landscape

Painting

The Academy at LVA 2018 Senior Spotlight: Claire Mundy

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Claire Mundy took classes with LVA for about eight years with Mr. Dean Mistler at Scribner Middle School and Indiana University Southeast.

She won a second place award and scholarship at the 2018 Ivy Tech Art Competition. Claire placed in 4H competitions for two years, and this year she also placed in several events with her Academic Bowl team. With all of this and making art, Claire also is very active in her church, volunteering each month with the food pantry and Community Meal, and having participated on several work mission trips.

In the fall of 2018 Claire will be attending the University of Montana, where she has received a Leadership, Achievement, & Service scholarship for $11,000. She will be majoring in Environmental Sciences and Wildlife Biology.

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“LVA classes have not only helped me become a better artist, but they made me want to be better and to push myself. Art is a huge part of my life and LVA has been with me for most of my journey as an artist. I wouldn’t be where I was today without these classes.”

Claire's work is included in The Academy at LVA Exhibition, which will be on display May 9 - 16 at Louisville Visual Art, 1538 Lytle Street in the Portland neighborhood. Gallery Hours are Monday through Thursday, 12-4pm, or by appointment. 

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Entire contents copyright © 2018 Louisville Visual Art. All rights reserved. 

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Painting

Vignette: Henry Chodkowski

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Henry Chodkowski taught painting at the University of Louisville for 37 years (1962-1999), and how many students/artists he influenced in that time is almost literally incalculable.

As an artist, Chodkowski moved from geometric compositions and stark graphic drawings to a particularly evocative landscapes influenced by multiple journeys to Greece. Many artists express a highly developed sense of place for a special location: Van Gogh in Arles and Gauguin in Tahiti are obvious examples, men obsessed with the individual sun and atmosphere they couldn’t seem to find anywhere else.

Chodkowski's fascination with the island of Crete and the Aegean Sea may have also been about the light - the Mediterranean sun is the stuff of legends, after all, but in the paintings we see here, the formal elements of landscape have largely receded into a vigorously executed abstract field of emotional color. While we know that Chodkowski painted from direct observation, the turmoil of stormy weather he captures must also be forging a connection with the deep wealth of history and mythology inherent in that country. The organic relationship between the slate blue and flushed pink in the sky show us the dense and threatening tempest, not the saturating sunlight we find in postcards.

"Ouranos-Thalassa, 26" by Henry Chodkowski, Acrylic on paper, 103:4 x 115:8in, circa

"Ouranos-Thalassa, 26" by Henry Chodkowski, Acrylic on paper, 103:4 x 115:8in, circa

In several pieces, such as “Ouranos Thalassa, 26”, that connection to ancient history is made explicit with impressions of ancient symbols in the paper. Chodkowski looks so far beyond the present-day culture, that the act of artistic creation merges with an intuitive sense of archaeology that borders on the mystical.

“These paintings are charged with the direct experience of actual places where earth, sea and sky are such vessels of new illumination, echoing inner expanses within us. Vast symbols hover almost unnoticed in veiled atmospheres of nascent light, as archetypal bridges to experience beyond history. The places are Aegean sites of the heroic ages, and the labyrinthian symbols speak of early Minoan forms of civilized vitalism.” - Jay Kloner

Hometown: Hartford, Connecticut
Education: Bachelors, University of Hartford, Connecticut; Masters, Yale University, Connecticut

"Ouranos-Thalassa 78" by Henry Chodkowski,  Acrylic on paper, 8 1:4x11 5:8in, circa

"Ouranos-Thalassa 78" by Henry Chodkowski,  Acrylic on paper, 8 1:4x11 5:8in, circa

"Ouranos-Thalassa 115" by Henry Chodkowski, Acrylic on paper. 22x26in, circa

"Ouranos-Thalassa 115" by Henry Chodkowski, Acrylic on paper. 22x26in, circa

"Ouranos-Thalassa 122" by Henry Chodkowski, Acrylic on paper. 161:4 x 151in, circa

"Ouranos-Thalassa 122" by Henry Chodkowski, Acrylic on paper. 161:4 x 151in, circa

"Ouranos-Thalassa 71" by Henry Chodkowski,  Acrylic on paper, 8.5x12in, circa

"Ouranos-Thalassa 71" by Henry Chodkowski,  Acrylic on paper, 8.5x12in, circa


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

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Painting

Art[squared] Spotlight: Chuck Swanson

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To celebrate the 5th Anniversary of LVA’s Art [squared] Event to Benefit Children’s Fine Art Classes, we will feature five local artists who are contributing 24” x 24” paintings to be sold at the event through a Silent Auction. Today we feature Chuck Swanson:

