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Artists Talk with LVA: January 4, 2024

Carnegie Center for Art & History opened "Intentionally Intimate: The Choice to Work Small," which runs through March 16 & the artists, Wendi Smith, Nancy Currier, Caroline Waite, Kay Grubola, and Rachel Singel joined us this week.

Wendi Smith’s work has been exhibited regionally for over thirty years. She has been a member of local co-ops Zephyr and PYRO Gallery, as well as a supporter of the local arts scene. Exhibit credits include Four Star Gallery in Indianapolis, the Carnegie for the Arts in Cincinnati, and Zephyr Gallery in Louisville. She has taught fine arts at Bellarmine University and Indiana University Southeast.

Nancy Currier is a painter who also creates drawings and mixed-media sculptures. She grew up around art as the daughter of the esteemed Louisville painter Mary Ann Currier. She also has taught art at Louisville's Foster Traditional Academy.

Caroline Waite is from an English village called Cookham Dean, known for its famous and eccentric resident, wartime artist Stanley Spencer whose stylized scenes in the 1940s of Cookham village life and residents have hung in the nation's leading museums. He described Cookham as a “village in Heaven”.

In England, Waite taught at Northbrook College, Sussex North East Wales University Telford College, Shropshire. Since moving to the U.S. in 2001, she has lived in Texas and New Mexico but prefers her current home Louisville.

Kay Polson Grubola is an artist and independent curator in Louisville, Kentucky. Creating assemblages using natural found objects, Grubola’s work is a celebration of nature. The work is also an allegory for the natural process of human life, both its ascendance and its decline. She has shown her work nationally and internationally. 

Grubola was the Executive Director of Nazareth Arts, a regional arts center on the campus of the Sisters of Charity of Nazareth in Kentucky, as well as the Artistic Director of the Louisville Visual Art Association.  For 10 years she taught drawing and printmaking at Bellarmine University and Indiana University Southeast. 

Rachel Singel is a printmaker and faculty at the Hite Institute at the University of Louisville. Rachel has participated in residencies at the Penland School of Crafts, the Venice Printmaking Studio, the Scuola Internazionale di Grafica, and Art Print Residence in Barcelona. As an artist interested in working using non-toxic methods, Singel, has studied with the founder Grafisk Eksperimentarium studio in Andalusia in 2018 and worked as a resident artist at Wharepuke studio in New Zealand.

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.

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

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

Painting

Vignette: Devan Horton


“By questioning and altering our perceptions of beauty, these works open our minds to accept the nontraditional.” – Devan Horton


"Puff Ball Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Puff Ball Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

The closer we look at nature, the more it can seem alien to us. The word mushroom conjures up a simple shape, earthy in texture and pungent in aroma, with little or no color, yet Devan Horton’s paintings present a range of beauty and organic form far away from that cliché.

“Nature has always inspired my work in both concept and form, therefore the majority of my pieces are environmentally centered and are about naturally occurring phenomena and behaviors. With that said, the direction of my work has seen an evolution. Where the focus was once on live subjects such as swarms of animals, insects, and plants in order to portray an active idea, I slowly transitioned into making work about dead matter and elimination.”

Horton refers to her subject here as “dead matter,” yet there is such vibrant life in these images. However inert the reality, the artist’s viewpoint imbues the organic forms with the same living pulse that she explored in her previous work.

"Orange and Blue Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Orange and Blue Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Pink and Green Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Pink and Green Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

“Today, my work discusses themes of rebirth by portraying new life growing from the source of fallen trees. Pulchritudinous is a series of fungi paintings that displays the sheer variety of species and beautiful patterns that hail solely from our local area. Fungus has never been revered for being beautiful, but by taking a closer look at these magnificent recyclers, the viewer is forced to see the intricate patterns and wide spectrum of color that was there all along. Even the word Pulchritudinous is an ugly term at first sight, but quite literally means “something of great physical beauty”. By playing with techniques that make objects appear more attractive, all of my work revolves around a change in perspective by viewing that which we look at negatively in a new light.”

Horton currently has solo exhibition at Perennial Gallery, 625 Madison Ave, Covington, Kentucky, through August 20, 2017

Age: 23
Hometown: Covington, Kentucky
Education: BFA, Painting, Northern Kentucky University, 2016; while in school participated in a study abroad to Rome and Florence Italy.
Website: http://www.devanhorton.com
Instagram: https://www.instagram.com/hortondevan/

"Split Gill Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Split Gill Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Turkey Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Turkey Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

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

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

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

Painting

Vignette: Sharon Matisoff

"For the Roses" by Sharon Matisoff, 19x36in, oil on canvas (2017)

"For the Roses" by Sharon Matisoff, 19x36in, oil on canvas (2017)


“Painting allows me to transform my perceptions of the world into portraits and figurative compositions.” — Sharon Matisoff


"Self-Portait" by Sharon Matisoff

"Self-Portait" by Sharon Matisoff

Sharon Matisoff likes to paint portraits, but as an artist in Kentucky, the temptation of thoroughbred horse racing as a subject is inevitable.  “Although I’ve always painted people, recently I discovered the joys of equine painting. Now I primarily divide my artistic attention between these two subjects. Horses are poetry in motion and I aim to capture their grace and power when I paint them. It is gratifying to me that my portraiture skills are also useful in portraying the myriad ways in which people interact with horses. I feel as though my life as an artist is just beginning.”

