abstract

Painting

Open Studio Spotlight: Meredith Hayden

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“Circus Colors” by Meredith Hayden, Alcohol Ink with air duster on Ceramic Tile, 12x218in, 2018, $350

“Circus Colors” by Meredith Hayden, Alcohol Ink with air duster on Ceramic Tile, 12x218in, 2018, $350

Color is a potent visceral expression of emotion in the work of Meredith Leigh Hayden. Ideas are communicated through the dynamic of specific mediums as much choice in subject matter, materials leading the artist as much as the artist leads the materials.

“Creating art has become an essential practice for refreshing my senses so I can enjoy being present,” she explains. “When I see something noteworthy I try to snatch it up and describe it with color. Art transforms the chaos of life into something tangible I can work with.  It gives me a chance to breathe.” 

“My favorite memories become crystallized on the surface with the medium I choose at the time. Currently, I use inks, chalk pastels, or crystals. I am usually seen wearing a crystal I wrapped. As much as I would like to feel I’m “in control”, there is no real way to control the bold Alcohol Ink. I did find I can move the ink with an air duster. The results amaze and delight me every time. My pastel flower series celebrates the impermanence of life and our universal connection to nature and each other. As flowers grow and change, they reveal their unique imperfections and lively character traits, just as humans do.“

“By showing the Alcohol Ink tiles and Chalk Pastel flowers together, I hope to provide a sense of hope and renewal for Spring through color. The rigidity of the tiles is a contrast to the flowing chalk pastel flowers. The wandering inks are carefree and mobile like the growth cycle of florals. The Chalk Pastels are a delicate and subtle contrast with the bright penetrating color of the ink. In any medium, daring color is the common thread to all my work. I choose to celebrate life’s majesty with the delicate and vibrant colors I choose.” 

“Mystic Branches” by Meredith Hayden, Chalk Pastel and water on sanded paper, 30x24in, 2014, $750

“Mystic Branches” by Meredith Hayden, Chalk Pastel and water on sanded paper, 30x24in, 2014, $750

Meredith Hayden will be participating in the 2018 Open Studio Weekend, sponsored by Louisville Visual Art and University of Louisville’s Hite Art Institute. Her studio, located in Art Sanctuary in the Germantown neighborhood, will be open the weekend of November 3 and 4. Tickets for Open Studio Weekend will go on sale October 16. Click here for more information.

On the the first Saturday of December, during Bardstown Road Aglow, Hayden will be showing at Safai Coffee, 1707 Barstown Road.

Hometown: Newtown, Pennsylvania
Education: University of Louisville Liberal Studies major, minor in Psychology, and concentrations in Art, Theater, and Women's Studies. Some art study in Italy
Website: mhayden.artspan.com
Instagram: meresmuse

Meredith Hayden working on “Red-Lipped Secrets”, Chalk Pastel, 24x30in. 2011, $750

Meredith Hayden working on “Red-Lipped Secrets”, Chalk Pastel, 24x30in. 2011, $750

“Enchanted Vibration” by Meredith Hayden, Alcohol Inks on Tile, Ink applied with a can of air. 12x20in, 2018, $250

“Enchanted Vibration” by Meredith Hayden, Alcohol Inks on Tile, Ink applied with a can of air. 12x20in, 2018, $250

“Wandering Eye of Contentment” by Meredith Hayden, Alcohol Inks on Tile, Ink applied with a can of air, 16x20in, 2018, $200

“Wandering Eye of Contentment” by Meredith Hayden, Alcohol Inks on Tile, Ink applied with a can of air, 16x20in, 2018, $200

“Fiery” by Meredith Hayden, Chalk Pastel, 24x30in, 2007, Private collection

“Fiery” by Meredith Hayden, Chalk Pastel, 24x30in, 2007, Private collection


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: Ray Kleinhelter

"Big Maple" by Ray Kleinhelter, Oil on canvas, 60x72in, 2017, $9000.

"Big Maple" by Ray Kleinhelter, Oil on canvas, 60x72in, 2017, $9000.

