The Vibrating Neighbor


Ground Floor Studio artist, Matt Christy, currently has a solo show up at Red Arrow Gallery through February 16th. The show, including recent collaged paintings, is titled The Vibrating Neighbor. You can check it out now by calling ahead any day. Red Arrow is also open Saturdays, 12-4pm. On February 1st at 6pm Matt will add a collage of video, readings, and sound


Two Heads, 13″ x 17″



Tiger, 7′ x 6′

to his exhibition followed by a Q&A. Mark your calendars!

Artist Statement:

The Vibrating Neighbor could refer to the neighbor that plays dance music too loud and shakes your walls, or perhaps to the sound of a roommate’s libidinal enjoyment, or even, on a deeper more frightening level, the living pulsing, excessive existence of what is other, its very molecular vibration. To be confronted with that is an anxiety inducing intrusion and an exhilarating, hallucinatory vision.

The works in The Vibrating Neighbor use collage fragments and images embedded in molecular structures and energetic abstract fields to create changes in perspective and scale. The concentric fields of vibrating color become stages for me to purpose peculiar relationships between those isolated elements. I’m less interested in the dream of togetherness and more interested in the unaccountable, relationships that may mean nothing and have no end. Animals crop up because their narratives seem to rub against the peopled ones. Imagine any familiar narrative, imagine an ant on the right shoe of one of it’s major players, now focus on the ant, voila the narrative’s familiarity is disturbed by it’s unknown, vibrating neighbor. I’m probably misusing that term. Neighbor seems to bleed into the idea of Other, but neighbor,  for me, has a theological history that I like, and it’s funnier. It’s a change in orientation that doesn’t allow me to think of my other’s as completely isolated, but as caught up in the same unaccountable set of relationships that ensnares all of us.

The Year in Review


Happy New Year! It’s that time again that we fondly look back at this past year’s shows, and eagerly forward to what 2019 means for Ground Floor Gallery + Studios.

We began our year of 2018 with a group show, Self and Surroundings, featuring the studio artists of Ground Floor, that included Kim René, Amanda Joy Brown, Erin Murphy, Sibley Barlow, Meg McGregor, Georganna Greene, Bobby Becker, curated by Naomi Bartlett.

Our current studio artists at Ground Floor include: Amanda Brown, Georganna Greene, Bobby Becker, Janet Decker Yanez, Kim René, Matt Christy, Meg McGregor, Chris Harsch, Megan White and Kate Faulkner.

Ground Floor’s Matt Christy curated, My Own Worst Enemy, a show that featured paintings with a sense of individualism’s relationship with the weight of the world. Christy’s work was included along with Lindsey Campbell, Joe Christy, Kevin Dietz, and Chris Worth.

Another studio artist, Kim René, had a solo show titled Flow. She gave us beautifully atmospheric paintings that explored the fluidity of nature.

This past year has also been great for Ground Floor Gallery’s individual studio artists outside of our gallery! Founder/Director, Janet Decker Yanez, had a solo show, Evolution, with Galerie Tangerine. Amanda Brown was also featured at Galerie Tangerine in Ruche. Georganna Greene presented a solo show, Adagio, at Red Arrow Gallery, and Matt Christy was included in a group show at Track One (Matt also opens a show TONIGHT at The Red Arrow Gallery, The Vibrating Neighbor which runs through February 16th).

Catherine Haggarty joined us in curating our 6th Annual International Juried Exhibition, Rhythm & Rush. All submitting artists were featured in a book published by RD King and Extended Play. Haggarty selected Noemié Jennifer’s Onrush as “Best in Show,” awarding her a solo exhibition at Ground Floor in 2019.

Other artists included in the gallery show:

Padmavathy Rajendran
Benjamin Pritchard 
David McDonough 

Noémie Jennifer: artwork

We are looking forward to Jennifer’s upcoming show this new year!


Keep in touch…2019 is also bringing us solo shows by Amanda Brown, and Bobby Becker, button making opportunities from The Button Project, and more. Cheers to 2019!

