*"Cellist" by Joyce Garner, 6x18ft, oil on canvas (2014), $22,000 | BUY NOW*

*Garner in her studio with a blank canvas.*

Joyce Garner is a self-taught painter and native Kentuckian who paints large. Her Big Paintings come from her ongoing series of “table paintings”, wall-sized compositions, “…telling the complications of family through time,” says Garner. “They are filled with hopes, regrets and wishes—from the past, and for the future.”

The artist likens these paintings to novels, the visual equivalent of long-form literary narratives comprised of many smaller stories. Patience is rewarded with this work - allowing your mind to slowly explore the people and the interactions. You might imagine you can hear the words being spoken, some of them in the heat of anger, some barely discernible whispers that you must strain to comprehend. These are, after all, whether by blood or association, families, and families are where we find the deepest currents of human emotion.

“My biggest paintings, shown un-stretched, began with frustration from working with smaller canvases. I got tired of banging around all the panels. Canvas comes in a roll or bolt. Different widths are available but a standard length is 6 yards. So I decided to paint the bolt.”

*"Chopsticks" by Joyce Garner, 60x48in, oil on canvas (2016), NFS*

Garner also owns a gallery in Louisville, Kentucky in the NuLu neighborhood: garner narrative contemporary fine art, and is also represented by galleries in Georgia, Ohio, and Tennessee. Her works have been exhibited in various galleries across the country and internationally. In June of 2016 her 29 foot-long mural, "catch a falling star," was installed in the UK Chandler Medical Center in Lexington, Kentucky.

Hometown: Louisville, Kentucky
Education: University of Kentucky, B.S., 1968
Website: tablepaintings.com
Gallery Representation: garner narrative contemporary (Louisville)

*"Joyce Garner in her studio" Photo by Sarah Katherine Davis For LVA (2016)*

"Power Outage" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Power Outage" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Rickrack" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Rickrack" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Testing The Waters" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Testing The Waters" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Wallpaper" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Wallpaper" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

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Please contact josh@louisvillevisualart.org for further information on advertising through Artebella. — *Please contact* *josh@louisvillevisualart.org* *for further information on advertising through Artebella.*

Painting

Q&A: Painter Teresa McCarthy

Josh Jenkins · September 30, 2016

"Art used to feed my belly, now it feeds my soul." - Teresa McCarthy

"Mommy & Me: Elephants" by Teresa McCarthy, 36x36in, oil on canvas (2016), $425 | BUY NOW — *"Mommy & Me: Elephants" by Teresa McCarthy, 36x36in, oil on canvas (2016), $425 | BUY NOW*

Who or what inspires you now?

My father, Joseph E. French was a commercial artist for 40 years. My favorite signs that he designed were the iconic Toy Tiger sign on Bardstown Rd and Hungry Pelican. Just prior to my 25 th birthday he asked me what I wanted and I said “a portrait of my boys.” I have cherished a number of his paintings since that day. My husband Keith has been right there with me since I was a teenager.

What is your favorite music to listen to when making art?

My husband Keith McCarthy plays guitar and is a singer songwriter, so I listen to his music and him playing cover songs. Folk songs from my childhood by Peter Paul & Mary make me especially happy. I was once in Kauai with Keith and some friends and we were in Hanalei where we happened to find a little shop with Peter Paul and Mary’s greatest hits and tooled around the country side in a convertible listening to Puff the Magic Dragon in the land of Hanalei, very cool.

"Mommy & Me: Giraffes" by Teresa McCarthy, 30x14in, oil on canvas (2016), $425 | BUY NOW — *"Mommy & Me: Giraffes" by Teresa McCarthy, 30x14in, oil on canvas (2016), $425 | BUY NOW*

Favorite movie?

I love to watch movies and I usually have a canvas in front of me if the TV is on. I’ve probably seen the movie Blow too many times, if that’s possible. Any movie with beautiful cinematography I enjoy. I also enjoy the occasional binge watching of a series on Netflix.

What are you reading right now?

I don’t spend much time reading, but I will listen to audio books when we travel. I also sketch future watercolor paintings when I travel.

If you were given a $100,000 what would do with it?

If given $100,000.00, I would further my education in the arts and continue sharing what I learn with others. I am the fine art instructor at Michaels on the Outer Loop, in Louisville and I would continue to do what I love. I also do painting classes in my home.

What does art mean to you?