Sailing up and down the Ohio River in his aptly named boat Watercolor, Ray Kleinhelter works in the open air, sketching and painting amidst the natural beauty of the Ohio River Valley. Citing 20th century artists Richard Diebenkorn and Frank Auerbach as influences, Kleinhelter’s paintings seem to be in direct lineage with theirs; creating works concerned with the materiality of paint, viewing the medium almost as a sculptural tool and vehicle for expression, rather than a simple means for literal representation.

Though one may at first view one of Kleinhelter’s riverscapes, such as “Big Maple,” as a loose interpretation of a natural scene, “loose,” may not aptly describe Kleinhelter’s compositional sensibility. Each color-shape has the sense that it has fought for space in the composition. Carving each other out through an intricately woven series of beginnings and endings, the canvas becomes a geometric battleground. These interpretations in oil, created using multiple sketches done in the open air as reference points, “recreate the sensation of light and color out on the water, bringing the life of the river indoors,” as Kleinhelter puts it.

In “River Drawings” and “Untitled Watercolors,” the viewer is afforded glimpses into the process of creating the larger compositions in oil. Through these smaller studies, done in ink and watercolor, the “bones” of the larger, more complex pieces can be seen; the planes of light striking trees along a riverbank, the formal interaction between the land and sky that creates a horizon, and how that interaction can be manipulated to make a horizon dissolve inside the composition, refuting traditional western notions of perspective.

"River Drawing 70" by Ray Kleinhelter, Ink on paper, 9.5x12in, 2017, $200.

"River Drawing 70" by Ray Kleinhelter, Ink on paper, 9.5x12in, 2017, $200.

"Untitled Watercolor 49" by Ray Kleinhelter, Watercolor on paper, 9.5x12in, 2017, $400.

"Untitled Watercolor 49" by Ray Kleinhelter, Watercolor on paper, 9.5x12in, 2017, $400.

While the influences of Diebenkorn and Auerbach can clearly be seen in Klienhelter’s work, the well-known paintings of Piet Mondrian also come to mind. Similarly reinterpreting the natural into abstracted geometric compositions, Mondrian simplified the cityscape into a series of rectilinear forms in primary colors. The clean lines and separation of color ideas exemplifies Mondrian’s experience inside urban spaces, and so too do the energized compositions of Kleinhelter exemplify the experience of a natural space vital to the culture of Louisville.

Now through January 2018 Kleinhelter is showing new work at Lenihan Sotheby’s International Realty at 3803 Brownsboro Road in Louisville.

Hometown: Louisville, Kentucky
Education: Yale School of Art Summer Painting Scholar 1982; BFA, Kansas City Art Institute 1982; MFA, Indiana University, Bloomington 1986
Gallery Representation: Galerie Hertz (Louisville)
Website:www.raykleinhelter.com

"Big Sycamore" by Ray Kleinhelter, Oil on canvas, 60x72in, 2017, $9000.

"Big Sycamore" by Ray Kleinhelter, Oil on canvas, 60x72in, 2017, $9000.

"Late Spring Flood #3" by Ray Kleinhelter, Oil on panel, 36x42in, 2017, $3600.

"Late Spring Flood #3" by Ray Kleinhelter, Oil on panel, 36x42in, 2017, $3600.


Written by Aaron Storm. 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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Painting

Vignette: Barry Burcaw

"Pixilated" by Barry Burcaw, oil on canvas, 50x50in, 2-16, $2800

"Pixilated" by Barry Burcaw, oil on canvas, 50x50in, 2-16, $2800

Barry Burcaw studied graphic design in school, earning a degree from the University of Bridgeport, but he only began painting once he retired from a long, successful career in advertising. This provides an easy explanation of why his compositions are so dominated by forceful geometric structure and bold saturated colors.

Often the abstract images remain rooted in representational sources; Burcaw is fond of landscapes and architectural sources as a point of departure, but it is not unusual for him to veer into diagrammatical structures of pure pattern and shape. “Pixilated” does this, as does “Vernal Equinox”, even if the title makes explicit that the qualities of atmosphere and climate that we assume were in the artist’s mind here. The lower half containing dark grey and earth tones beneath the blue and yellow tones in the upper half cannot help but connote landscape, if only because our expectations fill in the blanks with little prompting – doesn’t the abstract artist appropriately depend on the viewer’s frame of reference?  “Solar Flares” is more obvious in its subject, placing a brilliant yellow orb in the center, and Burcaw’s curled linear forms representing the sun’s angry expression are more whimsical in their effect than the fiery astronomical phenomenon that provide the inspiration for the piece.

