Mixed Media

Vignette: Philip High

"City by the River" by Philip High, Acrylic and mixed media on wood panel - Painted paper collage. 40x29.75in, 2018, $1400

"City by the River" by Philip High, Acrylic and mixed media on wood panel - Painted paper collage. 40x29.75in, 2018, $1400

Even before he called himself “artist”, Philip High was a collector. It is such a common characteristic for artists for at least the last 100 years or so, certainly since Marcel Duchamp made us view seemingly ordinary and mundane objects through a different lens. Art makers were recycling materials long before it became fashionable.

For High, these items are both inspiration and medium: “Rocks, seed pods, scraps of metal and paper, thoughts personal and proverbial, and more, have all filled boxes and notebooks or been on display at some point. For me, they serve as objects of wonder and contemplation, reminding me that every form we perceive is a record of the unseen forces that created it.”

"Ethereal Picnic" by Philip High, Sumi-e and mixed media on aluminum, 24x18in, 2017, $700

"Ethereal Picnic" by Philip High, Sumi-e and mixed media on aluminum, 24x18in, 2017, $700

“Similarly, my art combines collected visual fragments from nature and personal experience – both objective and abstract – in a search for relationships that activate the imagination and suggest meaning.”

“I prefer to work in mixed media - also reflecting my eclectic tendencies – incorporating conventional and unconventional materials and techniques such as: acrylic painting on Tyvec collage, sumi-e on aluminum, monotype, digital drawing, found wood, and concrete. Broadly, they fall into three categories: works on paper, wall-hung assemblage, and freestanding constructions.”

High’s works are dense visual constructions that incorporate all of these collected intelligentsia, highly personal assemblages of color, texture, and form that achieve a crucial balance of the cerebral and the visceral. The relationships are seductive but built upon a tight schematic foundation that echoes the discipline of Zen meditation. There is a profound sense of peace to be found there.

After graduating from the University of Kentucky, High moved to Atlanta, Georgia where he began a career in graphic arts. He returned to Lexington in 1989 and in 2012 moved to Louisville where he now lives. He is currently working on a Triptych commission for a medical center in Virginia, and four of his pieces have been added to the University of Kentucky Medical Center collection.

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He has received regional, National and International awards for fine art and illustration in both traditional and digital media, as well as two Professional Assistance Grants from the Kentucky Arts Council.

On September 29, High will be part of the Louisville Visual Art’s Juried Exhibit in the 2018 Portland Art & Heritage Fair. The exhibit will be available for viewing at the Marine Hospital from 11am-5pm. Jury prizes will be awarded at 2:00pm.

Hometown: Louisville, Kentucky
Education: University of Kentucky, Fine Art: painting, 3 years, degree uncompleted.
Website: philiphigh.com
Instagram: highphilip/
Gallery Representation: Main-Cross Gallery, Lexington, KY, Mulberry and Lime, Lexington, KY, New Editions Gallery, Lexington, KY, Zephyr Gallery, Louisville, KY

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"In The Shallows" by Philip High, Acrylic and mixed media on Tyvek, 21x26in, 2015, Sold

"In The Shallows" by Philip High, Acrylic and mixed media on Tyvek, 21x26in, 2015, Sold

"The Labyrinth Makers" by Philip High, Mixed media assemblage, 31x50in, 2017, $2400

"The Labyrinth Makers" by Philip High, Mixed media assemblage, 31x50in, 2017, $2400


Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved. In addition to his work at the LVA, Keith is also the Managing Editor of a website, Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Fiber

Vignette: Joanne Weis

“…respect for and celebration of the world we were given is the story I want to record.” – Joanne Weis

"The Banks of Pope Lick" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 32x18in, 2018, $350

"The Banks of Pope Lick" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 32x18in, 2018, $350

Arguably, all art is storytelling. Even the most singular or abstract image is at least an element of a larger narrative. Joanne Weis is a textile artist working with non-representational components to create broad, elemental compositions that represent something. In the examples we see here, Weis is looking at rivers and streams but, even more importantly, the life of those waterways. Mussels juxtaposed with barges, clover growing on the riverbanks, and fish swimming alongside – even the intricate web of color at the bottom of “The Banks of Pope Lick” are suggestive of the network of organisms found within any organic body of water. The textures of fabric, whether natural or imposed by technique, speak the story of the worlds beneath the water’s surface, away from our hearing.