The art produced by my father was the primary means of supporting our family when I was a child. So art fed my belly and now it feeds my soul.

What's the most challenging part when starting on a piece of work of art?

The only challenge in starting a piece of artwork for me is securing the time to start on it. I finish my projects and don’t leave things undone. I take photos all of the time so that I won’t forget an idea until I get to it. How long do you usually spend on a specific piece of art? Of course, size and medium make a difference on how long a particular piece of art takes to complete. Oil paintings take the longest because of drying time, but on average a portrait takes 20 to 25 hours for me to complete and a landscape takes about 8 hours. Some small acrylic and watercolors I can finish in 3 to 5 hours. I know how long a painting will take me to do, but I’m very patient and I don’t let time dictate when I finish a painting. My favorite painting is always the painting I am working on currently.

If you could meet any celebrity who would it be and what would you ask them?

If I could meet any celebrity, I’m thinking it would be Stevie Nicks, I would ask her if I could wear one of her onstage outfits.

Name: Teresa McCarthy
Hometown: Louisville, KY
Age: 55
Education: Attended St. Agnes and Durrett High School; obtained Broker’s License in 1986

"WWW: Watching Waiting Wolf" by Teresa McCarthy, 16x14in, oil on canvas (2016), $425 | BUY NOW — *"WWW: Watching Waiting Wolf" by Teresa McCarthy, 16x14in, oil on canvas (2016), $425 | BUY NOW*

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Painting

Vignette: Cheryl Chapman

Josh Jenkins · September 29, 2016

"High Wire" by Cheryl Chapman, 20x20in, oil on canvas, $1300 | BUY NOW — *"High Wire" by Cheryl Chapman, 20x20in, oil on canvas, $1300* | *BUY NOW*

As is true of perhaps most artists, each of Cheryl Chapman’s paintings is something of a journey, but Chapman doesn’t always know where exactly she will wind up. Working by instinct fashioned over a solid intellectual foundation, she works in intimate concert with her medium, whether it be oil, her primary choice, graphite, charcoal and occasional collage on panel or canvas.

“My painting is non-objective picture making in the tradition of abstract expressionism. Color and line are the dominant elements particularly focusing on the shared ground of communicative and pictorial symbols. I endeavor to explore the place where communication becomes communion. Paintings are produced with that goal in mind but are never planned; they happen.”

Patterns emerge in Chapman’s paintings that call to mind textile work, and the marks function in the same overlapping fashion: woven brushstrokes that build a dense interplay of space and surface, illusion and reality, that represent the essence of abstract expressionism.

Chapman has work in the collections of University of KY AB Chandler Medical Center, Brown Forman Corporation, Louisville, KY, PNC Financials, New York, NY, Good Samaritans Secondary Academy, Delhi, INDIA as well as in the Congressional Office of the Honorable John Yarmuth, Washington, DC.

Hometown: Louisville, Kentucky
Age: 60
Education: MFA, University of Kentucky
Website: http://www.cherylchapmanstudio.com
Gallery Representative: Galerie Hertz (Louisville, Kentucky) New Editions Gallery (Lexington, Kentucky) and Elder Gallery (Charlotte, North Carolina)

"Attic Dream" by Cheryl Chapman, 48x60in, oil on canvas, $4800 | BUY NOW — *"Attic Dream" by Cheryl Chapman, 48x60in, oil on canvas, $4800* | *BUY NOW*

"Runaround" by Cheryl Chapman, 60x48in, oil on canvas, $4800 | BUY NOW — *"Runaround" by Cheryl Chapman, 60x48in, oil on canvas, $4800* | *BUY NOW*

"Sea Change" by Cheryl Chapman, 36x36in, oil on canvas, $3000 | BUY NOW — *"Sea Change" by Cheryl Chapman, 36x36in, oil on canvas, $3000* | *BUY NOW*

"Wild Card" by Cheryl Chapman, 48x48in, oil on canvas, $4200 | BUY NOW — *"Wild Card" by Cheryl Chapman, 48x48in, oil on canvas, $4200* | *BUY NOW*

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Photography

Curatorial Spotlight: culturALLandscape

Josh Jenkins · September 27, 2016

"Art is part and parcel of a cumulative and collective enterprise, viewed as seen fit by the prevailing culture. It isn’t just the result of an unencumbered creative act. Everything that is seen and understood is part of a work and art is always a collaboration with all that came before you, that co-exists with you, and that comes after you." — Louise Lawler

