No. Inc. presents Art of the South 2017

“d’evils (these MFs)” Lester Merriweather

 

X no.5 (Honey Bees, Honey & Salt) Brent Dedas

 

We are pleased to be hosting our region’s annual Art of the South, presented by NUMBER: Inc., a quarterly visual arts journal hailing from Memphis with coverage throughout AL, AR, FL, GA, KY, LA, MD, MO, MS, NC, OK, TN, TX, SC, VA, or WV.

Join us Saturday, June 3rd, 6-9pm for a show that appears to be a cross-section of the contemporary rippling of art scenes across the southern region.

This show was curated by Mark Scala, Chief Curator at the Frist Center for the Visual Arts. Scala received an MA in in art history and MFA in painting from Virginia Commonwealth University. Having spent the better part of his life painting, Mark is himself an artist. His interests and exhibitions have focused on representations of the body in contemporary art.

There are 28 artists displaying at Ground Floor Gallery + Studios and the L Ross Gallery in Memphis simultaneously.

Artists showing at GfG include:

Amelia Briggs, a painter who has recently been working on bulbous “inflatable” appearing surfaces. Amelia has definite interests in children’s imagery and expression.

Brent Dedas, works in mixed media and recalls the intensity of abstract expressionists. His work explores dichotomies such as science and art, or destruction and creation.

Donald Furst, a printmaker who depicts architectural scenes at night. Many of his compositions focus on interiors that include an opening door.

Jaime Johnson, a photographer currently teaching at Ole Miss. Using cyanotype photography, she explores female identity.

John Jackson, a figural painter drawing from the neo-expressionists. His paintings center around our current relationship with technology. The work represented in this show differs greatly from this and marks his way into abstraction.

Joseph Holsapple, an artist who makes still life paintings of domestic items. He fills his images with childhood objects and leaves bits of the image unfinished, evoking the nature of memory.

Katherine Wagner, a pattern-based painter who takes cues from the loud patterned fashion of the 80’s. Much of her work is based on personal childhood experiences with visual pattern.

Lauren Yandell, an artist who works in graphite, collage, and installation while finding a balance between nature and geometry. She marries realism with the raw quality of drawing.

Lester Merriweather, an artist and curator that works in collage. Lester focuses his attention on racial relationships, capitalism, consumerism, and the myriad of ways these things intersect.

Michael Nichols, creates unearthly portraits using buon fresco, air brush, and silverpoint. His curiosity in introducing old and ancient mediums to contemporary art is reflected in the ghostly images he creates.

Victoria Tinsley, works in both sculpture and painting, creates surreal figures that morph into and out of each other.

Virgil (Cayse) Cheatham, a graduate of Yale University who currently lives in Atlanta, GA. He divides his time between creating erie landscaped-based paintings and working at the Zuckerman Museum.

If you can’t make it to the opening night of Art of the South, stop by during our regular gallery hours to check it out! We will be open Tuesdays, Thursdays, and Sundays, 5-8pm.

 

 

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“Dad in the 90’s” in Review

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Katherine Wagner’s Dad in the 90’s (a painting in our Otherworldliness show), is a synthesis of past and present.  A piece of found material supplies a foundational structure, an armature for a meditation on past experiences.  Inspired by textile and its ability to conjure the past, through palette and pattern, Wagner searches for fabrics that connect with an aspect of familiar associations. Using the found rhythms and structures within the textile, Wagner composes her own rhythm, adding shapes, colors, and disruptions, stitching pieces together, creating a wholly new composition. This piece speaks to a memory of a pair of swim trunks owned by her father back in the day- a cause for embarrassment at the time.  This piece seems to connect with that memory in a way that is more emboldened, an act of looking back on this aesthetic decision as a noteworthy moment in an inherited visual vocabulary.

by Amanda Joy Brown

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Close/Open/Review

Join us this Thursday night 5-8pm for a casual Closing Show/Open Studios where you can visit with art, artists and works in progress. Light snacks and yummy beverages provided.

In the meantime please see below for the review of Hot Water, an acrylic painting by Brianna Bass, written by another Otherworldliness artist, Katherine Wagner, and consider finding the perfect, small space for it in your home. This “world” reads big, but only measures 12” x 12” x 1.5″ and is really quite affordable. Hot WaterBrianna Bass’ painting Hot Water, on wood cradled panel, is visually guarded with strong vibrating colors that separate into different levels. Although the composition is cellular, seemly a place for your eyes to rest, you get bounced back outside of the cell to wander through the depths of a psychedelic, molecular world. This sensation of unrest relates to the title of the piece. Hot water can both burn and soothe bouncing between the two like the push and pull on the panel, bolstered through the use of pattern. The directional light, layered patterns, and color interplay all seem well thought out which leaves me wondering about the use of wood panel and how it relates to the rest of the work. Is it the pattern of the wood that allowed for the jump to exploring repetition in paint? Or maybe it is purely a support system for the piece. Either way, the piece is entrancingly busy and rich. Brianna Bass has created a world that I would hesitantly enter but gladly observe through the window she has provided.

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Review of Andrew O’Brien’s Photograph by Robert Fields

Now, nearly a week after seeing Andrew O’Brien’s untitled photograph… it remains a still & quiet reflection. 

What I first saw was a random array of vertical bands: thick, thin, solid to nearly transparent…a landscape sliced… which I had to linger over, and work at reading: near, middle and far. 