The Anticipation of Noémie Jennifer



After receiving Best in Show Award in our 6th Annual Juried Show, “Rhythm and Rush” Nashville’s art scene will be anticipating Noémie Jennifer’s upcoming solo show in 2019. The piece selected that earned this award was her piece titled “Onrush.” The image, made from rag paper, mulberry paper, acrylic, and neon polyester thread could be seen as a cascading downpour, hair reaching out from the skin, or anything between and beyond.

A great word of entry to describe Noemie’s working is anticipation. Still images illustrate such a decisive moment, the viewer is left on the edge expecting a real world, real time transformation. These drawings stagnate the ephemeral.

Her use of thread and reorienting of meaty paper creates very haptic images, giving a tactile viewing experience. The viewer is allowed to slowly pull apart the way it was pieced together. Change, journey, and movement are the three words I would use to investigate her work. They describe so many different means of travel. You could see them as similar to the way one word weaves to another and on down the line to complete a thought and begin a new paragraph; how light from a star reaches our eye after a long trip from a dying explosion. One might even compare it to the politically charged migration of stressed people, or animals in a fight or flight mode, across stretches of foreign land, perhaps even cells building upon one another to create a sprouting plant.

Any artist working with micro/macro content must force the viewer to make profound connections between worlds. Jennifer takes this farther by captivating the element of movement and travel. With her work we not only see the visual connection between our world within eyesight and the world beyond, but learn of it’s intermingling, and how they each move with and depend on one another.

An Interview with Catherine Haggarty


Our 6th Annual Juried Art Exhibition, Rhythm and Rush is right around the corner. We can’t wait to see the chosen work and our next soloist! Artists have until July 15th to apply, and you can submit here. Our juror this year is Catherine Haggarty. She is an artist, curator, and writer based in Brooklyn, New York. Haggarty earned her M.F.A from Mason Gross, Rutgers University in 2011 and is currently the co-director of Ortega y Gasset Projects in Brooklyn, New York.

Here is a short interview to learn more about her work:


Have you ever visited Nashville before? What is your impression of the city?

– I have not yet visited! I really would like to, I have heard nothing but good things about the energy and culture there!


Your paintings have an interesting juxtaposing relationship with the titles given to them. How do you choose titles?

– Titles happen poetically and as I work. They are loose, sometimes based off of songs and things I write about. I don’t want the titles to be a one to one relationship to the paintings – mostly, I try to name the titles a few steps away from the paintings.


You work on the edge of abstraction, but your paintings still seem grounded in space. Do you think of yourself as a landscape painter in any way?

They are grounded in space. Often, when I travel I try hard to absorb as much as i can so that when I return I can challenge myself to recalibrate the space, the temperature and and the architecture of the landscape back in my studio. This is a challenge and I welcome the abstraction that happens from this translation. I suppose I am painting about landscapes but not in a typical way – they are also juxtaposed with forms I observe and draw. These forms narrate the landscapes.




Ground Floor artist Mandy Brown is currently featured alongside Katherine Wagner at Galerie Tangerine in their show Ruche. Katherine’s work was seen at Ground Floor Gallery in last year’s juried exhibition Otherwordliness. The two found an uncanny connection in their style and interest at that time. Both Wagner and Brown work with and are inspired by fabric and textile. They each use the material in albeit different ways, but each with the idea of memory involved. Brown’s work derives from the practice of recollection rather than direct observation, and Wagner uses memory in her work by revisiting the past. The parallels in their work make for interesting connections and a beautiful show. Ruche will be on view through July 6th at Galerie Tangerine, open weekdays 9-5pm.


An Interview with Georganna Greene


Georganna Greene has a solo show, Adagio, coming up February 10th-March 5th at Red Arrow Gallery! The opening reception will be February 10th from 6-9pm.

Below is a recent interview with Georganna:

Georganna Greene is a painter that works to bridge abstraction with landscape. In searching for the space between action painting and observation, Georganna has found a unique language of abstraction. Below is a slightly edited interview where we discuss this.


