*"Reflection" by Britany Baker, 108x25in, charcoal on paper (2016)*

For the second year, Louisville Visual Art has selected a local artist to be the Featured Artist for the annual art[squared] Anonymous 8" x 8" Art Sale: Britany Baker.

"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800 — *"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800*

While the sale will consist of 200 original 8” x 8” pieces by artists from around the region, it will also include this new, larger painting, “Above the Fray”, created by Baker just for this event. For anyone who has seen recent work by the artist, the depiction of a bird will come as no surprise. Baker’s paintings are much sought after by collectors, and the birds are especially popular. It is not difficult to see why.

Baker is known for abstract imagery based on natural forms, as described by Curator Jessica Bennett Kincaid: “…Baker’s fluid imagery saturates the viewer with a heightened connection to their environmental surroundings. Subtly creating an emotive relationship to singular aspects of the places we inhabit, these flowing abstractions allude to the collision of the natural world and human influence.“

Yet the aviary “characters” (they are not real birds) are a highly representational contrast to such work; an exquisite study of nature nestled in feathers that seem at once realistic and a ruse. Because of its position, the creature has the feeling of being in flight, yet the forms surrounding the head also give the appearance of being grounded. Baker creates a compelling tension between the intimacy of the detailed observation of the bird and the epic visual quality of the composition, playing with the viewer’s comprehension in a way that is irresistible.

Since December, Baker has worked full time as the Art Director for Red Pin Media, and is Vice-President at Art Sanctuary, a non-profit community-oriented arts collective supporting local visual, literary, and performing arts through events, promotion, and education.

art[squared]

All works donated to art[squared] will be exhibited anonymously and sold on a first-come, first-served basis at LVA's new location at 1538 Lytle Street on Friday, April 7th at 7 PM. The beauty of anonymous exhibition is viewers will be able to respond to the artwork on its merits alone, without prejudice or preference. Each 8” x 8” piece will be priced at $100. The work will also be on public display for one week leading up to the sale, and any unsold work for an additional week following the sale.

“Above the Fray”, by Britany Baker, will be sold through Silent Auction that will close out at 8:30pm on April 7, 2017. Opening Bid is $1000 and bids will be accepted in increments of $50. If you wish to make a bid before the event, email keith@louisvillevisualart.org with your name, mailing address, email, phone, and bid.

*"Above the Fray (detail)" by Britany Baker, 36x36in, oil on canvas (2017)*

All proceeds benefit CFAC, which educates over 1,000 artistically talented and visually driven children annually in the Greater Louisville area. Last year, we were able to raise over $24,000 during art[squared]! This provided students with scholarships and helped offset instructor and supply costs in all 11 participating Kentuckiana counties!

“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years art[squared] event. — *“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years art[squared] event.*

We cordially invite you to the art[squared] Artists Reception & Preview Party on Friday, April 7th at 7 PM at LVA (1538 Lytle Street). A great opportunity to snag your favorite 8" x 8" before it's gone the next morning!

Hundreds of art works - the largest number of talented local artists to be found in one location – and each piece is ONLY $100.

For tickets and more details about the event visit:
http://www.louisvillevisualart.org/artsquared2017/

Hometown: Louisville, KY
Age: 46
Education: BFA with concentration in drawing and painting, Xavier University (Cincinnati, Ohio)
Website: http://www.britanybaker.com/

"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 | BUY NOW — *"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 | BUY NOW*

“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 | BUY NOW — *“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 | BUY NOW*

*“Amaryllis” by Britany Baker, 37x49in, oil on canvas (2015), NFS*

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Drawing

Vignette: Helen Payne

Josh Jenkins · March 22, 2017

“…Our identities and trajectories are shaped by tests and how testing is a reflection of power.” — Helen Payne

Helen Payne’s ink wash drawings occupy a fluid space between representational and non-representational, ink washes built upon a solid draughtsmenship yet rendered with great immediacy. As if each one took only minutes to complete, the artist working nimbly with her brush with an economy of effort and heightened deliberation.

The drawings are part of a series that attempts to take a fresh perspective on questions if identity and the metrics of human existence. “I work in the studio creating objects and images that help me process and understand how the world works,” explains Payne. “These days, I am thinking about ways we measure and monetize our bodies and minds. My current work, The ABCs of the Weight of Measures, is an installation about how we measure and mismeasure ourselves and how what is the messiest and intensely private is often the focus of measurement. Each letter of the alphabet is the start of an acronym for a common test of human measurement, i.e. A is for APGAR; B is for BMI, and so on. The ABC of the Weight of Measures examines how our identities and trajectories are shaped by tests and how testing is a reflection of power.”

"B is for BMI, Yr width to yr girth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW — *"B is for BMI, Yr width to yr girth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW*

Although Payne does not specifically frame the work as self-portrait or autobiography, introspection feels at the root of her observations, although the academic motif enables her to expand the idea to a universal context to which anyone might be able to relate. There is neat balance of the intellectual and populism in the belief that we are only able to understand ourselves through such often arbitrary and artificial constructs. The commentary Payne seems to offering is not necessarily comforting, but it is a healthy challenge to our programmed notions of self.

