portland

Painting

Vignette: Margaret Archambault


“The power of what we see and how it alters our ability to find what we consider ‘happiness’ is something I find challenging and worth exploration.” – Margaret Archambault


Archambault's studio

Archambault's studio

In her 6th solo exhibit, In Ten's; A Single Century to Live, which opens on October 6th at Tim Faulkner Gallery, Margaret Archambault examines perception and mortality: “In essence, we measure our lives in 10 decades of experience. Some of us don't reach that 10th decade, but we all see our ‘life-time’ as potentially 100 years. Our personal perspective evolves through these years and our expectations related to happiness and fulfillment either becomes satisfied or we are left perpetually wanting. It is my goal with this new series to demonstrate the fallacy of the world being sold to us and focus on the world we can create within ourselves.”

Illusion versus reality is a frequent theme in art, but does it challenge our sanity to question the perception of our own existence. Archambault posits the opposite, that we are already inured from reality by the insulating cocoon of mass media. Her busy, kinetic compositions emulate in analog fashion the unyielding assault of visual information that we weather on an almost constant basis in our daily lives.

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

In “We Are What We Are,” Archambault breaks the pattern of dense collage slightly with the placement of one dominant figure, a 1920’s style woman representative of a pre-digital culture, but in a posture bent under the weight of 10 years of technological development.

“Regardless of our desires and often in direct defiance of our ‘plans’ the revolutions of time and the changes that come with it lead us to the revelations that alter our paths. My newest collection, the Silk Screen Series has a universal message about how our lives are affected by the world around us. More often than not, we make decisions based on what we think is expected of us, or what someone else wants us to do. These decisions often lead to destinations we never expected and only after we have arrived do we recognize the folly.”

Hometown: South Bend, Indiana
Education: BA, Interdisciplinary Humanities with Art Focus, Summa cum Laude, Spalding University, 2007
Gallery Representation: Tim Faulkner Gallery (Louisville)
Website: http://www.archambault-art.com
Instagram: http://instagram.com/margaretarchambault

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 |  BUY NOW

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 | BUY NOW

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

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

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Sculpture

Feature: Falls Art Foundry

For many, many years, the Bright Foundry was the primary metal arts foundry in Louisville. Even after founder Barney Bright’s death in 1997, the facility functioned under the stewardship of Barney’s son, Jep Bright until April 2016.

Artists: Matt Weir, Tamina Karem, and Scott Boyer

Artists: Matt Weir, Tamina Karem, and Scott Boyer

Matt Weir, Tamina Karem, & Scott Boyer all worked at Bright Foundry, and knowing Jep was thinking of shutting down, had talked to him about purchasing the equipment and opening a new Bronze metal casting foundry  on property they intended to lease on Portland Avenue, just across the street from The Table restaurant. They followed through and have now moved the contents of Bright Foundry into that location at 1715 Portland Avenue. They are still sorting things out, but are already working on projects and some small casting contracts.

Barney Bright’s River Horse statue at 6th & Chestnut was, of course, cast at Bright, as was Ed Hamilton’s York statue on the Belvedere, Bob Lockhart’s Robert Bellarmine statue on the campus of Bellarmine University, and many other local sculptures. Over the years there seemed to be plenty of work, so the Falls Art Foundry team are confident about the opportunity for work once they are fully established. But the journey to that result will require a lot of work  - and money.

Building plans by Mose Putney Architect

Building plans by Mose Putney Architect

The building, with over 55,000 square feet of space, high ceilings, and land allowing for expansion, is ideally suited to the task, but it will require modifications that will run in the neighborhood of $350,000 before the three will have met all of their goals.

Currently, the location satisfies much of the needs for the functioning foundry, with some changes needed in the floor to accommodate furnaces, extension of some interior walls to the high ceilings, and a second double wide door, but the team also has ambitions to develop what Boyer describes as, “our ideal foundry,” (the new building is about 19,000 square feet larger than Bright Foundry). Plans include building an annex to house retail and educational spaces that would enable outreach to the community. “Our long-term vision is for a sculpting campus,” explains Karem.

