“The universal language of humanity spanning across time and geography informs my work.”
– Kayla Bischoff

"Jibber Jabber" by Kayla Bischoff, 36x36in, acrylic on canvas (2015) $525 | BUY NOW — *"Jibber Jabber" by Kayla Bischoff, 36x36in, acrylic on canvas (2015) $525 | BUY NOW*

Masks have been a crucial element in religious iconography, particularly in primitive cultures, and by extension, visual art, which is, of course, how we know about those ancient worlds. Kayla Bischoff’s paintings are filled with faces rendered in simple terms that are nonetheless highly expressive. It is the most immediate way of identifying her work, and these most recent pieces reveal an ever-developing subtlety and variation in her painting. The artist describes it this way: “Gaping mouths, shrugging shoulders, flailing arms, and cackling faces occupy the surface in an overcrowded frenzy. On the surface my paintings are vibrant and playful; however, I invite the viewer to peer closer into the cluttered surface of detailed disorder to discover many of the abstracted figures experiencing some inner trepidation.”

“The style in which I paint is a balance of abstraction, representation, spontaneous expression, and conscious decisions. The characters are hurriedly drawn in frenzy, and then built upon with several layers of paint to enhance the depth of the surface. I convey my ideas in paintings because the immediacy allows for uninhibited mark making. The tactile nature of the paint feels authentic while connecting me to the earliest form of human visual expression.”

"Vamoose (diptych)" by Kayla Bischoff, 10x10in (each), acrylic on panel (2015) $275 | BUY NOW — *"Vamoose (diptych)" by Kayla Bischoff, 10x10in (each), acrylic on panel (2015) $275 | BUY NOW*

In “Vamoose” the figures are strikingly evocative of famous ancient formations such as Stonehenge and Easter Island, and Bischoff is clear that the references are intentional: “I seek to create a connection between contemporary art and that of past civilizations. I reference ancient artworks, such as figurines and masks from various cultures — Andean, Mesoamerican, Japanese, African, Aboriginal, etc. The universal language of humanity spanning across time and geography informs my work. The use of stylized figures acts as a communicative shorthand of body language and facial expressions. I am also greatly inspired by modern artists such as Keith Haring, Jean Dubuffet, and Elizabeth Murray. Through the playfully chaotic layers of figurative abstraction, my work comments on the plight of the individual and humanity as a whole.”

"Alter Egos" by Kayla Bischoff, 60x40in, acrylic & fabric on canvas (2016) $825 | BUY NOW — *"Alter Egos" by Kayla Bischoff, 60x40in, acrylic & fabric on canvas (2016) $825 | BUY NOW*

Bischoff’s second solo show Push/Pull: Paintings by Kayla Bischoff will be on exhibit February 1 - 26 at the Krempp Gallery in Jasper, Indiana. There is an opening reception February 2, from 5-7pm.

Hometown: Louisville, Kentucky
Age: 24
Education: BA, (Magna Cum Laude) Studio Art: Painting Emphasis/Minors in Art History & Psychology, Bellarmine University, Louisville, KY, 2014
Website: http://www.kaylabischoff.com/
Gallery Representative: Galerie Hertz

"The Watchers" by Kayla Bischoff, 24x26in, acrylic & fabric n canvas (2017) $475 | BUY NOW — *"The Watchers" by Kayla Bischoff, 24x26in, acrylic & fabric n canvas (2017) $475 | BUY NOW*

"Don't Lose Your Head" by Kayla Bischoff, 40x40in, acrylic on canvas (2016) $625 | BUY NOW — *"Don't Lose Your Head" by Kayla Bischoff, 40x40in, acrylic on canvas (2016) $625 | BUY NOW*

"Petty Pile" by Kayla Bischoff, 48x30in, acrylic on canvas (2015) $575 | BUY NOW — *"Petty Pile" by Kayla Bischoff, 48x30in, acrylic on canvas (2015) $575 | 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.*