Looking at your more concrete representations in comparison to the purely abstract pieces, I’m able to learn so much about how you manage to balance the two in other pieces.


Yes. In every single painting I’ve learned so much. The brushstrokes and emotional gestures become things that I recognize. How do I incorporate these leaves with this big slap of paint? There’s just always a new way to do that. Each painting surprises me with how that balance of abstraction and realism plays out, like you were saying. I also find comfort in seeing gravity in a painting, or seeing a base. A structure or a base for the thing to rest on, who knows what it is. It always comes back to some landscape.


I bet that takes a lot of discipline to stop when you find that sweet spot and not go too far in these.


Yeah. I think I’ve painted over a lot of good paintings when I didn’t really need to; when it would have been just as fine or better to make a new painting and then do something different to it. Sometimes I just have to accept that a painting does what it wants to do and in a few months I might appreciate certain things about it that I didn’t see before. One of these went through a lot of phases. When I first made the painting it was my junior year. I made a panel and did a figure study – a close up of a person sitting on a counter, very crisp, very high definition. I ended up painting over it and I really wish I hadn’t because it was a great painting, just not my current voice. But it represented an integral part of my academic journey. Still, it has been interesting to see it change. There have been probably 10 layers of paint since then and now I finally feel it’s done!


Is that usually how you go about it? You wait for a gut feeling?


Yeah, and I think I’ve just had too many instances where I over work paintings and now I’m a  little bit more cautious about that gut feeling. If there’s any part of me that’s thinking, ‘you could stop right now,’ then I wait and let it sit. There’s something in that gut voice that still needs some space because, truly, you could just continue to work on a painting forever. That ties into another facet that I’m into right now which is plein air painting. Just getting out in nature. There’s something really cool about capturing a 30 second image with the light changing so quickly. I think in my mind it parallels with the idea of making a painting and chasing after your current mood because it’s gonna change you know? We are so temperamental, as people. I think I’ve done that a lot where I have been chasing a painting, or the painting has been chasing my mood and trying to keep up with me. I relate that to plein air because you can keep chasing the light forever, but you’ll never quite catch it. Maybe it’s better to just a let a painting be for that moment and just make a new painting for a new moment. I think that that’s an idea that is also starting to trickle into my abstract work: knowing when to take a rest.


Is there anything in particular in landscapes that you’re looking for?


You mean formally?


Yeah or just in the landscape itself, what your interest are in that area, or if it’s just a place with no meaning attached.


Thats a good question because it does really matter. I think you could turn any landscape into a painting and find an opportunity anywhere, but I’m such an inexperienced landscape painter that I really have to be looking for something interesting, or I feel like my painting could fall flat.


Sometimes I get enamored by just a color that I see in my daily landscape. I like to see diagonals and I like to see movement. Dynamic lines and forms, and sometimes if they’re not there I just have to put them in. This piece* ended up reminding me of walking at Radnor lake, those trails. You alway see fallen trees, stick piles. I’ve been out there more times than I can count. I’m still always taking mental snapshots every time I’m there. I think that that is kind of what that’s evoking for me, a forest floor, piles of old trees and sticks and things. And somehow that grey for me makes it peaceful and gives you a window to look into. None of that was planned at all. I just kind of noticed and pulled it out after looking at it for a while. That’s when I knew it was done, because it started to mean something to me.

What has you interested in plein air painting?


It’s something that has been around for so long, but that’s why I’m in interested in it. And the area that we live in; We’re all kind of taking that in whether we know it or not. We live in such a lush beautiful place. You can drive just outside of the city and you’re in rolling hills. So it’s kind of hard to not take that in. So I would say one big avenue is the land around middle TN landscape. And then that’s merging with these abstract, kind of ab ex techniques that I’m interested in.


And your interest in Abstract Expressionism?


A lot of that is from influence of Willem de Kooning, Jackson Pollock, Helen Frankenthaler. I’m fascinated by the way they took risks and how that was an integral part of the finished product- the risk taking. As far as landscape painters I’m interested in Richard Diebenkorn, as someone who takes the land and abstracts it into shapes and forms. You’re not always sure exactly what you’re looking at but that’s not really the point. You know you’re looking at something with depth that really draws you in. His colors are amazing. He taught as a professor as well and taught some contemporary painters that I love based out in the Bay area.


