Photography

Vignette: Ku Hone

“An air of alienation, desolation, despair, aloneness is often pungent in my photos.” – Ku Hone

"City under Abstraction" by Ku Hone, Photograph, 11x14in, 2016 $200

"City under Abstraction" by Ku Hone, Photograph, 11x14in, 2016 $200

Ku Hone is a photographer whose images encapsulate a fluid sense of place. His images seem to be taken at a very specific location, yet do not necessarily hold the information to identify exactly where we are. They are at once one, specific place and many other places. “Brooding Alley” includes what we assume is a street number, a salient detail by which to gain one’s bearings, but “Lines of Decay” and “Forms in White” speak on mostly abstract terms, the former image evidently modern architecture but the latter proves more elusive, much harder to pin down place or time except as an instance in the mind of the photographer.

Born in South Korea in 1974, Hone has been living in Louisville since 2010. His interest in photography started in early teenage years, but, while holding multiple academic degrees, he has received no formal training in art or photography.

"Lines in Decay" by Ku Hone, Photograph, 16x20in, 2017 $200

"Lines in Decay" by Ku Hone, Photograph, 16x20in, 2017 $200

“My work attempts to gain new perspectives on the ordinary. I believe that only in a state of confusion can one’s mind spring out towards a new direction. Objects, patterns and such are no longer amusing once one makes the association between the subject and a preconceived idea of the subject already in one’s mind. I often strive to de-construct space in order to gain new (and often confusing) views of ordinary objects. The ultimate goal of such attempts is to kindle the viewers’ imagination and help them appreciate the beauty of the mundane.

“I also thrive in empty space or void. I believe negative space is not simply used to counter-balance positive space but to facilitate a new creative space where the viewer is able to project oneself into the scene. In that sense, it is an invitation to explore and to contemplate. For this reason, simple and minimalistic compositions of lines, curves, geometrical shapes, symmetrical and asymmetrical patterns and textures are abundant in my work. I believe that our innate perception of beauty in nature and objects is based on recognition of basic forms and shapes found within them. And this is how arrangements of simple (and seemingly meaningless) forms can give rise to beauty, meaning, and ultimately, emotions.”

“My work harnesses the absurdity of life. It is what alienates oneself from the world and the life itself. However, one must live on in the face of absurdity, forever searching for the elusive Emperor’s clothes. I believe streets of urban life reflect this struggle. Abandoned objects and disintegrating walls clash with and clutter our life. Exotic and vivid colors clash with one another, juxtaposed with neutral tones. The old clashes with the new. I believe my job is to find beauty and balance in such scenes in an attempt to find hope in the absurdity.“

"Fantasia Nebbiosa" by Ku Hone, Photograph, 16x20in, 2017 $200

"Fantasia Nebbiosa" by Ku Hone, Photograph, 16x20in, 2017 $200

Hone is participating in Abstract in Kentucky, a Juried Exhibition running through February 24, 2018 at Kaviar Forge and Gallery in Louisville. He will also be a part of the Mellwood Art Center Spring Art Fair, February 24 & 25, and, later in 2018, the Open to Interpretation exhibit at the Community Arts Center in Danville, KY.

Hometown: Seoul, Korea
Education: BS, Environmental Toxicology, University of California, Davis, Davis, CA; MS & PhD, Toxicology, University of Rochester, New York
Website: https://500px.com/kuhone
Instagram: /ku_hone/

 

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"Brooding Alley" by Ku Hone, Photograph, 11x14in, 2017 $200

"Brooding Alley" by Ku Hone, Photograph, 11x14in, 2017 $200

"Forms of White (in Dark)" by Ku Hone, Photograph, 11x14in, 2016 $200

"Forms of White (in Dark)" by Ku Hone, Photograph, 11x14in, 2016 $200

"Mama I Feel The Void" by Ku Hone, Photograph, 11x14in, 2017 $200

"Mama I Feel The Void" by Ku Hone, Photograph, 11x14in, 2017 $200


Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Print Making

Student Showcase: Kathryn Combs

"Pope Lick Monster" by Kathryn Combs, Lithograph with screen print, 18x25in, 2017, $425