Vignette: Nikita Krivoshey

Josh Jenkins · January 24, 2017

"Mandala" by Nikita Krivoshey, 20x27in, mixed media on paper (2014), $400 | BUY NOW — *"Mandala" by Nikita Krivoshey, 20x27in, mixed media on paper (2014), $400 | BUY NOW*

Nikita Krivoshey is an artist, muralist, and designer, based out of Louisville, KY. His work is vitally connected to his personal spirituality, and it comes as no surprise to discover that he spent one year as a monk in Myanmar, which had a profound influence on his worldview and art. His work charts a progression that now frequently expresses itself in unique ‘mandala’ compositions. Originating in Hinduism as a highly formal symbol or diagrammatic composition meant to represent the universe; Krivoshey uses the idea of the open visual structure, in which an image can be viewed from all four sides, as a foundation for more illustrative, allegorical imagery.

"Death Nurtures Life" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW — *"Death Nurtures Life" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW*

Though Krivoshey has dropped the geometric formalism that we associate with the term, his mandalas still utilize color palettes evocative of Buddhist sand paintings, and his narrative feels like a merging of the figurative tradition in western religious art and the concentration on pattern common in eastern spiritual rituals. The sometimes intentionally distorted perspectives force a less familiar relationship between the viewer and the work, yet it is one that.

“I want to show something from a new perspective,” explains Krivoshey, “while meditating on the process of image making. There is a kind of spirituality that must be discovered in the work that is very important for me to get a sense of meaning and fulfillment from it. Whatever the image is, there is a process of self-inquiry and continuous reflection. This can be seen in my themes with religious references, symbolic details, and occasional perspectival warping. Some of my work that is more abstract focuses on the process, and emotional enfoldment, more so than a specific statement. In such work, the idea is to be transparent to the self and to break down conceptual formation into more core building blocks.”

Even though the artist is working in a largely representational manner, there is a lot of mystery in these enigmatic mixed media drawings. Krivoshey continues: “Communication is an essential aspect of my image making. I want to have a dialogue with the viewer. Although much of my work has specific, intended meanings, I recognize that someone else may perceive an element of my work differently, and I want to understand how these perceptions arise. In this way the viewer and I can better understand the causal factors behind the perceptions of beauty, appreciation, and fascination. I want to inspire the type of investigation that leads to existential insight and greater peace.”

Krivoshey has led a number of community collaborative art projects in Louisville, and has taught art classes to children and adults, in summer camps, community centers, and as an elementary school teacher in South Korea. One particular fascination has always been with psychology and environment as experienced by the individual and this theme has been a common thread throughout much of Krivoshey's artwork.

His work has been displayed locally in Galleries including at the US Congress Building, and KY Center for the Arts. From September to November 2016, Krivoshey was one of four artists to exhibit in two separate shows in Germany at Gut Basthorst in Hamburg, and Buddhas Weg, near Weinheim.

Hometown: Louisville, Kentucky
Education: BFA, Rhode Island School of Design, Illustration major, 2009
Website: http://nikitaart.com

"Creation" by Nikita Krivoshey, 20x29in, neocolor on paper (2008), $450 | BUY NOW — *"Creation" by Nikita Krivoshey, 20x29in, neocolor on paper (2008), $450 | BUY NOW*

"Waking Up Possessed" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW — *"Waking Up Possessed" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW*

"Colorado Aspen" by Nikita Krivoshey, 20x17in, oil on paper (2013), $400 | BUY NOW — *"Colorado Aspen" by Nikita Krivoshey, 20x17in, oil on paper (2013), $400 | BUY NOW*

Photography

Vignette: Judy Rosati

Josh Jenkins · January 23, 2017

"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Hand coloring black & white photographs may seem quaint or old-fashioned, yet in a time when we are inundated with digital imagery in our every waking moment, the virtues of such an approach are not difficult to understand: occasionally we need to rest our overexposed, weary eyes. Judy Rosati’s use of the technique has the effect of allowing us to view the busy world in slow motion and ponder what it must have been like before we were swallowed up by the media age.

