collections

Painting

Vignette: Debra Lott

"Virtual Reflection" by Debra Lott, 36x72in (diptych), oil on canvas (2017), $2400 |  BUY NOW

"Virtual Reflection" by Debra Lott, 36x72in (diptych), oil on canvas (2017), $2400 | BUY NOW

Lott in her studio.

Lott in her studio.

When painter Debra Lott observes that we live in a, “…world where the virtual and authentic collide and confuse,” the degree of understatement is not meant to be sarcastic, but simply a way to explain the foundation on which she has built her newest work. Self-portrait has not been such an overt theme in her previous work, although she has been focused on a woman’s existence in the contemporary society in a fashion so personal that it nearly passes as the same thing. Such is the nature of art that it always reveals something important about the artist.

Now Lott places herself unmistakably front and center to speak to the narcissistic tendencies of modern communication:

“My inspiration and influences are the popular mass media. This source became the tipping point for my experimentation into painting this series. The absurdity of the media images prompted me to take my work in a new direction. The paintings form satirical statements that incorporate figurative distortion and exaggeration while mocking the media’s use of photo- shopped, erotic, and often implausible poses.”  

"Going to Great Lengths" by Debra Lott, 30x20in, oil on canvas (2016), $950  |  BUY NOW

"Going to Great Lengths" by Debra Lott, 30x20in, oil on canvas (2016), $950  | BUY NOW

“My techniques include distortion, elongation, detachment and segmentation. The expressive brushstrokes and fantasy color schemes are symbolic of the theatrical and sensational drama of cultural media. My expressive and quasi abstract style combine color, form and texture to convey the illusion of beauty that is often construed as reality.

“My goal is to move in a direction toward further experimentation and abstraction. I began experimenting with the concept of ‘authentic’ versus ‘virtual’ especially as it applies to cultural media. To communicate this idea of counterfeit, I chose a complementary color scheme and ‘like values’ that allow the subject and background to overlap and create some uncertainty as to what is positive and negative space. My goal was to increase the abstraction of the content and cause the body to become part of the surrounding space.”  

"Yes I Can" by Debra Lott, 30x48in, oil on canvas (2017), $1400 |  BUY NOW

"Yes I Can" by Debra Lott, 30x48in, oil on canvas (2017), $1400 | BUY NOW

Lott presently has 2 pieces in the Owensboro Art Guild 55th Juried Exhibition, up through April 14th, 2017, and a solo show titled, Collections, runs through April 16, 2017 at the Pigment Gallery at Mellwood Arts Center in Louisville. There will be an Artist’s Reception, March 31st 6-9pm

"Self Love" by Debra Lott, 30x20in, oil on canvas (2017), $775 |  BUY NOW

"Self Love" by Debra Lott, 30x20in, oil on canvas (2017), $775 | BUY NOW

Selected Adjudicated Exhibitions:
2018 - Owensboro Museum of Fine Art, OAG 55th Juried Exhibition, Owensboro, KY, February 25-April 14, 2017
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
2013 - The Art at the X National Juried Exhibition, Xavier University, Cincinnati, 'Multicultural Expressions of Faith', Award of Excellence, August 23-October 11, 2013
2010-2013 - National Art Education Women Caucus Juried Art Exhibition, 2010, 2011, 2012, 2013
2011 - 55th Mid-states Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, December- March 2011
2010 -  Manifest Gallery International Drawing Annual- Exhibition in Print, Cincinnati Ohio, art work selected - Seasons of Grace, Charcoal on Paper
2010   Water Tower Regional, Louisville Visual Art Association, KY, January 24-March 7, 2010
2009   54th Mid-States Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, Dec 7-January 18, 2009.
2007   Mad Art Gallery, St Louis, Missouri, Contemporary Women Artists XIV, International Juried Exhibition, Sept 7-29, 2007, St Louis Chapter of the National Women’s Caucus for the Arts
2006   Kniznick Gallery of the Women’s Studies Research Center, Brandeis University, Boston, Vital Voices: Women’s Visions, 2006, (National Juried Exhibition in conjunction with National Women’s Caucus for the Arts)

Hometown: Lake Worth, Florida
Age: 65
Education: MAT with a concentration in painting, Florida Atlantic University, a BA in Art Education, Palm Beach Atlantic University
Gallery Representation: PYRO Gallery
Website: http://www.debralott.com/

"Original Selfie" by Debra Lott, 24x24in, oil on canvas (2017), $675 |  BUY NOW

"Original Selfie" by Debra Lott, 24x24in, oil on canvas (2017), $675 | BUY NOW

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

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Ceramics

Feature: Tom Marsh Legacy


“By practicing a potentially usable art and by insisting on its usability, and the commonness and local peculiarity of his materials, he points it toward the older, finer, healthier sort of artistic success: that such excellent workmanship, such beauty and distinction, might again become ordinary.“ — Wendell Berry on Tom Marsh*


Artists, Ginny & Tom Marsh.

