Art ,“born out of frustration,” — Mitch Eckert

Like many artists, Mitch Eckert works in several different veins. Here we examine some examples from his Translations series. Eckert explains that he has been exploring the genre of still life for 25 years, and in these images we see him emulating the lighting in Flemish paintings. At one point Eckert had sought to discard the project and placed the work prints in a recycle bin – a purging action more common than the lay person might assume, but familiar enough to working artists. Eckert explains the process in his own words:

“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW — *“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW*

“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW — *“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW*

“The Translations series was born out of frustration. I wanted to participate in a dialogue with the rich tradition of the Dutch masters of still life painting so I set out to learn compositional strategies of creating still lifes in that manner. I set up the floral arrangements (my wife made the bouquets from our garden flowers) and using natural light made probably 300 photographs of different still life. After printing them all on an inexpensive inkjet printer to pin them on my wall and contemplate, I came to the realization that perhaps they were too commercial, too pretty. As a student in the heyday of Postmodernism (1980's) I became anxious and nervous about making work that was too pretty. I didn't know how to talk about them. I didn't want to make commercial work.”

“Out of frustration I wadded up the prints and threw them into the recycle bin. After a couple weeks had gone by I was getting ready to set the crumpled photographs into the alley for the recycle to be picked up. I unraveled one of the balls of photographs and to my surprise there was an immediate visceral reaction of delight when my eyes looked at the creases, folds, and torn edges of the photographic paper. In an effort to preserve the image I scanned the crumpled still life with a flatbed scanner and then, using a large format printer, made enlargements on a wonderful printmaking paper that wonderfully complimented the aged wrinkles.”

“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW — *“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW*

The results blur the lines of the medium by removing the slick surface and detail of photography and exchanging them for a distressed visual texture. Without intending to do it, Eckert brought his images even closer to the aged and brittle tactile reality of their inspiration.

Examples of this series can currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from C.J. Pressma and Jenny Zeller.

The artist currently lives in Louisville, Kentucky where he is an associate professor or art in the Hite Institute at the University of Louisville. His work can be found in permanent collections of 21c Museum, Butler Institute of American Art, Indianapolis Museum of Art, the Photographic Archives at the University of Louisville, and Swope Museum of Art.

Hometown: Indianapolis, Indiana
Education: BFA, Photography & Sculpture, Herron School of Art; MFA, Photography, Printmaking, Art History, Ohio University
Website: http://www.mitcheckert.com

“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW — *“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW*

“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW — *“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW*

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Mixed Media, Photography

Vignette: C.J. Pressma

Josh Jenkins · July 25, 2017

"Dangerous Passage" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine $1800 | BUY NOW — *"Dangerous Passage" by CJ Pressma,* *quilt - photographic collage printed on cotton and quilted on a long arm machine $1800 | BUY NOW*

It is the hope of the individual artist to make work that speaks to their time, to influence the world around them. C.J. Pressma has done that – maybe enough for several artists, through his personal work, certainly, but also by operating the Center for Photographic Studies - an alternative school of creative photography, in Louisville in the early 1970’s.

When he founded the Center for Photographic Studies in 1970, Pressma’s initiative was part of what can now be seen halcyon period in Louisville’s creative life. Although open only eight years, the Center’s influence is still felt nearly forty years later. Nearly every photographer above a certain age working in this town seems to have spent time studying there, connecting local commercial and artist photographers with national names in the field such as Henry Horenstein, currently a professor at the Rhode Island School of Design.

"Nightmare in the City" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine, $1800 | BUY NOW — *"Nightmare in the City" by CJ Pressma,* *quilt - photographic collage printed on cotton and quilted on a long arm machine, $1800 | BUY NOW*

On his website, Pressma explains: “The Center provided a learning experience for those seeking to explore photography as creative expression. During its existence the center attracted students from over 35 states and foreign countries to its full-time resident program and provided part-time instruction and darkroom access for hundreds of students in the Louisville metropolitan area. Its two galleries provided monthly photographic exhibits featuring the works of local, regional, and internationally acclaimed photographic artists including Ansel Adams and Minor White.”