"Pope Lick Monster" by Kathryn Combs, Lithograph with screen print, 18x25in, 2017, $425

Although Kathryn Combs’ image is a simple, albeit dynamic, point-of-view of a train trestle, the incomplete fields of text that fill in the open areas of sky hint at something else; an urban folk legend placed in southeastern Jefferson County that positions the highly-placed train crossing as the home of a hybrid creature known as “The Pope Lick Monster.” The legend includes that the “sheepman” lured young people out onto the trestle, and the facts are that more than one tragic death is tied to the location, which the artist follows through on with grisly, yet enigmatic, suggestion.

"A Story About 1960" by Kathryn Combs, Lithograph, 18x10in, 2017, $200

"A Story About 1960" by Kathryn Combs, Lithograph, 18x10in, 2017, $200

“My work explores the relationship of individual history and common experience. In my art, I combine technology with traditional print media in the form of digitally rendered images put to a plate with any combination of lithography, screen printing, etching, drawing, collage and hand coloring. For each print I conduct intensive research, tapping into public records such as geographical maps, photo archives, and biographical databases. I am also inspired by firsthand accounts, local legends, and oral history. Using these resources, I compose images that contrast familiar scenes with unusual and uncanny features. I like using elements within my prints that play on the viewer’s visual literacy. Glassware and keys become shorthand for domestic life, historical photos of small towns are synonymous with Americana, and famous artworks are tantamount to our entire experience as viewers of art. I interrupt this visual code with color, drawing, and layering of visually represented data (e.g. maps or charts). These interruptions tip off the viewer that there may be more to the image than expected, and convinces them to take a second look.”

Combs uses archival photography to connote specific places and/or times from the past, attempting to connect history to present experience in a combination of collective memory and contemporary printmaking technique.

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Combs’ work will be included in the Senior Thesis Exhibition scheduled to open March 1st at the IU Southeast Barr Gallery in New Albany, Indiana, as well as the Annual Juried Student Art Exhibition, Juried Exhibition, Indiana University Southeast, which runs through February 18, 2018, and was curated by Amethyst Beaver (21c). 

Hometown: Crothersville, Indiana
Education: BFA candidate in Printmaking at Indiana University Southeast - Graduating in May
Website: www.kathryn-combs.com
Instagram:@kathryn.combs.art

 

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"Aaron" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017

"Aaron" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017

"Christi" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017

"Christi" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017

"Michelle" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017

"Michelle" by Kathryn Combs, From "Looking Longer" series, Screen print, 15x20in 2017


Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

Painting

Petersen Thomas Explores Mark Rothko

“I used to think Rothko’s work was about the emotive power of color and tone. I’m starting to think it’s about the paint.”– Petersen Thomas

Mark Rothko's Seagrams paintings at London's Tate Gallery.

Mark Rothko's Seagrams paintings at London's Tate Gallery.

The Bunbury-ShPIeL Identity Theatre is proud to present RED by John Logan. RED is the story of Mark Rothko, a Russian Jewish immigrant, who took the American modern art scene by storm in the 1950s. The play focuses on a period in which Rothko worked on the famous Seagram’s murals, commissioned by architect Philip Johnson for his prestigious new Seagram Building. When finished, he refused to deliver them, and the exact reasons are still a point of discussion. Some scholars believe that Rothko created the paintings with the understanding that they would be placed in the main lobby, and that once he was informed that the paintings would instead be installed in the adjoining Four Seasons Restaurant, he was offended. Others are of the opinion that he always knew of the location and had his own, enigmatic reasons for not delivering the pieces; reasons about which we can only now speculate. Nine of the paintings are now in residence at the Tate Gallery in London, delivered there on the morning of Rothko’s suicide in 1970.

Photo by Sarah Katherine Davis Photography 

Photo by Sarah Katherine Davis Photography

 

Painter Petersen Thomas became involved in the production through Louisville Visual Art, providing technical assistance - the two actors, portraying Rothko and his assistant, must finish constructing and then begin painting an 8’ x 8” canvas onstage, and some degree of expertise on Mark Rothko. “I am by no means any kind of ‘expert on Rothko, but he has always fascinated me.”