Artist, Tamina Karem with one of her recent pieces

Artist, Tamina Karem with one of her recent pieces

Between them, the trio can boast 40 plus years of experience working at Bright Foundry, and offer what Weir describes as, “a diversity of experience in materials and practices,” positioning them to be a full-service operation for artists in the area. “All foundries are collaborative efforts run by artists or, at least, craftspeople,” states Boyer, as he explains that the artists working to caste a bronze piece have a significant impact on the final result, often as much as 1/3 of the surface might change during the process. The observation underscores the importance of the relationship sculptors develop with a specific foundry. Bright Foundry enjoyed a strong reputation with artists, a reputation that Boyer, Karem, and Weir helped build and hope to carry over to Falls Art Foundry.

Artist, Matt Weir at work in Falls Art Foundry

Artist, Matt Weir at work in Falls Art Foundry

The technique of lost-wax casting is complicated. Weir breaks it down to nine stages, each of which contains several steps. Although all three have university educations, they learned the technique working at Bright. Because there is no academic foundry in Louisville right now, the opportunity to demonstrate the technique is important. It is older than one might assume, with the oldest known examples being the objects discovered in the “Cave of the Treasure “(Nahal Mishmar) hoard in southern Israel, and which belong to the Chalcolithic period (4500–3500 BC). Conservative estimates of age from carbon-14 dating date the items to c. 3700 BC, making them more than 5700 years old.

The Falls Art Foundry team currently rent the building with an option to purchase, and they seem nothing if not committed, so the smart money is on them following through and realizing their dream.

On June 2, it was announced that Louisville Visual Art would bestow the 2017 Barney Bright award of $1200 to Falls Art Foundry.

(Editor’s note: an interview on LVA’s PUBLIC, broadcast on WXOX-97.1 FM on 12.16.16, was used as a source for this article.) 


This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.


Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Special, Mural, Painting, Photography

Feature: 1619 Flux

1619 FLUX is re-opening for our One-Year Anniversary on April 15th, 2017 with a new Exhibition about Revitalization in West Louisville, and other surrounding neighborhoods.


“1619 Flux is NOT an art gallery.” — Kara Nichols


Neighborhood Revitalization & The Creative Flow Exhibition  Co-Curators:  Jesse Levesque, Kara Nichols, and Gwendolyn Kelly

Neighborhood Revitalization & The Creative Flow Exhibition
Co-Curators:  Jesse Levesque, Kara Nichols, and Gwendolyn Kelly

Kara Nichols and Jessie Levesque did not want to open an art gallery on West Main Street. Not that there’s anything wrong with that notion, it’s just that the pair had something else in mind. The full name they gave their venture, 1619 Flux Art + Activism is actually fairly direct in announcing the mission, but once you put art on the walls with a price tag, “gallery” is the easy assumption. People get it – they know what that is and they can feel good about it. But the real mission – the second part of that name – is an idea that still struggles to gain currency in the mainstream. What exactly does it mean to use art to effect social change?

Part of the problem is that it can mean so many things. “We want to engage artists who are solving problems creatively,” explains Levesque, “and, of course, part of that engagement will include exhibiting art, but there’s more to it.”

Nichols, who holds a PhD in Clinical Psychology from the University of Louisville, never saw herself in the role of “curator”, but she and Levesque are inventing a new role for themselves, step-by-step.  The first step was to make a home. The building is a humble, low-slung bungalow-like edifice that sits back off of Main Street between 16th and 17th Streets. It seems utilitarian on the outside, and the interior is open and efficient; a good space for a reception. When 1619 opened its doors one year ago, there was a party attended by a host of Louisville VIP’s: Mayor Greg Fisher, Ghislain D’ Humeires, Teddy Abrams, and many others. The high profile event drew a large crowd and the owners engaged a valet parking company to handle the traffic. That doesn’t seem unreasonable for such a glittering night, but later they heard negative comments from the neighbors. “They said to us, ‘seeing valet parking told us we weren’t welcome,’” says Nichols. “Which is exactly the opposite of what we intended.”

