Vignette: James Bixler

Josh Jenkins · January 13, 2017

"15 More Minutes" by James Bixler, 14x11in, relief print (2015), $100 | BUY NOW — *"15 More Minutes" by James Bixler, 14x11in, relief print (2015), $100 | BUY NOW*

“My affinity for the color black started when I started growing into myself,” states James Bixler. “I realized recently that my attraction to the color noir was because it is a grounding, calming color. It should come to no one’s surprise that I utilize black in most of my artwork.”

"Self Portrait" by James Bixler, 12x9in, digital media print (2015), $100 | BUY NOW — *"Self Portrait" by James Bixler, 12x9in, digital media print (2015), $100 | BUY NOW*

Included here is a self-portrait that shows Bixler emerging from liquid black; inky, impenetrable, and leaving a film on his skin, the image recalls at least one famous portrait of an African American immersed in milk, - a negative reversal of sorts. It somewhat obfuscates racial identity, blurring the lines of pigmentation by removing color and forcing the viewer to rely on the supple tones and textures of the black, white, and gray tones of the photographic medium.

The play of the viscous black liquid on Bixler’s skin also reminds us that he is a Tattoo Artist at Uncle Bob's Tattoo Studio and Body Piercing in Clarksville, Indiana. It should not be surprising that a working tattoo artist would study fine art, since the medium, once considered, at best, subversive, or, at worst, cheap and trashy, has become more and more accepted in the mainstream culture, with 1 in 5 Americans sporting one or more examples of skin art, and tattoo parlors now as likely as not including a gallery space.

The dense black also dominates Bixler’s upside down Ouija board print, which, alongside his drawing of a gracefully ‘unraveling’ human skull, is suggestive of the occult, and a preoccupation with the ephemeral spirit that once resided in the latter, and may communicate with us through the former; themes of identity and mortality that never feel exhausted because there is never a definitive answer.

Age: 26
Hometown: Scottsburg, Kentucky
Education: BFA candidate, Painting and Drawing, Kentucky College of Art and Design (KyCAD), Spalding University, Louisville, Kentucky

"Untitled" by James Bixler, 19x15in, dypoint print (2015), $100 | BUY NOW — *"Untitled" by James Bixler, 19x15in, dypoint print (2015), $100 | BUY NOW*

Are you interested in being on Artebella? Click here to learn more. — *Are you interested in being on Artebella?* *Click here* *to learn more.*

Painting, Illustration, Mixed Media

Feature: Michael John Braaksma

Josh Jenkins · January 11, 2017

“What I’m doing 25 or 30 years later is an echo of what I did as a four year old…”
– Michael John Braaksma

Michael John Braaksma in his studio. Photo by Sarah Katherine Davis for LVA. — *Michael John Braaksma in his studio. Photo by Sarah Katherine Davis for LVA.*

Michael John Braaksma is a sculptor, puppeteer, and a scenic and costume designer for theatre. In a curatorial statement, Braaksma described his practice; “His multidisciplinary approach to art-making blends drawing, painting, sculpture, illustration, puppetry, mask-making, theatrical design and art direction together to create spectacular visual narratives. Folk tales, oral narratives, and mythologies linking inhabitants with their land and culture are of particular importance to Michael’s work.”

*Still from 'Unicorn Xing' Tyler McDAniel cinematographer. Puppets and Set by Michael John Braaksma.*

He recently wrapped his first short film based around his puppetry, and is beginning to work on a children’s book.

“I’m a visual story teller. That’s a description that fits the all encompassing approach to my work,” said Braaksma.

In his studio, there are characters hanging from the walls; some are fully formed, some are just heads or faces. Many actually are puppets, but others are stand-alone art objects, some sized to be affordable at art fairs and events like the Flea Off Market. Regardless of the artistic purpose of each character, they all seem ready to spring to life at any moment. “All my work has a strong sense of narrative,” said Braaksma. “They are all named, with rich back stories, and complex rationales as to why my little entities are here.”

