Painting

Vignette: Hallie Brunson

 "Stormy Night" by Hallie Brunson, acrylic, 10x8in, 2013, $65

"Stormy Night" by Hallie Brunson, acrylic, 10x8in, 2013, $65

Painters have used more than brushes in the application of paint for generations now, and it became particularly noticeable in 20th century Modern Art with the move into abstraction and unorthodoxy. Hallie Brunson uses a palette knife to a significant degree, and there are times when the technique injects her images with a vigorous, almost kinetic energy resulting strictly from that rough and rustic application. The wind-blasted rocks surrounding the lighthouse of “Stormy Night” are reflected in the tempest of palette marks, and “The Green Door” suggests the movement of the sunlight across the surfaces. These are perhaps the strongest examples of this quality

Brunson began painting under the direction of Janice Miller at the Wood Shack in Garrard County. "The best advice given to me at the time was 'get in....get out' teaching me not to overwork my paintings," says Brunson. "Janice introduced me to painting with a palette knife and I was set free!”

 "Bridge Over The Brook" by Hallie Brunson, acrylic, 8x10in, 2017, $65

"Bridge Over The Brook" by Hallie Brunson, acrylic, 8x10in, 2017, $65

The artist exults in the spontaneity of the approach: “I love the texture and boldness of painting with the knife, it is my favorite means of expression in my painting.  Although I love the palette knife and acrylics I also paint in oil and watercolor."

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Brunson has won several awards for her artwork and has taught classes in palette knife painting. Her work is currently available direct from the artist or from the Gift Gallery in Lancaster KY.

 

Hometown: Lancaster, Kentucky
Website: garrardarts.com
Gallery Representation: The Gift Gallery (Richmond, Kentucky)

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 "Stormy Night" by Hallie Brunson, acrylic, 10x8in, 2013, $65

"Stormy Night" by Hallie Brunson, acrylic, 10x8in, 2013, $65

 "In The Meadow" by Hallie Brunson, acrylic, 11X14in, 2017, $125

"In The Meadow" by Hallie Brunson, acrylic, 11X14in, 2017, $125

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

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Photography

Vignette: Dolly Miller-Brennan

“It is the journey, not the destination.” Dolly Miller-Brennan

 "Christmas With Ava At Arabian Acres" by Dolly Miller-Brennan, photography, 20x24in, 2017, $600

"Christmas With Ava At Arabian Acres" by Dolly Miller-Brennan, photography, 20x24in, 2017, $600

Photographer Dolly Miller-Brennan embraces that well-used maxim without irony; it aptly fits her experience. Born in southern Illinois of Kentucky parentage and ancestry, she was raised in southern Indiana and western Kentucky.

“My love of photography began at age 3 sitting for what seemed like hours for my photographer/truck driver/horse trainer father”. Being allowed into the dark room with Daddy and seeing the awesome finished results made me want to be behind the camera and not in front of it.”

When Miller-Brennan photographs horses, she captures them in unique moments that stand apart from the abundance of other equine images that one encounters in Kentucky. That’s an accomplishment in The Bluegrass State, where photographs and paintings of thoroughbreds are ubiquitous. Perhaps that individual point-of-view emanates from the fact that some of these horses were photographed outside of Kentucky.

 "Westward Ho" by Dolly Miller-Brennan, photography, 24x20in, 2016, $350

"Westward Ho" by Dolly Miller-Brennan, photography, 24x20in, 2016, $350

“Returning to my roots where I grew up on a truck, with horses and a camera re-created in me the desire to impart the feelings of the animals, the aura of the area and the spirit of the people involved, to those who view my images. This established an emotional and spiritual perspective to see the world around me as one spiritual all engulfing abstraction; becoming so involved when out in the field that I sometimes can not feel my surroundings but lost in the soul of what I am shooting. I want the viewer to be able to step into that picture and become part of it. I want to bring my world and my art to real people, that makes us feel integrated with each other. There should be no separation from art and the real world for the world is a glorious masterpiece of art, created by God for us to love and enjoy.”