"Portland Car Show" by Adam Horton, 8x11in, photograph

"Portland Car Show" by Adam Horton, 8x11in, photograph

Which just underscores the challenge of trying to focus creative social activism through a physical location designed to pull people across the mythical 9th Street divide.

"Consume" by Bryan K. Holden, 48x72x9in, Plastic Liquor Bottles, Cardboard Homeless Signs, Wood, Resin, Ink, Paint, Liquor, Cigarette Butts, Pills, Syringes, Keys and Wedding Ring

"Consume" by Bryan K. Holden, 48x72x9in, Plastic Liquor Bottles, Cardboard Homeless Signs, Wood, Resin, Ink, Paint, Liquor, Cigarette Butts, Pills, Syringes, Keys and Wedding Ring

Hoping to clarify their intentions, Nichols and Levesque invited artist and West End resident Gwendolyn Kelly to co-curate a new exhibit that opens April 15, Neighborhood Revitalization & The Creative Flow. Although it does feature artists: Adam Horton, Randall Webber, Anne Huntington, Gwendolyn Kelly, Bryan K. Holden, Scott Vinson, D.R. Stewart, REMI, Kacy Jackson, Dwayne Whidby, Josh Ison, Shaun Sargent, Andrew Cozzens, and Erik Nohalty will all have work in the show, it will also highlight people and businesses that are making a creative difference in neighborhoods in transition: Algonquin, Butchertown, California, Chickasaw, Germantown, NuLu, Parkland, Park DuValle, Park Hill, Phoenix Hill, Portland, Russell, Shawnee, Smoketown, and SoBro/SoFo, among others.

One of the ways they accomplish this is by devising categories for people who affect change through creative action. In the statement for the exhibit, the curators state: “Creative people help to revitalize neighborhoods as architects, artists, connectors, employers, muralists, navigators, and witnesses. Art and activism emerges when creative people invest their time, money, and energy in neighborhoods in flux.”

"Pharoah Sanders" by Kacy Jackson, 48x24in, acrylic and spray paint on board

"Pharoah Sanders" by Kacy Jackson, 48x24in, acrylic and spray paint on board

Nichols, Levesque and Kelly came up with a series of identities:

Navigator
Architects
Witnesses
Connectors
Muralists
Employers
Artists
Evolvers

They see these terms as establishing entry points for individual to become a part of the discussion. “There is so much going on,” says Kelly, “but if people can identify with one of these roles, then they are involved.” The roles encompass people, businesses, social agencies, and art non-profits. “Connectors are churches, school, organizations like Louisville Visual Art,” explains Levesque, “Employers are obvious, but some of the other categories are more subtle in their definition, and, of course, we are all witnesses.”

It may seem surprising that Nichols and Levesque opened their space while still trying to figure things out, but their lack of arrogance and willingness to learn and grow provides an important example for people of means who want to make a difference in the community. It’s too easy to talk yourself out of taking such a risk, and nobody wants to look foolish, but perhaps in the territory where angels fear to tread is exactly where we might find the greatest opportunity for change.

Grand Re-Opening and One-Year Anniversary!
1619 FLUX: Art + Activism’s
Neighborhood Revitalization & The Creative Flow Exhibition

Saturday, April 15th, 2017
5:00pm - 10:00pm

Meat from Superior Meats, BBQ by Boss Hog, wine & beer, sides and desserts from The Table, Farm To Fork, and Sweet Peaches

Live music with WoWuWoo & Krew from 8:00pm to 10:00pm

"Phoenix Hill" by Adam Horton, 8x11in, photograph

"Phoenix Hill" by Adam Horton, 8x11in, photograph

"Sweet Peaches Restaurant Mural" by Resko, Photo by Randall Webber. 8x11in

"Sweet Peaches Restaurant Mural" by Resko, Photo by Randall Webber. 8x11in

"Smoketown Teardown" by Adam Horton, 36x36in, photograph

"Smoketown Teardown" by Adam Horton, 36x36in, photograph

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

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Public Art, Conceptual

Q&A: Todd Smith


“I am increasingly interested in developing projects that engage the community…”
— Todd Smith


Louisville artist Todd Smith is currently an Adjunct instructor at Bellarmine University and Indiana University Southeast. He is now in the prototype phase of an ambitious public art project commissioned through Louisville’s Commission on Public Art’s (CoPA) ARTmovesLOUISVILLE alternative transportation project initiative. His project, Bike Sense Louisville, will need over 100 citizen cyclist volunteers to use custom sensor units to track their bike usage around the city for one year. He took the time to answer questions about his work and this unique project.