What’s unseen is the broader context in which to understand where I am standing.  What am I seeing, looking at or through? What’s real or am I imagining more than what’s there? Inside? Outside? 

What would be good to see in addition to this marvelous print… are the other photographs from his Curtain Wall Series, all side by side. Go to aophoto@gmail.com .

What I experienced from viewing O’Brien’s “untitled” was the sense of peering through another artist’s picture-window created by the narrow, white frame…a view into a mystery-chamber… a dream of time and place, trapped… encapsulated between triple, transparent plates.  

Can I now let it go? Do I? Maybe better asked: When will these thoughts and impressions let go of me?

~Bob Fields/ 4.17  

Gallery Hours for the month of April: Tuesdays and Thursdays 5-8pm or call to schedule private viewing.

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Open Hours

Thanks to everyone who came out for our 5th Annual Juried Exhibition and gallery talk with Austin Thomas, and congratulations to Gil Given, who received “Best of Show!” If you missed it, stop by to check out Otherworldliness during our open hours Tuesdays 5-8pm and Thursdays 5-8pm.

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Otherworldliness

           

Our 5th Annul Juried Show opens this Saturday, April 1st from 6-9pm. Join us for a gallery talk with curator, Austin Thomas, and meet with the artists in attendance.

Congrats to those chosen for Otherworldliness: Frances Ashforth, Brianna Bass, Robert Fields, Gil Given, Carl Gombert, Kathia St. Hilaire, Amanda Joy Brown, Elysia Mann, Dusty Mitchell, Andrew O’Brien, Katherine Wagner, Mariel Zuchman.

“Otherworldliness” – Ground Floor Gallery, Nashville, Tennessee

March 27 – April 28, 2017, curated by Austin Thomas

Curatorial Statement

This exhibition presents examples of many typologies with an emphasis on artists from Nashville, other parts of Tennessee and elsewhere with photography, painting, printmaking and sculpture.  I have chosen painterly work with a focus on what I believe represents a feeling of otherworldliness.  There is a painterly vibe in the exhibition.  Some of the works are almost divine.  And the overall choices are not devoid of political content.

Whether painterly or politically-titled, as in Robert Fields’ piece (“Let it be an arms race.” — Donald Trump), all of the participating artists are present in the timeless inner territory that is of the artist where one attempts to build upon understanding and knowledge to expand meaning.

Frances Ashforth affirms our desire for an inner landscape as she teaches us through her monotypes about water and its importance in our lives.  Ashforth’s work, represented in this exhibition with a unique water-based monotype titled “Playa 7,” is bathed in blue, revealing to us the spirit of nature itself.  Nature is powerful and we are its student.

As students, we take notes and have homework. Mariel Zuchman’s watercolor and pastel artwork is a lesson in the transformative power of thinking and making visual thoughts on paper. Zuchman may make art to visually understand her thoughts.

Small ideas render deeper meaning in Carl Gombert’s kaleidoscopic rubber-stamped drawings.  His themes, motifs and symbols are set to repeat and his images reveal patterns with each color and stamp change.

Using one color and repurposing one material, black rubber, Dusty Mitchell’s piece cleverly hit the mark with our #MakeAmericaArtAgain call. His work serves as an awesome entrance into our “otherworld” as he has literally put out a welcome mat cut in the shape of the United States, but please don’t wipe your feet on your way in.

Gil Given’s three dimensional “sculptural painting” may challenge preconceived notions of traditional painting on canvas because his work of rainbow-colored acrylic paint on wood and canvas may propel itself off the wall, play a tune and dance out the room!  Gil Given is an artist marching to his own drummer, as they say.

More quiet is Elysia Mann’s hand-printed rope ladder “Anteroom” which seems to hang over a wall intended to keep someone in rather than carry someone out to safety.  Mann is also a poet and weaver unifying word and image together not unlike the centuries old Arabic practice of weaving the Koran into poems, called Iqtibas.

Kathia St. Hilaire’s relief print “Style,” weaves together a connectedness of personal history with communal memory into a powerful narrative reaffirming her rich present.

Andrew O’Brien’s untitled photograph from his curtain wall series reveals the appealing apparent transparency of glass.  In O’Brien’s photograph the outside world seems so far away.  His image is one of isolation.  But we are not concerned for in this exhibition, organized around the theme of otherworldliness, we have some exuberant painting ¾ represented in the works of Brianna Bass, Amanda Brown and Katherine Wagner.  This is a diversified collection of work demonstrating the mental labors of the discipline.

Brianna Bass’s painting “Hot Water” is so filled with different patterning that it feels like it is expanding and contracting at the same time.  The colors Bass uses revive and restore the transformative power of art itself.

A similar feeling is garnered from Katherine Wagner’s painting which begins with patterned fabric that the artist then paints into therefore accentuating its pattern or creating a whole new experience.

The artist and the observer (sometimes one and the same) encounter each other at Ground Floor Gallery.  Amanda Joy Brown, who has a studio near the exhibition space, has organized additional work in her studio leading us to the heart of this story in the central gallery where she is represented by her painting “Blueberry Snow” (a comforting title). The main story being; there is power in the individual voice of the artist where inner worlds strengthen the outer world and offer us not only hope but truth.

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An Online Gallery!

Check out our new page featuring all work that was submitted for our 5th Annual Juried Exhibition. This show opens April 1st during Arts & Music @ Wedgwood/Houston Art Crawl. See you soon!

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