Hometown: Jamestown, Rhode Island
Education: MFA Candidate at University of Louisville, Louisville, KY, 2019;
BA, West Virginia University, Morgantown, WV, 2000;
With additional studies at: The Maryland Institute, College of Art, Baltimore, MD, The Slade School of Fine Art, University College London, UK. Jack Kerouac School of Disembodied Poetics, Naropa Institute, Boulder, CO
Website: http://www.helenpayne.us

"E is for EQ, I love you" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW — *"E is for EQ, I love you" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW*

"Title F is for FICO, but I can't pay the rent" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW — *"Title F is for FICO, but I can't pay the rent" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW*

"A is for APGAR, You were bluish at birth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW — *"A is for APGAR, You were bluish at birth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW*

"W is WAIS, Wr melting, we two" by Helen Payne, 11x14in, ink on paper (2016) $15| BUY NOW — *"W is WAIS, Wr melting, we two" by Helen Payne, 11x14in, ink on paper (2016) $15| BUY NOW*

Painting, Drawing

Vignette: Jenny Shircliff

Josh Jenkins · February 28, 2017

"Creekside" by Jenny Shircliff, 24x36in, oil on canvas (2017), $1500 | BUY NOW — *"Creekside" by Jenny Shircliff, 24x36in, oil on canvas (2017), $1500 | BUY NOW*

Artists turn that introspective gaze towards themselves; it’s not at all unusual - most art reveals something of the person who creates it. Jenny Shircliff makes herself the subject as a way of investigating age and, by implication, mortality.

"Cavea" by Jenny Shircliff, 18x15in, pastels on paper (2016), $650 | BUY NOW — *"Cavea" by Jenny Shircliff, 18x15in, pastels on paper (2016), $650 |* *BUY NOW*

Her earlier paintings were naturalistic renderings of the figure, but her new work is a departure, in which she dramatically abstracts human form nearly beyond recognition, and equates it with landscape forms.

“Our culture's idea of figurative beauty is predicated on youth, smooth skin, and rosy complexions,” observes Shircliff, “I am inverting that tenet and looking at my own aging flesh as a recording of my life, much in the same way that time is visually marked on the landscape. Thus, I have turned to viewing various parts of my own body as elements of land formations and use them as a derivation for abstract landscape. And I draw my color from nature itself. In a way, this new body of work could be described as ‘flesh-scapes’.”

What results from this focus are images of startling graphic impact. They appear to be abstract but are, in reality, intense, close-up views of the human form that embrace and reveal their humanity. The discovery of organic pattern and shape is so universal that we mistake them for images of other animals or natural rock formations. Through this highly candid, nearly forensic self-portrait series, Shircliff reminds us that we are a part of a larger natural world.

"Outcrop" by Jenny Shircliff, 20x24in, pastels on paper (2016), $950 | BUY NOW — *"Outcrop" by Jenny Shircliff, 20x24in, pastels on paper (2016), $950 | BUY NOW*

Shircliff has returned to painting after a long period devoting herself to the studying and teaching art history. “One of the most important things I learned from that experience is that assumptions should be challenged, inverted, and viewed in a different light.”

Shircliff has taught previously at Kentucky College of Art + Design at Spalding University, KSAH, Bellarmine University, University of Louisville, IUS, JCTC, and Midway College.

Hometown: Louisville, Kentucky
Age: 62
Education: PhD in Art History, May 2014 University of Louisville, Louisville, KY; MA in Painting, 1994 University of Louisville, Louisville, KY; BFA in Drawing, 1976 Murray State University, Murray, K

"Cavern" by Jenny Shircliff, 31x36in, oil on canvas (2016), $3000 | BUY NOW — *"Cavern" by Jenny Shircliff, 31x36in, oil on canvas (2016), $3000 | BUY NOW*

"Gorge" by Jenny Shircliff, 48x48in, oil on canvas (2016), $1500 | BUY NOW — *"Gorge" by Jenny Shircliff, 48x48in, oil on canvas (2016), $1500 | BUY NOW*

"Cliffside" by Jenny Shircliff, 24x36in, oil on canvas (2016), $750| BUY NOW — *"Cliffside" by Jenny Shircliff, 24x36in, oil on canvas (2016), $750| BUY NOW*

Illustration, Drawing

Vignette: Darrenn Canton

Josh Jenkins · February 2, 2017

*"Guardian of the Ramparts" by Darrenn Canton, 14x24in, watercolor, colored pencil, gouache (2016)*

Fantasy art is often viewed pejoratively by the ‘fine art’ world, yet it is often highly inspirational to young, aspiring artists. Darrenn Canton was such a young artist, and his ambition drew him towards the worlds of commercial illustration and a desire to illustrate children’s books.