Where did the idea for Bike Sense originate? How long have you been developing the project?

Just after completing my MFA in Buffalo, NY last spring I got an email from Sarah Lindgren from CoPA about their latest public art call for proposals. The theme was ARTmovesLOUISVILLE, with a focus on projects that engage and educate the public in alternative transportation issues in the city. I was moving back to Louisville and excited to have the opportunity to potentially participate in the city’s growing public art programming.

From the call, I began to think about biking and biking infrastructure. I am an avid biker and have been trying to get lost all over Louisville since I was a kid in the Goose Creek neighborhood. Since then I have lived in 7 different neighborhoods in the city and watched the infrastructure change. I commend the city and the last couple of mayors on their initiatives to make Louisville more bike friendly, but I have also seen the efforts come slowly and with mixed results. I have experience biking in Portland, Oregon, and New York City, where separated bike lanes and bike sharing have been well funded and implemented. Louisville has a bike share program that I have rarely seen used and painted bike lanes that many cars ignore. I wanted to come up with an idea that would help the city get more information about bike usage that could be used to raise awareness about biking in the city and potentially be used to improve bike infrastructure.

My most recent projects in grad school were based around data and sensor technology. I had created a glove with pressure-sensitive fingertips, which in its prototype phase, measured the quality of a handshake. The intention is to create a pair of pressure-sensitive gloves and shoes that can measure the relative distributions of pressure in a tree climb and give it to multiple climbers to see how climbing techniques vary.

In my thesis project I embedded an accelerometer into a large Y-shaped branch that was attached to a sturdy steel frame. I placed that branch in the center of an abandoned grain silo and invited people to climb onto it. As they moved and shook the branch the lights in the silo would flicker and a hidden subwoofer would rumble at very low frequencies. The intent was to make the participant feel as if their movement on the tree branch was causing the destruction of the silo. Essentially it’s an interactive metaphor for the history of the industrial site: man makes concrete silo infrastructure, industry booms and busts, vegetation begins to spread across the site inserting roots into cracks allowing water and rust to slowly destroy it.

My idea for Bike Sense Louisville is to take sensor technology and give it to citizen cyclist volunteers, collect their usage over one year, and interpret that data into a real-time sound work that will be broadcast on the Big Four Bridge. In a way, it is a combination of the two previous projects I described, only it’s about micro-measurements of where people are biking and creating a responsive sound piece that draws the public’s attention to bike usage and infrastructure. I also want to add ambient temperature and carbon monoxide sensors in an attempt to see how weather is changing across the city, as well as monitoring the worst part of car exhaust. Then at the end of the year-long project, the entire dataset will be open and available for anyone to see and use, and maybe even help to determine ways of improving Louisville’s bike paths and routes.

I submitted my idea to CoPA in June 2016. I then was selected to develop a more detailed proposal and budget in the fall. CoPA helped to facilitate meetings with members of the city from their bike program, innovation, parks and more. I also met with the Louisville Waterfront Corporation who graciously agreed to broadcast the project on the pedestrian bridge. Then on December 12th I presented my project to the public art commission committee. The project was approved and the prototyping and marketing phase is beginning now. We hope to launch the project with 100 cyclist volunteers by late summer.

You’ve secured support from Metro Louisville and the Commission on Public Art? How are they helping?

CoPA is funding the project, helping to organize PR, public outreach, and facilitating partnerships with the Louisville Waterfront Corporation, Bike Louisville, and more to make sure the project is successful. They will also start a speaker series this summer to be held at Metro Hall and I hope to participate and present the project in relation to art and infrastructure.

This is pretty conceptual with a capital “C”, was it difficult to get that level of municipal involvement?

