"Echo" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Echo" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW*

A line disintegrates into a smudge, which then blends into a new color, while an opposing stroke swipes across the canvas with ferocity. Teri Dryden works from such an intuitive, emotional creative spark that her paintings can only be seen as Abstract Expressionism, but, as with many such artists, the phrase seems limiting and only useful for academic discussion. The Museum Of Modern Art describes it this way: “The varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content.”

That explanation certainly would seek to capture Dryden’s own action painting, with vigorous marks and color choices that invite the viewer to read a confluence of emotions applied to the canvas with a modicum of intellectual framework. “Echo” feels sunny and optimistic, full of hope, while “Twist and Shout” explores anxious energy in restricted release.

"Dive In" by Teri Dryden, 36x48in, acrylic on canvas, $2500 | BUY NOW — *"Dive In" by Teri Dryden, 36x48in, acrylic on canvas, $2500 | BUY NOW*

"Arden" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Arden" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW*

“My artwork is process oriented. I begin each picture with a line. I have no specific outcome in mind. I respond to the changes in the painting as I explore and interact with materials by layering paint and paper, scratching, sanding and marking, creating open spaces, altering and adjusting. I move between intuition and logic, chaos and order. Being aware and open, taking risks with the materials, as well as the struggle itself allows me to have a more meaningful painting experience and often leads to a greater self-awareness. My goal is to create work that is authentic and genuine.”

Dryden is currently part of a group show called "Mix it Up", New Work by Gallery Artists at New Editions Gallery in Lexington, now through October 2016.

Hometown: Annapolis, MD
Age: 58
Education: Towson University
Website: http://www.teridryden.com
Gallery Representative: View Gallery (Jackson, MS); New Editions, (Lexington, KY); B. Deemer (Louisville, KY)

"Sunday Afternoon Promenade" by Teri Dryden, 24x30in, acrylic on canvas, $1400 | BUY NOW — *"Sunday Afternoon Promenade" by Teri Dryden, 24x30in, acrylic on canvas, $1400 | BUY NOW*

"Twist And Shout" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Twist And Shout" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | 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.*

Digital, Illustration

Q&A: Illustrator Scott Soeder

Josh Jenkins · October 13, 2016

*Photograph of artist Scott Soeder at work.*

"Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts." — Scott Soeder

Various vehicle illustrations by Scott Soeder.

Scott Soeder is an award-winning professional illustrator and designer specializing in illustrations for children's books, magazines, apps and games. Select clients include Highlights for Children, Timehop, Lightchange Studios, Reelio Inc, 311, Lake Street Dive, Sharks 4 Kids and more. A graduate of the University of Louisville, he is based in based in Louisville, KY.

When did you first think you would be an artist?

I can’t say there was any defining moment. I have been drawing as long as I can remember, as if I’m simply naturally attracted to do so. Maybe we all are and for whatever reason some of us move away from it. I played football on a team when I was a kid, but by the time I got to high school I had very little interest in playing. Maybe art is like that for others. Also I was a scrawny kid, even in high school, and I knew I would end up a small pile of broken bones had I attempted to play. I was very fortunate to have parents who kept me stocked in art supplies and who encouraged me. I absolutely adored looking at and reading “Peanuts” in the newspaper and watching Bugs Bunny cartoons. Animation and comics were my experience with art. When I was around 7 or 8 or some age expressed in a single digit, my grandfather made me an easel. I would sit for hours drawing at that easel. I remember feeling like a real artist working at that easel. At an early age I was equipped with art supplies, had a paying customer and friends referred to me as a “good drawer” So artist was added to my list of “what I want to be when I grow up” directly under Astronaut and Spiderman.

Is all your work for clients?

Being a full-time artist means that a big chunk of what I create is for clients. However, I do spend time working on pieces for fun, to experiment, or for personal projects. I have been working on illustrating a series of vehicles from pop culture titled Pop Wheels for fun and to give my self a challenge. I have done about 16 and have a long list of others I’d like to do. Also, I work on writing and illustrating my own stories for children’s picture books.