“My recent work demonstrates my awareness of the links between the earth’s environment and the spiritual.”  

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“I start with white fabric and cord,” Weis explains her process. “Then develop the piece using a variety of dyeing and printing techniques. The final layer is typically stitched with dyed cords, adding detail and texture. I get excited about every phase of the creative process – choosing and researching the subject matter, selecting the fiber, experimenting with techniques to achieve the look I want, handling, even smelling the silk, linen, hemp or other fabric, discovering new colors with dye, making composition and design decisions as the work grows, stitching into the cloth, touching the embroidered textures of the finished piece – all of these are thrilling and fulfilling. Most rewarding is when this art graces someone’s wall.”

“With this in mind, respect for and celebration of the world we were given is the story I want to record.”

Weis currently has a piece in the Fall of the Leaf Autumn Art Show at Kaviar Forge & Gallery in Louisville through October 13, 2018

On September 29, Weis will be part of the Louisville Visual Art’s Juried Exhibit in the 2018 Portland Art & Heritage Fair. The exhibit will be available for viewing at the Marine Hospital from 11am-5pm. Jury prizes will be awarded at 2:00pm.

Hometown: Cranston, Rhode Island
Education: BA English and Education, Salve Regina University, Newport, RI; MA, Fine Arts, focus on fiber; University of Louisville, KY, 2010; MSW, Washington University St. Louis, MO; Art Cloth Mastery Program, with Jane Dunnewold, 2009, ArtCloth Studio, San Antonio, TX.
Website: joanneweis.com

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"Mussels Under and Barges Over the Ohio" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 20x43in, 2018, $400

"Mussels Under and Barges Over the Ohio" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 20x43in, 2018, $400

"Clover by the Salt River" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 40x22in, 2018, $400

"Clover by the Salt River" by Joanne Weis, Textile - Hemp, Hand Dyed, printed, appliqued and stitched, 40x22in, 2018, $400

"Water Dance, Floyds' Fork" by Joanne Weis, Cotton, hand dyed, printed, stitched, 26.5x46in, 2018, $400

"Water Dance, Floyds' Fork" by Joanne Weis, Cotton, hand dyed, printed, stitched, 26.5x46in, 2018, $400


Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved. In addition to his work at the LVA, Keith is also the Managing Editor of a website, Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Painting

Vignette: Debra Lott

"No Strings Attached" by Debra Lott, Oil on Canvas, 48x48in, 2018

"No Strings Attached" by Debra Lott, Oil on Canvas, 48x48in, 2018

Debra Lott’s most recent Artist’s Statement begins by recognizing that she, “is recognized for her figurative paintings that feature and uplift women. “ It’s a true enough statement, and the observation of her women is filled with tenderness and vulnerability. Because her human subjects are always female, one might imagine that she views these characteristics as inherent to women, yet an extended view of her work somehow expands our sense of her themes to be more universal than that.

In her most recent exhibition at Pyro Gallery, Lott places her work in the context of the current “#METOO” movement where she, “reveals pivotal moments when women break free from the culture of sexual harassment.” In these images, the artist once again makes the connection between that vulnerability and how it is the root of strength and resiliency. We grow from the recognition of our frailty.

“For me this exhibit encourages victims, gives them a voice and promotes healing and hope. The inspirations for this series are the women breaking the silence of sexual abuse. They are the community of survivors who are in the process of healing and moving forward together. “

“The subjects of these paintings represent ‘The Silence Breakers’. I’ve incorporated white ribbons and cords into the paintings as symbols of bondage –the ‘attached strings’ that have manipulated women and muffled their voices. The ribbons are unraveling; they are breaking. The paintings celebrate women standing together, leaning on and aiding one another to encourage healing.”