Matisoff has been painting for years, but being newly retirement affords her the time to double down on her studio practice. Her slightly heightened sense of color is grounded in naturalism, and her sensitive observation of detail, which has always been a key element of her portraiture, is put into good use in her behind the scenes images of the world of horses. Her perspective on the racing form of the horse and jockey are adept, but the fact that her sensibility is drawn to the more workaday aspects of the equine world is telling.

"Catching Up" by Sharon Matisoff, 19x36in, pastel on sanded paper (2017)

"Catching Up" by Sharon Matisoff, 19x36in, pastel on sanded paper (2017)

"Chillin'" by Sharon Matisoff, 27x19in, pastel on sanded paper (2017)

"Chillin'" by Sharon Matisoff, 27x19in, pastel on sanded paper (2017)

“I often work in pastel when I’m so inspired that I don’t want to stop and mix colors or stretch a canvas. The desire to paint is so strong that I must immerse myself in a painting all at once. Pastel painting allows me to be fearless with the elements of art in the most lyrical way. Oil painting is a language that I learned later in life, and so demands a more considered approach. With the elaborate preparation that oil painting requires, I work in this medium when I feel very deeply about a subject and pastel is too ephemeral to convey the depth or complexity of the subject. Armed with these media, I feel as though I can interpret the subjects that touch my soul.”

Matisoff will be one of the featured artists in the Fall Equine Show at the Brown Gallery in the Brown Hotel. The show will be on display from September 1, 2017 through January 1, 2018.

Hometown: Oak Park, Michigan
Education: BA in Psychology from California State University-Northridge; Studied art at the Art Center College of Design (Pasadena, California)
Gallery Representation: Jessie's Art Gallery and Custom Framing (Frankfort, KY)
Website: http://www.sharonmatisoff.com/

"Before the Race" by Sharon Matisoff, 19x36in, pastel on sanded paper (2017)

"Before the Race" by Sharon Matisoff, 19x36in, pastel on sanded paper (2017)

"Wild Blue" by Sharon Matisoff, 24x24in, oil on canvas (2017)

"Wild Blue" by Sharon Matisoff, 24x24in, oil on canvas (2017)

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

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

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

Painting

Vignette: Erik Orr

Artist, Erik Orr

Artist, Erik Orr

Flipping Reality On Its Head

Writer William Goldman once opined that the difference between art and popular entertainment might be that entertainment comforts, but art should unsettle us; prompt us to ask questions. Erik Orr’s paintings immediately prompt us to wonder what we are looking at: is this a painting or a photograph? When you take into account that his subjects are primarily iconic figures in popular entertainment, music, culture, comics, and videogames, then Goldman’s proposition comes under challenge. The familiarity of celebrity faces may seem to offer accessible pop pleasures, but the presentation of the artist won’t quite allow us such a cushy perspective.

In his most recent artist’s statement, Orr describes his intentions: “My more recent works use techniques that blend traditional painting through a filter of digital technology, the works create optical illusions that will make you question your own eyes. At a time when we experience our world through screens of all sizes, these works flip that reality on its head and present paintings that look as if they are digital images from afar.”

"Anthony Michael Hall" by Erik Orr, 2.5x3.5ft, acrylic on wood (2017)

"Anthony Michael Hall" by Erik Orr, 2.5x3.5ft, acrylic on wood (2017)

"River Phoenix" by Erik Orr, 3x4ft, acrylic on wood (2017)

"River Phoenix" by Erik Orr, 3x4ft, acrylic on wood (2017)

Orr builds his portraits with organic vertical lines that suggest a photograph enlarged beyond what its quality should allow, yet such a question is made almost moot in the limitless digital resolution of the moment. His work straddles the divide between digital and analog both functionally and conceptually.

“In my current show, New Work, at Revelry Boutique Gallery I intend the work to showcase the culture that has influenced me to become the artist I am today.”

Orr resides in the Highlands of Louisville Kentucky with his wife and two young children. He is employed as a Graphic Designer at a marketing company and plans to continue to grow and show his work more frequently in the coming years.

New Work runs through September 6 at Revelry Boutique & Gallery.

Age: 37
Hometown: Fairfax, Virginia
Education: Associates Degree in Communication Design, Northern Virginia Community College (NOVA); BA, Art and Visual Technology with a Minor in Art History George Mason University
Website: www.erikorr.com
Instagram: https://www.instagram.com/erik_orr/

"B-Boy" by Erik Orr, 3x3ft, acrylic on wood (2017)

"B-Boy" by Erik Orr, 3x3ft, acrylic on wood (2017)

"Twiggy" by Erik Orr, 3x4ft, acrylic on wood (2017)

"Twiggy" by Erik Orr, 3x4ft, acrylic on wood (2017)

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

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

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