What frightens you the most?

That’s a great question and probably depends on the moment I’m asked. An overarching, big-picture-thought that comes to mind is - being forgotten. That my little blip of time on the planet being Scott Soeder was wasted and that I didn’t use everything I’d been given to the fullest. I want to be able to leave something behind that my children, grandchildren and great-grandchildren could say: “my dad did that”. Besides my children themselves of course, they are my best creations. But in terms of art, Charles Schulz lives in Charlie Brown and will continue to for generations, possibly inspiring other kids to pick up a pencil and draw. That’s an amazing accomplishment.

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

Something upbeat and rocking. The list of specific artists would be long! I love music and enjoy listening to it while working. I’d say most of the time it would be music from 311 or pop metal bands from the 80s.

What are you reading right now?

I’ve been reading Chuck Jones’ autobiography, “Chuck Amuck”. I love looking at his drawings in the book and it is really funny. I would have loved to meet him. I bet he was hilarious.

What advice would you give a young artist just out of college?

Learn about business and develop your business acumen. Educate yourself on all the opportunities available for artists. Put in the work.

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

I feel like every moment is one of transition. It is persistent evolution. Always striving to express the emotion or develop the image I see in my head. There are moments or milestone pieces if you will. The ones where something clicked or a visual problem was solved or it made someone laugh, etc. Some of my favorite moments are getting an email or message from someone who really enjoyed a piece and took the time to say so.

What does art mean to you?

Art feels like a part of me. It has been tied up in my identity for as long as I remember. Art has been the means of showing others ideas in my mind, of depicting humor and simply passing time. When I was a kid my sister had dance lessons and I would bring a sketchbook and art supplies with me to stay occupied. I don’t know what I would have done without it. A great benefit of art is that I am never bored! Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts.

If you could have a talent that you currently don't already have what would it be and why?

I would like to be able to sing. Being able to sing like Steve Perry from Journey would be nice. I play drums and can hold my own on a few other instruments like guitar and bass, but I lack a singing voice. A rusty muffler being drug down a gravel road would sound more pleasant. I have a personal project where I am playing and recording all the instruments myself and having a decent singing voice would be advantageous.

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

If it could be anyone even if they were deceased it would be Charles Schulz. If it were a contemporary it would be John Lasseter. I would ask Charles Schulz about his work ethic and productivity tips. He drew every single Peanuts strip himself for 50 years. He’d have to have some awesome tips! I would ask John Lasseter about storytelling and creating great characters. Pixar has had an amazing track record of doing both.

Name: Scott Soeder
Hometown: Louisville, Kentucky
Age: 43
Education: BFA in Communication Art & Design, Magna Cum Laude, University of Louisville, Louisville, Kentucky
Website: http://www.scottsoeder.com

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Painting, Mixed Media, Installation, Public Art, Ceramics

Feature: LVA Studios

Josh Jenkins · October 11, 2016

“It's an exciting time for Portland! It is where the artists are now.” – Lynn Dunbar

Artists place a high value on space, particularly the space in which they work. It can define them and their work more than even they themselves sometimes realize. When Louisville Visual Art (LVA) moved into its new home in the Portland neighborhood, the 32,000 square foot warehouse was a raw shell except for a cozy 1000 sq. ft. office space. That office remains the only part of the building with heat and air conditioning, and the seasonal extremes in temperature make occupying the vast open space a challenge. A complete renovation of the building that will include studio space for artists is being planned, but for now, LVA staff didn’t anticipate very much use of the facility when they moved in at the beginning of September 2015.