"Impressions of Santorini" by Barry Burcaw, oil on canvas, 50x50in, 2017, $3500

"Impressions of Santorini" by Barry Burcaw, oil on canvas, 50x50in, 2017, $3500

There is an unyielding exactitude in Burcaw’s work that suggests a highly structured perspective on the world at large. Perhaps this is a common underlying truth of any artist who utilizes geometry in such bold, almost confrontational terms.

Burcaw recently placed 4 paintings with Zephyr Gallery as part of their Corporate Art Program.

Hometown: Palisades, New York
Age: 74
Education: BS in Graphic Design, University of Bridgeport, CT

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"Vernal Equinox" by Barry Burcaw, oil on canvas, 50x50in, 2017, $2800

"Vernal Equinox" by Barry Burcaw, oil on canvas, 50x50in, 2017, $2800

"Solar Flares" by Barry Burcaw, oil on canvas, 50x50in, 2008 $3500

"Solar Flares" by Barry Burcaw, oil on canvas, 50x50in, 2008 $3500


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

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Painting

Vignette: Laurie Fader - Open Studio Weekend Artist

Making the painting is a mysterious and compulsive search for an emotional reality.”      – Laurie Fader

Abstract art is a loaded phrase, words that conjure as much misunderstanding as mystery. In the simplest terms, perhaps the best thing we can say is that abstraction is universal - artists tapping into the subconscious to elicit emotional reactions and develop visual relationships through elements of color, shape, and texture. The same equation is typically at work in representational art, but with those elements fashioned within the familiar.

"Big Toe" by Laurie Fader, oil, 48x42in, 2017, $3200

"Big Toe" by Laurie Fader, oil, 48x42in, 2017, $3200

“Unconscious, subversive preoccupations are the driving force behind my paintings,” is how Laurie Fader puts it, “stabilized and excavated through the use of light and woven shapes of color. Making the painting is a mysterious and compulsive search for an emotional reality. Visual touchstones reveal complex psychological and intellectual states, contained within fragile, blistered and bubbled boundaries. It has become a metaphor for our political landscape as well, polarized and charged with dichotomies.”

"Plumage" by Laurie Fader, oil, mixed media on paper, 19x15in, 2017, $2200

"Plumage" by Laurie Fader, oil, mixed media on paper, 19x15in, 2017, $2200

Fader came to the abstract. Like so many artists, after years of representational work: “Freed from the perimeters of painting the landscape on site, which caught my interest for twenty years, now color can lead in a way it could not before. And with color comes delight in a different sort of visual and emotional journey.”

Fader is Associate Professor and Chair of Academic Affairs at Kentucky College of Art + Design at Spalding University, where she teaches Drawing II, Color and Design, Color and Design II, and Painting II. Since joining the faculty in 2010, she co-authored the BFA program before becoming Chair in 2011. In addition, she organized a Study Abroad Program and took 3 students to Umbria, Italy.

 

Earlier this year she finished an Artist’s Residency at Scuola Grafica in Venice, Italy.

Laurie Fader will be participating in the 2017 Open Studio Weekend, sponsored by Louisville Visual Art and University of Louisville’s Hite Art Institute. Her studio, located in the Germantown neighborhood, will be open the weekend of November 4 and 5. Tickets for Open Studio Weekend will go on sale October 16. Click here for more information.

Hometown: Louisville, Kentucky
Age: 60
Education: BS, Honors, New York University, NYC; MFA, Painting, Yale School of Art.
Website: lauriefader@squarespace.com

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"Charted Territories" by Laurie Fader, mixed media on paper, 22x18in, 2017, $2500

"Charted Territories" by Laurie Fader, mixed media on paper, 22x18in, 2017, $2500

"Shroud" by Laurie Fader, mixed media, 13x19in, 2017, $2200

"Shroud" by Laurie Fader, mixed media, 13x19in, 2017, $2200

"Diversity" by Laurie Fader, mixed media, 32x28in, 2017, $2200

"Diversity" by Laurie Fader, mixed media, 32x28in, 2017, $2200

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