Sarah Lyon, Steven Irwin, 2006, Archival Pigment Print, 40x40in — Sarah Lyon, **Steven Irwin**, 2006, Archival Pigment Print, 40x40in

Tom LeGoff, Matt, 2013, Inkjet Print — Tom LeGoff, **Matt**, 2013, Inkjet Print

The intersection of a geographic location and the culture it sustains is marked by how a physical place both supports and is reciprocally shaped by human involvement. Cultural landscape refers to the coalescence of a place with the people who inhabit it and encompasses works of art, narratives of culture, and expressions of regional identity tied to that specific place. Surveying the social and artistic topography of a place reveals aspects of its origins and development, as well as the interconnectivity of the relationships between the physical location, society and its structures.

The provenance of Louisville’s current cultural landscape can be accessed through the juxtaposition and alignment of the work of two photographers living and working in the city– one native and the other a recent transplant. The accompanying artworks unearth narratives about the area’s human geography- how a place and the people that produce creative output in that place serve as the bedrock of its vernacular landscape. The portraits shown here depict individuals who contribute to and enrich the area’s cultural terroir- affirming that the creative outpouring that takes place here is unique and incapable of being reproduced elsewhere. The individuals represented here may be preceded by their reputation. They may perhaps be more easily identifiable by the fruits of their creative labor - the artwork they create, music they produce, or performances they direct- than by their names or faces alone. But portrayed in and through their most valued environments, the resulting images reveal the virtues of the person depicted in equal measure with the backdrop against which they are situated.

Sarah Lyon, Natalie Sud, 2008, Archival Pigment Print, 40x40in — Sarah Lyon, **Natalie Sud**, 2008, Archival Pigment Print, 40x40in

Sarah Lyon originally viewed her photographic practice as a means through which she could experience her native city, as though she were an outsider exploring it for the first time. She began translating her personal relationships and experiences into an alternative way of mapping the city and its human and geographic landmarks. Out of this practice grew a portrait series that allows Lyon to become better acquainted with those who accompany her on these explorations, synthesizing them with their own personal environments.

The people with whom Lyon re-discovers her city are the figures who appear in her photographs. Consistently situated within a wide visual plane, the space and distance afforded to the figures facilitates an unimposing co- existence between the subject and the viewer. Allowing the viewer to soak in the totality of situational factors that shape the subject’s identity. Lyon’s photographs convey a sense of rootedness, giving prevalence to place and obscuring the distinction between whether the subject’s identity is informed by the impact they have on their locale, or the impact their locale has on them.

Tom LeGoff, Chris, 2015, Inkjet Print — Tom LeGoff, **Chris**, 2015, Inkjet Print

Tom LeGoff approaches his subjects as a self-proclaimed outsider, his portraits less burdened with history and interpretation. After re-locating to the area four years ago, he familiarized himself with the city by considering those who prominently occupy the landscape. LeGoff’s work magnifies the inherently ‘other’ quality that inevitably accompanies notoriety, imbuing his photographs with an elevated sense of intrigue as he casts his subjects in various roles, as though they were characters in a film noir. Yet, these oft-solicited and dramatized relationships still subtly convey reality. LeGoff intently concerns himself with the parts his subjects play in the locale he shares with them. Without pretense of familiarity, he offers viewers delicate contextual clues from which to deduce their identity, as illustrated in is his photograph, Chris (2015).

This image shows the portrait of an artist who uses the scale of her own body as the guiding principle in the production of her artwork. Using materials such as shards of glass and airy mesh boxes as representations of her own weight and volume, she examines how those constructed representations relate to and react with the environment around them. Photographed near her studio in the Portland neighborhood, LeGoff poses Chris standing at centurion attention. LeGoff references Chris’ own artistic study, arranging the composition so that her figure occupies the same amount of visual space in the composition as the first column in the row of interstate pylons receding into the horizon, reinforcing the relationship between her form and the environment in which her form exists.

Sarah Lyon, Jason Willar, 2005,  Archival Pigment Print, 40x40in — Sarah Lyon, ***Jason Willar***, 2005, Archival Pigment Print, 40x40in

Though examined from different vantage points, Lyon and LeGoff both identify the terroir that characterizes the unique cultural landscape within which they have personally and professionally entrenched themselves. By documenting their creative counterparts, not merely as an act of preservation, but as a means of acknowledging and propagating the artistic talent with which they co-exist, both Lyon and LeGoff participate in a camaraderie that nurtures a thriving creative ecology that is cross- pollinated by both ‘insiders’ and ‘outsiders’.