That a camera captures a moment in time, arresting motion, goes without saying, but Miller-Brennan’s horses almost occupy the place of close friends, since her images communicate not only the beauty and power of the movement, but also a relationship to the viewer. “Eye in the Sand” is notable for the intimate, unorthodox take on a horse at play, an unguarded joy evident in the creature’s eye that easily engages us.

 "Eye In The Sand" by Dolly Miller-Brennan, photography, 24x20in, 2015, $350

"Eye In The Sand" by Dolly Miller-Brennan, photography, 24x20in, 2015, $350

Miller-Brennan is a member of the El Paso Art Association, Southwestern Indiana Arts Council, (Evansville Indiana); The Tri State Art Guild, (Angel Mounds Indiana), including Southern Indiana, North Western Kentucky and South Eastern Illinois; the Richmond Area Arts Council, (Richmond, Kentucky); Louisville Visual Arts, (Louisville, Kentucky).

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Hometown: Robinson, Southern Illinois
Education: BA’s in Political Science and Studies in Photography, University of Wisconsin
Website: http://www.brennanartography.com/
Gallery Representative: The Village Framery (Palestine, Illinois); The Red Lantern Gallery (Poseyville, Indiana)

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 "Door To Knowledge" by Dolly Miller-Brennan, photography, 20x24in, 2017, $350

"Door To Knowledge" by Dolly Miller-Brennan, photography, 20x24in, 2017, $350

 "Run With The Wind Kentucky" by Dolly Miller-Brennan, photography, 20x24in, 2015, $350

"Run With The Wind Kentucky" by Dolly Miller-Brennan, photography, 20x24in, 2015, $350


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

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Print Making

Vignette: Elizabeth Foley

"Making the work becomes a journey of balance in and of itself." - Elizabeth Foley

 "Enso-Clarity" by Elizabeth Foley, woodcut and collagraph, 26x38in, 2015, NFS

"Enso-Clarity" by Elizabeth Foley, woodcut and collagraph, 26x38in, 2015, NFS

“My work focuses on the interplay of lives and the concept of life-balance, explains Elizabeth Foley. “I explore the circle as a resolved but potentially irregular shape, representing both the balance and variety we all strive for in our lives. How is wholeness achieved and what tips the circle off center? What distracts from the main circle? Does wholeness come at the price of predictability?” 

Printmaking need not avoid explorations of depth in form and space, yet it would appear to be a common trend in contemporary art that prints be concerned with surface, texture, pattern, and field. Of course, this technical and compositional observation doesn’t restrict depth in subject or theme. Much to the contrary, the embrace or even celebration of 2-dimensional surface art by working print makers calls attention to the profundity of abstract and limited representational imagery. Foley shows how much the opportunity for suggestion and meaning in her work depends on the invitation to the viewer inherent in abstraction.

 "Revolving" by Elizabeth Foley, woodcut collagraph, 21x21in, 2017, $600 (unframed)

"Revolving" by Elizabeth Foley, woodcut collagraph, 21x21in, 2017, $600 (unframed)

“The vibrant dialogue between shape, color, and pattern invites viewers into the work. I create spaces in which the viewer feels involved in the work: being both delighted and challenged. The colors activate the imagination; they influence and play off each other in order to shift and tilt planes of information. Overlapping transparencies create the illusion of distance and scale, as well as deepening relationships between shapes.”

Foley uses relief, monoprint, and collagraph techniques together to make unique images from the same plates – “a potential template for life balance”. She is currently exhibiting in "Venn Diagram" Work by Blake Snyder Eames & Elizabeth Foley, running through December 18, 2017 at The Grand Theater, Frankfort, KY, and will be participating in the Sixth Annual Black Friday Art Sale at Loudoun House in Lexington, December 1 from 6-9pm and December 2 from 2-7pm

Foley was also selected to be a part of the inaugural Hadley Creatives Program, a 6-month learning and engagement experience for local artists who are at a pivotal point in their careers administered by The Community Foundation of Louisville and Capital Creative.

