Bio: Jeff and Joanne Couch have been digging each other for 31 years, having met on a prehistoric archaeology site in Los Angeles, California. We've been married 24 years and have 2 rad kids, Ian and IssieBelle, whom we homeschool. We are Southern California transplants to Lexington, Kentucky as of 11 years ago; we arrived on Elvis Presley's birthday 2009. When we started our company, Handmade Hope Rags in 2010, it took a couple years to find our voice here in Lexington, KY and where we could serve and be part of a fresh burgeoning art community. It was an honor to be a Vendor for 2 years at the Night Market, and to make life-long friends while meeting a plethora of kindred spirits. We are Trans-Disciplinary Artists and professionally published Archaeologists and have presented our Prehistoric Indigenous Peoples research at many professional conferences. Since we were kids we've always prefered biographies and documentaries over fiction because we love history and science which is often quite more bizarre and amazing than a fiction writer can make up, but we bridge this gap with our love for art and creating art which often times subjectively suggest and promotes esthetic ideas which we find aid our scientific pursuits more soundly. Hence we have combined our two passions as an "ARCHival Artist" - yes a term we made up to describe our passion for art and facts.
Artist Statement: We hand-craft each artwork with the precision of a trained scientist; we imbue each piece with the empirical aesthetics of artists who are passionate about cultures, prehistory, history and the perpetuity of lineage and heritage; as business professionals with over 20 years as a Directors, and Administrators in the Cultural Resource Management, and Environmental Engineering & Construction industries: we are ones who understand that in order for implements of cultural imperatives to survive it must have an expressed utilitarian need which can bolster the profane and mundane into the sacred by imagery, ritual, heritage, and legacy. Hence, we elevate common household decor and regalia apparel as our artistic medium. In short, we create Handmade Family Heirlooms imbued with the sweetness of enduring nostalgic charm with a modern touch of Industrialism, and a whimsy cheeky touch of Dadaism to juxtapose contrasting elements which often invoke an inquisitive internal dialog in the art patron and that is what we feel promotes the foundations of good science and the desire for honest profundity. This, sincerely, is our "art-making process": it is our hearts and passions cultivated by our discerning minds which propels us to be a conduit of culture.
Artist Statement: We hand-craft each artwork with the precision of a trained scientist; we imbue each piece with the empirical aesthetics of artists who are passionate about cultures, prehistory, history and the perpetuity of lineage and heritage; as business professionals with over 20 years as a Directors, and Administrators in the Cultural Resource Management, and Environmental Engineering & Construction industries: we are ones who understand that in order for implements of cultural imperatives to survive it must have an expressed utilitarian need which can bolster the profane and mundane into the sacred by imagery, ritual, heritage, and legacy. Hence, we elevate common household decor and regalia apparel as our artistic medium. In short, we create Handmade Family Heirlooms imbued with the sweetness of enduring nostalgic charm with a modern touch of Industrialism, and a whimsy cheeky touch of Dadaism to juxtapose contrasting elements which often invoke an inquisitive internal dialog in the art patron and that is what we feel promotes the foundations of good science and the desire for honest profundity. This, sincerely, is our "art-making process": it is our hearts and passions cultivated by our discerning minds which propels us to be a conduit of culture.
Bio: Jonathan Ware lives and works in central Kentucky. He is a graduate of Murray State University, University of Kentucky, and the University of California Los Angeles. His work has been exhibited throughout the United States and includes exhibitions at Manifest Gallery in Cincinnati Ohio, The South Eastern Center for Contemporary Art in Raleigh North Carolina, the National Building Museum in Washington DC, and the Perloff Gallery in Los Angeles California.
Artist Statement: Jonathan Ware’s work centers around themes of spirituality and unseen psychological realities. By its nature, the work is introspective and focused on existential and phenomenological. The concept is primary in the work but is deeply intertwined with process, materials, technique, imagery, and color. While this approach has taken the work in different visual directions, it should be understood as the manifestation of a single philosophical trajectory.
Lauds Compline:
Lauds, the first daily prayer in Liturgy of Hours, is represented by a predominately blue landscape rendered oils. Blue evokes the cool morning light of the sunrise and is commonly associated with heaven. It is the transformation.
Compline, the last daily prayer in the Liturgy of Hours, is represented by the abstract panel created using ash mixed with beeswax. Ash is associated with mourning and evokes a sense of loss while wax references Plato’s description of the memory as a “wax tablet”. It is a difficult time of suffering in the past that has transformed us.
Artist Statement: Jonathan Ware’s work centers around themes of spirituality and unseen psychological realities. By its nature, the work is introspective and focused on existential and phenomenological. The concept is primary in the work but is deeply intertwined with process, materials, technique, imagery, and color. While this approach has taken the work in different visual directions, it should be understood as the manifestation of a single philosophical trajectory.
Lauds Compline:
Lauds, the first daily prayer in Liturgy of Hours, is represented by a predominately blue landscape rendered oils. Blue evokes the cool morning light of the sunrise and is commonly associated with heaven. It is the transformation.
Compline, the last daily prayer in the Liturgy of Hours, is represented by the abstract panel created using ash mixed with beeswax. Ash is associated with mourning and evokes a sense of loss while wax references Plato’s description of the memory as a “wax tablet”. It is a difficult time of suffering in the past that has transformed us.
Bio: My mother, Iva Ann Butcher, was an oil painting artist who also had private students. However, I was not one of them. My thing was theater and music. After I graduated from high school in Portsmouth, Virginia. I moved to Kentucky and completed a BA in Theater Arts. I enjoyed designing and building sets & lights at UK and with local theater groups but soon realized that would not be a full-time, paying career in Lexington. Instead, I went to UK Law School, receiving my Juris doctorate and law license in 1990. I didn’t have time for making art while building my law practice until my spouse gave me the gift of watercolor art lessons for one year for my birthday. I soon found that watercolors and I were not compatible, so I stopped trying to make art until my loving and tenacious spouse again paid for lessons. This time I had the right medium-pastels and more importantly, the right teacher/mentor/friend. I hope to continue to learn and grow as an artist now that I am nearly retired. It is never too late to pursue the urge, the need to make art. It just may require a little loving nudge.
Artist Statement: Growing up the daughter of an artist who died of breast cancer at the age of 46, I never expected to live much past 50, let alone make art that anyone would like. My goal was to put myself through college and get a good job so I could support myself. Fast forward to the present, I am semi-retired and realized I can indulge that urge, that need to make art. I found a teacher, mentor, and friend whose work in pastel I admire. But what is it I want to make with my pastels using my artistic voice? I am continuing to explore styles and subjects in that search. The pieces chosen for this show came from my love of travel, nature, and other cultures. I am grateful I’ve been given the time to start this artistic journey because nobody promises us tomorrow.
Artist Statement: Growing up the daughter of an artist who died of breast cancer at the age of 46, I never expected to live much past 50, let alone make art that anyone would like. My goal was to put myself through college and get a good job so I could support myself. Fast forward to the present, I am semi-retired and realized I can indulge that urge, that need to make art. I found a teacher, mentor, and friend whose work in pastel I admire. But what is it I want to make with my pastels using my artistic voice? I am continuing to explore styles and subjects in that search. The pieces chosen for this show came from my love of travel, nature, and other cultures. I am grateful I’ve been given the time to start this artistic journey because nobody promises us tomorrow.
Bio: Kenn Minter lives and creates art in Lexington. Kentucky. Kenn is an alumnus of the University of Kentucky’s Fine Arts program and also served as an Art Director for the university. Kenn Minter produces paintings, digital art, drawings, and comic books. His days and nights are spent with his lovely wife, Laura, and their four greyhounds.