Tom LeGoff, Dean, 2013,  Inkjet Print — Tom LeGoff, **Dean**, 2013, Inkjet Print

Sarah Lyon, Kirby Coleman, 2005, Archival Pigment Print, 40x40in — Sarah Lyon, **Kirby Coleman**, 2005, Archival Pigment Print, 40x40in

Tom LeGoff, Mo, 2014, Inkjet Print — Tom LeGoff, Mo, 2014, Inkjet Print

Sarah Lyon, Mitchell and Matthew Barney, 2004, Archival Pigment Print, 40x40in — Sarah Lyon, **Mitchell and Matthew Barney**, 2004, Archival Pigment Print, 40x40in

Tom LeGoff, Dario, 2015, Inkjet Print — Tom LeGoff, **Dario**, 2015, Inkjet Print

To contact these artists or to see more of their work, please visit
www.sarahlyon.com or www.tomlegoff.com

This Curatorial Spotlight was written by Jessica Bennett Kincaid.
Jessica Bennett Kincaid is currently the Exhibitions Assistant at the University of Louisville Hite Art Institute. Her curated exhibitions include “Hugh Haynie: The Art of Opinion” at the Frazier History Museum, "All of Bob Lockhart" at Louisville Visual Art’s Public Gallery, and most recently, “Joshua Watts- Resonant Disclosures at the Cressman Center for Visual Arts. She studied at the University of Louisville Hite Art Institute, University of Kentucky, Institut Catholique de Paris, and Santa Reparata International School of Art.

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Photography, Digital

Vignette: Micheal Reilly

Josh Jenkins · September 23, 2016

"Succulent #4" by Micheal Reilly, 32x40in, photography/digital art print (2015), $1500 | BUY NOW — *"Succulent #4" by* *Micheal Reilly, 32x40in, photography/digital art print (2015), $1500 | BUY NOW*

Micheal Reilly received his first camera at age six and was heavily influenced by his father, who was an avid photographer. After retiring from a career as a commercial photographer, Reilly now creates vivid, hyper-saturated digital images that begin with a simple photograph, but then are heavily manipulated through digital programs. He describes his work as “Abstract Organics” and all of his images are printed on 16-gauge aluminum using a dye sublimation process that perfectly mimics his vivid colors.

*"Blossom Stems #1" by Micheal Reilly, 32x40in, photography/digital art print (2015), $1500 | BUY NOW*

“My art is the expression of my soul. It is my illustrated vision, the world I see ... or want to see. I want to stretch your imagination, and I come as the naked stranger, exposing my inner feelings and urges, my lust for color, a mild insanity, and my happiness. Joy, I hope, is a primary response – and surprise. I think what I offer is new and unique. It’s me, the real me.” –Micheal Reilly’s Artist’s Statement

Reilly studied in Commercial Art at the University of Louisville, but within a few years, at the age of 24, he had started his own commercial photography studio. The rapid growth of his business enabled Reilly to travel the world creating advertising images for an estimable roster of clients, many of whom were Fortune 100. He was one of the pioneers introducing digital imaging into the commercial photography industry, was featured several times in the industry trade magazine, Photo District News, and was a frequent featured speaker at the International Photo Symposium in New York City.

Hometown: Oklahoma City, Oklahoma
Age: 59
Education: Self-taught in photography and art (starting at age 6)
Website: http://www.michealreilly.com

*"Purple Berries" by Micheal Reilly, 32x40in, photography/digital art print (2014), $1500 | BUY NOW*

*"Thistle #2" by Micheal Reilly, 40x32in, photography/digital art print (2015), $1500 | BUY NOW*

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Vignette: Joyce Garner

Q&A: Painter Teresa McCarthy

"Art used to feed my belly, now it feeds my soul." - Teresa McCarthy

Who or what inspires you now?

What is your favorite music to listen to when making art?

Favorite movie?

What are you reading right now?

If you were given a $100,000 what would do with it?

What does art mean to you?

What's the most challenging part when starting on a piece of work of art?

If you could meet any celebrity who would it be and what would you ask them?

Vignette: Cheryl Chapman

Curatorial Spotlight: culturALLandscape

Vignette: Micheal Reilly