It doesn’t seem like you include a lot of narrative in your work.  Is that true or is there something more going on?


There is but it’s hard to put into words, the way I personally connect with these pieces. I’ve been focusing on more of just experimental abstraction lately, but these pieces that I had in the Julia Martin show were from a plant series I had been working on. I made 8 or 10 paintings of plants perched on window sills, playing with light and shadow. Those seemed to be packed with a lot of meaning for me like growth, the way that light illuminates parts of you but you cast others in shadow. Just that sort of symbolism and relating to it personally. They’re all scenes from my home too, so it’s my day to day existence being reflected. But it’s different with these abstract paintings. I’m still trying to chew on what it is, how I connect with them. Right now I think its the landscape that’s connecting me to them. Its evoking the places that I grew up seeing, the woods I walked through as a kid, that I still walk through.


I’m sure the growth of Nashville has come into play as well.


I’m from the Brentwood area which is why it was so woody. But yeah it feels much more urban now. I currently live in West Nashville and I’m just around a lot of people. It’s a very different experience than growing up in a small suburb. I definitely think about those ideas about Nashville and how it has been home for me and how much it has grown and become a new place. I think I’ve been countering that with these slow, meditative paintings.

That’s very interesting because your paintings do not come across as slow to me, they are very active.


I know, it’s really weird. Sometimes I’ll go through a day where I’m really feeling energized and do a lot to painting but even after that I’ll have to come back many more times and just make little marks and kind of hone in and meditate. It really is a slow thing for me which I like. The pace of life in western culture is ridiculous. I’m kind of introverted and a verbal processor, so I have to have conversations to process the things that I’m taking in and learning. That’s all honestly just too fast for me sometimes, and there’s so many distractions, that I like just being able to take my damn time when I’m painting. That’s something that has become really important.


What makes these paintings personal to you?

We are absorbing so much right now in today’s world. There’s a new crazy headline every day and everyone’s just trying to make sense of things. I hear a lot of noise through the internet, texting, social media, even the way Netflix just comes in and makes us feel like it’s okay to just watch TV for 8 hours. I don’t even think I always realize it but my head kind of buzzes from it all. So yeah I think that’s personal to me, needing to get away from that buzzing for my own sanity within the landscape itself or just paintings themselves. So it’s that relationship that makes it personal, rather than the subject or a narrative. The relationship of me letting go of what it needs to be or what it should be. And just coming and working, just making the work.


A Year in Review


As we look forward to a new year, here is what 2017 had to offer at Ground Floor:



Our 5th Annual Juried Show, dubbed Otherworldliness by curator Austin Thomas, hosted 12 artists, working with photography, printmaking, painting, and sculpture.



Art of the South 2017 presented by No. Inc, the quarterly visual arts journal of Mid-South America, chose Ground Floor as their exhibition space.



BARED, curated by Sally Deskins, featured art by selected artists from her book Les Femmes Folles.



Rods and Ribbons, a solo exhibition of Gil Given’s new work, was awarded to him after he won “Best of Show” in Otherworldliness.

This Saturday: Book Release Party


Please join us tomorrow (12/23) at the book release party for Extended Play Press’ newest book, We Love You We Know You Always Watch We Will Try to Do Better Next Year. The book features illustrations and art by 17 artists; many from Nashville, and some will be present at the party. Matt Christy, an artist at Ground Floor, has included text about Christmas that is woven throughout the book. This 44 page book may be viewed and purchased online here.

Artists included:


Alison Rhea, April Bachtel, David Onri Anderson, Jodi Hayes (with Gus & Eames), Kevin Dietz, Brady Haston, David Hellams, Benji Anderson, Morgan Higby-Flowers, Jaime Raybin, Dyl Moss, Cody Tumblin, Aaron Harper, Lain York, Matt Christy, Mike Calway-Fagen, and Ashley Doggett