Permanent Collections
Bluegrass Printmakers Cooperative Saint Joseph Hospital
Chase Bank, Cincinnati, OH and Louisville, KY Saint Joseph Jessamine County Emergency Treatment Center
Good Samaritan Hospital Southern Graphics Council
Kentucky One Health Alliance Tiger Lily Press
Keystone Financial Group University of Arizona
LexArts University of Kentucky Hospital
Littler Mendelson, P.C. University of Miami
May Department Store Washington University School of Art
Ohio University School of Art West Virginia University
Ohio University Alden Library

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Hometown: Wellesley, Massachusetts
Education: BFA, Graphic Design, Washington University, 1990; MFA, Printmaking, Ohio University, 1997; M.Ed, Secondary Education, Ohio University, 1997
Website: foleyprints.com
Instagram: @foleyprints

 

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 "Candy Colored Sky" by ElizabethFoley, woodcut, 38x26in, 2016, $900 (unframed)

"Candy Colored Sky" by ElizabethFoley, woodcut, 38x26in, 2016, $900 (unframed)

 "Coming Home" by ElizabethFoley, woodcut, 21x21in, 2015, $400 (unframed)

"Coming Home" by ElizabethFoley, woodcut, 21x21in, 2015, $400 (unframed)

 "Floating Candy" by Elizabeth Foley, woodcut collagraph, 38x26in, 2016, $900 (unframed)

"Floating Candy" by Elizabeth Foley, woodcut collagraph, 38x26in, 2016, $900 (unframed)


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

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Conceptual, Interdisciplinary

Vignette: Luke Gnadinger

Disrupting a Sense of Linear Time

 "IghborhoodNe" by Luke Gnadinger, Ceramic, 7Hx 24W,x2.75in, 2017, POR 

"IghborhoodNe" by Luke Gnadinger, Ceramic, 7Hx 24W,x2.75in, 2017, POR 

On Luke Gnadinger’s website we find a statement in which the artist describes his work as, “…being post-media and concerned with the ways domestic ‘containers’ impart a shaping force on our notions of home and identity. Generally, this foregrounds what would otherwise be supplemental or armature. While not limited to, this often employs the industrial history and materials of ceramics, photography, or coding languages to position the work someplace between archival-object and design-object, disrupting a sense of linear time.”

 "Fluids" by Luke Gnadinger, Ceramics, Steel, Acrylic, 48Hx24Wx8Din, 2017, POR

"Fluids" by Luke Gnadinger, Ceramics, Steel, Acrylic, 48Hx24Wx8Din, 2017, POR

There is an intriguing balance of rustic and digital in Gnadinger’s work. He seems as comfortable using “a hexadecimal editor to produce coding aberrations”, as he is creating somewhat traditional, functional, ceramic vessels. He incorporates found objects that evoke nostalgia in installations of a very modern sensibility. In “House”, the effect is entirely modern, but “Fluids” mines a collective memory that elicits a sentimental response. The vintage ceramic knobs on the fixture have been recoated with slip and fired again by Gnadinger, giving the artifacts a new sheen that makes nostalgia more seductive.

In “Super Great Horse Art”, the packaging concept merges bourbon and horse racing culture in a pointed commentary on art as product in Kentucky. As both are Sacred Cows in the Bluegrass State, the implications, however undeniable, are still somewhat bold for a Kentucky-born artist, and it seems an especially clear example of Gnadinger’s statement about positioning work “between archival-object and design-object”.

Another balance that fascinates is the notion of complex ideas expressed through graphic forms of great simplicity. Those “Horse Art” bottles recall generic labeling from the 1970’s, and in the curiously titled “ighborhoodNe” the forms are equally fundamental, with red map diagrams that have the effect of stamps. There is an ornate quality to the surface design, yet the work remains straightforward and uncluttered, allowing for a direct understanding between the artist and the viewer. For being so conceptual an artist, Gnadinger’s work is refreshingly accessible, but never dumb.

Since receiving his degree from Transylvania University in Kentucky, Gnadinger has worked as an assistant and been a winter resident at Penland School of Crafts in North Carolina.