The artist was born in Wisconsin, and comes to Louisville by way of Chicago, and time spent at Hope College in Michigan for a BA in scenic and costume design. In between Braaksma’s story takes a bit of a turn. “It’s essentially Mean Girls,” joked Braaksma, citing the popular film about a young American girl who grows up in Africa.

"Memories of places I've never been" by Michael John Braaksma, 18x24in, acrylic on canvas, $400 | BUY NOW — *"Memories of places I've never been" by Michael John Braaksma, 18x24in, acrylic on canvas, $400 | BUY NOW*

“When I was two, my parents decided they loved Jesus a lot, and became missionaries. They move the family to the Kenya-Somalia border, with no electricity or running water.” Braaksma lived in Kenya from age two to age nine and he says the time affected him greatly. “I’m doing some clay sculpture right now and it ties me back, there was a seasonal river where all the local children would sculpt animals, so what I’m doing 25 or 30 years later is an echo of what I did as a four year old kid in remote Africa.”

Braaksma believes in free sculpting each piece rather than casting his work. “I do everything free sculpting. Especially for the work I do, and the voice of the characters I’m drawing out, the idea of each form having its own shape and angle,” said Braaksma as he worked on a series of small unicorns he was preparing. “Even though the work I’m doing now is related, it’s unique in a way, and I think there is a movement to those precious things.”

"Celestial Nymph" by Michael John Braaksma, 12x10x6in, paper mache, fur, found objects, $300 | BUY NOW — *"Celestial Nymph" by Michael John Braaksma, 12x10x6in, paper mache, fur, found objects, $300 | BUY NOW*

Braaksma says “precious things,” and one can almost hear the capital letters; his ideas about precious things key into his belief that there is a reaction to large corporation and the “Big Box” lives of many Americans. They want smaller hand made items - Precious Things.

In addition to informing his practice of sculpture, Braaksma says his time in Kenya changed the way he imagined. “Being so young and having such totally different extreme experiences of reality, it sort of shapes the imagination and what you see as possible. Reality and your existence seems more fluid when you’re used to stretching your brain at an early age, being bilingual and all that.”

*"Wilbur the octopus" by Michael John Braaksma, 16x20in, mixed media on canvas, NFS*

For his recently wrapped short film, Braaksma, worked with local filmmaker Tyler McDaniel. Braaksma says the film reflects his own inner life. “It’s funny, but there’s some cynicism, as makers, people interested in our own narratives and our own sense of value, do we lose the context of seeing our selves as directional, are we missing the boat on where we’re going? I feel that way.” He added, “Sometimes my world become small and isolated.”

Braaksma believes that strong images, such as the handmade creatures and characters of his work, are necessary to reach modern audiences. “Strong visuals are so critical for pounding through this facade, the sarcasm or cynicism, or dismissive nature of story telling that has erupted because of our over exposure to constant media.”

Hometown: Louisville, Kentucky
Age: 32
Education: BA in Theatre, emphasis in costume & design, Hope College, MI
Website: https://lamaland.carbonmade.com/

"Terrence the Turtle" by Michael John Braaksma, 5x7in, acrylic on paper, $100 | BUY NOW — *"Terrence the Turtle" by Michael John Braaksma, 5x7in, acrylic on paper, $100 | BUY NOW*

This Feature was written by Eli Keel.
Eli Keel is a Louisville based freelance journalist focused on arts and culture. Nationally he’s written Salon.com, The MarySue.com, Howlround.com, and Pointe Magazine out of New York. Locally he’s written for Louisville Public Radio’s news division, both the radio and the web (wfpl.com), Insiderlouisville.com, LEO Weekly and Leoweekly.com. He’s also contributed to Louisville Magazine, The Voice Tribune, Modern Louisville, Churchill Downs Magazine, arts-louisville.com, and thecoffeecompass.com. He also writes plays.