Pressma’s work can be currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs July 17 through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from Mitch Eckert and Jenny Zeller. There are certainly many facets to this artist’s work, but here we view pieces from a period when he printed photographic images and digital graphics onto fabric, allowing him to incorporate them into quilts; a non-traditional photographic presentation tied to a form steeped in tradition.

Pressma enjoyed a highly successful career as a multimedia producer and marketing communications specialist. In 1984, his seven part series Witness to the Holocaust, was released in the U.S. and Canada where it remains in distribution today. Witness to the Holocaust is one of the first productions to use survivor interviews as the exclusive content to tell the story of the Holocaust, and has received numerous national awards.

"Beware" by CJ Pressma, $1800 | BUY NOW — *"Beware" by CJ Pressma, $1800 | BUY NOW*

Pressma has been recognized nationally:

1978 - National Endowment Fellowship in Photography.

1997 - American Advertising Federation’s prestigious Silver Medal Award for “outstanding contributions to advertising and furthering the industry’s standards, creative excellence, and responsibility in areas of social concern.”

2001 - Fellowship by the Kentucky Arts Council.

C.J. Pressma is a graduate of Antioch College and holds an MFA. in Photography from Indiana University. He studied as a special graduate student with Minor White at the Massachusetts Institute of Technology and with Henry Holmes Smith at Indiana University.

Hometown: Louisville, Kentucky
Age: 72
Education: BA, Antioch College; MFA, Indiana University
Gallery Representative: Pyro Gallery (Louisville)
Website: http://cjpressma.com

"Cartoon Weave" by CJ Pressma, 74x76.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW — *"Cartoon Weave" by CJ Pressma, 74x76.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW*

"Cumberland Burial Site" by CJ Pressma, 79x81in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2006), $1800 | BUY NOW — *"Cumberland Burial Site" by CJ Pressma, 79x81in,* *quilt - photographic collage printed on cotton and quilted on a long arm machine (2006), $1800 | BUY NOW*

"Bull & Friends" by CJ Pressma, 72x78in (2008), $1800 | BUY NOW — *"Bull & Friends" by CJ Pressma, 72x78in (2008), $1800 | BUY NOW*

"Secrets" by CJ Pressma, 94x68in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2011), $1800 | BUY NOW — *"Secrets" by CJ Pressma, 94x68in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2011), $1800 | BUY NOW*

"Great Snakes Alive" by CJ Pressma, 88x77.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW — *"Great Snakes Alive" by CJ Pressma,* *88x77.5in,* *quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW*

Photography, Mixed Media

Vignette: Jenny Zeller

Josh Jenkins · July 5, 2017

“I continually look to the past to process the present.” – Jenny Zeller

*"Suckle" by Jenny Zeller, 8.5x8.5in, digital photograph, encaustic and modeling impasto waxes, oil pastels and image transfer on board*

Jenny Zeller is the Bernheim Arboretum and Research Forest’s first recipient of a ‘Regional Artist in Residence’ award, part of their Arts in Nature program, which includes residencies for artists from around the world.

On her website, Zeller expresses enthusiasm for the opportunity: “Bernheim is providing me a stipend and temporary living quarters in exchange for a work of art to be left to the Bergheim Foundation. This particular residency is also unique in that I have access to all horticulture and operations departments, as well as ecologists, scientists, naturalists and forest managers. I am also allowed admittance to most scheduled hikes and eco classes offered throughout the calendar year. I have literally been invited to become part of the entire ecosystem at this amazing place and I love how this program enhances the visitor experience through arts interaction.”

Zeller, who is primarily a photographer, spent the month of April at Bernheim, working at Lake Nevins Studio and shooting images for a planned multi-panel photography installation to be installed on the Bergheim grounds. Thursday July 6th, she will be speaking about her experiences at Bernheim at the Wildlands Social Club, an event hosted by Kentucky Natural Lands Trust at 21c Louisville, 6-9pm.