"Untitled (Kentucky)" by Chuck Swanson. Acrylic on canvas, 36x48in, POR       

"Untitled (Kentucky)" by Chuck Swanson. Acrylic on canvas, 36x48in, POR

     

Swanson is an artist, primarily a painter, but he is also one of the pioneer gallerists in Louisville, having opened a gallery on Bardstown Road in 1982 and then in 1998 on East Market Street in what would eventually become the celebrated NuLu neighborhood. For the record, Swanson opened the space near Market and Clay well ahead of the rechristening of the area, so he must be counted as one of the reasons why the once-neglected and depressed environs became a hot spot for redevelopment.

As a painter, his images have often been landscapes, but not with the typical detail and texture for flora and fauna that are found in a wide range of such compositions. Swanson’s scenes are elementally observed, deconstructing the form to its basic structure and realizing the point-of-view with saturated color under layers of translucent medium.

"Calendar #3" by Chuck Swanson. Acrylic on canvas, 70x40in, POR

"Calendar #3" by Chuck Swanson. Acrylic on canvas, 70x40in, POR

The composition is almost always a body of water moving away from the viewer and dividing two landmasses as it approaches the horizon. While the tone is placid enough, there is also a tension that results from the opposite shores never touching, forever separated.

Swanson’s more recent work positions these images in relationship to abstract color fields, but even there we can find that same dynamic in the juxtaposition of acrylic painted panels either echoing the tension of two forms in opposition on a horizontal plane.

As a gallery owner, Swanson is credited with helping develop the early careers of artists such as Russel Hulsey, who calls Swanson, “extremely progressive and forward thinking”, and being among the first to include electronic media and musical performances   He has served on the board of the East Downtown Business Association, Louisville Visual Art, and has been vice president of both the defunct Artswatch and LOOK, a Louisville area consortium of art galleries.

  installation view, "Calendar #4 and Calendar #5", by Chuck Swanson

  installation view, "Calendar #4 and Calendar #5", by Chuck Swanson

Hometown: Wausau, Wisconsin
Education: BA, Social Studies, University of Kentucky

"Flattened Landscape" by Chuck Swanson, Acrylic on panels, 12x28in, POR

"Flattened Landscape" by Chuck Swanson, Acrylic on panels, 12x28in, POR

"Calendar #2" by Chuck Swanson. Acrylic on canvas, 54x40in, POR

"Calendar #2" by Chuck Swanson. Acrylic on canvas, 54x40in, POR


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

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Painting

Vignette: Cathy Shepherd

"Veronica" by Cathy Shepherd, Acrylic, 11x14in, 2017. POR 

"Veronica" by Cathy Shepherd, Acrylic, 11x14in, 2017. POR 

The human subject never fails to fascinate. Capable of kinetic action and infinite expression, it also is compelling in repose. We love to examine each other, or perhaps it is narcissistic self-obsession as a species. Painter Cathy Shepherd understands that stillness does not necessarily equal an inert state for human beings.

“People have been my main focus through the years. I like to capture the moment of decisions. To some people, this just looks like sitting around, but to me it's the time when things are churning and clicking; the moment before someone says, "That's it! That's what I'm going to do," and jumps up and runs toward that thing.  As a result, my compositions are becoming less surrounding, more close-up.”

“But I still have to paint, even when a subject can't pose, and to my surprise and delight, I've found that still life subjects have personality and big skies are pretty heady characters themselves. Even then, I'm looking for something in the human experience we all share, whether it's animal, vegetable, or mineral.“

"Peonies in Green Glass Vase" by Cathy Shepherd, Oil, 10x8in, 2017. POR

"Peonies in Green Glass Vase" by Cathy Shepherd, Oil, 10x8in, 2017. POR

Shepherd may study her subjects closely, but the paintings are fresh and spontaneous, built with assured marks and a careful control of the medium. Her images never feel overworked or fretted over, and that ease may indeed come from a foundation.

“Underneath all of these is drawing. I’ve had wonderful mentors but I don’t exactly follow in their footsteps. Two of my teachers, Philip Pearlstein and Mary Ann Currier, were exacting realists, but Lennart Anderson and Sidney Goodman were tonalists - one classical and one dramatic.  The underlying thread connecting all of them, and me, is drawing as the foundation on which the painting is built. My best drawings are under paintings. And light. I always love light.”