*"Krampusnacht" by Darrenn Canton, 9x12in, watercolor & colored pencil (2016)*

“I'm a weirdo who likes to draw and paint monsters. I specialize in cartooning, children’s book art, and fantasy illustration. My work emphasizes character and wit, and tries not to take itself too seriously.”

There is a long tradition of escapism and the fantastic throughout art history. Religious imagery embraces the sacred and profane, and Canton’s gargoyle, perched upon a battlement, recalls such classical antecedents as much as comic culture, as does his depiction of a voracious-yet-still-jolly Krampus; a resurgent holiday figure drawn from the same European traditions that gave us Saint Nicholas. The light tone that Canton brings to bear does not obscure that connection.

Canton is still relatively new to Louisville, though he has fallen in love with the city's art scene and hopes to be more active in the future, while he continues to move forward in his goals of, “…writing stories and telling tales to stoke the fires of the imagination.” Canton is a frequent visitor to comic conventions around the Ohio Valley region, including Derby City Comic Con in June, and his work will be on display at the Fantasy and Science Fiction convention ConGlomeration April 7-9 at the Ramada Plaza Hotel in Louisville.

Hometown: Washington, DC
Age: 30
Education: Virginia Commonwealth University, Richmond, VA; Illustration Academy, Richmond, VA
Website: http://www.dcantonart.com

"Gone Fishin'" by Darrenn Canton, 10x14in, ink, watercolor & gouache (2013), $200 | BUY NOW — *"Gone Fishin'" by Darrenn Canton, 10x14in, ink, watercolor & gouache (2013), $200 | BUY NOW*

"Breakfast'" by Darrenn Canton, 9x12in, ink, watercolor & gouache (2013), $150 | BUY NOW — *"Breakfast'" by Darrenn Canton, 9x12in, ink, watercolor & gouache (2013), $150 | BUY NOW*

*"Blue-Haired Meanie'" by Darrenn Canton, 9x12in, ink, watercolor & colored pencil (2017)*

Drawing, Painting

Q&A: Dorothy Kavka

Josh Jenkins · January 31, 2017

“I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries." — Dorothy Kavka

Dorothy Kavka sees herself as an artist who is a chronicler of women: “…both in the roles they are made to assume within their societies and their historical reality. I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries. The ‘other,’ or cultural diversity becomes the guise they assume that is demanded by their fathers, husbands, religious leaders, and lawmakers. My work explores the tension created by the existence of these forces on every woman.”

Kavka was accepted into a prestigious Women's Gallery Show in Chicago and in exhibits at the Kaviar Gallery and the Gallery Janjobe in Louisville. Recently, she won first place at the Jewish Community Center's 12th Annual Mazin Art Exhibition, juried by Joey Yates from the Kentucky Museum of Art and Craft.

When did you first think you would be an artist?

I always knew I would be an artist. Even as a young child, I was always drawing, I took classes at the Art Institute of Chicago (giving up ballet because my parents could not afford both classes), and saved a few of the drawings from those classes; it still amazes me that I could do such detailed work at that age.

Who or what inspires you now?

Knowing that people like what I do inspires me. I just won first place at the Mazin Juried Art Exhibit, and that was a real thrill.

You describe yourself as a “chronicler of women” as regards how they are viewed by society. How do you feel your representation of the human figure captures that?

I find that although I have a number of studies of men, my focus has always been on women. That may be because in the workshops I took, we usually had women models. Then again, I guess I just find women more interesting.

Among the images here are nude studies of women. How does your work avoid some of the objectification of the female form that is still so common?

I don't know. I just draw and paint what I feel at the time I do the work.

What are you reading right now?

I am reading a book about George Washington and about to read “The Bone Clocks” by David Mitchell, who also wrote “Cloud Atlas”. I was an English teacher, and I do enjoy a good book.

Tell us about an important moment of transition for you as an artist?

I think that it happened as an adult, when I was able to start taking workshops with well-known Chicago artists, such as Ed Paschke and Lillian Desow Fishbein. They never tried to "fix" my work by drawing or painting over them, but would offer suggestions that allowed me to discover for myself what I need to do.

If you could do anything else but make art, what would it be?

I need to do art; it is a calling that I cannot ignore.

Has your style changed or evolved over the years? If so what do you think
influenced this?

Yes, my art has changed over the years. Remember that I started art classes when I was a teenager. However, I did not begin to really take my art seriously until I started workshops with Chicago artists. At first I was doing realistic drawings and paintings - which were good, but somehow not fulfilling. Then, I began to work into them, changing the focus, and suddenly I found my stride.

Does art have a purpose? If so what is it?

This may sound trite, but I feel that art is the one thing that makes life enjoyable.

Hometown: Chicago, Illinois
Age: 76
Education: BA in English Language & Literature, University of Chicago; MA in English; University of Wisconsin; studied at Art Institute of Chicago and in private workshops with Ed Paschke and Lillian Desow Fishbein

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