Painting

Painting

Vignette: Greta Mattingly

“Forgotten Treasure” by Greta Mattingly, Oil, 24x20in, 2017, $1500

“Forgotten Treasure” by Greta Mattingly, Oil, 24x20in, 2017, $1500

Artists look at the world differently. Their eye is drawn to expressions of grace and beauty in the mundane: the awkward angle of a waiter’s arm as they carry a tray of cocktails, or the very specific light emanating from behind a bar, or the way a telephone pole and power lines frame a part of a building. Such things surround us all, but it is that ability to isolate and capture such impressions that are a foundation of an artist, whether it translates into representational, abstract, or experiential work.

“Bartender Chipping Ice” by Greta Mattingly, Oil, 10x8in, 2018, $400

“Bartender Chipping Ice” by Greta Mattingly, Oil, 10x8in, 2018, $400

Painter Greta Mattingly describes her practice this way: “Every painting starts with a leap of faith. You draw a breath of inspiration from the world around you and take the plunge. There is always that exhilaration in knowing once immersed in the experience it will be memorable.”

In “Forgotten Treasure”, how many times did Mattingly pass by this location before the relationship of winter light and bare branches stopped her in her tracks, a scene demanding to be painted.

In her observational figurative images, there often is little to no detail in the faces of the people, yet in “Pretty in Lace” she captures a haughty, insolent expression on the face of the model, communicating the inherent challenge in the subject’s attitude towards being the focus of attention, as if to say, “just try and capture me on canvas!”

Mattingly has no formal art degree, but for two years she was mentored by impressionist painter James Richards (Atlanta, GA). She has also taken numerous workshops throughout the years with artists such as James Richards, Dee Beard Dean, David Shevlino, Margaret Dyer, Collen Whissey, Charles Walls, Amanda Carder, and Allen Rodgers.

Gallery Headshot (1).jpg

In May 2019, Mattingly will be included in a Kentucky derby themed exhibit at Kentucky Fine Art Gallery called Win, Place, & Show.

Hometown: York, Pennsylvania
Education: Associates Degree, Camden Co. College, Dental Hygiene; Bachelors Degree, West Chester University, Public Health
Website: gretamattingly.com

Scroll down for more images

“Pretty in Lace” by Greta Mattingly, OIl, 20x16in, 2018, $950

“Pretty in Lace” by Greta Mattingly, OIl, 20x16in, 2018, $950

“She Needs A Double” by Greta Mattingly, OIl, 11x14in, 2018, $475

“She Needs A Double” by Greta Mattingly, OIl, 11x14in, 2018, $475

“Volunteers of Summer” by Greta Mattingly Oil, 40x30in, 2018, $2400

“Volunteers of Summer” by Greta Mattingly Oil, 40x30in, 2018, $2400

“Summer Pond” by Greta Mattingly, Oil, 24x18in, 2018, $1100

“Summer Pond” by Greta Mattingly, Oil, 24x18in, 2018, $1100


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.

calltoartists.jpg

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

Painting

Vignette: Shawn Marshall

”Dayspring” by Shawn Marshall, Oil on canvas, 24x36in, 2019


”Dayspring” by Shawn Marshall, Oil on canvas, 24x36in, 2019

Shawn Marshall’s most recent Artist’s Statement reads:

”Painting is somewhat of a meditative practice for me; it's an outlet to release intuitive energy and let go of preconceived notions or self-imposed rules about how I interpret and portray the world. My focus on the landscape comes from a fascination with the horizon. As a "third culture kid," I grew up overseas moving often. One of the places my family lived was Beirut, Lebanon in the midst of the civil war in the 70’s. I saw violence and lived in fear. The one thing that appeared to remain peaceful was the landscape, specifically the horizon. The landscape is still an escape for me and the horizon continues to bring hope.”

The words explain Marshall’s continued fascination with the almost empty landscape; it is iconic, and almost sacred for her. This sense of spirituality in landscape as subject is not unusual, but Marshall’s focus on the vanishing point is unique. Specific details of location and season are less important, even when present, than isolating the mirage of a point where land and sky join. Is it the suggestion of wholeness in nature and the universe in general that Marshall find so compelling; that there is always hope somewhere, even if it is not immediately within reach? 

”Vivid Sky” by Shawn Marshall, Oil on canvas, 12x12in, 2019

”Vivid Sky” by Shawn Marshall, Oil on canvas, 12x12in, 2019

Marshall has pushed her landscapes into abstraction for quite awhile, and while these newest paintings are far from naturalistic, there is spontaneity in the brushwork that is a departure. In “Vivid Sky” there is a sense of urgency to the mark making, as if the artist was racing against time to complete the composition.