*"Through the Trees Comes Autumn" by Jenny Zeller, 30x40in, digital image transfers and oil paint on custom made aluminum substrate*

In 2017, Zeller was also awarded an Artist Professional Development Grant from the Great Meadows Foundation. The travel grant allowed her to attend CONTACT, the world’s largest photography festival, held in Toronto Canada each May.

Zeller has also been the Education Coordinator for the Louisville Photo Biennial since 2015, and is currently teaching a class at Zoom Groups' Studio Works in partnership with the Biennial, a 12-week course that will result in a Studio Works exhibition for the Louisville Photo Biennial in October.

The 2017 Louisville Photo Biennial is a regional festival occurring in over 60 venues throughout the Louisville, Lexington, and Southern Indiana area from September 22-November 11. Through exhibits, receptions, workshops and educational opportunities, the Biennial celebrates the medium of photography in all of its richness and variety, and its ability to touch and enrich our lives.

*"New (found) Harmony" by Jenny Zeller, 24x24in, dye sublimanation print on aluminum*

As an exhibiting artist, Zeller’s work will be seen in two 2017 Louisville Photo Biennial. The first, Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, runs July 17 through January 12, 2018. Some of the images we see here are featured in that show, many shot using an iPhone with a macro lens. Zeller investigates nature as an explorer, introducing her full-size human self into a world of significantly smaller scale, momentarily shrinking her sensibilities to the task.

Then she will have a solo exhibition at Swanson Contemporary entitled Aluminature, which will run September 27th- October 28th, with an Artist’s reception the evening of October 6th, 2017.

Hometown: Louisville, Kentucky
Age: 44
Education: BA in Art Administration, University of Kentucky; attended photography classes, Florida Keys Community College
Website: http://www.jennyzeller.com/

*"Fallen" by Jenny Zeller, 8.5x8.5in, digital photograph, encaustic and modeling impasto waxes, oil pastels and image transfer on board*

*"Florida Reflected" by Jenny Zeller, 30.5x31.5in, digital image transfers and oil paint on custom made aluminum substrate*

*"HerLand" by Jenny Zeller, 24x24in, dye sublimanation print on aluminum*

Fiber

Vignette: Vallorie Henderson

Josh Jenkins · March 14, 2017

“Being part of the earth, its secrets are part of our fiber, our purpose, our memory, and our spirit.” — Vallorie Henderson

"A Bigger Piece of the Pie" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW — *"A Bigger Piece of the Pie" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW*

Because they are created by human hand, we are tempted to think that textiles are less connected to nature than some other mediums. Yet the work of Vallorie Henderson captures the tones and textures of the natural world with certainty. Her Appalachian heritage has always imbued her artist’s sensibility with a feeling for the land, but isn’t there something inherent in the fibers of the material, which are born of the fluid, organic quality of biology, that carries the earth with it through any process?

“My work will always have its origins in nature, if not by the inherent qualities within wool that allow it to felt, then perhaps by the preference for a particular line or form found only in the natural world. I enjoy creating landscapes with an abstract expressionist approach, hoping to represent the essence of the chosen vista through transparent layers of silk and wool, allowing a visual blending of complex colors when the viewer’s eyes see multiple hues through other hues.”

"Bottom Land" by Vallorie Henderson, 7x35in, hand-dyed and felted Merino wool with silk organza, machine stitching, $575 | BUY NOW — *"Bottom Land" by Vallorie Henderson, 7x35in, hand-dyed and felted Merino wool with silk organza, machine stitching, $575 | BUY NOW*

“With my most recent body of work, Birds Eye View, I chose to focus on aerial views of the farmlands in southern Indiana, western Kentucky and some areas of southern and eastern Kentucky where I am from. At first glance, these works may appear to represent a fascination with geometric shapes, patterns and repetitive grids. Viewing the landscape from higher altitudes does not allow a full understanding of the ongoing process that give form to the land below or of how its appearance reflects human occupation and the day-to-day engagements involving people, land, material, and circumstances. Beyond its dramatic scenery, our landscape is remarkable for the cultural activities and ideas it represents.”