"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Rosati’s approach has shifted recently to an even more informal, subjective use of color that introduces abstraction to what are determinedly representational images. In “Old Faithful” the familiar geyser in Yellowstone National Park is less tourist image than a study that blurs the distinctions of the natural world, rendering the kinetic motion as a surreal curtain being drawn across our field of vision, the subdued tones evoking nostalgia while simultaneously reducing depth and dimensionality.

Rosati shoots both film and digital, but her hand-colored photographs are printed from film negatives. “After the print is made, I use Marshall's Photo Oils and Prisma pencils, “ she explains. “My attempt to personalize my interpretation of the subject matter is evident by the spontaneous use of color, as well as the retention of some of the natural aspects of the original black, white and gray areas. No two photographs are exactly alike, making each one unique.”

"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

The artist is the owner of Judy Rosati's Fine Arts Photography LLC, a juried member of Louisville artisan's Guild--co-liaison (photographer) to web curator, Jury committee member; scholarship committee juror. Rosati is a Juried member of Kentucky Crafted--regular juried artist in Kentucky Arts Council shows, and an Artist member of Louisville Visual Art. She was a digital photography Instructor in Bellarmine's School of Continuing & Professional Studies for 11 years, and still gives private digital photography instruction.

Rosati’s work will be a part of the Kentucky Arts Council exhibit, Kentucky Visions at The Capitol, January-March 2017.

Hometown: Louisville, Kentucky
Age: 72
Education: Bachelor’s Degree (Art education; Health & Physical education), Western Kentucky University; Master’s Degree in Arts Education, Eastern Kentucky University
Gallery Representative: Edenside Gallery (Louisville)
Website: http://www.judyrosatiphotography.com/

"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

*"Parklands of Floyd's Fork in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015)*

Painting

Vignette: Devan Horton

Josh Jenkins · January 18, 2017

"Allure" by Devan Horton, 48x48in, oil on canvas (2015) $1000 | BUY NOW — *"Allure" by Devan Horton, 48x48in, oil on canvas (2015) $1000 | BUY NOW*

Artists see differently than most other people. The play of light across a surface may reveal a texture otherwise taken for granted, or an object takes on a new meaning.

In her series, Apophenia, Devan Horton provides an example that illustrates this idea in straightforward and accessible terms. “I examine instances in which one can mistake randomness for recognizable figures or features,” explains Horton, “…such as a broken tree branch appearing as a bird in flight. Nature has always inspired my work in both concept and form. “

“The majority of my pieces are environmentally centered and are about naturally occurring phenomena or behaviors. In the past, I have used live subjects such as swarms of animals, insects, and plants to portray a more active idea, where my current work is comprised of dead matter that focuses on the elimination versus the addition of something new.“

"Charred" by Devan Horton, 16x16in, oil on panel (2016) $600 | BUY NOW — *"Charred" by Devan Horton, 16x16in, oil on panel (2016) $600 | BUY NOW*

Horton’s technique is fairly realistic, but the compositions capture these natural objects or creatures in an idiosyncratic fashion, allowing a point-of-view that would be very difficult to emulate on our own. The flies would never remain conveniently clustered for us to inspect so closely, except in Horton’s rich amber environment, which holds them in place as if they are trapped in honey.

"Encroach" by Devan Horton, 48x36in, oil on canvas (2015) $900 | BUY NOW — *"Encroach" by Devan Horton, 48x36in, oil on canvas (2015) $900 | BUY NOW*

“By playing with techniques that make these objects appear more attractive, my work most often revolves around changes in perspective and viewing that which we look at negatively in a new light. I used traditional mediums and compositional techniques in these pieces to create the delusion that what we are observing, regardless of the object itself, is beautiful. By constantly questioning and altering our perceptions of this beauty, these works open our minds to accept the nontraditional.”

Horton currently has a solo show running through February 11th at the Erlanger Kenton County Library in Erlanger, Kentucky.