Artist Statement: From design and generation, I produce paintings and prints using analog and digital means. I easily bounce between both traditional and technological mediums to create artworks. My first and most indelible style influences remain the comic book and cartoon. Thick, bold lines and colors that appear to pop and heat. My images alert the viewer and allure them within.
Artist Statement: From design and generation, I produce paintings and prints using analog and digital means. I easily bounce between both traditional and technological mediums to create artworks. My first and most indelible style influences remain the comic book and cartoon. Thick, bold lines and colors that appear to pop and heat. My images alert the viewer and allure them within.
Bio: Kenzie Dickens is a Kentucky native, working primarily in mixed media based with a focus on finding unique ways to reuse or repurpose existing items into works of art. She attended Campbellsville University for her B.S degree in Art Education and the University of Kentucky for M.A. in Arts Administration.
Artist Statement: As a mixed media-based artist, I take a specific interest in reusing and repurposing a variety of materials to create textural and layered designs. The materials I use range from acrylics, watercolor, pen and ink, magazines, photographs, book pages, and stitching on paper. Much of my work is designed around a specific theme and usually incorporates a combination of imagery and words to convey the message. I find inspiration for my pieces from the materials I work with or stories and ideas that have had an impact on me. Some recurring themes throughout my artwork address political or social issues and are intended to convey a message of empowerment and change deriving from a place of tension or unrest.
For example, the piece ‘Porch Party Panic’ combines the idea of porch parties held around the world during the quarantine of the 2020 COVID-19 pandemic and the economic Panic of 1893. Much like the response to the COVID-19 pandemic, The Panic of 1893 produced significant political upheaval that eventually led to a political realignment. The piece ‘Porch Party Panic’ illustrates what a porch party might have looked like during the economic Panic of 1893, symbolizing the idea that while we are separated from history by time, we are not always separated in response. The arts, politics, and our general response to unrest paints a familiar picture throughout the history of the change these situations spur in society. While many of my pieces are fabricated around a theme or story, I also enjoy dabbling in the creation of mixed element pieces that are purely abstract studies of color, texture, and shape. And sometimes these pieces are used as studies or materials for my storytelling pieces.
Artist Statement: As a mixed media-based artist, I take a specific interest in reusing and repurposing a variety of materials to create textural and layered designs. The materials I use range from acrylics, watercolor, pen and ink, magazines, photographs, book pages, and stitching on paper. Much of my work is designed around a specific theme and usually incorporates a combination of imagery and words to convey the message. I find inspiration for my pieces from the materials I work with or stories and ideas that have had an impact on me. Some recurring themes throughout my artwork address political or social issues and are intended to convey a message of empowerment and change deriving from a place of tension or unrest.
For example, the piece ‘Porch Party Panic’ combines the idea of porch parties held around the world during the quarantine of the 2020 COVID-19 pandemic and the economic Panic of 1893. Much like the response to the COVID-19 pandemic, The Panic of 1893 produced significant political upheaval that eventually led to a political realignment. The piece ‘Porch Party Panic’ illustrates what a porch party might have looked like during the economic Panic of 1893, symbolizing the idea that while we are separated from history by time, we are not always separated in response. The arts, politics, and our general response to unrest paints a familiar picture throughout the history of the change these situations spur in society. While many of my pieces are fabricated around a theme or story, I also enjoy dabbling in the creation of mixed element pieces that are purely abstract studies of color, texture, and shape. And sometimes these pieces are used as studies or materials for my storytelling pieces.
Bio: Born in Lexington, KY 1988. Originally from Harrodsburg. Independent illustrator residing in Nicholasville, KY. Eastern Kentucky University BA in fine arts, 2013. Published in Aurora Literary Journal (2014, 2016), The Lawless River (2016), Nerve Lantern (2017), Bluegrass Bold (2020), various online literary/art journals. Shown in PRHBTN (2018,2019), Please Stand By (2019), KY Nude (2019), Herself (2020).
Artist Statement: Two out of three pieces are part of my “Off the Air” series, which has been growing since October of 2018. The series represents moments in one’s life that “don’t seem real”; when moments have been distorted, slowed, or paused; as a TV or radio broadcast gets interrupted and filled with dead air. Faded and disjointed memories, dissociation, depersonalization, or watching events in real life unfold with disbelief and thinking “this can only happen in the movies”. The third piece is a portrait of a friend, Maggie Gray, from her mini-vacation in June. Pretty girls wearing masks with their bathing suits is the definition of the 2020 “new normal”.
Artist Statement: Two out of three pieces are part of my “Off the Air” series, which has been growing since October of 2018. The series represents moments in one’s life that “don’t seem real”; when moments have been distorted, slowed, or paused; as a TV or radio broadcast gets interrupted and filled with dead air. Faded and disjointed memories, dissociation, depersonalization, or watching events in real life unfold with disbelief and thinking “this can only happen in the movies”. The third piece is a portrait of a friend, Maggie Gray, from her mini-vacation in June. Pretty girls wearing masks with their bathing suits is the definition of the 2020 “new normal”.
Bio: I am a Lexington based, self-taught abstract painter. I paint with acrylics on canvas and paper. An elementary school teacher by career, I came to be interested in art through a series of student exhibitions at my school. I was so interested in the process that I knew I wanted to pursue painting after retirement. My attention to impressionism and the abstract style is influenced by what I notice in other art: color first, then form, lines, and object placement. I have exhibited in two Lexington area art shows and am an exhibiting member of the Kentucky Artist Guild.
Artist Statement: The art I create is abstract painting on canvas and paper. I was nearing retirement when the realization that I could pursue painting became real to me. My creative tendencies had been satisfied enough through my teaching career. Through exposure to a variety of artists during some school exhibits, I became aware of my appreciation for abstract and impressionistic painting and my desire to create it. While I greatly admire the skill that produces realism, it is observing abstract art that stirs my desire to produce. I find that drawing is hard work: there are expectations that must be met. Abstract painting to me is pure creativity; a combination of play, surprise, a journey. Creating brush strokes is satisfying and enjoyable.
My starting point for most pieces is color. Sometimes it is just one that will dominate and the others will be secondary players. Other times I start with a palette of three or four colors. I seldom use a color straight out of a tube. Creating new hues is part of the fun. Then I consider the form of the piece. Mostly I use brushes, but I really appreciate the moment of anticipation before a palette knife touches down. I like to experiment with taping off areas of the canvas. I will have an end design in mind, but often decide the painting is finished before I reach that end. Birds of Paradise was done in an art class. I was following the lead of the instructor but just knew I was finished when I had gotten to its current state. Purple Morning began as realism, but I painted over it with brighter colors. Passionate is a painting of a type of piece I did with crayons when I was a child.
Artist Statement: The art I create is abstract painting on canvas and paper. I was nearing retirement when the realization that I could pursue painting became real to me. My creative tendencies had been satisfied enough through my teaching career. Through exposure to a variety of artists during some school exhibits, I became aware of my appreciation for abstract and impressionistic painting and my desire to create it. While I greatly admire the skill that produces realism, it is observing abstract art that stirs my desire to produce. I find that drawing is hard work: there are expectations that must be met. Abstract painting to me is pure creativity; a combination of play, surprise, a journey. Creating brush strokes is satisfying and enjoyable.