Gnadiniger’s work is currently featured in show MAP/PING in Morlan Gallery in Lexington, through December 5, 2017.

Hometown: Louisville, Kentucky
Education: BFA, Studio Art, Transylvania University
Website: www.lukegnadinger.com
Instagram: lukegnadinger/

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 "SUPER GREAT HORSE ART" by Luke Gnadinger, Ceramic, Set: 12Hx24Wx48Din, 2015, POR

"SUPER GREAT HORSE ART" by Luke Gnadinger, Ceramic, Set: 12Hx24Wx48Din, 2015, POR

 "Lagrange, #2" by Luke Gnadinger, Cyanotype, Birch, 20Hx36Wx.5Din, 2017

"Lagrange, #2" by Luke Gnadinger, Cyanotype, Birch, 20Hx36Wx.5Din, 2017

 "House" by Luke Gnadinger, Windows, Cord, Lights, Slumped Plexiglass, 4Tx20Wx20Dft, 2014

"House" by Luke Gnadinger, Windows, Cord, Lights, Slumped Plexiglass, 4Tx20Wx20Dft, 2014

 "Landscape, #5" by Luke Gnadinger, Digital print, 6dx0in, 2017, POR

"Landscape, #5" by Luke Gnadinger, Digital print, 6dx0in, 2017, POR

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

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Painting

Vignette: Macel Hamilton

 "Butterfly" by Macel Hamiton, Acrylic on wood, 6x12in, 2017, SOLD 

"Butterfly" by Macel Hamiton, Acrylic on wood, 6x12in, 2017, SOLD 

When someone picks up a brush and begins painting with no formal training or experience, are they hobbyist, amateur? In a time when art intelligentsia is either busy manufacturing new nomenclature to capture new trends, or rejecting all formal classifications (inter or multi disciplinary?) how do we describe the new artist who enters the fray motivated by curiosity or edification?

 "Cow" by Macel Hamilton, Acrylic on wood, 10x12in, 2017, SOLD

"Cow" by Macel Hamilton, Acrylic on wood, 10x12in, 2017, SOLD

Consider Macel Hamilton. The designation Folk Artist connotes a lack of education and primitive technique, but Hamilton is an educated professional, and her skill after a very brief time painting is estimable, and "hobbyist" foreswears the dedication she has put to the task. Her subjects are simple: animals and insects, but she has also painted portraits of people. All of it indicates an innate skill of observation and the controlled manipulation of a brush and medium. That Hamilton often paints on unfinished wood introduces a rustic quality certainly, but compare the delicacy of her color in this butterfly and the rougher, more spontaneous marks in the image of a savage rooster improbably named “Cow”.

Clearly some of Hamilton’s work finds its roots in her rural upbringing: “I was raised in the hills of Eastern Kentucky and now live in the knobs of Casey County. I am mostly self-taught and have taken a few day classes at a local community art center. I have been painting for about a year and a half. I began doing art approximately two years ago, teaching my self to draw portraits.”

So if there must be a designation, perhaps Rural Artist would be apt in this case, a reflection of both Hamilton’s background and the sensibility expressed in her work.

 Age: 55
Hometown: Liberty, Kentucky
Education:  BS, Psychology, ADN Nursing
Facebook: Macel’s Art

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 "Untiltled" by Macel Hamilton, Acrylic on canvas, 16x20in, 2017, $200

"Untiltled" by Macel Hamilton, Acrylic on canvas, 16x20in, 2017, $200

 "Sarah's Love" by Macel Hamilton, pastels, 12x16in, 2017, NFS

"Sarah's Love" by Macel Hamilton, pastels, 12x16in, 2017, NFS

 "Hummer" by Macel Hamilton, Acrylic on wood, 10x12in, 2017, SOLD

"Hummer" by Macel Hamilton, Acrylic on wood, 10x12in, 2017, SOLD

 "Dogs" by Macel Hamilton, Acrylic on canvas, 16x20in, 2017, SOLD

"Dogs" by Macel Hamilton, Acrylic on canvas, 16x20in, 2017, SOLD

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

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