The most difficult part of the project is explaining how the technology will work and be translated into art. Once I broke it down to the basic concept and explained the possible benefits from such a massive dataset, the project was very well received. The sound portion will be accessible and the complexity of sound will directly relate to the level of bike usage. No bikers = no sound. A few bikers = simple sounds. A lot of bikers in a lot of different locations = lots of sounds...and all in the vein of a wind chime or wood blocks. I control the harmony and chords so that the differing sounds firing at random will work together, just like the tones of a wind chime are made of notes in a harmonious chord. It involves public interaction, citizen science, and lots of potential for public good. I didn’t find that it was difficult at all to get people on board.

You are asking for volunteers who use bicycles on a regular basis? What is it exactly you need them to do?

First, I am asking all interested cyclists of all kinds go to bikesense.net and fill out a volunteer survey. I am interested in seeing who you are, where you live in the city, how often you bike, where you bike, etc. Then I will select 100 volunteers that best represent all the different kinds of Louisville bikers, plus a waiting list. Then I will hand out the sensor units to the volunteers with these instructions:

  • Use the sensor unit whenever you bike.
  • Keep the sensor unit charged.
  • Return if it stops working or you no longer wish to participate.

Your work is very focused on the subject of urban ecology, and is dominated specifically by trees. This is relative to that, but also different. How would you characterize the relationship between this and your previous work?

During my time in Buffalo I made the conscious decision to expand my practice beyond tree-climbing. I believe this was a natural evolution from all my time in the treetops, seeing all the ways in which humans impact trees and natural spaces. A large part of my Daily Climb project involved walking, biking, and driving around Louisville in parks and neighborhoods to find trees to climb.

Over the many years climbing, my observation of trees inspired me to research the heat island effect, tree canopy studies, writings about invasive plants vs. native, tree and urban ecology, previous weather disasters and floods, and more. I also spent countless hours up close with varying infrastructure in the city. In learning how every creature, plant and thing are connected in our ecology, I found more and more ways to approach making art that draw attention to our impact on our environment. When it all comes down to it, I still love trees and believe that the more people bike instead of drive and the more people support initiatives to improve bike infrastructure, the better the trees will be.

I also believe the more people in the community become directly involved in issues like alternative transportation and collecting data about bike usage, getting their hands dirty planting trees with groups like Louisville Grows, the more they will care about their city. Most of my previous work was about me and my personal experiences climbing. I am increasingly interested in developing projects that engage the community in activities that can provide positive results.

Tell us about an important moment of transition for you as an artist?

I have experienced 3 important transitions as an artist. The first happened in undergrad in 2002 when a visiting artist challenged me to share my perspective as a climber. From that moment forward I stopped drawing and painting and started using whatever means necessary to share my experiences climbing trees.

The second was when my Daily Climb project ended in July of 2010. It was unexpected, incredibly sad, and my obsession was broken. It was a relief, but also such a hard place to rebuild after so long. It has taken me since then to slowly let go of my identity as strictly the tree-climbing guy. I still haven’t let it go completely.

The last transition just recently happened in grad school. I came into my first year ready to discard tree climbing and start new. The first year beat me down, confused me, and cornered me into re-embracing tree climbing again. Then finally, one month before my thesis exhibition was to open in my last semester, I had an on-site meeting with my 3 committee members. They finally saw my idea to share my tree-climbing experience with projection and virtual reality in an abandoned grain silo and they all thought it wasn’t right for the site. They challenged me to reassess. I went back to the drawing board, spent hours walking the site, and through some research and countless discussions and writing and sketching, I came up with an idea with two weeks left. It still may have had an element of trees and climbing, but it went beyond sharing my own perspective as a climber. I finally moved on. It allowed me to create works focused outward. It’s where I find myself now.

What's the most challenging part when starting on a new work?

Every project presents different challenges at different times in the process. I’d say for Bike Sense Louisville, my challenge was how I would translate the data into sound. I went to a Sound Builders meeting at LVL1 Hackerspace and asked them about programs that can translate data streams into sound, and someone recommended Pure Data. This open source programming language has been around for a while and is incredibly flexible. I started teaching myself by watching YouTube tutorials and fell in love with it. It’s been a steep learning curve but it has been really exciting to add another tool to my toolkit.