My starting point for most pieces is color. Sometimes it is just one that will dominate and the others will be secondary players. Other times I start with a palette of three or four colors. I seldom use a color straight out of a tube. Creating new hues is part of the fun. Then I consider the form of the piece. Mostly I use brushes, but I really appreciate the moment of anticipation before a palette knife touches down. I like to experiment with taping off areas of the canvas. I will have an end design in mind, but often decide the painting is finished before I reach that end. Birds of Paradise was done in an art class. I was following the lead of the instructor but just knew I was finished when I had gotten to its current state. Purple Morning began as realism, but I painted over it with brighter colors. Passionate is a painting of a type of piece I did with crayons when I was a child.
Bio: Living in the Appalachian mountains has been one of the greatest influences for Leah Naomi. The vast beauty of the landscape and folk culture contributed to her path as an artist. Her work is primarily oil and watercolor painting, and ink illustration. She graduated from the University of Kentucky’s architectural design program in 2013 and has a couple of architectural constructions in her vision. She has exhibited at Appalshop, various venues in Lexington and Berea, and has pieces in the permanent collection at UK.
Artist Statement: Perspective is a fluid construction, shifting at any given moment by the experiencer and witness. Its infinite reach is as big as beings that exist with all of their senses. The shifting quality of perception fascinates me, in particular as connected to nature. With its forever present, yet constantly changing form, it is both a mirror for humanity to witness itself and a frame to strive for. Growing up in rural Georgia provided much freedom and solitude for my young being to witness the natural world. Those mountains introduced me to a greater spirit and a forever love of wilderness. The works I produce are the result of many influences confluence through the experimental process. The initial movement began in 2009 when I painted trees not in context, but together as their own, and many questions arose. The primary being, what and how does the landscape perceive itself?
In the years following that initial piece, the landscapes became ethereal and cloud-like, then branching vines and eventually into water. In 2011, I was given an underwater camera and it became an integral aspect of my process. My interest in perspective and identity brought the question of how particular aspects of nature view one another. Water is central to life and I find it fascinating to entertain what it may perceive through its view. “Chattahoochee Contemplations” is an example from a series completed in 2019. Before embarking on any new collection of work, I take photographs in special rivers or places. This particular piece is in reference to Raven Cliff Falls in Georgia.
If challenged to find a single emotion that directs and encourages my creations, it would be nostalgia. My early years were spent in North Georgia, but we moved to Berea, Ky when I was an adolescent. Having separated parents created a disconnect that connected spans of time with precious moments shared together. “What it’d be to sit with you again.” is a still life created in memory of my Grandad, during the deep introspective months of this year. Returning to realism and constructing this composition was my method of turning back pages in time to the feeling I had sharing space with him.
Artist Statement: Perspective is a fluid construction, shifting at any given moment by the experiencer and witness. Its infinite reach is as big as beings that exist with all of their senses. The shifting quality of perception fascinates me, in particular as connected to nature. With its forever present, yet constantly changing form, it is both a mirror for humanity to witness itself and a frame to strive for. Growing up in rural Georgia provided much freedom and solitude for my young being to witness the natural world. Those mountains introduced me to a greater spirit and a forever love of wilderness. The works I produce are the result of many influences confluence through the experimental process. The initial movement began in 2009 when I painted trees not in context, but together as their own, and many questions arose. The primary being, what and how does the landscape perceive itself?
In the years following that initial piece, the landscapes became ethereal and cloud-like, then branching vines and eventually into water. In 2011, I was given an underwater camera and it became an integral aspect of my process. My interest in perspective and identity brought the question of how particular aspects of nature view one another. Water is central to life and I find it fascinating to entertain what it may perceive through its view. “Chattahoochee Contemplations” is an example from a series completed in 2019. Before embarking on any new collection of work, I take photographs in special rivers or places. This particular piece is in reference to Raven Cliff Falls in Georgia.
If challenged to find a single emotion that directs and encourages my creations, it would be nostalgia. My early years were spent in North Georgia, but we moved to Berea, Ky when I was an adolescent. Having separated parents created a disconnect that connected spans of time with precious moments shared together. “What it’d be to sit with you again.” is a still life created in memory of my Grandad, during the deep introspective months of this year. Returning to realism and constructing this composition was my method of turning back pages in time to the feeling I had sharing space with him.
Bio: Maddy the Hooligan is a graphic designer, illustrator, and content creator residing in Richmond, Kentucky. She is currently studying graphic design and media arts at Southern New Hampshire University. Along with design and illustration, she also loves animation and painting. Her art pieces are often inspired by her own life experiences and interests. Her paintings combine realistic aspects with fantasy and surrealism touches to illustrate the obstacles and victories encountered in her life. She is currently an art and design freelancer, taking commissions, and creating beautiful works of art for her clients.
Artist Statement: In my art, I almost always use my own life experiences to create my digital paintings. This applies to both A Day with Queen and No Sign of Life. In A Day with Queen, I painted a special memory I have with my pet bearded dragon, Queen. We love to spend time together outside, and I wanted to represent the beautiful green trees and the feeling of joy that comes from spending time outside with my pet. The combination of the beautiful forested area and the sweetness of my bearded dragon make for a wonderful painting.
No Sign of Life was a deep, emotional painting I created to represent the feeling of isolation that I experienced during the creation of this piece. The world has been experiencing uncertain times, and many people, including myself, have been struggling with feelings of isolation. This piece is a representation of feeling like you are isolated and stranded with no other sign of life around. What makes my art unique is the mix of realism and surrealism, along with my art pieces being based upon my own struggles and victories in life. I combine aspects of realism along with fantasy, surrealistic vibe to give a one of kind perspective on the ups and downs of life.
Artist Statement: In my art, I almost always use my own life experiences to create my digital paintings. This applies to both A Day with Queen and No Sign of Life. In A Day with Queen, I painted a special memory I have with my pet bearded dragon, Queen. We love to spend time together outside, and I wanted to represent the beautiful green trees and the feeling of joy that comes from spending time outside with my pet. The combination of the beautiful forested area and the sweetness of my bearded dragon make for a wonderful painting.
No Sign of Life was a deep, emotional painting I created to represent the feeling of isolation that I experienced during the creation of this piece. The world has been experiencing uncertain times, and many people, including myself, have been struggling with feelings of isolation. This piece is a representation of feeling like you are isolated and stranded with no other sign of life around. What makes my art unique is the mix of realism and surrealism, along with my art pieces being based upon my own struggles and victories in life. I combine aspects of realism along with fantasy, surrealistic vibe to give a one of kind perspective on the ups and downs of life.
Bio: Madison Kelley is a portrait artist and art historian living and working in Lexington. She began work as an artist at the School for Creative and Performing Arts (SCAPA) and specializes in oil painting and portraiture. Through studying art history at the University of Kentucky, she has found focus in exploring relationships, people, and underlying connections in art across time. Her artwork depicts both subjects and influences found in art historical canon as well as from experiences living abroad. She will continue working as both a practicing artist and an art crime specialist in Glasgow, Scotland.
Artist Statement: Forging a link between myself and another artist is a sentiment that motivates me as a painter, and becoming a studio artist gave me the tools to look at art history through a personal lens. Much like my favorite artists, my art shares the notion of people being at the center of our lives, and the themes I often find myself drawn to are part of a shared experience- explorations of memory, time, and the relationships we create. I find that it is better to have collected experiences than things, and art is how I try to capture these nostalgic moments. I rely on color and scale to capture the intricacies of the face, best emphasized by the texture and rich pigments in oil. Getting up close to subjects not only enhances what the viewer sees but hopefully what they notice- ultimately I aim to offer insight into how I look at things, more specifically people, in a way that is otherwise inexpressible. I focus on people not only for visual interest, but because people are the driving force behind our experiences- certain music, smells, or sounds can trigger nostalgia, but these feelings can be even more intensely captured within those we know. As a visual learner, art capitalizes on my interest in imagery both in practice and in how I experience the world-historical art canons, tropes, and ideals inspire and emerge in my portraits. Art is in its most simple form a method of communication, so it makes sense that I can learn from visual cues of the past.