The collaboration began with time in Thomas’ downtown studio, where he “schooled” actors J. Barrett Cooper and Brandon Meeks about the methods and studio practice they are required to emulate onstage.

Director Steve Woodring and Scenic Designer Tom Tutino also prevailed upon Thomas to execute mock Rothko paintings for the set, Rothko’s New York City studio in 1958 (the rights to produce the play allow for facsimile representations but not reproductions of Rothko’s work). Thomas actually painted these in the backstage area at the Henry Clay Theatre.

"Clementine" by Petersen Thomas, Acrylic on canvas, 48x60in, $2000

"Clementine" by Petersen Thomas, Acrylic on canvas, 48x60in, $2000

Thomas paints in different styles, but his heart is perhaps most in abstract expressionism, so his affinity for Rothko comes naturally. Red has been a dominant color in some of his work, such as “Clementine,” pictured here, which is typical of the larger-scale, color field work, although there are also cooler hues in his diminutive, “Lenith Series.”  

It is this work that gave Thomas the foundation to jump into the deep end with his exploration of Rothko. “Rothko is a perfect touchstone for so many tropes in modern art,” explains Thomas. “For instance, someone might look at his work and say, ‘I could do that.’ - Wanna bet? There is so much happening on the canvas, but it looks and feels so simple. That is incredibly hard to do. He was a virtuoso.”

"Lenith VII1" by Petersen Thomas, Acrylic on canvas, 8x8in, $75

"Lenith VII1" by Petersen Thomas, Acrylic on canvas, 8x8in, $75

“For me, Rothko embodies self-doubt.  When he landed the Seagram commission, he was as revered as a living artist could be. But in response, he makes this wild gesture about the integrity of art. It was the ultimate “fuck you” to the art world. But why? Did he truly believe that the paintings were sacred? Or was that a pose? Trying to figure out the difference between genius and fraud, self and persona, is the fastest way I know to bring you face to face with the abyss.”

So what did Thomas learn about Rothko that he didn’t already know? What insight did the experience of RED provide about one of the most famous artists of the 20th century? “I used to think Rothko’s work was about the emotive power of color and tone. I’m starting to think it’s
about the paint.”

Performance schedule for the Bunbury-ShPIeL Identity Theatre production of RED at the Henry Clay Theatre, 3rd & Chestnut:

Backstage studio for RED.

Backstage studio for RED.

February 16, 17, 22*, 23, 24,
March 1*, 2, & 3 at 7:30pm
February 18*, 25**, & March 4 at 2:00pm        

*Denotes post-show talkback, **Panel discussion

Thomas was the artist in Residence at Roma Kungsgarn, Gotland Sweden and received the Governor’s Award for Excellence at the Governor’s Art Show in Columbus, Ohio. Exhibitions include: New Art on Newbury, Boston, MA, MiSh Gallery, Columbus, OH, Lemongrass Gallery, Columbus, OH, NorDys Gallery, Birmingham, AL, Karen Lynne Gallery, Boca Raton, FL, “The Nude 2002,” Loudoun House Gallery, Lexington, KY, Drawing from Perception IV, Wright State University Art Galleries, Dayton, OH, and Fidelity Investment Building, Boston, MA.

Hometown: Louisville, Kentucky
Education: BA, Denison University, Ohio; JD, University of Michigan. 

 

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"Lenith 1" by Petersen Thomas, Acrylic on canvas, 8x8in, $75

"Lenith 1" by Petersen Thomas, Acrylic on canvas, 8x8in, $75

"Lenith V" by Petersen Thomas, Acrylic on canvas, 8x8in, $75

"Lenith V" by Petersen Thomas, Acrylic on canvas, 8x8in, $75


Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Order tickets here.

Order tickets here.