Shepherd is a past recipient of the Al Smith Fellowship and is currently showing as a part of Five Exceptional Painters at Galerie Hertz. The exhibit runs through March 24.

 

Hometown: Paris, Kentucky
Education: BFA, Louisville School of Art/University of Louisville; Four-year certificate in painting, Pennsylvania Academy of the Fine Arts; MFA, CUNY, Brooklyn College Center for Book Arts, NYC, non-degree
Website: www.cathyshepherd.com
Gallery Representation: Galerie Hertz (Louisville)

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"Cape in Snow" by Cathy Shepherd, Oil, 8x8in, 2017. POR

"Cape in Snow" by Cathy Shepherd, Oil, 8x8in, 2017. POR

"Reverie" by Cathy Shepherd, Monotype, 9x12in, 2017. POR

"Reverie" by Cathy Shepherd, Monotype, 9x12in, 2017. POR

"Derrick" by Cathy Shepherd, Water color, 12x14in, 2017. POR

"Derrick" by Cathy Shepherd, Water color, 12x14in, 2017. POR

"Blue Slip" by Cathy Shepherd, Acrylic, 11x14in, 2017. POR

"Blue Slip" by Cathy Shepherd, Acrylic, 11x14in, 2017. POR

"Summer Sky Over VFW" by Cathy Shepherd, Oil, 32x40in, 2017. POR

"Summer Sky Over VFW" by Cathy Shepherd, Oil, 32x40in, 2017. POR


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

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Painting

Vignette: Shawn Marshall

"Cabin View 1" by Shawn Marshall, Oil on Canvas, 30x40in, 2018, POR

"Cabin View 1" by Shawn Marshall, Oil on Canvas, 30x40in, 2018, POR

When Shawn Marshall was inspired to paint the view from an airplane window, we might assume that it was a rainy flight, with hopefully not too much turbulence, because Marshall’s balance between abstract and representational might suggest an overhead perspective on landscape through a rain-smeared pane of glass: the details are blurred, and the contours defining the roads and fields below are elusive, hard to pin down.

Abstraction makes you look harder at things. The central question in the viewer’s mind becomes - what do I see? The more cynical might phrase the question differently: what am I looking at? Yet one might offer that to be demand that art explain itself to you is actually the lazy approach. Marshall challenges the viewer, enticing them with just enough discernible representation, but layering a veneer of abstract expressionism between them and her subject, built with a heavily textured impasto that forces an immediate visceral relationship with the surface. Paint is always seductive.

"Listless" by Shawn Marshall, Oil on Canvas, 24x24in, 2018, POR

"Listless" by Shawn Marshall, Oil on Canvas, 24x24in, 2018, POR

“I create a three-dimensional surface on the canvas; always striving for balance between the layers of impasto and the underlying landscape beyond.” – Shawn Marshall

The bisected compositional structure, normally recognizing the natural horizon line encountered in the open, rural landscape, remains in these airborne point-of-view, Marshall’s eye always finding a road or river that cuts through the quadrants of fields and developments below.

Marshall was awarded First Place in the 2017 MAZIN Juried Art Exhibition that just closed at The Patio Gallery at the Jewish Community Center in Louisville, Kentucky, and she is about to open a solo show at Craft(s) Gallery & Mercantile in Louisville that will run from March 2 through 31, with an Opening Reception March 2 from 6:00-10:00pm.

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

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: Pyro Gallery (Louisville),  New Editions Gallery (Lexington), Yust Gallery (Cincinnati)

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"Cabin View 2" by Shawn Marshall, Oil on Canvas, 30x40in, 2018, POR

"Cabin View 2" by Shawn Marshall, Oil on Canvas, 30x40in, 2018, POR

"The Passage" by Shawn Marshall, Oil on Canvas, 30x48in, 2017, POR

"The Passage" by Shawn Marshall, Oil on Canvas, 30x48in, 2017, POR

"Bleeding Rock" by Shawn Marshall, Oil on Canvas, 20x24in, 2017, POR

"Bleeding Rock" by Shawn Marshall, Oil on Canvas, 20x24in, 2017, POR

"Winter Field" by Shawn Marshall, Oil on Canvas, 36x48in, 2018

"Winter Field" by Shawn Marshall, Oil on Canvas, 36x48in, 2018


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

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