Artist Statement: Forging a link between myself and another artist is a sentiment that motivates me as a painter, and becoming a studio artist gave me the tools to look at art history through a personal lens. Much like my favorite artists, my art shares the notion of people being at the center of our lives, and the themes I often find myself drawn to are part of a shared experience- explorations of memory, time, and the relationships we create. I find that it is better to have collected experiences than things, and art is how I try to capture these nostalgic moments. I rely on color and scale to capture the intricacies of the face, best emphasized by the texture and rich pigments in oil. Getting up close to subjects not only enhances what the viewer sees but hopefully what they notice- ultimately I aim to offer insight into how I look at things, more specifically people, in a way that is otherwise inexpressible. I focus on people not only for visual interest, but because people are the driving force behind our experiences- certain music, smells, or sounds can trigger nostalgia, but these feelings can be even more intensely captured within those we know. As a visual learner, art capitalizes on my interest in imagery both in practice and in how I experience the world-historical art canons, tropes, and ideals inspire and emerge in my portraits. Art is in its most simple form a method of communication, so it makes sense that I can learn from visual cues of the past.
Bio: Mary S. Rezny is a photo-mixed media artist, based in Lexington KY since 1976. Recently retiring from her duties as a gallerist and commercial photographer she now has more time to create her artwork. An adjudicated Kentucky Crafted artist and a Kentucky Foundation for Women grant recipient, her art is exhibited regionally in galleries and juried exhibitions and it is included in the permanent collection of The Art Museum of the University of Kentucky and the Little Fine Art Library, University of Kentucky. Her artist books can be found in the permanent collections of Lucille Little Fine Arts Library, University of Kentucky, Vanderbilt University, Denison University, Baylor University, and the Savannah School of Art and Design.
Artist Statement: All my artwork begins with photographic observations and documentation. Traditional, non-traditional, and digital photographic techniques, along with paint and collage are incorporated into my photo mixed media artworks. My goal is to push the photograph beyond its traditional boundaries and make it truly a unique image. Using the natural world as my subject I find that nature is a fascinating subject that offers endless complexities.
Over the years I’ve studied magnolia from blossom to seedpod and leaf. The form and texture are fascinating. These leaves were photographed in the studio, warped, and posterized in post-production, and then printed on paper that I painted with a textured acrylic. The finished image is mounted to cradleboard in various depths and sizes. The final artwork is sealed with cold wax.
Artist Statement: All my artwork begins with photographic observations and documentation. Traditional, non-traditional, and digital photographic techniques, along with paint and collage are incorporated into my photo mixed media artworks. My goal is to push the photograph beyond its traditional boundaries and make it truly a unique image. Using the natural world as my subject I find that nature is a fascinating subject that offers endless complexities.
Over the years I’ve studied magnolia from blossom to seedpod and leaf. The form and texture are fascinating. These leaves were photographed in the studio, warped, and posterized in post-production, and then printed on paper that I painted with a textured acrylic. The finished image is mounted to cradleboard in various depths and sizes. The final artwork is sealed with cold wax.
Bio: Matt Reno is a graphic designer and printmaker living in Lexington, Kentucky. He learned linocut printmaking through a workshop hosted by Bluegrass Printmakers, an organization of which he is currently serving as president. In addition to producing his own prints, Matt hosts workshops to teach the art form to others.
Artist Statement: We live in a world of natural beauty and fascinating human-made architecture. I love traveling to new places and capturing those memories through art. Whether scenic landscapes or roadside Americana, the process of drawing these places and carefully carving them into blocks forces me to spend more time with the images. That time leads to reflection of what makes these locations beautiful and why they and the rest of our world need to be cared for and preserved for the future.
I’m drawn to linocut due to its versatility and accessibility. While I use the medium to create landscapes, other artists may choose detailed portraits or simple geometry, large-scale prints or tiny stamps, black and white, or multiple colors. It’s a medium that fits artists of nearly any style who desire a handmade aesthetic and the ability to create multiple versions of their art.
Further, it’s an art form that anyone can learn with minimal investment. I learned linocut through a local workshop, and I’ve since taught many people, including children, how to use a block, carving tools, and ink to bring their ideas to life. Finally, the ability to raise one’s voice and convey impactful messages in large quantities without expensive equipment is another reason linocut printmaking truly is an art form for all people.
Artist Statement: We live in a world of natural beauty and fascinating human-made architecture. I love traveling to new places and capturing those memories through art. Whether scenic landscapes or roadside Americana, the process of drawing these places and carefully carving them into blocks forces me to spend more time with the images. That time leads to reflection of what makes these locations beautiful and why they and the rest of our world need to be cared for and preserved for the future.
I’m drawn to linocut due to its versatility and accessibility. While I use the medium to create landscapes, other artists may choose detailed portraits or simple geometry, large-scale prints or tiny stamps, black and white, or multiple colors. It’s a medium that fits artists of nearly any style who desire a handmade aesthetic and the ability to create multiple versions of their art.
Further, it’s an art form that anyone can learn with minimal investment. I learned linocut through a local workshop, and I’ve since taught many people, including children, how to use a block, carving tools, and ink to bring their ideas to life. Finally, the ability to raise one’s voice and convey impactful messages in large quantities without expensive equipment is another reason linocut printmaking truly is an art form for all people.
Bio: Mikey Winsor is a visual artist living in Lexington, Kentucky. He received his Master of Fine Arts degree from the University of Pennsylvania in Philadelphia. His work has been exhibited across the country and has received many awards. His most recent award was for Best of Painting at the Giles Gallery during its National Juried Exhibition: Balance and Resilience. Mikey publishes a monthly newsletter and occasional videos on Youtube to keep in touch with his audience. Mikey enjoys riding his bike on the Legacy Trail, and this year reached a milestone of completing a one-hundred-mile-long bike ride. He enjoys life with Yoko, his wife, and two dogs, Rika and Bogo.
Artist Statement: I am entertained by the notion that something as small as a seed can become as giant as a tree. If we could stretch time to experience the entire growth cycle of a hundred years in an instant, a tree would look like a firework. There is an almost magical notion to life. But it really is not magic. Growth comes from a combination of systems that channel the flow of energy that sustains life. The rain cycle, the seasons, even the tides are all strings in a web of life connecting nutrients to its consumer. I try with a brush to capture that network into a painting. When a flower blooms it announces its reproductive cycle to all who can see. It welcomes bees to aid in pollination. Human eyesight can receive this invitation. We can experience attraction through a display of color, and it affects our path of life. So, I try to arrange colors in an attractive way to create something that feels almost instinctually inviting.
But attraction alone would be a hollow pursuit. I need art to fulfill some kind of responsibility, so it isn’t just pretty pictures. It needs a purpose. How do I make colors on a flat surface have a purpose? I trust the viewer. I anticipate they have an open mind, and I have an experience we can share as they gaze into the work. Sometimes I make compositional arrangements or manipulate time, but whatever method or approach - the goal is to get as close to an experience of awareness of how we are connected. Gazing into pieces of a system encourages thoughts of dependence, reliance, and status. Our survival, our quality of life, and our pursuits all depend on nets of support. When we appreciate the systems we affect, we improve their relations.