But a tour of the building for a small group of local artists a month later demonstrated that some artists were ready to move in immediately, with or without amenities. The “rawer” the better seemed to be the attitude, “It doesn’t intrude,“ explains sculptor, curator, and LVA board member Andrew Cozzens, “and it provides the space needed to build and experiment without limitations.” With elbowroom to spare, the first three tenants, painters Joshua Jenkins and Clare Hirn, and ceramicist Amy Chase, moved in before the end of 2015.

*An installation by Andrew Cozzens (2016)*

This hardy trio worked through the cold winter months with space heaters. For Jenkins, who has previously worked in smaller spaces that offered isolation, the difference has impacted the work itself. “Raw space to me is like a blank canvas,” he says. “It has unlimited possibilities and room to breath. I have found that just from painting in a raw/large space such as LVA’s, that my work has naturally evolved and that my compositions have grown to have more white space in them.” Since the first humid, dog days of summer the number of tenants has more than doubled, with seven others moving into the 2nd floor space: besides Cozzens, they are painter Ashley Brossart, installation artist Vinhay Keo, muralist Alyx Mclain, painter Casey McKinney, sculptor and installation artist Kyle Sherrard, and painter Lynn Dunbar. Other artists that have used the building on a temporary basis for murals and other projects on a scale that their normal workspace could not contain have included Shohei Katayama, Carrie Neumayer, Annette Cable, Noah Church, McKenna Graham, Ewa Perz, and Mary Dennis Kannepell.

The increased number of working artists is welcomed by Clare Hirn, who was the first to move in: “After working in a fairly isolated situation this is a nice change to be in a space with other artists. There are challenges of giving up the complete privacy of one's own space, but the potential for collaboration in spirit, if not in actual work, is a huge payoff. It is inspiring to be around other artists of such variety and as a slightly older artist (at 52!) it is a bonus to be around younger people as well.”

"Share the Summer" (Painted at the at the Botanica Paint Out) by Clare Hirn, mixed media, $350 | BUY NOW — *"Share the Summer" (Painted at the at the Botanica Paint Out) by Clare Hirn, mixed media, $350 | BUY NOW*

Not surprisingly, some of the occupants have taken a hand in improving the space themselves, with Cozzens and Sherrard building and installing temporary partitions, and Dunbar replacing broken glass panes, building a shared space that is still open and accessible. Cozzens admits, “I always prefer to work communally- it brings good energy.”

*Artist Joshua Jenkins working in studio. Photo by Sarah Katherine Davis For LVA (2016)*

That the building is located in the Portland neighborhood also seems to hold an appeal, as Jenkins explains: “I have always been attracted to urban environments and inner cities. There's just inspiration to me in every direction that I look, along with the ghost of so much history. When I first heard of artists moving into the Portland area for studio spaces I was extremely excited and jumped on board as soon as I could.” The history of the area, which was once one of the most important freight stops on the Ohio River and the economic center of Louisville until the early 1800’s, is rich but largely ignored or taken for granted by the city as a whole, if not necessarily by the artists who are working there. “There is a fresh vibe in Portland,” observes Cozzens“…a lot of stored energy.”

Indeed, with a warren of more developed studio spaces in the connected building, Tim Faulkner Gallery across the street, and the forthcoming Hite Art Institute’s MFA studios scheduled to open 2 blocks away, things seem to be happening – positive and creative things that feed into the larger Portland revitalization plan spearheaded by Gill Holland. Part of the realization of such plans is certainly deep-pocket investors, but equally important are the series of choices made by individuals to live and work in such neighborhoods. These artists have made that choice.