"Gray Day along the Pike" by Vallorie Henderson, 14.5x28in, hand-dyed and felted Merino wool with silk organza, machine stitching, $625 | BUY NOW — *"Gray Day along the Pike" by Vallorie Henderson, 14.5x28in, hand-dyed and felted Merino wool with silk organza, machine stitching, $625 | BUY NOW*

“My Cherokee ancestors did not think it possible to own land, believing instead that we are born from Mother Earth. As an artist, I accept that we are made of this earth and in some manner, have always known the earth and its environs. Being part of the earth, its secrets are part of our fiber, our purpose, our memory, and our spirit. We are this place and all of its stories and events. Making connections between our experiences, their location and time is to be part of a greater whole while living in the present.“

Vallorie Henderson’s Bird’s Eye View series is currently featured in the Louisville Visual Art exhibit, Tessile Ora, along with work by Denise Furnish and Elmer Luciell Allen. It will be on display at Louisville’s Metro Hall through May 26, 2017.

Hometown: Somerset, Kentucky
Age: 59
Education: BA in Art, Berea College, Berea, KY; MFA in Fibers, Miami University, Oxford, OH
Website: http://www.valloriehendersontextiles.com

"Amber Waves of Grain" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW — *"Amber Waves of Grain" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW*

*"Woodland Vessel" by Vallorie Henderson*

Painting, Drawing

Vignette: Victor Sweatt

Josh Jenkins · December 29, 2016

"Beckley Creek Park" by Victor Sweatt, 15x30in, oil on canvas (2016), $1500 | BUY NOW — *"Beckley Creek Park" by Victor Sweatt, 15x30in, oil on canvas (2016), $1500 | BUY NOW*

*Victor Sweatt working on his pastel drawing, "Early Fall"*

As a painter, Victor Sweatt is unquestionably a realist. His images are recognizable and assured in the expressiveness of the human form, yet there is also a potent emotional quality that reaches for expressionism. It is there in the evocative gestures and postures of his figures, but it is also evidenced in the landscapes that have most recently occupied him.

The detail and sense of place is confident, but the development of surface and the delicate placement of color connect to Sweatt’s more subjective compositions of musicians, farmers, parishioners, and others, which often have a slightly surreal quality, a heightened observation of the flavor of a scene. In these pastorals, such as “Morning Dew,” there is a palpable sense of discovery in how the light delineates the dimensionality of the space surrounding the petals, a glimpse into another universe at our feet that we take for granted.

A long-time teacher and mentor for kids in west Louisville, Sweatt is currently seeking funding for "Speak Up", a children’s book that empowers them against child molestation, educating youth about the negative effects of under age drinking and setting positive goals.

Sweatt was born in Louisville. The oldest of three sons, Sweatt was raised in a single-family household. He credits his mother for his strength and determination, which helped him to survive and excel in the challenged west side neighborhoods in Louisville. He has shown his work in group and solo exhibitions, and appears in public and private collections throughout the United States. In 2015, his work was included in the Louisville Visual Art exhibit, Presence and Place at Metro Hall in Louisville, KY. Sweat is a signature member of the Louisville Visual Art, the Kentucky Artist Pastel Society, and the Kentucky Watercolor Society.

Hometown: Louisville, Kentucky
Facebook: https://www.facebook.com/victor.sweatt

"Autumn Cool" by Victor Sweatt, 9x12in, pastel on canson paper (2016), $550 | BUY NOW — *"Autumn Cool" by Victor Sweatt, 9x12in, pastel on canson paper (2016), $550 | BUY NOW*

"Chickasaw Park Bridge" by Victor Sweatt, 16x20in, oil on canvas (2016), $750 | BUY NOW — *"Chickasaw Park Bridge" by Victor Sweatt, 16x20in, oil on canvas (2016), $750 | BUY NOW*

"Morning Dew" by Victor Sweatt, 9x12in, pastel on canson paper (2016), $550 | BUY NOW — *"Morning Dew" by Victor Sweatt, 9x12in, pastel on canson paper (2016), $550 | BUY NOW*

metro hall

Vignette: Mitch Eckert