Plus, every new language or skill I learn I look for opportunities to include it in my teaching. My students teach me so much in return when I see what they do with these skills. I can’t wait to have the opportunity to teach Pure Data and physical computing using sensors. Teaching and creating has really become a rich back and forth.

Given how project oriented you work is, how long do you usually spend on a specific piece?

This is a difficult question to answer. I suppose there is no “usual.” At times, I have felt frustrated when I compare my productivity to other artists who work in more traditional media. I see them pumping out a series of paintings or object-based work they can do by themselves and I feel the pressure to be as prolific. But I don’t usually work in a studio where I can go and make something. I am more interested in larger projects that are outside and involve long periods of learning new technology and working with other people. I finally came to accept that I work a different way and that’s okay. That’s why I have really come to enjoy teaching at a University. It allows me to fulfill my teaching passion as well as make connections with students and faculty that might be interested in collaborating. The time in the classroom feeds my art while also providing a way to support projects that don’t always pay.

"the GOOD GUY glove" by Todd Smith (2015) |  Click here  to learn more about this project

"the GOOD GUY glove" by Todd Smith (2015) | Click here to learn more about this project

That being said, I recently participated in one of Zephyr Galleries Project shows with a series of photographs called Conic Sections . The series was inspired by my hobby of doing parkour. I had discovered that I could use my iPhone to take panoramic pictures, but rather than scan from side to side, I would arc backward or scoop the phone in a “U” shape and get really interesting images with 2 horizons. I asked a close friend to do parkour through spaces around Louisville and New Albany while I shot the pictures. He was often in the picture 2 or 3 times in different locations, moving as I slowly bent over backwards. The results were really disorienting and playful.

It all depends on the idea I suppose. That idea came to me one day walking around in a park and playing with my phone. The moment I realized I could capture two horizons I had the idea in a flash. I scheduled the shoot, spent a few hours shooting and then ordered the prints from the best few shots.

Other project ideas pop into my head at random moments and I keep a list. Then when opportunities present themselves like public art calls, I look back at my previous projects and my list of ideas and see if any apply or can be tweaked or altered to fit. The bike project wasn’t something I had thought of before, but elements of previous projects helped form the final concept.

How do you feel about local art scene in Louisville? Would you change anything about it?

I see two sides to the art scene here. One, it’s cheap to live and still relatively cheap to rent studio space. The culture is supportive of the arts and there is more and more programming going on with public art. Plus, with U of L and IUS and Bellarmine and KyCAD there are programs producing young artists...I just don’t know where they go after they graduate.

The flip side is that there is a very small group of people/collectors who support all the arts in the city. It doesn’t seem like Louisville is a draw for outsiders to look in and see what’s happening here. That means it’s up to us artists to look elsewhere for opportunities. And then many leave. Because of that, great galleries and art spots like Land of Tomorrow are forced to close. I love the energy that Dan Pfalzgraf is bringing to the Carnegie in New Albany.

He’s trying new things, getting local institutions and artists involved, and he’s especially open to young, local talent. It would be great to see all the curators from all the local museums and cultural institutions get more hands on with local artists and include them in programming. I assume it is happening more than I know and am just not aware of it.

Another example I did recently see was Human Abstract at the Kentucky Center put on by Louisville Ballet. It featured the collaborative work of Tiffany Carbonneau, Andrew Cozzens, and Ezra Kellerman, and the show was amazing! I really appreciate that these kinds of opportunities are coming to local artists. I guess it’s up to me to stay plugged in and make sure I am not missing more of these opportunities to get out and support my fellow artists.

Hometown: Louisville, Kentucky
Age: 35
Education: MFA, Emerging Practices, University at Buffalo, NY, 2016; BA, Studio Fine Art, Amherst College, Amherst, MA, 2003
Website: http://www.toddcsmith.com

Entire contents copyright © 2017 Louisville Visual Art. All rights reserved. 