*"Untitled" by Ashley Brossart, 5x5ft, aerosal, acrylic, ink, paper photo (2016), NFS (commissioned)*

"Withstanding Fiction" by Amy Chase, 5x9x5in, ceramic, flocking (2016), $410 | BUY NOW — *"Withstanding Fiction" by Amy Chase, 5x9x5in, ceramic, flocking (2016), $410 | BUY NOW*

*"Boy Blue" by Joshua Jenkins, 40x30x1in, acrylic and mixed media on canvas (2016)*

"Belle in the Lead" by Lynn Dunbar, 24x36in, oil on canvas — *"Belle in the Lead" by Lynn Dunbar, 24x36in, oil on canvas*

"Watchful Eye" by Casey McKinney, 45x56in, acrylic and mixed media (2016), $900 | BUY NOW — *"Watchful Eye" by Casey McKinney, 45x56in, acrylic and mixed media (2016), $900 |* *BUY NOW*

This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Painting

Vignette: Patrick Donley

Josh Jenkins · October 7, 2016

As a painter, Patrick Donley became known earlier in his career for distinctive acrylic paintings; compositions of spherical objects applied with an insistent mark-making technique. Then, for several years he worked with found objects, first in 3-D wall-hanging constructions of freewheeling spatial complexity, and then in The Memento Series, which incorporated old photographs into intimate collages that evoked communal memories of the past.

More recently, Donley has embarked on, “…a path of rediscovery,” returning to the sphere, and if, at first glance, the paintings look the same, and most easily connote astronomical perspectives on heavenly bodies, there is indeed the same concern for relationships in space, but have the years of focus on 3-D informed the artist’s mark making, so that we feel a greater plasticity in the modeling of form - a greater freedom now in the application of medium? Whatever we imagine, Donley finds a curious tension in the work: There is something surreal happening that is at once perplexing while at the same time pleasing.”

"Untitled #2" by Patrick Donley, 36x36in, mixed media on canvas — *"Untitled #2" by Patrick Donley, 36x36in, mixed media on canvas*

"I draw with a brush. I draw with graphite. I draw with charcoal. I stain, and I glaze. Collage is worked into the surface, and I draw over that. I render worlds, and I proffer particles. Accident belies intention. Color justifies the means. I enjoy what I do, and I offer it up to you."

A long-time member, now co-owner of Zephyr Gallery, Patrick Donley has been making art since the early 80’s in one form or another. His work can be found in collections from New York to Seattle, including Paul Allen, founder of the EMP Museum. Locally, his paintings and sculptures are located in numerous corporate and private collections.

Hometown: Louisville, Kentucky
Age: 54
Education: BA in Painting, Davidson College in Painting; MFA in Painting and Drawing, Northwestern University
Website: http://patrickdonley.wix.com/donleyart

"Untitled #1" by Patrick Donley, 25x31in, mixed media on canvas — *"Untitled #1" by Patrick Donley, 25x31in, mixed media on canvas*

"Untitled #3" by Patrick Donley, 36x38in, mixed media on canvas — *"Untitled #3" by Patrick Donley, 36x38in, mixed media on canvas*

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Painting, Mixed Media

Curatorial Q&A: 9 Questions for Peter Bodnar III

Josh Jenkins · October 5, 2016

"Indehiscent form #2" by Peter Bodnar, 19x46x4in, acrylic on steel (2016), $1200 | BUY NOW — *"Indehiscent form #2" by Peter Bodnar, 19x46x4in, acrylic on steel (2016), $1200 | BUY NOW*

Having known Peter Bodnar for a LONG time, in fact since my days in New Harmony, which date back forty years, I am always excited to see what he is up to, so the prospect of a show of new work at Swanson Contemporary (opening Oct. 7) is indeed something to look forward to.

I value Peter for lots of reasons, his thoughtfulness, his integrity, and ability to question authority, his persistence and dedication, his humor, both good and funky, and his ironic stance in the face of a non-caring universe. All these character traits show up in his art, which to my mind is the principal duty of being an artist: putting in, giving form to the world an authentic and personal vision.

These questions are all things, that while I had made assumptions about, I had never really asked Peter directly, so this was a chance to learn from him in a new way. — John Begley

When starting on a piece of work of art, what's the process?

PDBIII - An idea becomes a drawing, which begets more drawings until a path toward final execution is clear. Small models make form concrete and guide the larger work. Paul Klee showed me that one could invent a living world with a pencil and paper.