Recent Exhibitions:
Metamorphosis Exhibition, Portland Art and Heritage Fair, LVA, Louisville, KY (Group Exhibition)
Forces of Nature, Artifact Gallery, Newport (Group Exhibition)
DIY Group Exhibition, Kalopsia, Covington, KY
Juried Exhibition, 2016 Evendale Fine Arts Exhibit, Evendale Cultural Arts Center Cincinnati, OH
Juried Exhibition (Lily Simonson, juror), Indiana University East, Art + Science, Richmond, IN

Age: 23
Hometown: Covington, Kentucky
Education: BFA, Painting, Northern Kentucky University, 2016; while in school participated in a study abroad to Rome and Florence Italy.
Website: http://www.devanhorton.com

"Fallen Branch" by Devan Horton, 16x16in, oil on panel (2016) $500 | BUY NOW — *"Fallen Branch" by Devan Horton, 16x16in, oil on panel (2016) $500 | BUY NOW*

"Poison" by Devan Horton, 12x12in, bleach on fabric (2016) $100 | BUY NOW — *"Poison" by Devan Horton, 12x12in, bleach on fabric (2016) $100 | BUY NOW*

"Roots" by Devan Horton, 16x16in, oil on panel (2016) $500 | BUY NOW — *"Roots" by Devan Horton, 16x16in, oil on panel (2016) $500 | BUY NOW*

Fiber

Vignette: Kathleen Loomis

Josh Jenkins · January 17, 2017

***“My flags are somewhat the worse for wear.”* — *Kathleen Loomis***

"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW — *"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW*

Political art can be a misnomer; on some level all of art is, by its very existence, ‘political’, and more overt statements are often best realized in simple terms. In her most recent work, Kathleen Loomis has been working with the American flag, appropriate both in that she is a fiber artist, and that there is arguably no symbol that carries more emotional and thematic weight than the Red, White, and Blue.

"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000  | BUY NOW — *"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000 | BUY NOW*

“The flag is a stand-in for our country, so flags in distress convey feelings about the state of our democracy. Even beyond the disturbing recent elections, it seems that so many things in government and our legal system are going downhill. Maybe our nation and its democratic ideals aren’t as crisp and bright as they used to be; as a nation we are getting weary and have lost our mojo, so my flags are somewhat the worse for wear.”

Loomis’ statement may reveal a particular position, and the images are equally straightforward, yet they do not limit themselves by pointing to cause or solution. There are protocols for flying the flag that reinforce that it is also a vital tool for communication – flown upside down it is a symbol of distress to approaching forces, so co-opting it as a motif in visual art feels natural. “Kentucky Graveyard” and “Postage 3 Memorial Day” powerfully comment on the cost of freedom by echoing the flag-draped caskets of deceased military returning from foreign wars, while “More Equal Than Others” speaks to the inequity that has always been a struggle in American society. Loomis may have current events on her mind, but these themes are forever with us.

You can keep up with Loomis through a lively and informative blog on her website. Loomis joined Pyro Gallery in 2016, and is currently a part of the New Year, New Pyro Artists exhibit that runs through February 18, and will be participating in an Artist’s Gallery Talk there on Saturday, January 14, at 12:30pm.

Recent Exhibitions:
·     Indianapolis Museum of Art, Indianapolis, IN, Dialogues, 2016
·     Dairy Barn, Athens, OH, and on tour throughout the US, Quilt National ’15, ’11, ’09, and ’03 (Quilts Japan Prize, 2009)
·     Jasper Arts Center, Jasper, IN, Annual Juried Art Exhibits, 2001, 2004, 2006, 2011, 2015 (award of merit), 2011, Best in Show, 2015).

Hometown: Saginaw, Michigan
Education: BA in Journalism, Syracuse University; MSJ Northwestern University
Website: http://kathleenloomis.com

*"Kentucky Graveyard (Iraq)" by Kathleen Loomis, 71x60in, fiber (2006) NFS*

*"Postage 3: Memorial Day" by Kathleen Loomis, 86x100in, fiber (2008) NFS*

Vignette: Kayla Bischoff

“The universal language of humanity spanning across time and geography informs my work.”– Kayla Bischoff