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

Ceramics

Vignette: Didem Mert

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"Stacked Bowlin' " by Didem Mert, Mid-range stoneware, 15x9x9in, 2016, between $73-$77 each

"Stacked Bowlin' " by Didem Mert, Mid-range stoneware, 15x9x9in, 2016, between $73-$77 each

Didem Mert lists no less than twenty separate galleries representing her in fifteen states. It is savvy marketing in any time, but especially in a period where selling art has been difficult, which may explain why she is considered one of the hottest potters working in America today. It certainly points to an ambitious creative and prodigious output, which is reinforced by the busy schedule of upcoming exhibits for the first three months of 2018:

• 33rd Alabama Clay Conference, Montgomery, AL.
• (in)Visable, to be determined (Pittsburgh, PA NCECA Conference).
• Companion Gallery Collaborations, Union Project, Pittsburgh, PA. (NCECA)
• Emerging Exhibition, The Ohio Craft Museum, Columbus, OH.
• Lillstreet Gallery Expo at 52nd NCECA, Portland, OR.
• Valentine's Day Show, Clay AKAR, Iowa City, IA.

Additionally, Mert is an Instructor at Baker-Hunt Art and Cultural Center, Covington, KY, and at Queen City Clay, Cincinnati, OH.

“Being the daughter of a woodworker, I was raised in a design-rich environment that has influenced who I am and my current body of ceramic work. Geometry, texture, and the functionality of my work emanates from this artistic environment.  Different textural surfaces are created in my work by using pinched marks juxtaposed between smooth, defined lines and edges. Bright colors paired against a soft earthy color palette create high-contrast focal points in the work. Using simple geometry, I sgraffito* line-work into the pots to heighten the formal elements of design. The simple line-work on the pots showcases food in its presentation.” 

"Bling Sunrise Tipsy Sippin' Cup" (with detail) by Didem Mert, Mid-range stoneware, 3x3x3in, 2016, $67

"Bling Sunrise Tipsy Sippin' Cup" (with detail) by Didem Mert, Mid-range stoneware, 3x3x3in, 2016, $67

“My work strives to bring forth a sense of tranquility in its minimalistic design, yet there is a sense of playfulness directed through the color palette and pinched surfaces.” The playfulness is most evident in Mert’s tips sipping cups, which have rounded bottoms that might challenge a user filling them with spirits. An inability to keep the cup upright could be taken as a sign to call it an evening.

Mert will be participating in the first Southern Crossings Pottery Festival (SXPF). SXPF will take place March 2 & 3, 2018 at Copper & Kings in the Butchertown neighborhood of Louisville. The event will showcase potters in the Ohio River Region, including Lexington, Cincinnati, and more. The festival will also include the Empty Bowls Benefit Dinner @PLAY Louisville on March 3, 2018.

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* A form of decoration made by scratching through a surface to reveal a lower layer of a contrasting color, typically done in plaster or stucco on walls, or in slip on ceramics before firing.

 

Hometown: Cincinnati, Ohio
Education: BFA, Ceramics, Northern Kentucky University 2014; MFA, Ceramics, Edinboro University of Pennsylvania 2017
Website: www.didemmert.com
Instagram: didemmert_pottery
Gallery Representation: Cincinnati Art Underground, Wooden Hill, (Cincinnati, OH).

"Bling Tipsy Sippin' Cup Set" by Didem Mert, Mid-range stoneware, 9x13x6in, 2016, $227

"Bling Tipsy Sippin' Cup Set" by Didem Mert, Mid-range stoneware, 9x13x6in, 2016, $227

"Pur-Peel Butter Get Some" by Didem Mert, Mid-range stoneware, 7x2.5x3in, 2016, $93

"Pur-Peel Butter Get Some" by Didem Mert, Mid-range stoneware, 7x2.5x3in, 2016, $93

"Pinky Winky Sunrise Oval Bowlin' " by Didem Mert, Mid-range stoneware,9x11x9in, 2016, $93

"Pinky Winky Sunrise Oval Bowlin' " by Didem Mert, Mid-range stoneware,9x11x9in, 2016, $93


Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

Mixed Media

Vignette: Curtis Uebelhor

"1894 World Geography Redacted" by Curtis R. Uebelhor, Mixed media, 12x18x1.5in, 2015, collection of Jeremy Efroymson