JPB – I am delighted to see the Paul Klee reference, have always liked his “taking a line on a walk” statement.

Since you work abstractly, how do you know when you are finished with a specific piece of art?

PDBIII - I’m not sure that the moment a work is “finished” is any different for abstract or representational work, having done both. It generally is the point at which something cannot be added without losing something else. I live with my pieces for a long time. They are released into the world when they possess fewer things that bother me than excite me. That said, the desire to make new work comes from a feeling that I never quite get it completely right.

JPB – I should have realized that you do work in a multitude of manners and not asked the question so narrowly. I find your explanation of not being able to add something without losing something to be very revelatory, and right. And the motivation to do new work because there was always a choice that you could have made, and did not, and therefore are not sure that you indeed get it right to be compelling.

“Liquid Structures Suite” by Peter Bodnar, 15x67in, acrylic on paper (2013), $950 | BUY NOW — *“Liquid Structures Suite” by Peter Bodnar, 15x67in, acrylic on paper (2013), $950 | BUY NOW*

Since you have long tenure in the Louisville art community, how are you feeling about local art scene in Louisville? What's good? What's not so?

PDBIII - Things change, some for the better, some not. I am especially grateful for the support & leadership you, John, have given this community over many years. With experience comes the long view. I am still dismayed at the lack of institutional support for regional artists. From an ART BASEL perspective, we’re all folk artists.

JPB – Thank you for the compliment, and I do agree that the art history of our community is neglected and deserves the same thoughtful analysis that work in other places receives.

“Cusp #5” by Peter Bodnar, 24x28in, acrylic on steel (2016), $1200 | BUY NOW — *“Cusp #5” by Peter Bodnar, 24x28in, acrylic on steel (2016), $1200 | BUY NOW*

You have exhibited with Chuck Swanson for several years, what are your thoughts on the artist/ dealer relationship? What makes it work?

PDBIII - I am lucky to have had Chuck’s friendship over these years. I have been able to show bodies of work in an un-curated context. The classic artist/ gallerist model is a rare bird these days, and Louisville is fortunate to still have a few long standing examples. Sales and promotion have few rewards in hinterland markets.

JPB – I think “un-curated” may be a bit misleading. Chuck’s ultimate curatorial choice is to choose the artist and then trust the artist to bring a cogent body of work to the exhibition space.

What advice would you give a young artist? Any regrets for paths not taken?

PDBIII - Beware of fashion and seriousness. Develop as many skill sets as possible. You will need and enjoy them. Knowing what I know now, I might have chosen another profession.

JPB – I find I am susceptible to the “seriousness” problem, and I think that is why I always find the“dada-fluxus” response so freeing. I have always loved your “eclectic” cooperative as absolutely fun, anti-seriousness in its most honest form.

What role do you think is important for an artist to play in a community? What is the artist's job?

PDBIII - I feel my job, as a citizen of this community, is to strive for equality and justice for all its members and to protect the environment of this place. That is my social practice. As an artist, I work to make the community a place that can support creative individuals. When I was starting out, I felt my challenge lay outside NYC, to forge a new art / community dynamic in flyover America. As an educator, I know I have made a difference in specific cases, but in general, after forty years, I fail to see much effect on the community as a whole.

“Oscillating behavior series 02” by Peter Bodnar, 22x28in (framed), mixed media on paper (2014), $400 | BUY NOW — *“Oscillating behavior series 02” by Peter Bodnar, 22x28in (framed), mixed media on paper (2014), $400 | BUY NOW*

JPB – I think many of us feel this frustration at the slowness of change, at the same time I remain hopeful that if we keep doing it, we might get it right at some point. I think you must feel the same way.

You have worked with ideas from science and mathematics for long periods in the past, what is exciting you now?

PDBIII - Same inspirations— just deeper, less literal— in my view. I want to see how an idea looks in the flesh, so I have to make it. I strive to make animate objects, so my metaphors are animal, vegetable & molecular.