Artist Statement: I am entertained by the notion that something as small as a seed can become as giant as a tree. If we could stretch time to experience the entire growth cycle of a hundred years in an instant, a tree would look like a firework. There is an almost magical notion to life. But it really is not magic. Growth comes from a combination of systems that channel the flow of energy that sustains life. The rain cycle, the seasons, even the tides are all strings in a web of life connecting nutrients to its consumer. I try with a brush to capture that network into a painting. When a flower blooms it announces its reproductive cycle to all who can see. It welcomes bees to aid in pollination. Human eyesight can receive this invitation. We can experience attraction through a display of color, and it affects our path of life. So, I try to arrange colors in an attractive way to create something that feels almost instinctually inviting.
But attraction alone would be a hollow pursuit. I need art to fulfill some kind of responsibility, so it isn’t just pretty pictures. It needs a purpose. How do I make colors on a flat surface have a purpose? I trust the viewer. I anticipate they have an open mind, and I have an experience we can share as they gaze into the work. Sometimes I make compositional arrangements or manipulate time, but whatever method or approach - the goal is to get as close to an experience of awareness of how we are connected. Gazing into pieces of a system encourages thoughts of dependence, reliance, and status. Our survival, our quality of life, and our pursuits all depend on nets of support. When we appreciate the systems we affect, we improve their relations.
Bio: N. Lee Wade has been sharing his fine art for more than 30 years. He received a BS in Industrial Technology /Technical Graphics and an AS in Technical Illustration from Western Kentucky University. He then studied oil painting and color with Mary Louise Schrodt of Schrodt Art Studios in Louisville in the early 1980s and followed with a study of illustration and graphic design at Central Academy of Commercial Art in Cincinnati. Wade Illustration & Design, Inc. was established in 1996, specializing in medical illustration, graphic design as well as marketing and sales support.
Artist Statement: I see art in everything and anything; I believe artists tend to have something of a different view of things. My role as an artist belies common observations and instead reveals the beauty and simplicity of what I see. I see pulchritude in something as ordinary as a perfectly rendered shower head, the supple curve of a woman's lower back, light-reflecting through a glass of bourbon, and the perfection in my children’s eyes. I paint in oil, it suits my nature, definitely the tortoise not the hare.
Artist Statement: I see art in everything and anything; I believe artists tend to have something of a different view of things. My role as an artist belies common observations and instead reveals the beauty and simplicity of what I see. I see pulchritude in something as ordinary as a perfectly rendered shower head, the supple curve of a woman's lower back, light-reflecting through a glass of bourbon, and the perfection in my children’s eyes. I paint in oil, it suits my nature, definitely the tortoise not the hare.
Bio: I am primarily a watercolor artist but also dabble in acrylic and other media. My style has evolved into ‘whimsical’, fanciful, and imaginative. I have attended art classes at Eastern Kentucky University and the University of Kentucky, as well as a number of workshops by artists I respect. As with most of us, I have always been an artist, as an avocation, and I love that I can still be involved in the art world. I teach watercolor for the Olli program at the University of Kentucky and I have taught workshops for various groups. My webpage is patlawrencewinks.com and you can also reach me at [email protected]. I have a home studio where my dining room used to be: I decided I had more interest in art than entertainment.
Artist Statement: Lately, not much humor has been going around: just a virus and politics. These renderings mutter of a spare view of life that still wants dancing and music but is, at times, bothered by a cloud. Hopefully, you will enjoy my unusual world. Thanks.
Artist Statement: Lately, not much humor has been going around: just a virus and politics. These renderings mutter of a spare view of life that still wants dancing and music but is, at times, bothered by a cloud. Hopefully, you will enjoy my unusual world. Thanks.
Bio: Philis Alvic is an artist, weaver, and writer. She was born in Chicago and received her Bachelor in Art Education from the School of the Art Institute of Chicago. After moving around some, Kentucky became home in 1976, moving to Lexington in 1995. She has exhibited her complex woven wall textiles in over 300 juried and invitational exhibitions. She has written Weavers of the Southern Highlands (University Press of Kentucky, 2003), Crafts of Armenia (USAID/IESC Armenia, 2003), and over 100 magazine articles. She regularly presents at academic conferences on textile and craft history topics. As a short-term consultant for crafts development and marketing, she has worked on projects in thirteen different countries. She is a founding member of the Kentucky Craft History and Education Association and is on the Board of Weave A Real Peace.
Artist Statement: I am an artist who has chosen weaving as my principal medium of expression. Over the last 50 years, I have used completely loom-controlled pattern weaving to convey a series of visual ideas that are not usually approached through weaving. Part of the work of an artist is to expand visual knowledge with each piece and I proceed in baby steps to better understand the visual elements. I draw inspiration from the places and things in my environment and from textiles and works of art.
In recent years, my pieces have moved out of a rigid rectangular format. In my current fabric collages, many pieces that I have woven in different weave structures are draped, layered, and pieced together. My work takes shape in an interactive way—combining, changing, and adjusting. Different weave structures produce very unique surface textures. These structures are created by the interlacing of vertical threads or warp with horizontal weft threads. Some weave structures form patterns of individual threads, while others work in a group allowing for large design figures. The larger figures are created by filling in squares on graph paper and then are woven in a choice of block weave structures.
Color is always a very important element of my work. Optical color mixing is explored as small dots of a yarn mix in the eye of the beholder to be viewed as a different shade. So, I am not reliant only on commercially dyed yarns but can manipulate how colors are seen. The texture of the yarn itself is also a factor. Some yarns are shiny, some are matte, and some reflect light in a variety of ways. Lurex or metallic yarns lend a bit of sparkle to many works. In “Autumn Patterns” the visual elements of color, weave structure texture, yarn types, and both small scale and large design figures combine with fields of color to produce the work. While the individual pieces of the collage may be interesting in themselves, it is the interplay that combines for the total effect.
Artist Statement: I am an artist who has chosen weaving as my principal medium of expression. Over the last 50 years, I have used completely loom-controlled pattern weaving to convey a series of visual ideas that are not usually approached through weaving. Part of the work of an artist is to expand visual knowledge with each piece and I proceed in baby steps to better understand the visual elements. I draw inspiration from the places and things in my environment and from textiles and works of art.
In recent years, my pieces have moved out of a rigid rectangular format. In my current fabric collages, many pieces that I have woven in different weave structures are draped, layered, and pieced together. My work takes shape in an interactive way—combining, changing, and adjusting. Different weave structures produce very unique surface textures. These structures are created by the interlacing of vertical threads or warp with horizontal weft threads. Some weave structures form patterns of individual threads, while others work in a group allowing for large design figures. The larger figures are created by filling in squares on graph paper and then are woven in a choice of block weave structures.
Color is always a very important element of my work. Optical color mixing is explored as small dots of a yarn mix in the eye of the beholder to be viewed as a different shade. So, I am not reliant only on commercially dyed yarns but can manipulate how colors are seen. The texture of the yarn itself is also a factor. Some yarns are shiny, some are matte, and some reflect light in a variety of ways. Lurex or metallic yarns lend a bit of sparkle to many works. In “Autumn Patterns” the visual elements of color, weave structure texture, yarn types, and both small scale and large design figures combine with fields of color to produce the work. While the individual pieces of the collage may be interesting in themselves, it is the interplay that combines for the total effect.