"1894 World Geography Redacted" by Curtis R. Uebelhor, Mixed media, 12x18x1.5in, 2015, collection of Jeremy Efroymson

When Curtis Uebelhor was last on Artebella (July 2014), we described him as a “mixed media“ artist, but the word “interdisciplinary” has since gained usage and seems perhaps more apt. Like so many creative, Uebelhor seems to have a restless imagination that is not easily contained by any one medium. He is best known for his found-object constructions:

“I usually strive to utilize my fondness for ‘stuff’ by being very selective in the objects I pick for individual artworks.  An idea may lay dormant for quite some before just the right object(s) is found or decided upon. Such is the case for ‘Latchkey # 2’ and ‘1894 World Geography-Redacted’. The keys, faux marble blocks, photograph and textbook had been in my possession for quite some time.”

"Willard Carpenter Home- Drive-by Archeology" by Curtis R. Uebelhor, Mixed media, 24x30x1.5in, 2017,  $350.00

"Willard Carpenter Home- Drive-by Archeology" by Curtis R. Uebelhor, Mixed media, 24x30x1.5in, 2017,  $350.00

“With the recent Drive-By Archeology Series I have departed from that work plan somewhat by limiting the objects used in a specific collage to only things collected at a specific site on a specific date. The series started in 2012 when I filled in as interim director of the New Harmony Gallery of Contemporary Art and was staying in town during the week at a private residence, and then at the USI guesthouse. I collected bits of ephemera from the yard of those houses and took photos of both places. Being in that historic town and revisiting the Historic New Harmony sites and the Working Men’s Institute and its plethora of odd and interesting collections became a starting point for this series that continues to evolve. The element of chance is an important part of these pieces; how to interpret what is found to make a cohesive composition shifts my role as curator from judiciously selecting items from an existing collection of objects to quickly jurying objects in or out of a collection as they present themselves ‘in the field’. “

“Willard Carpenter Home” and “Willard Library”, both seen here, are the most recently completed works in this series.

The artist here shares two pieces, “Focus, Please Focus,” and “Le Grande Bicentennial Tribute,” that are distinctly different from his sculptures, 2-D works that use intense color and patterns of shape in a whimsical manner.

“A sense of humor or playfulness is pervasive even when tackling serious topics like climate change, gender issues and our current political scene.”

"Focus, Please Focus" by Curtis R. Uebelhor, Acrylic on canvas, 24x30in, 2017, $300.00

"Focus, Please Focus" by Curtis R. Uebelhor, Acrylic on canvas, 24x30in, 2017, $300.00

Uebelhor currently has a one-person exhibition: Hunting and Gathering, at St. Meinrad Archabbey Library Gallery in St. Meinrad, IN that continues through February 20, 2018. He also has two sculptures in: The Chair: writ small - Invitational Exhibition, University of Southern Indiana, McCutchan Art Center, which runs through February 19, 2018

Hometown: Ferdinand, Indiana
Education: BS, Art, University of Southern Indiana; MFA, Sculpture, Southern Illinois University Edwardsville; Teaching Certification, University of Southern Indiana
Gallery Representation: New Harmony Gallery of Contemporary Art, Arts Council of Southwestern Indiana

"Latchkey II" by Curtis R. Uebelhor, Mixed media, 15x12x1.5in, 2015, $300.00

"Latchkey II" by Curtis R. Uebelhor, Mixed media, 15x12x1.5in, 2015, $300.00

"Willard Library-Drive-by Archeology" by Curtis R. Uebelhor, Mixed media, 24x30x1.5in, 2017, $350.00

"Willard Library-Drive-by Archeology" by Curtis R. Uebelhor, Mixed media, 24x30x1.5in, 2017, $350.00

"Le Grande Bicentennial Tribute" by Curtis R. Uebelhor, Acrylic on handmade paper 26x36x1.5in, 2016, $400.00

"Le Grande Bicentennial Tribute" by Curtis R. Uebelhor, Acrylic on handmade paper 26x36x1.5in, 2016, $400.00


Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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