with a hand pulled and tinted woodblock print commemorating their victory and the sacrifice of their fallen comrades. Bargain Hunt By Sarah Campbell Location: Lexington Rescue Mission, Salvation Army, Habitat for Humanity ReStore, and various Goodwill locations throughout Lexington An original series of still life paintings depicting thrift-store products. Each painting will be donated to the product’s respective store, where it will be priced, shelved, and sold per the store’s typical procedures. Looking to purchase a piece of fine art at bar- gain prices? Look for these paintings at a thrift-store near you. The Keeper of the Unkept By Caper Location: The Green Lantern (497 W. 3rd St.) Wall painting framed by a window. Urban Shawl By Stacey R. Chinn Location: McConnell Springs (416 Rebmann Lane) Urban Shawl will comprise of me, the artist, knitting “shawls” or afghan-like pieces to be fitted around the base of several trees spaced throughout McConnell Springs. The works will be knitted from the orange, red, blue, yellow, and white biodegradable flagging tape used for forestry purposes. It will, however, mimic the flagging material (usually made of vinyl) construction companies commonly utilize for marking areas to be developed. McConnell Springs was chosen due to its significance as a National Registered Historic Site, which preserves cultural history and restores the natural environment. It is also a “vital educational resource” and is “recognized as the naming place of Lexington, Kentucky.” (www.mcconnellsprings.org/missionwaystodonate.html) Fudge Land Zero: Inflammatory Text By Ed Franklin Location: Upper Vestibule of the sQecial media building (371 S. Limestone) Greetings. I’d like to present you with an homage to dirty words, phrases, acts, deeds, and thoughts that simultaneously functions as a game of sorts for your amusement or offense, depending. Though there are definitely a few obvious and notable exceptions (which I could not seem to bring myself to omit), the vast majority of the words found here seem somewhat innocuous and mundane when viewed singularly. However, when combined into pairs the words become decidedly sinister, inflammatory, derogatory, and/or lascivious (forming charged ideas, dangerous objects, explicit sexual descrip- tions, natural disasters, etc.). Also, keep in mind that it is possible to use some words more than once to form new pairs! Note to viewer: For the most part, the offensive word pairs and the ideas that they represent in no way reflect the artist’s personal beliefs or feelings (much to the con- trary), but should be seen as a reflection of how we, as often misguided and sometimes down-right deplorable humans, can take a perfectly good word and wreck it all to hell. Enjoy. everything for nothing, nothing for everything By Valerie Sullivan Fuchs Location: Castlewood Park flagpole (209 Castlewood Dr.) What if there are no more countries, only corporations and no more living systems, only barcodes pasted to living ‘resources’? everything for nothing, nothing for every- thing is a series of barcode prints mounted on flagpoles. This installation was origi- nally created for the Legacy Trail Public Art Project, Lexington, Kentucky which was delayed. Each flag had been designed with a phrase of economic theory and identity translated into a barcode form. The flag’s words and phrases include ‘nothing for ev- erything for nothing’, ‘bluegrass (poa pratensis)’ ‘a heaven of a place’, ‘La Troienne (equus)’, ‘University of Kentucky’ and ‘Kentucky’. the other others dropped by for cake By Pat Gerhard Location: first large tree in the parking lot of 3rd Street Stuff As you might imagine the other others come from somewhere else and are unknown to us. But since they are expecting to have cake they must be friendly right? Cake is only among friends isn’t it? |
Lines Cast
By Sarah Heller Location: Loudoun House (209 Castlewood Dr.) This is a remnant piece from the West Sixth mural, and it will serve to dramatically cast a shadow of the steel lines onto the face of the Loudoun House. Curly Spy By John Lackey Location: Homegrown Press (569 N. Limestone) Nature looks back at us. Latitude Is Moving By Latitude Location: Starts at 948 Manchester St., takes a left on Oliver Lewis, then a right on Main St., then a left on N. Ashland to end at 309 N. Ashland Our project is one of motion, community involvement and advocacy. We have a beau- tifully painted walker that will take a journey from Latitude’s current studio location to our future home on N. Ashland. The walker will be moved every day little by little while being chained to bike racks along the way outside of local business and organi- zations. The piece’s location can be followed on our Facebook page daily, coupled with the revelation of the guest mover of that day. We will have guests from the community to collaborate daily to help move the piece from point to point. The walker’s intention is to be that of a symbolic vehicle and support to bring attention to continuing concerns of accessibility in the community for people with disabilities. The walker also stands as a tribute to those that need this type of physical assistance to exercise their independence. A Denial By Steven Sewell Location: The Episcopal Church of the Good Shepherd (533 E. Main St.) Sounds inspired by the music of Kurt Cobain serve as a call to consider discussing the topic of suicide. In remembrance of Cobain’s death, on April 5, 1994, the bell tower at the church will sound at 4:05pm each day from July 8-12. Additionally, Good Shepherd will host a panel discussion on suicide at 7pm on July 11. All programs are free and open to the public. Celia 101 By Kate Sprengnether Location: Legacy Trail Celia 101 is a tribute to my Grandmother, Celia Russell Jones, who just celebrated her 101st birthday. She loves flowers and gardening. Even now that she is no longer able to do any gardening, she passes many hours sitting in the yard or on the patio, look- ing at her flowers and watching the birds visiting the many feeders in her yard. In her honor, patches of her favorite flowers will appear along the Legacy Trail over the next couple of months. Crib II By Zoé Strecker Location: 157 N. Broadway The sculpture, Crib II, and the adjacent storefront space marks the public launch of Zoé Strecker’s new art project, Mesophytic Mix, a large-scale, collaborative embroi- dery sculpture and audio installation Lower 360 Arc, Tree Sweaters By Tree Sweater Gang Location: Triangle Park, May 25-June 9 Yarn bombing with tree sweaters. A tree sweater is a hand knitted or crochet yarn piece wrapped around the tree and often into its branches. The pieces are held in place by fitting snuggly on the tree and one piece sewn to the next. The tree is not harmed. It’s an odd juxtaposition of knitting and graffiti, with opposing concepts - female, granny, indoors, domestic, wholesome and soft vs. male, enfant terrible, outdoors, public, underground and edgy. The practice of yarn bombing redefines both genres. Yarn bombing transforms knitting from a domestic endeavor to public art, redefining both knitting and graffiti, both of which are marginalized creative endeavors that fall outside “high art.” Holding Light By Sarah Wylie A. VanMeter Location: 199 E. Loudon Ave. Video projection |
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