Marshall’s work is in numerous private collections including PNC Bank, Pittsburgh, PA, Commonwealth Bank, Louisville, KY, and the University of Kentucky Medical Center, Lexington, KY.

Recent Exhibitions:

February-March 2019 “Fresh Paint” - New Artists - Moremen Gallery, Louisville, KY

2018 Open Studio Weekend Juried Exhibition - Cressman Center for Visual Arts, Louisville, KY

Louisville Visual Art Juried Art Exhibition, 2018 Portland Art & Heritage Fair, Louisville, KY

Photo: Jessica Ebelhar

Photo: Jessica Ebelhar

Marshall is a member of ENID, a collective of women sculptors named in honor of Enid Yandell. In recognition of her 150th birthday the group will have not one but TWO exhibits this fall:

ENID: Generations of Women Sculptors at the Louisville Free Public Library August 17 through October 8, 2019

ENID: Generations of Women Sculptors at Bellarmine University’s McGrath Gallery, September 7 through October 5, 2019. 

Hometown: Louisville, Kentucky
Education: 1992, Bachelor of Architecture, University of Kentucky, Lexington, KY; 1996, Master of Architecture, Minor Fine Arts, Cornell University, Ithaca, NY; 2009, Master of Art in Teaching, Bellarmine University, Louisville, KY
Website: www.shawnlmarshall.com
Gallery Representation:
Moremen Contemporary (Louisville) www.moremengallery.com 
New Editions Gallery (Lexington),www.neweditionsgallery.com 

Scroll down for more images 

”Summer Dream” by Shawn Marshall, Oil on canvas, 12x12in, 2019

”Summer Dream” by Shawn Marshall, Oil on canvas, 12x12in, 2019

”Stirring Sky” by Shawn Marshall, Oil on canvas, 24x24in, 2019

”Stirring Sky” by Shawn Marshall, Oil on canvas, 24x24in, 2019

”February Mist” by Shawn Marshall, Oil on canvas, 36x36in, 2019

”February Mist” by Shawn Marshall, Oil on canvas, 36x36in, 2019

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.

calltoartists2.jpg

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

Painting

Vignette: Brennen Cabrera

“Who Can Know?” by Brennen Cabrera, Mixed Media; Mixed Media; Oil, Acrylic, Soft Pastel, Charcoal, and Textile on Canvas, 14x11in, 2018, $175

“Who Can Know?” by Brennen Cabrera, Mixed Media; Mixed Media; Oil, Acrylic, Soft Pastel, Charcoal, and Textile on Canvas, 14x11in, 2018, $175

With a vibrant, graphic-novel sensibility, Brennen Cabrera’s paintings spill out towards the viewer with a confrontational force. Yet the imagery is so raw and confessional that it also feels as if we have been invited into an extremely private and privileged world.

“I am not afraid of what I express visually, explains Cabrera. “Art mostly is my voice for things I find difficult to express verbally and sometimes physically. My work mainly focuses on life, emotions, and dreams I experience as an individual with high functioning autism. My goals for many of my brutish, surreal, and provocative paintings are to spread emotional and mental health awareness, especially in people with autism and developmental disabilities. However I do believe anyone can associate with my work. I also want to inspire other artists to be bold and more personal.”

Cabrera is fearless in exposing his inner demons, and the discipline in his draughtsmenship struggles against the spontaneity that energizes the compositions. While there is a sense that the artist has given unfiltered expression to his inner self, there is also a wealth of rationality and logic in the visual relationships.

If anything, Cabrera is even more frank in the way he writes about his work. He wears his heart unabashedly on his sleeve: “Disquietude” is the breakthrough piece of my “Psychology Series.” This one sparked the inspiration to continue my emotional journey. During a strong anxiety attack, I tore a sheet of canvas off my roll, stuck it to the wall and violently smeared acrylic paint all over the raw surface. As I stood back to look at the piece I could see the shape of a face so I decided to paint a face. Then next thing I think of adding, a nude man from behind, pants around the ankles and shirt taken off. I at the time of this attack I was unhappy with my body and I was dealing a lot with sexuality and desperation.”