"Breaking the Ties That Bind" by Debra Lott, Oil on Canvas, 36x72in diptych, 2018

"Breaking the Ties That Bind" by Debra Lott, Oil on Canvas, 36x72in diptych, 2018

Lott’s new exhibition, #MeToo "From Silent to Resilient" - New Paintings by Debra Lott, with guest artists Meg White and Rachel Gibbs, runs September 6 through October 20, 2018, with a First Friday Reception on September 7th 6:00 - 9:00 pm, and a Sunday Afternoon Reception September 9th 1:00-4:00.

Selected Adjudicated Exhibitions:

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2017 - Owensboro Museum of Fine Art, OAG 55th Juried Exhibition, Owensboro, KY, February 25-April 14, 2017 - Lexington Art League, Demographically Speaking, A Figurative Exhibition, Lexington, KY, January13-February 12, 2017
2016 - Art Comes Alive 2016, ART Design Consultants Inc. Cincinnati, OH, July 23-August 29, 2016 Figurative Artist of the Year Award
2015 - The Chautauqua National Exhibition, Eastern Kentucky University, Richmond, KY 1/26/2015-2/20/2015

Hometown: Lake Worth, Florida
Education: MAT with a concentration in painting, Florida Atlantic University, a BA in Art Education, Palm Beach Atlantic University
Gallery Representation: PYRO Gallery
Website: debralott.com/

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"Breaking Point" by Debra Lott, Oil on canvas, 20x30in, 2018


Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved.In addition to his work at the LVA, Keith is also the Managing Editor of a website, Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Painting

Vignette: Catherine Bryant

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"Louisville Bridges" by Catherine Bryant, Oil on canvas, 11x14in, 2018, $600

The landscape artist, in particular, the plein air painter, must venture out into the world to satisfy their creative drive. It doesn’t always mean tying down their easel to brave fierce winds or painting in polar fleece in freezing temperature; modern day artists retire to the well-heated studio and other subjects, but the ever-diminishing seasonal transitions demand their attention.

When we review the work of Catherine Bryant, one of the region’s most notable landscape painters, that desire is communicated with abundant clarity. The natural world is a living organism, changing with each passing day. We know this in our bones, but Bryant seems preternaturally in tune with it in a way that forces the rest of us to understand how much we take it for granted. And her Instagram account attests to her dedication, with images of paintings completed just three days ago.

"Peaceful Morning" by Catherine Bryant, Oil on canvas, 24x36in, 2018, $2150

"Peaceful Morning" by Catherine Bryant, Oil on canvas, 24x36in, 2018, $2150

In her Artist’s Statement, Bryant explains how she finds plein air painting to be crucial in developing skills for making quick decisions in, “simplifying composition, value assessment, and color acuity, all the while completing a painting within 2 / 2 ½ hours.” Skills she carries with her into the studio during the winter months, during which she turns her attention to still life and portraits.

Like most contemporary landscape painters, she also accepts humankind’s contribution, folding in architectural elements, the barns and fences of the farmland, the bridges and barge traffic on the Ohio River; our hand in altering the environment has become as meaningful as the ancient topography that is the foundation of all such compositions.

Included here are a series about the many bridges connecting Kentucky and Indiana that are woven throughout Louisville. They are a commission through Zephyr Gallery for the Kentucky International Convention Center, which just reopened after a $207 million renovation.

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On September 29, Bryant will be part of the Louisville Visual Art’s Juried Exhibit in the 2018 Portland Art & Heritage Fair. The exhibit will be available for viewing at the Marine Hospital from 11am-5pm. Jury prizes will be awarded at 2:00pm.

Ms. Bryant teaches her passion for painting at Preston Arts Center on Bardstown Road, and in her private studio. 