Artists, Ginny & Tom Marsh.

If past is indeed prologue, then perhaps we live in the present only by the leave of our ancestors; formative influences, and most especially our teachers. Tom Marsh was a teaching artist in the Greater Louisville area for more than 25 years, first at Silver Creek High School in his native Indiana during the 1960’s, and then as the founder of the Ceramics program at the University of Louisville’s Hite Institute for Art, where he taught until his death, in 1991.

It is also said, by those who loved and admired him the most, that he was demanding. Surely this is a requisite quality for any worthwhile mentor, and, from all accounts, Marsh set expectations as high for his own work as he did for anyone else, and the program he developed for U of L was unorthodox, moving beyond traditional studio parameters. Certainly experience has taught us that innovation often translates for some as ‘difficult’.

Marsh was raised by missionaries, and studied painting with Mary Spencer Nay at the University of Louisville. A missionary trip took him to Mashiko, Japan, where he ended up staying for several years, studying pottery with Sakuma Totaro (1900-1976), and learning various strands of Buddhism, most notably Rinzai. Once he returned to the U.S. he eventually resettled in Borden, Indiana, living his later years in adherence to ethical and spiritual practices born of his time in Japan, building an aesthetically spare house in the secluded woods that featured multi-functional space - the bed was raised on pulleys to make room for working.

Works by Marsh Pottery,   Install Image from UofL Faculty show (1984) . Photograph courtesy of the Hite Art Institute.

Works by Marsh Pottery, Install Image from UofL Faculty show (1984) . Photograph courtesy of the Hite Art Institute.

This holistic approach was indicative of what University of Louisville colleague and current faculty Jim Grubola calls the, “potter-philosopher” ideal that Marsh strived to embody. He brought it into his teaching, breaking out of the confines of the studio to instruct students in building outdoor kilns as a part of curriculum, a practice that brought many conflicts with both the Louisville Fire Department and University officials.

"  Approaching" by Marsh Pottery,   conjunction in situ (1992). Photograph courtesy of the Hite Art Institute.

"Approaching" by Marsh Pottery, conjunction in situ (1992). Photograph courtesy of the Hite Art Institute.

As for the work, Marsh’s ceramic pottery follows the Japanese aesthetic that finds beauty – “art,” in the strictly functional: large scale vessels for storage (because smaller pieces for daily use were commonly made from lacquer or wood), and tea pots. The full, earthen physicality might seem to contradict the western (mis) perception of delicacy as a defining characteristic of Japanese art; these are full, solid forms of visual and tactile weight. Their functionality never feels in question.

Another U of L associate, retired Print Faculty John Whitesell, describes how Marsh developed his techniques for the “expanded form jar,” in which the walls of the vessel are pushed to their limits and the outer surface begins to “crack”: “He would go beyond what you would imagine was possible… he would just keep working it, and working it.” The resulting complex, “fractured” surface texture became a trademark of Marsh’s work, a careful balance between structural integrity and creative aesthetic. However much the artist valued function, the rustic, earthy beauty of the work was always astonishing.

Whitesell also talks of “the anonymous potter,” which is a term that evolved when Marsh worked alongside his wife, Ginny Marsh. In the images of work shown here, from a 1984 sabbatical exhibit at U of L’s Schneider Galleries, all of the work is identified as simply Marsh Pottery, with no distinction given as to which Marsh created which piece. While there may be some who felt they could detect differences, Grubola, for one, could not be certain, because the nature of the vessels had gone in such an elemental direction: “Particularly towards the end,” says Grubola, “the work became more intuitive and less refined.”

"Mark" by Tom Marsh. Photo Courtesy of Hite Art Institute.

"Mark" by Tom Marsh. Photo Courtesy of Hite Art Institute.

Students came to U of L to study with Marsh specifically tolearn the Japanese-based techniques and life philosophy he expounded. Laura Ross, Wayne Ferguson, Sarah Frederick, Fong Choo, Pam Korte, Bran Hazelet, and Gwen Heffner are but a few notable potters for whom Marsh was a mentor, and many of them still live, work and teach in the area.