There is also a common use of literary references happening. “Who Can Know?” is inspired by the choral piece written by Ēriks Ešenvalds and based off the poem “Only In Sleep” by Sarah Teasdale, and
”Do Not Go Gentle Into That Good Night” is, of course, conjures the famous poem written by poet and Cabrera’s great cousin Dylan Thomas.

01D41F28-D133-459D-BF5C-CCFBED6CBEE3.jpeg

Currently, Cabrera’s work is exhibited alongside Herb Bradshaw, Lynn Dunbar, Claudia Hammer, Gibbs Rounsavall, and Frank Weisberg in Art in City Hall, a yearlong group exhibition that runs till August 2019.

2017 - StudioWorks, “BAFOL Arts Showcase” Louisville, KY. USA.

2017 - StudioWorks “Connecting Community Through Creativity” Louisville, KY. USA.

  

Hometown: Louisville, Kentucky
Education: High School Diploma from Waggener Traditional High School (Class of 2015)
Instagram: brennencabreraart

Scroll down for more images

”Disquietitude” by Brennen Cabrera, Mixed Media; Oil, Acrylic, Charcoal, and Textile on Raw Canvas, 56x36in, 2018, $1000


”Disquietitude” by Brennen Cabrera, Mixed Media; Oil, Acrylic, Charcoal, and Textile on Raw Canvas, 56x36in, 2018, $1000

“Do Not Go Gentle Into That Good Night” by Brennen Cabrera, Acrylic on Canvas, 20x16in, 2019, $250

“Do Not Go Gentle Into That Good Night” by Brennen Cabrera, Acrylic on Canvas, 20x16in, 2019, $250

“As the Ball Drops” by Brennen Cabrera, Mixed Media; Oil, Acrylic, and Soft Pastel on Canvas, 60x75in, 2019, $2000

“As the Ball Drops” by Brennen Cabrera, Mixed Media; Oil, Acrylic, and Soft Pastel on Canvas, 60x75in, 2019, $2000

“Nightlife” by Brennen Cabrera, Mixed Media; Oil, Acrylic, Soft Pastel, Wrapper, and Shirt Scraps on Canvas, 14x11in, 2018, $175

“Nightlife” by Brennen Cabrera, Mixed Media; Oil, Acrylic, Soft Pastel, Wrapper, and Shirt Scraps on Canvas, 14x11in, 2018, $175


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.

calltoartists6.jpg

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

 

Painting, Photography

Feature: John Brooks

“An Abyss Of Thighs” by John Brooks, 37.5x33.5in, Oil on canvas, 2019, $3800

“An Abyss Of Thighs” by John Brooks, 37.5x33.5in, Oil on canvas, 2019, $3800

Brooks_studio.jpg

John Brooks has work all over Louisville right now. He is a part of the Imagined Monuments exhibit at Metro Hall, he is showing with Letitia Quesenberry at O Gallery, and some of his paintings from a just closed show at Moremen Gallery will remain on view in a space adjacent to the main gallery (he’ll be showing there again this summer). On top of all of that, his Quappi Projects exhibition initiative, in which he shows other artist’s work in his studio in the Portland neighborhood, is going strong in its second year. He is especially articulate about the foundations of his practice and the imagery he creates, so we will let his most recent Artist’s Statements speak for themselves:

“I consider myself foremost an oil painter. This new and developing body of work represents the first time I have integrated two other areas of my creative practice - collage making and poetry - with my painting practice. This solution evolved out of what was primarily a crisis of composition: after nearly a decade of almost exclusively creating expressive faces, my painting practice had reached a standstill. I did not see a way forward until it occurred to me to utilize my collages - during the making of which I do not suffer from compositional frustrations - to help facilitate composition in my painting. Through this change in method and approach, I feel unbounded. The addition of poetic text into my painting has also made my work more expansive and allows for a more comprehensive representation of my artistic conceptions. In the past, I have mostly resisted incorporating text into my visual work out of a fear that it could be too leading, but as a person who writes constantly in my head as I move throughout the day, the appeal of joining my poetry practice and my painting practice was undeniable. The way in which I have incorporated text into these paintings provides a narrow window into an idea or feeling but bewilders more than illuminates.”