Bio: Randy is an award-winning Art Director in advertising in Lexington, KY working with well-known national clients. He acquired his BA in Communication Design at Texas State University-San Marcos in 2007. He immediately moved to Santa Fe, NM where he developed his love for bold colors and highly graphic forms. After seven years, he moved to Lexington, KY where he has continued to progress as an artist through the use of relief printmaking frequently depicting subject matter related to food, humor, and cats. In his most recent work, he builds on his early sensibilities of color, form, and humor while layering in an exploration of texture.
Artist Statement: As you know, cats tend to put their butts on people’s faces. And people tend to move said cat off of their face so that breathing can become an eventuality. But what is lesser-known, is that the simple act of butts in faces is, quite frankly, how they plan to take dominion over the world. How do I know this? While I have yet to fully understand the intricacies, I myself live with two cats. Through many discussions with them, I have agreed to take on the role of Cat Ambassador and as part of my duties, I am tasked to put as many cat butts in as many people faces as possible.
I take myself very seriously.
Artist Statement: As you know, cats tend to put their butts on people’s faces. And people tend to move said cat off of their face so that breathing can become an eventuality. But what is lesser-known, is that the simple act of butts in faces is, quite frankly, how they plan to take dominion over the world. How do I know this? While I have yet to fully understand the intricacies, I myself live with two cats. Through many discussions with them, I have agreed to take on the role of Cat Ambassador and as part of my duties, I am tasked to put as many cat butts in as many people faces as possible.
I take myself very seriously.
Bio: Raymond Papka was born in Thermopolis Wyoming in 1945. Having grown up in a rural remote small-town his early childhood found him spending time in the local library where he developed a fascination with books. Raymond also became attracted to various small objects that were often discarded and “found” by the eye of an object admirer; such as old utensils, buttons, coins, arrowheads, and rusty metal remnants. Books and found objects came together through his education with undergraduate studies in Zoology and Chemistry, graduate studies in Anatomy and Neuroscience, and a long career as a research scientist. Raymond is a self-taught artist, although he had abundant experience in photography, composition, printing, etc. as part of his research, and woodworking as a life-long hobby. Prior to his retirement from academics, Raymond began to experiment with encaustic painting (beeswax +resin) and assemblage using books and wood panels as substrates coupled with found objects to tell stories with his art. Raymond has won numerous prizes at art festivals across many states and has had exhibitions in libraries, museums, and art centers. His work has been exhibited in galleries from California to Tennessee and locally in Kentucky. Raymond lives on a small farm near Versailles and Midway, KY where he has studios in his home and a woodworking shop in his barn.
Artist Statement: My background of importance to my art is growing up in small-town Thermopolis, WY, undergraduate studies in Zoology and Chemistry, graduate studies in Anatomy and Neuroscience, and a long career as a research scientist. I am a self-taught artist, however, I had abundant experience in photography, composition, printing, etc. as part of my research; and woodworking as a life-long hobby. From my early childhood, I have been fascinated with books and unusual objects. Books allowed my mind to travel everywhere and I liked old, dusty, faded books because they had age reminded me of history. Moreover, books are to be used and used up, but books can have a second life and can be remade into new things – another way of recycling. I am attracted to found objects that look as though they have once come from something interesting, belonged to a mysterious family, or that look valuable, but may have had little or no importance to others such as old forks, buttons, old letters, and metal remnants. During my youth, I had many odd collections of little treasures of small objects, coins, arrowheads, old rusty items, and fascinating “things” in little boxes and cloth bags.
My art is mixed media and combines assemblage, encaustic painting, the use of books and wood panels as substrates, and found objects as relevant embellishments. The beeswax of encaustic painting allows me to generate layers of information in my artwork, but keep it mysterious....almost dreamy and historical. I employ found objects to embellish a piece that is reinvented as a retrospective, pleasant, and, sometimes, functional piece of art. My art takes many forms, but keeps a theme of changes, of layers, of old, of memories, of looking back, and of re-utilization. The artwork I produce ranges from subtle or mysterious to bold and brash. My work is continually evolving and is inspired by issues in biology, the influence of science in my life, and the major players in the history of science and religion. I utilize the interrelations between math, science, music, philosophy, and practical applications in technology. My love for books influenced my decision to recycle them in an altered form and continually utilize themes involving text.
Artist Statement: My background of importance to my art is growing up in small-town Thermopolis, WY, undergraduate studies in Zoology and Chemistry, graduate studies in Anatomy and Neuroscience, and a long career as a research scientist. I am a self-taught artist, however, I had abundant experience in photography, composition, printing, etc. as part of my research; and woodworking as a life-long hobby. From my early childhood, I have been fascinated with books and unusual objects. Books allowed my mind to travel everywhere and I liked old, dusty, faded books because they had age reminded me of history. Moreover, books are to be used and used up, but books can have a second life and can be remade into new things – another way of recycling. I am attracted to found objects that look as though they have once come from something interesting, belonged to a mysterious family, or that look valuable, but may have had little or no importance to others such as old forks, buttons, old letters, and metal remnants. During my youth, I had many odd collections of little treasures of small objects, coins, arrowheads, old rusty items, and fascinating “things” in little boxes and cloth bags.
My art is mixed media and combines assemblage, encaustic painting, the use of books and wood panels as substrates, and found objects as relevant embellishments. The beeswax of encaustic painting allows me to generate layers of information in my artwork, but keep it mysterious....almost dreamy and historical. I employ found objects to embellish a piece that is reinvented as a retrospective, pleasant, and, sometimes, functional piece of art. My art takes many forms, but keeps a theme of changes, of layers, of old, of memories, of looking back, and of re-utilization. The artwork I produce ranges from subtle or mysterious to bold and brash. My work is continually evolving and is inspired by issues in biology, the influence of science in my life, and the major players in the history of science and religion. I utilize the interrelations between math, science, music, philosophy, and practical applications in technology. My love for books influenced my decision to recycle them in an altered form and continually utilize themes involving text.
Bio: My background is in experimental game development and virtual reality experience design. In my practice, I utilize tools, skills, and concepts from emerging technology, commercial video game production, experimental game design, entrepreneurship, and installation/product demonstration. My work has been exhibited at FILE, GDC, IndieCade, fubar, and the Smithsonian, among other venues.
Artist Statement: Ontopologies 3 is a 7’:01” looping video rendered with the Unity Game Engine. The forms in the video are constructed by a feedback process that subverts the "expectations" of various algorithms from computer graphics and video game production.
Artist Statement: Ontopologies 3 is a 7’:01” looping video rendered with the Unity Game Engine. The forms in the video are constructed by a feedback process that subverts the "expectations" of various algorithms from computer graphics and video game production.
Bio: S.E. Cobble is a surrealist artist based in Kentucky. They were born in Erlanger, south of Cincinnati, Ohio, and now reside in Louisville, Kentucky. Their most commonly used media is oil and acrylic paint on multiple surfaces. These include but are not limited to stretched canvas, wood, vinyl records, and denim clothing. S.E. is currently studying at the University of Louisville earning a Master’s degree in counseling with a concentration in art therapy while also being a full-time artist. After school, they hope to be a full-time art therapist while still creating and exhibiting work.
Artist Statement: The most fascinating aspect of art for me is the fact that artists have the ability to create anything we’d like. Art allows us to push the limits of our reality to create anything our mind desires. I aim to show this in my work through the use of surrealism to create dream-like scenes that you cannot or would not see in everyday life. I do not want to simply mimic the world around me but I want to take it and transform it into something unknown and curious because art allows me to. I want the viewer to consider what happened before and after the moment in time that I present them. My work also explores animating inanimate objects by giving them faces or eyes. I use this as a form of personification and to look at how people view these objects once animated.