Drawing

Vignette: Mike McCarthy

Josh Jenkins · January 10, 2017

“Loyal” by Mike McCarthy, 5.25x7.75in, hand colored print (#1), $40 | BUY NOW — *“Loyal” by Mike McCarthy, 5.25x7.75in, hand colored print (#1), $40 | BUY NOW*

Mike McCarthy is a sculptor who works primarily with stone, but the restlessness that is familiar to most artists, combined with recent travels that included the inevitable time in airports and hotels prompted him to begin sketching again on paper. “On my first trip out of town, I brought 2 small rocks to carve while in the hotel,” he explains. “Needless to say, the dust that is created from carving, even with just files, was too much. So I put the stone away and got out my sketchbook.”

This “Hotel Series” uses subject matter consistent with McCarthy’s three-dimensional work: animals – lions, horses, birds…but the highly developed sense of form is deemphasized to make room for linear pattern and a dense, collage-like layering of visual elements.

“I started doing just sketches, but soon those sketches turned into different collages and completed drawings. These drawings were either pen and ink or pencil, but all of them are black and white. I really liked the collages but many times the details would get a bit confusing; I needed a way to help clarify the elements. I decided color might be an option. Color has always intimidated me, because I am color-blind. In fact, the only time I ever received an F in school was for painting a figure green that I was totally convinced I had painted the correct color.

“Koi Pond” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW — *“Koi Pond” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW*

But I know it really helps people differentiate objects. I decided to just randomly fill in different parts of the drawing with what ever color pencil I picked up and not worry about if it was the “right” color. Many times, I only know things are different colors because the pencil says so. Much of the color looks the same to me. I wasn't sure how the process would work so I decided to have some prints made of the original black and white drawings done so I wouldn't ruin them and then add color to the prints. The cool thing is that I can experiment with a variety of different colors on the same drawing. If I don't like one, I don't have to start from scratch. It has been an interesting experience to see the reaction.”

“Butterflies!” by Mike McCarthy, 8x10in, hand colored print, $65 | BUY NOW — *“Butterflies!” by Mike McCarthy, 8x10in, hand colored print, $65 | BUY NOW*

McCarthy doesn’t apologize for his color choices, nor should he; subjective use of color is a tradition of modern art since the beginning of the twentieth century. These drawings have a free and spontaneous quality that combines assured craftsmanship with a renewed sense of discovery. If one of the unspoken goals of the adult artist is to reawaken a child-like sense of discovery, McCarthy’s exploration of an approach that is a distinct contrast from his better-known work seems to succeed in part by doing exactly that.

Hometown: Chicago, Illinois
Age: 49
Education: BA in Fine Arts, Bellarmine University
Gallery Representative: PYRO Gallery and Revelry Boutique Gallery (Louisville), KY Artisan Center (Berea)
Website: http://www.mikemccarthysculptor.com

“Bird Collage” by Mike McCarthy, 9x14in, hand colored print (#2), $75 | BUY NOW — *“Bird Collage” by Mike McCarthy, 9x14in, hand colored print (#2), $75 | BUY NOW*

“Horse Collage” by Mike McCarthy, 7x9.5in, hand colored print (#5), $50 | BUY NOW — *“Horse Collage” by Mike McCarthy, 7x9.5in, hand colored print (#5), $50 | BUY NOW*

“Dog Collage” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW — *“Dog Collage” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW*

Photography

Vignette: Violet Herrmann

Josh Jenkins · January 6, 2017

*"Faces" (set of 2) by Violet Herrmann, 10x16in, photograph (2014)*

As a photographer and a designer, Violet Herrmann states she is, “…a firm believer in simplicity with a bold hint.” In “Mellwood,” her photograph reads at first glance as a captured ‘snapshot’ – a random glimpse of a passing moment, yet the cool, evening shades of blue are seductive, and there is tantalizing mystery in the dramatic depth found in the contrasting channels of space. It would all be a solid, albeit academic composition except for the hesitant figure on the right, leading us further into the scene but arresting that momentum by turning on their heel. It is the key to lifting the image beyond the ordinary.