“Fizz Of Hornets (Betty)” by John Brooks, 42x56in, Oil on canvas, 2018, $3800

“Fizz Of Hornets (Betty)” by John Brooks, 42x56in, Oil on canvas, 2018, $3800

“For the last decade, my work has explored themes of identity, memory, death, and place, and has been centered around questions of contemplation, the expression of emotion, the transformative power and the emotional resonance of particular experiences and what Max Beckmann described as “the deepest feeling about the mystery of being.” These paintings are a continuation of those notions. Something seems amiss in the zeitgeist; a mood of uncertainty and disquiet has seemingly overtaken the world. We find these moments before in history: in 1929’s Buchmandel, Stefan Zweig wrote: “Something had gone irrecoverably wrong; he was broken; the blood-red comet of the war had burst into the remote, calm atmosphere of his bookish world.” Are we living on the cusp of such an era or has it already begun? Collage is the perfect metaphorical representation of the disjointedness of contemporary life, of this exact moment in the twenty-first century. We are at once both so interconnected and so siloed; we are so fortunate and so starved; we are so inundated with knowledge and information that we ignore it in order to remain ignorant; our societies are unimaginably diverse and complex yet we fear the stranger, the other. “

“In most of these works, I have chosen to leave expanses of canvas unpainted. This is both an aesthetic choice but also a reference to the paintings’ relationship to poetry. Good poetry says the most it can with as few words as necessary; the impact of one correct word far outweighs the impact of several incorrect words. What a poet leaves out is as important as what he or she includes. Rich and luscious, oil paint has inherently excessive qualities; many colors are made from amalgams of precious minerals and metals, and others are made from earth pigments and charred animal bones. Throughout the process of making this series, I became entranced with the challenge of working with materials that dared me to be excessive while trying to employ the restraint of a poet’s eye. In that sense, these paintings are an exercise in spareness.“

“While these works contain some personal references, experiences and particular depictions of extant LBGTQIA+ life, their objective is ultimately not concerned with the specific; rather they are meant to evoke tantalizingly unreachable atmospheres and to engage with nebulous answers to queries about the search for and ambiguity of meaning and the powerful desire for connection and sense of belonging; they approach an attempt to make sense of the constant disparate noises, voices, and directives which contemporary life seems to exist amidst.”

“Stinson” by John Brooks, 8x10in, Digital photograph, 2018, $250 (edition of 5)

“Stinson” by John Brooks, 8x10in, Digital photograph, 2018, $250 (edition of 5)

Brooks offers separate thoughts on his photographs:

“I consider myself foremost an oil painter, and it is in my painting where these fundamental themes are most  rigorously probed, but my creative practice encompasses work in a variety of other media including collage, sculpture, poetry, and photography. While painting mostly happens only in long, designated sessions, I live with and work with poetry and photography on a daily basis. I consider them to be essential to my work as an artist.”

”These works were taken with my iPhone 8 Plus and represent the first time I have exhibited photography. Locations include Louisville, Miami, the San Francisco Bay area, New York City, the Hamptons, Athens and other parts of Greece. Even as a writer, I think visually. I see in images; I look in frames. Before the proliferation of mobile phones and the vast improvements made in their camera lenses, I often carried around a Nikon 35mm camera, and later a Leica X1. In the last several years I have become inseparable from my iPhone - less so for internet access than for wanting to have the camera with me at all times. In case a bird comes; in case the light moves. It isn’t documentation of occurrences that I am compelled to capture, but rather what I feel, or see, or what I think I almost see. Permeated with an atmosphere of loss and longing, or what the Germans describe as Sehnsucht, these meditative and emotionally resonant images do not posture a sense of knowing, but rather disclose themselves as unknowing, even unknowable. Joy is present, too, and praise for the ephemeral delicateness of existence. In thinking about this joint exhibition with Letitia Quesenberry, she and I came to understand that what binds these two bodies of work together is the subtle tension between the promise of an attainable understanding and the elusiveness of the answer. There is never any arrival; understanding is just out of reach, tantalizingly beyond what is within grasp. These non-arrivals are, of course, what compels us to revisit works of art time and time again.”

“Statement of Other History” by John Brooks, 72x96in, Oil on canvas, $2200.00

“Statement of Other History” by John Brooks, 72x96in, Oil on canvas, $2200.00

Jim Zimmer / Often the Content is Impenetrable is at Quappi projects through March 3.

Non-Arrivals, with Letitia Quesenberry at O Art, 1000 Swan Street, runs through March 9.

“Statement of Other History” is a part of Imagined Monuments, an LVA exhibit for Metro Hall, 527 West Jefferson Street, runs through July 12.