I also like to bridge the gap between “high end” and “low end” art by painting on nontraditional materials like vinyl records, denim clothing, and other various household materials. I want to challenge what is considered “professional” by creating completed works on nontraditional surfaces.
Artist Statement: The most fascinating aspect of art for me is the fact that artists have the ability to create anything we’d like. Art allows us to push the limits of our reality to create anything our mind desires. I aim to show this in my work through the use of surrealism to create dream-like scenes that you cannot or would not see in everyday life. I do not want to simply mimic the world around me but I want to take it and transform it into something unknown and curious because art allows me to. I want the viewer to consider what happened before and after the moment in time that I present them. My work also explores animating inanimate objects by giving them faces or eyes. I use this as a form of personification and to look at how people view these objects once animated.
I also like to bridge the gap between “high end” and “low end” art by painting on nontraditional materials like vinyl records, denim clothing, and other various household materials. I want to challenge what is considered “professional” by creating completed works on nontraditional surfaces.
Bio: BFA alumni of the University of Kentucky, Shaena Neal is an artist primarily working with photography, often accompanied by the written word. Her work attempts to express the non-communicable, in an effort to reconcile truths and enlighten communal reflection. Shaena’s interests in the natural landscape and our relationship to the environment tends to influence her perspective and visual explorations. Self-portraiture is often a method she utilizes to externalize and process these thoughts. She currently resides on a quiet farm in the outskirts of Paris, Ky, where meditation and submersion amongst the open landscape give light to her work.
Artist Statement: With the uncertainties and isolation, 2020 has brought, I have found myself fortunate to live amongst an open landscape, where the surrounding environment is at my disposal, providing influence and material to my recent work. Just outside the window of my home studio, there’s a cement block tool shed, with only two small windows to let in light. This dark and dusty shed is the setting for both artworks seen in this exhibition.
The short Groundlessness series (consisting of three photographs and a poem, which can be found on my website), had begun in its early stages at the start of the year. Inevitably, the project took on my reaction to the pandemic as the process continued into the spring. In contemplation of human relation and interaction with the environment, I physically extracted the natural world around me (strips of grass sod, plants, rocks, etc.) and re-assembled them in my own vision. Using wood pallets and wire to piece it all together, these “environmental walls” were installed in the tool shed. Placing myself within the installation, I interacted with the living scene in an exploration of these complicated ideas.
Title Unknown is the beginning of a study on time, memory, and history. With a dusty mirror found in a storage building as inspiration, I created a photoshoot in the tool shed to examine my perspective on these concepts. A screen was used as the backdrop to visually separate the mirror from the space seen in its reflection. The photograph itself serves as another layer of reflection.
Artist Statement: With the uncertainties and isolation, 2020 has brought, I have found myself fortunate to live amongst an open landscape, where the surrounding environment is at my disposal, providing influence and material to my recent work. Just outside the window of my home studio, there’s a cement block tool shed, with only two small windows to let in light. This dark and dusty shed is the setting for both artworks seen in this exhibition.
The short Groundlessness series (consisting of three photographs and a poem, which can be found on my website), had begun in its early stages at the start of the year. Inevitably, the project took on my reaction to the pandemic as the process continued into the spring. In contemplation of human relation and interaction with the environment, I physically extracted the natural world around me (strips of grass sod, plants, rocks, etc.) and re-assembled them in my own vision. Using wood pallets and wire to piece it all together, these “environmental walls” were installed in the tool shed. Placing myself within the installation, I interacted with the living scene in an exploration of these complicated ideas.
Title Unknown is the beginning of a study on time, memory, and history. With a dusty mirror found in a storage building as inspiration, I created a photoshoot in the tool shed to examine my perspective on these concepts. A screen was used as the backdrop to visually separate the mirror from the space seen in its reflection. The photograph itself serves as another layer of reflection.
Bio: Shawn Marshall is a Louisville-based artist who earned a Master of Architecture with a Minor in Fine Arts from Cornell University and a Bachelor of Architecture from the University of Kentucky. She practiced architecture for 18 years before going back to school in 2007 to complete a Master of Art in Teaching from Bellarmine University. She currently teaches Visual Arts at North Oldham High School.
Marshall has received national recognition for her work and has shown in exhibits all over the country. She is represented by New Editions Gallery in Lexington, KY and Kore Gallery in Louisville, KY. Her work can be found in countless private collections across the country, and many corporate collections including Brown-Forman, PNC Bank, Commonwealth Bank, and the University of Kentucky Medical Center. She is a member of Woman Made Gallery in Chicago, IL and ENID, Generations of Women Sculptors in Louisville. Visit her website www.shawnlmarshall.com to learn more about her and her work. She can also be found on social media on Twitter, Facebook, and Instagram.
Artist Statement:
Painting is my meditative practice. An outlet to channel intuitive energy, move past preconceptions, and set aside ways I’ve learned to limit myself. Using palette knives and brushes, I create depth and atmosphere with an emotional center usually found around the horizon. The meeting of earth and sky supersedes season or location because, although the visual horizon is unreachable, it reminds us of hope as it beckons our efforts.
Marshall has received national recognition for her work and has shown in exhibits all over the country. She is represented by New Editions Gallery in Lexington, KY and Kore Gallery in Louisville, KY. Her work can be found in countless private collections across the country, and many corporate collections including Brown-Forman, PNC Bank, Commonwealth Bank, and the University of Kentucky Medical Center. She is a member of Woman Made Gallery in Chicago, IL and ENID, Generations of Women Sculptors in Louisville. Visit her website www.shawnlmarshall.com to learn more about her and her work. She can also be found on social media on Twitter, Facebook, and Instagram.
Artist Statement:
Painting is my meditative practice. An outlet to channel intuitive energy, move past preconceptions, and set aside ways I’ve learned to limit myself. Using palette knives and brushes, I create depth and atmosphere with an emotional center usually found around the horizon. The meeting of earth and sky supersedes season or location because, although the visual horizon is unreachable, it reminds us of hope as it beckons our efforts.
Bio: Born and raised in Kentucky, Shirley Jeter received a degree in Fine Arts from the University of Kentucky, married Tom Jeter from Lexington, KY., and together they raised 3 daughters, owned and operated a gift shop specializing in handcrafted Kentucky arts, and exhibited her art at fairs and in galleries. Taking workshops, after graduation, with nationally known, award-winning watercolorists, she increased her knowledge and skill level enough to be accepted into Juried Fine Art fairs around the country and became well known as a watercolor artist. Shirley’s works, which now include mixed media and large acrylic canvases, are included in many public and private collections.
Artist Statement: I am a representational artist coupling detailed drawn renderings contrasted with colorful backgrounds that are often embellished with gold leaf, taking a seemingly traditional drawing over the top. My pieces focus on the human form, representations of the human form (like dolls), or mutations of the human form (often historically considered “monsters”). My goal is to encourage the audience to consider what qualities we see as human.
Oftentimes, within a piece, you can look at the image as a whole, but if you take the time, there are layers you can shift through that provide a deeper meaning or multiple meanings . . . much of it recalling something of an older age but reimagined with a modern perspective. Using points of reference from different art styles of the past, I invoke influences that have been significant to me. I want to elevate the obvious image to another level so that it can resonate with the viewer symbolically, even mythically. To that end, I go beyond snapshots of reality and often draw on esoteric and antiquated symbols and more contemporary cultural allusions that make the viewer really think about what it is they are seeing instead of having just a superficial interaction.