Hometown: Louisville, Kentucky
Education: BA, University of Louisville
Gallery Representative: Jane Morgan Gallery; Edenside Gallery; Kentucky Museum of Art & Craft, and Hoosier Salon (Louisville) Broad Ripple Gallery (Indianapolis)
Website: http://www.catherinebryantart.com/
Instagram: https://www.instagram.com/catherinebryantstudio/

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"Overlook Magic" by Catherine Bryant, Oil on canvas, 11x14in, 2018, $600

"Overlook Magic" by Catherine Bryant, Oil on canvas, 11x14in, 2018, $600

"Louisville Bridges #2 (Lincoln)" by Catherine Bryant, Oil on canvas, 30x40in, 2018, POR

"Louisville Bridges #2 (Lincoln)" by Catherine Bryant, Oil on canvas, 30x40in, 2018, POR

"Final Resting Place" by Catherine Bryant, Oil on canvas, 11x14in, 2018, POR

"Final Resting Place" by Catherine Bryant, Oil on canvas, 11x14in, 2018, POR


Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved.In addition to his work at the LVA, Keith is also the Managing Editor of a website, Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Painting

Feature: Gaela Erwin at the British National Portrait Gallery

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Louisville artist Gaela Erwin was selected for the highly prestigious British National Portrait Gallery’s BP Portrait Award 2018 Exhibition. Erwin flew to London in June to attend the opening, and the exhibit is on display through September 23, 2018.

This was Erwin’s second consecutive entry into the BP NPG show. “They only accept oils and I had been working in pastel for three and a half years,” she explains. “During that time I was able to dabble in oils a bit to try to get my skills back. I typically will alternate the two mediums exclusively over long periods of times. I switched back to oils and put away my pastels in earnest to qualify for this competition.”

"Portrait of Neema Tambo" by Gaela Erwin, Oil on panel, 48x36in, 2018

"Portrait of Neema Tambo" by Gaela Erwin, Oil on panel, 48x36in, 2018

The accepted painting, “Portrait of Neema Tambo”, is an image of a woman who has been featured in at least one other of Erwin’s work. “Licia and Neema” which was a part of the artist’s 2016 exhibit at The Speed Museum, Reframing The Past. In contrast to the posed, costumed figures depicted against scenic backdrops that populated that show, “Portrait of Neema Tambo” is plain and straightforward, bereft of ornamental detail, Tambo stares directly at the viewer in an almost confrontational manner that holds us firmly in its thrall.

“It is quite significant that a Louisville artist has made a successful entry into this competition,” states Curator John Begley, formerly of Louisville Visual Art and the Hite Institute of Art. “Getting into this show is no small feat; there is an extensive double jury process, including shipping the actual piece to London if you make it to the second round. Its a great expense without guarantee of final success to the artists, particularly for those outside of Great Britain.”

The BP Portrait Award is generally considered to represent the very best in contemporary portrait painting. With a first prize of £35,000 ($44,500), and a total prize fund of £74,000 ($94,000), the “Award is aimed at encouraging artists to focus upon and develop portraiture in their work. Over the years this has attracted over 40,000 entries from more than 100 countries”.

The BP Portrait Award is in its thirty-ninth year at the National Portrait Gallery and twenty-ninth year of sponsorship by BP. Since its launch it has been seen for free by over 6 million people.

The exhibit is at St. Martin’s Place in London, England, before it travels to Wolverhampton Art Gallery (Oct. 13 — Dec. 2) the Scottish National Portrait Gallery (Dec. 15 — Mar. 10, 2019) in Edinburgh, and the Cartwright Hall, Bradford, England (March-June 2019).

The competition was judged from original paintings by this year’s panel:

Dr. Nicholas Cullinan, Director, National Portrait Gallery (Chair)
Dr. Caroline Bressey, Cultural and Historical Geographer, University College London
Rosie Broadley, Head of Collection Displays (Victorian to Contemporary) and Senior Curator, 20th-Century Collections, National Portrait Gallery
Glenn Brown, Artist
Rosie Millard, Journalist and Broadcaster
Des Violaris, Director, UK Arts & Culture, BP

"Licia and Neema" by Gaela Erwin, Pastel on paper, 68x48in, 2016

"Licia and Neema" by Gaela Erwin, Pastel on paper, 68x48in, 2016


Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved

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