"Teapot" by Ginny and Tom Marsh

"Teapot" by Ginny and Tom Marsh

All of the concentration suggests that Marsh never did anything halfway. One of his teaching tools were sophisticated, multi-media presentations that he also took all around the U.S. at a time when such things were not common. “For someone so dedicated to a simple agrarian lifestyle,” remembers Whitesell, ”Tom was well-versed in technology, and had multiple projections fading in and out… synched to a pre-recorded soundtrack. It was very impressive.”

"These pots and cups and bowls are not busy calling attention to themselves as 'art objects.' Their preferred habitat is a kitchen, not a museum. They invite use. They are not just viewed. Viewing, by itself, will misunderstand them--just as, by itself, it
will misunderstand the food." — Wendell Berry

Examples of Marsh pottery are in permanent collections of museums worldwide, including the Museum of Modern Art in Kamajura, Japan.

Name: Tom Marsh (1934 -1991)
Hometown: Sellersburg, Indiana

The Marsh's 30 cubic foot cross draft salt kiln (c.1979). Photograph courtesy of the Hite Art Institute.

The Marsh's 30 cubic foot cross draft salt kiln (c.1979). Photograph courtesy of the Hite Art Institute.

"  Approaching Conjunction"   by Marsh Pottery,   stoneware   (1984). Photograph courtesy of the Hite Art Institute.

"Approaching Conjunction" by Marsh Pottery, stoneware (1984). Photograph courtesy of the Hite Art Institute.

"Vase with Brass Rings" by Marsh Pottery, 14in H, coarse stoneware   (1973). Photograph courtesy of the Hite Art Institute.

"Vase with Brass Rings" by Marsh Pottery, 14in H, coarse stoneware (1973). Photograph courtesy of the Hite Art Institute.

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

*From “Tom Marsh/Potter: Twenty Three Years of Clay”, published by University of Louisville, 1979.

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Photography

Vignette: Patricia Brock

“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 |  BUY NOW

“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 | BUY NOW

In the work of Patricia Brock we see how versatile the camera can be as a creative tool. Brock shoots a broad range of images, including work of a distinctly commercial sensibility. The intimate close-ups of flora capture the grace and delicacy of nature in representational terms, yet “Bathed in Sunlight” also allows the recognizable forms of flower petals to begin a shift into abstraction. The overwhelming light of the sun subtly blinding the detail at the very moment it clarifies it.

And then the high contrast of her recent exploration of the newly opened Lincoln suspension bridge stands apart from the flowers; expansive in their composition, Brock pushes the color into extremes through digital manipulation, now emphasizing the geometric abstraction of the vertical cables through deliberate choice. The older bridge we see through those dissecting vertical elements establishing context and even further contrast.

Patricia Brock taking a photo with her camera.

Patricia Brock taking a photo with her camera.

Brock had used her mother’s box camera as a child, and returned to photography after retiring from teaching elementary school 18 years ago, embarking on a new career and opening her own photography business. She has printed on various materials such as photo paper, metallic papers, canvas and brushed aluminum recently introduced a new creative line for the home or garden with her photographs printed on brushed aluminum or acrylic, which can be used in outdoor spaces. 

Brock is a juried participant of the Kentucky Arts Council’s Kentucky Crafted Program, The Architectural Artists Directory, and a juried exhibiting member of The Louisville Artisans Guild. Her work is represented by KORE Gallery in Louisville, KY. Currently her work is on exhibit as a part of At the Rivers Bend: Our Place on the Ohio, at the Evansville Museum in Evansville, IN. It runs through November 27.

“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 |  BUY NOW

“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 | BUY NOW

PUBLISHED WORKS
2015 BLINK, Art Design Consultants, Cincinnati, OH
2008 Kentucky Quilt Trails
2007 Saint Paul’s Art on The Parish Green, New Albany, IN, advertising material
2006 The Delta Kappa Gamma Bulletin, Vol. 72-4
2006 The Delta Kappa Gamma Bulletin, Vol. 72-3
2006 Promotional Materials, KY Crafted: The Market, KY
2004 Botanica Fleur de Lis Poster, Louisville, KY

COLLECTIONS
Owensboro Health Regional Hospital, KY
Saint Joseph Hospital, KY
Private collections, Louisville, KY
Private collections, The Villages, FL

Hometown: Louisville, Kentucky
Age: 68
Education: BS in Education, MA in Education from Eastern Kentucky University 
Gallery Representation:
KORE Gallery (Louisville)
Website: http://www.PatriciaBrockPhotography.com

“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 |  BUY NOW

“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 | BUY NOW

“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 |  BUY NOW

“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 | BUY NOW

“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 |  BUY NOW

“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 | BUY NOW

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Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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