Hometown: Frankfort, Kentucky
Education: BA in Political Science, Minor in English literature from College of Charleston, SC 2000; continuing education at Central St Martins, Hampstead School of Art, Camden Art Centre, London, England 2006-2009
Website: johnedwardbrooks.com
Instagram: narcissusandgoldmund

Scroll down for more images

“Wind Is Wild Now”by John Brooks, 42x56in, Oil on canvas, 2018, $3800

“Wind Is Wild Now”by John Brooks, 42x56in, Oil on canvas, 2018, $3800

“Mother(Darrell)” by John Brooks, 8x10in, Digital photograph, 2018, $250 (edition of 5)

“Mother(Darrell)” by John Brooks, 8x10in, Digital photograph, 2018, $250 (edition of 5)


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.

calltoartists2.jpg

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

Painting

Vignette: Sandra Charles

“Living Monument, Angela Hollingsworth” by Sandra Charles, Oil on canvas, 48x60in, 2019, $4750

“Living Monument, Angela Hollingsworth” by Sandra Charles, Oil on canvas, 48x60in, 2019, $4750

What makes a person royalty? Perhaps it is when they are seen in a regal aspect. Angela Hollingsworth would likely reject such a lofty position, yet Sandra Charles’ portrait of her for the Imagined Monuments exhibit places her in the same attitude that the artist has previously assigned to her series of African Queens. Hollingsworth’s humility is not absent, but it is clothed in rich fabrics and colors that connote a woman in a position of power and respect honestly earned achieved through accomplishment. Imagined Monuments, a Louisville Visual Art exhibit for Louisville’s Metro Hall, runs through July 12, 2019

“My work celebrates the self-esteem of African American women through interpretative portraiture,” Charles explains in her artist’s statement. “Each painting focuses on the expressions that represent our history and the expectations of the future. I look behind the facade of social perceptions that weighs down each of us. My work attempts to capture the removal of this hegemonic veil that covers the struggle between self and the perceived social order. It acknowledges this internal struggle as it fades away from the stereotypical norm towards a truer self. Moving away from traditional portraits, my body of work mixes this history and self together with color and stances that project an attitude of defiance. The facial expression of each woman contains the history of her progress and is a personal statement that captures the confidence of self.” 

“Cynthia as Queen of Ethopia” by Sandra Charles, Oil on canvas, 48x60in 2016, NFS

“Cynthia as Queen of Ethopia” by Sandra Charles, Oil on canvas, 48x60in 2016, NFS

Charles will be featured with two other notable African American women artists in The Art of Elmer Lucille Allen, Sandra Charles and Barbara Tyson Mosley, which will be on display at The Carnegie Art Center For Art and History in New Albany Indiana February 22 through April 20, 2019. It will showcase Charles’ vision of contemporary women who are African Queens walking amongst us, women changing the world through the hard work of social activism and public service. Their leadership is built brick-by-brick, step-by-step, against the fusillade of slings and arrows that are the daily experience in a country divided against itself.

Charles came to her painting career later in life, but since earning her BFA in 2015, she has rapidly gained a high profile in the Louisville art community, selected to be a member of the first cohort of Hadley Creatives (Community Foundation of Louisville) in 2017, granted a solo exhibit at Wayside Expressions Gallery n 2017, at Art Sanctuary for the Kentucky Foundation Of Women’s Summer Residency Exhibit in 2018, and having two paintings chosen for permanent installation in the newly renovated Kentucky International Convention Center. 

studio pic.jpg

Other recognition:

2017 Mellon-Oberst Family Award, 23rd Annual African American Exhibition, Louisville, KY
2016 Kentucky Foundation of Women Summer Residency Grant, Louisville, KY

Hometown: Hazard, Kentucky
Education: BFA, Painting, University of Louisville
Website:  www.scharlesart.com
Instagram: sandraspaintings

Scroll down for more images

”Refections of Us” by Sandra Charles, Oil on canvas, 48x60in, 2018, $4750


”Refections of Us” by Sandra Charles, Oil on canvas, 48x60in, 2018, $4750

“Pam” by Sandra Charles, Oil on canvas, 30x30in, 2018, $2750

“Pam” by Sandra Charles, Oil on canvas, 30x30in, 2018, $2750

“Restrained Dreads” by Sandra Charles, Oil on Canvas, 48x60in, 2015, $2750

“Restrained Dreads” by Sandra Charles, Oil on Canvas, 48x60in, 2015, $2750

“Fourth of July” Sandra Charles, Oil on canvas, 36x48in, 2016, $3750

“Fourth of July” Sandra Charles, Oil on canvas, 36x48in, 2016, $3750

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.

calltoartists.jpg

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