"Inward Out: Spontaneous Reverberations" by Todd Smith (Exhibited on April 30th 2016 at Silo City in Buffalo, NY) |  Click here  to learn more about his Master Thesis exhibition

"Inward Out: Spontaneous Reverberations" by Todd Smith (Exhibited on April 30th 2016 at Silo City in Buffalo, NY) | Click here to learn more about his Master Thesis exhibition

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Drawing, Painting

Vignette: Britany Baker

"Reflection" by Britany Baker, 108x25in, charcoal on paper (2016)

"Reflection" by Britany Baker, 108x25in, charcoal on paper (2016)

For the second year, Louisville Visual Art has selected a local artist to be the Featured Artist for the annual art[squared] Anonymous 8" x 8" Art Sale: Britany Baker.

"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800

"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800

While the sale will consist of 200 original 8” x 8” pieces by artists from around the region, it will also include this new, larger painting, “Above the Fray”, created by Baker just for this event. For anyone who has seen recent work by the artist, the depiction of a bird will come as no surprise. Baker’s paintings are much sought after by collectors, and the birds are especially popular. It is not difficult to see why.

Baker is known for abstract imagery based on natural forms, as described by Curator Jessica Bennett Kincaid: “…Baker’s fluid imagery saturates the viewer with a heightened connection to their environmental surroundings. Subtly creating an emotive relationship to singular aspects of the places we inhabit, these flowing abstractions allude to the collision of the natural world and human influence.“

Yet the aviary “characters” (they are not real birds) are a highly representational contrast to such work; an exquisite study of nature nestled in feathers that seem at once realistic and a ruse. Because of its position, the creature has the feeling of being in flight, yet the forms surrounding the head also give the appearance of being grounded. Baker creates a compelling tension between the intimacy of the detailed observation of the bird and the epic visual quality of the composition, playing with the viewer’s comprehension in a way that is irresistible.

Artist, Britany Baker

Artist, Britany Baker

Since December, Baker has worked full time as the Art Director for Red Pin Media, and is Vice-President at Art Sanctuary, a non-profit community-oriented arts collective supporting local visual, literary, and performing arts through events, promotion, and education.

art[squared]

All works donated to art[squared] will be exhibited anonymously and sold on a first-come, first-served basis at LVA's new location at 1538 Lytle Street on Friday, April 7th at 7 PM. The beauty of anonymous exhibition is viewers will be able to respond to the artwork on its merits alone, without prejudice or preference. Each 8” x 8” piece will be priced at $100. The work will also be on public display for one week leading up to the sale, and any unsold work for an additional week following the sale.

“Above the Fray”, by Britany Baker, will be sold through Silent Auction that will close out at 8:30pm on April 7, 2017. Opening Bid is $1000 and bids will be accepted in increments of $50. If you wish to make a bid before the event, email keith@louisvillevisualart.org with your name, mailing address, email, phone, and bid.

"Above the Fray (detail)" by Britany Baker, 36x36in, oil on canvas (2017)

"Above the Fray (detail)" by Britany Baker, 36x36in, oil on canvas (2017)

All proceeds benefit CFAC, which educates over 1,000 artistically talented and visually driven children annually in the Greater Louisville area. Last year, we were able to raise over $24,000 during art[squared]! This provided students with scholarships and helped offset instructor and supply costs in all 11 participating Kentuckiana counties!

“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years  art[squared]  event.

“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years art[squared] event.

We cordially invite you to the art[squared] Artists Reception & Preview Party on Friday, April 7th at 7 PM at LVA (1538 Lytle Street). A great opportunity to snag your favorite 8" x 8" before it's gone the next morning!

Hundreds of art works - the largest number of talented local artists to be found in one location – and each piece is ONLY $100.

For tickets and more details about the event visit:
http://www.louisvillevisualart.org/artsquared2017/

Hometown: Louisville, KY
Age: 46
Education: BFA with concentration in drawing and painting, Xavier University (Cincinnati, Ohio)
Website: http://www.britanybaker.com/

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

"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 |  BUY NOW

"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 | BUY NOW

“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 |  BUY NOW

“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 | BUY NOW

“Amaryllis” by Britany Baker, 37x49in, oil on canvas (2015), NFS

“Amaryllis” by Britany Baker, 37x49in, oil on canvas (2015), NFS

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

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