All of which reflects the idea that good composition and design is a series of relationships, most of which might never register fully with the viewer, but will have undeniable impact on how a piece is read. Herrmann explains, “I believe that the best designs appear to have their components distributed randomly throughout the page; but one finds that every element is aligned to another found in the piece.”

*"Mellwood" by Violet Herrmann, 17x11in, photograph (2016)*

“My work describes me as an artist as well as a person. As a stubborn perfectionist, my designs reflect my personality by carefully placing components in relation to one another while maintaining an edginess that makes them unique. I believe that a design must ultimately speak for itself to be considered truly successful. If I have done a good job on my work, my personality should be able to shine through and reflect me as a designer.”

Herrmann has worked as a Graphic Design Intern for Simon Signs in Louisville Kentucky and her work has been displayed in the Kentucky College of Art and Design (KyCAD) Gala in the 849 Gallery, Louisville Kentucky. While at KyCAD she was awarded the Presidential Scholarship.

Hometown: Charlestown, Indiana
Age: 21
Education: BFA candidate, General Fine Arts, Kentucky College of Art + Design at Spalding University, Louisville Kentucky

*"Louisville Door Series" (1 of 12) by Violet Herrmann, 10x10in, photograph (2014)*

Photography

Vignette: Probus

Josh Jenkins · January 4, 2017

"Cherokee Park Tree Study #2" by Probus, 11x14in, silver gelatin print (2016) | BUY NOW — *"Cherokee Park Tree Study #2" by Probus, 11x14in, silver gelatin print (2016) | BUY NOW*

Once photography fought for legitimacy in the art world, but we have long ago come to understand that its heightened realism allows the viewer to see the world with better eyes. The sensory experience of nature, the light and sound, are uniquely captured in the deep and complex range of silvery tones in these images from Probus. Drained of color, the textures and tone are pronounced. Whether the bleakness of winter trees in the woods, a somber row of headstones, or the bucolic aspect still present in the sun-drenched creek, somehow we witness them anew.

“I have always been fascinated by the passage of time and movement in a medium which does not allow either,” states Probus. “Initially I found rural abandoned homes as the perfect venue to explore this premise with self-portraiture. In the last 10 years, I have chosen to alternatively use both view cameras and pinhole. Lately I have found that the pinhole cameras provide an avenue to my previous explorations.”

"Cherokee Park Tree Study #1" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW — *"Cherokee Park Tree Study #1" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW*

The artist’s concern with the passage of time eluding the static, ‘frozen’ aspect of photography may be misplaced, for surely time is a measurable element in these images. The astonishing depth in these, with their far horizons, limitless forest, and dramatic point-of-view, suggest the expanse of landscape that developed over millions of years, the change of the seasons that, in part, determine the perception of existence, and the graves that remind us of our mortality - our finite time.

Permanent Collections:
Cathedral Heritage Foundation, Louisville, KY
Brown-Forman Corporation, Louisville, KY
Jefferson County Medical Society, Louisville, KY

Hometown: Louisville, Kentucky
Age: 56
Education: BA with Honors, University of Kentucky, Lexington, KY, 1988; The Fine Print, John Sexton Photographic Workshops, 1997
Website: http://www.probusphotos.com

"Destin Harbor, Destin FLA" by Probus, 11x14in, silver gelatin print (2016), $300 | BUY NOW — *"Destin Harbor, Destin FLA" by Probus, 11x14in, silver gelatin print (2016), $300 | BUY NOW*

"Kentucky River, UZ, KY" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW — *"Kentucky River, UZ, KY" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW*

"Veterans Day at Cavehill Cemetery" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW — *"Veterans Day at Cavehill Cemetery" by Probus, 11x11in, silver gelatin print (2016), $300 | BUY NOW*