JPB – Ideas incarnate, sounds almost religious.

You have used a variety of materials and media, as well as engaged in performance work, collaborations and installations, what is the cause of your restlessness? (I don't want to imply that question as a pejorative.)

PDBIII - I don’t / didn’t want to miss anything, so that when opportunities arose, I took the bait. Different audiences respond to different stimuli, and the question of whom you’re making your work for is an important one. I find I need a better “effort-to-return” ratio to prompt me in my golden years. Large installations with a clear narrative receive a predominance of media coverage, but are usually costly affairs that turn an artist into a fundraiser.

JPB – If we do this kind of thing again, I want to explore this idea of the artist as fundraiser. You have provoked me again in a most positive way.

“Above / Below (in blue)” by Peter Bodnar, intaglio w/ pigment (2016), $300 | BUY NOW — *“Above / Below (in blue)” by Peter Bodnar, intaglio w/ pigment (2016), $300 | BUY NOW*

Your father has had a successful career as an artist/teacher, how has that shaped your approach to making a life as an artist?

PDBIII -. My father has been a great influence on everything I do. I purposely ran in different directions as a youth in order to define my own self, but am constantly aware of how much I’ve circled back to the groove. His work ethic approach to art making—perspiration not inspiration-—kept me going from the start. I was fortunate to catch a career as artist –teacher before that model became difficult to maintain, and was able to develop my expertise in ways that were never available to him. He’s 87 and still painting and I am proud to be carrying on a family tradition.

JPB – Peter, thank you for your willingness to share these thoughts, as well as your work. I look forward to the new show at Swanson with much anticipation.

Peter Bodnar’s Neo Phenomena
Swanson Contemporary, October 7 - November 12, 2016
Opening Reception 5-8pm, October 7

“Vibe Series 01” by Peter Bodnar, 14.5x16x5in, intaglio on paper w/ HC (2015), $300 | BUY NOW — *“Vibe Series 01” by Peter Bodnar, 14.5x16x5in, intaglio on paper w/ HC (2015), $300 | BUY NOW*

*“Whirl Study” by Peter Bodnar, 14x14in, burnt cedar on paper (2015), $200*

This Curatorial Q&A was written by John Begley.
John Begley is a Printmaker, Installation and Video Artist. From 1975 to 2014 he was a Curator and Gallery Director, including 19 years as Executive Director of LVA and several years with the UofL’s Hite Art Institute, where he is now Coordinator of IHQ Project.

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Vignette: Teri Dryden

Q&A: Illustrator Scott Soeder

"Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts." — Scott Soeder

When did you first think you would be an artist?

Is all your work for clients?

What frightens you the most?

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

What are you reading right now?

What advice would you give a young artist just out of college?

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

What does art mean to you?

If you could have a talent that you currently don't already have what would it be and why?

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

Feature: LVA Studios

“It's an exciting time for Portland! It is where the artists are now.” – Lynn Dunbar

Vignette: Patrick Donley

Curatorial Q&A: 9 Questions for Peter Bodnar III

When starting on a piece of work of art, what's the process?

Since you work abstractly, how do you know when you are finished with a specific piece of art?

Since you have long tenure in the Louisville art community, how are you feeling about local art scene in Louisville? What's good? What's not so?

You have exhibited with Chuck Swanson for several years, what are your thoughts on the artist/ dealer relationship? What makes it work?

What advice would you give a young artist? Any regrets for paths not taken?

What role do you think is important for an artist to play in a community? What is the artist's job?

You have worked with ideas from science and mathematics for long periods in the past, what is exciting you now?

You have used a variety of materials and media, as well as engaged in performance work, collaborations and installations, what is the cause of your restlessness? (I don't want to imply that question as a pejorative.)

Your father has had a successful career as an artist/teacher, how has that shaped your approach to making a life as an artist?