One of the layers of my art that may not be obvious at first, but is an important part of my approach, is the framing: both the cropping of the image (often uncomfortably close) and the physical frame of the piece; I like using antique frames that have character, nicks, etc. The shape of the frame helps dictate how I lay out and compose the images while the character and individuality of the frame helps accentuate the individuality of the subject’s character as well.
Oftentimes, within a piece, you can look at the image as a whole, but if you take the time, there are layers you can shift through that provide a deeper meaning or multiple meanings . . . much of it recalling something of an older age but reimagined with a modern perspective. Using points of reference from different art styles of the past, I invoke influences that have been significant to me. I want to elevate the obvious image to another level so that it can resonate with the viewer symbolically, even mythically. To that end, I go beyond snapshots of reality and often draw on esoteric and antiquated symbols and more contemporary cultural allusions that make the viewer really think about what it is they are seeing instead of having just a superficial interaction.
One of the layers of my art that may not be obvious at first, but is an important part of my approach, is the framing: both the cropping of the image (often uncomfortably close) and the physical frame of the piece; I like using antique frames that have character, nicks, etc. The shape of the frame helps dictate how I lay out and compose the images while the character and individuality of the frame helps accentuate the individuality of the subject’s character as well.
Bio: Never encouraged by teachers in school with traditional art classes, I constantly found a way to channel my creative spirit, even as a child … knitting, sewing, macramé, tole painting, needlepoint and photography … to mention a few of my outlets. I started exploring graphic design 40 years ago when a new typesetter was installed in my workspace for lack of a better place. I have worked ever since as an in-house graphic designer, including positions at a community college, a regional healthcare system, and for the last 20 years at Link-Belt Cranes in Lexington, Kentucky. My most recent position has evolved from traditional graphic design to include tradeshow and web design, along with management of all marketing promotion endeavors. I have always continued to explore arts and crafts in my personal time, including jewelry making. Several injuries have made handwork difficult, but I still needed an outlet for my creative energy. Five years ago, I picked up a paint brush and took over the kitchen table, finding confidence, exasperation and laughter as I paint.
Artist Statement: When I started painting, my original medium of choice was alcohol ink. It was a great way to learn to let the paint do what it wanted to do, rather than forcing it. Moving into more traditional paint mediums, I found I was way too impatient for oil paints. Acrylics give me a lot of opportunities to experiment, mix, scrape, dilute…
Every one of my paintings has the equivalent of at least two paintings underneath it. It’s like the statement that a plant in my garden will probably move at least twice to find the spot it was meant to be in. I tend to find a happy place in my paintings after I smack the paint around, forcing myself to not be so precious about my movements. I don’t tend to start out with a specific subject in mind. I have learned that intuitive painting – playing with the paint to see what comes out of it works best for me. Along with that, lots of rich, bright color co-mingling in a lot of layers puts me in my happy place.
Artist Statement: When I started painting, my original medium of choice was alcohol ink. It was a great way to learn to let the paint do what it wanted to do, rather than forcing it. Moving into more traditional paint mediums, I found I was way too impatient for oil paints. Acrylics give me a lot of opportunities to experiment, mix, scrape, dilute…
Every one of my paintings has the equivalent of at least two paintings underneath it. It’s like the statement that a plant in my garden will probably move at least twice to find the spot it was meant to be in. I tend to find a happy place in my paintings after I smack the paint around, forcing myself to not be so precious about my movements. I don’t tend to start out with a specific subject in mind. I have learned that intuitive painting – playing with the paint to see what comes out of it works best for me. Along with that, lots of rich, bright color co-mingling in a lot of layers puts me in my happy place.
Bio: I received a Bachelor of Fine Arts degree from Murray State University with an emphasis on printmaking. After moving to Lexington, I continued creating prints and began printing on fabric. I joined the Fiber Guild of Lexington and learned the art of wet-felting. I am an adjudicated member of the Kentucky Crafted Program and the Kentucky Guild of Artists and Craftsmen, a member of Bluegrass Printmakers and Fiber Guild of Lexington. My work has been in over 60 exhibits in Kentucky and the US.
Artist Statement: To me, art has always been very personal, a way to communicate an impression or a feeling with others. I am inspired by relationships between people and things, like family, nature, and biology. Fiber is very versatile and allows me to explore the relationship between materials in an unlimited scope of possibilities. I love the textural and organic nature of working with fiber and being able to build complexity and dimension to my pieces. When working with fiber, I feel a connection with the natural world and fiber’s use in domestic history.
Artist Statement: To me, art has always been very personal, a way to communicate an impression or a feeling with others. I am inspired by relationships between people and things, like family, nature, and biology. Fiber is very versatile and allows me to explore the relationship between materials in an unlimited scope of possibilities. I love the textural and organic nature of working with fiber and being able to build complexity and dimension to my pieces. When working with fiber, I feel a connection with the natural world and fiber’s use in domestic history.
Bio: I am a central Kentucky native and have always identified myself as a creative type. In my youth, my favorite toy was the Etch a Sketch. As an interior design major in college, I studied drawing, painting, color theory and design. After college, my career took a different path but after many years in the business world, I returned to my passion for art a few years ago. As a self-taught artist, I continually gain information and techniques through participation in workshops taught by professional artists within the local and regional area as well as online courses. In 2016, my art was included in the University of Kentucky Fine Art Institute student show. My works are also held in private collections.
Artist Statement: My abstract artwork stems from an Intuitive process inspired by nature, floral images, music, and imagination. I start with oil or acrylic paint and apply texture, dimension, and color in multiple layers. Paint is applied and sometimes removed or partially removed to reveal a layer or shape from the previous application. Mark making tools are used to create line or interest.
I enjoy experimenting with a variety of materials and processes. I am a constant learner therefore testing unique and different materials or processes assists my art practice to discover new and exciting outcomes. I use a combination of brushes, palette knives and other tools to blend colors or create an energetic mark on the canvas. My art is created as a positive resting place for the eye and my emotions. Everyday life is filled with negativity therefore I create art so I have a moment to enjoy the beauty in various shapes, colors, and sometimes in unexpected places.
Artist Statement: My abstract artwork stems from an Intuitive process inspired by nature, floral images, music, and imagination. I start with oil or acrylic paint and apply texture, dimension, and color in multiple layers. Paint is applied and sometimes removed or partially removed to reveal a layer or shape from the previous application. Mark making tools are used to create line or interest.
I enjoy experimenting with a variety of materials and processes. I am a constant learner therefore testing unique and different materials or processes assists my art practice to discover new and exciting outcomes. I use a combination of brushes, palette knives and other tools to blend colors or create an energetic mark on the canvas. My art is created as a positive resting place for the eye and my emotions. Everyday life is filled with negativity therefore I create art so I have a moment to enjoy the beauty in various shapes, colors, and sometimes in unexpected places.
Public Gallery Hours
Wednesday 12pm-5pm
Thursday 12pm-5pm Friday 12pm-5pm Saturday 12pm - 5pm Viewings also available by appointment |
The Loudoun House
209 Castlewood Dr. Lexington, Ky. 40505 Email: [email protected]
Phone 859-254-7024 |
All Lexington Art League programs are made possible through the generous support of LexArts.
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The Kentucky Arts Council, a state arts agency, provides operating support to the Lexington Art League with state tax dollars and federal funding from the National Endowment for the Arts. Additional support provided by Lexington Parks & Recreation.
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