Date to be determined due to Covid-19

What are vices? How do we define them? Vices are wrapped all around our life and they rear their faces in all sorts of different ways, sometimes unknowingly and sometimes blatantly for the whole world to see. The purpose of this show is not to define what vices are or how you should feel about these certain ideas that might parallel to your own. It is simply a perspective on us, the subject of an idea, and the way we might project these themes externally. 

A recent job I was working at required me to greet guests as they first walked into our business. A regular was making his way to the exit so I yelled over to him, “leaving so soon?” he replied, while clutching a cigarette “nah, just going outside to feed my vices”. I thought that was such an interesting thing to say. Knowingly and consciously while in humor accepting something for what it is. It was so interesting to me, I think in a lot of ways we like our vices. They give us strength and security we may believe we couldn’t do without.

Featured Artist and Websites

Phillip Abbott – https://phillipabbott.com/

Brennan Booker – https://www.brennan-booker.com/

Abbey Bratcher – http://www.abbeybratcher.com/

Jemma Castiglione – https://www.jemmacastiglione.com/

Ashley Gates – http://ashleygates.org/

Sarah Haig – http://www.sarahhaig.com/

Jessica Just – https://justajessica.weebly.com/

Cocoa Laney – http://cocoalaney.com/

Lara Morgan – https://www.lmorganphoto.com/

Joe Nolan – http://www.joenolan.com/

Shannon Randol – https://www.shannonrandol.com/

Sarah Smith – http://www.sarahpsmith.com/

Sean Thomas – https://seanthomas.format.com/

Andrew Turner – https://www.turnerphoto.org/

Jordan Whitten – http://www.jordanwhitten.com/

Show: Dinner’s Ready

Location: Gallery Bang Bang

RSVP: https://www.eventbrite.com/e/dinners-ready-tickets-72939135919

Dinner’s ready explores the traditionally feminine territory of the Dining Table. Displayed in the nontraditional exhibition space of a House Gallery, where blank walls feel more domestic among a working home, 5 female artist explore the role of the Dining Table in their own lives.

Happy Fall! September was a great (but fast) month for us at GfG! We had an amazing show by Grace Claypool which featured her wood crafted sculptures. Thank you all for a great turnout to support Grace’s first show!

As we head into October we are happy to introduce two of our new artist joining us in the studio space, Jenna Kosowski and Sandra King! Sandra King is a grad of the Art Institute of Chicago and after some time away from the paint brush is jumping back into her practice here at GfG. Jenna Kosowski is a painter and dancer from the North East who is now residing here in Nashville. You can head over to her website to check out her work http://www.jennakosowski.com/ !

As we head into December we will be having an Open Studio and Gallery Show featuring all of our in house artist! Be sure to check that out December 7th from 4-7PM!

Join us for the exhibition, Interrelate, and artist’s reception for Grace Claypool Saturday, September 7th from 6-8pm.

Artist statement:

Women as a collective have an solid pack mentality that is possible because each individual is a multifaceted being.

These works are about women supporting each other. 

These sculptures are not objectifying, but are representing the feminine experience: the ebbing and flowing, the protective and protected. These pieces aim to unravel the idea of femininity and show a side of primal self preservation. 

This body of work is not about oppression but about support and the mutual relationship of women with each other.

Bio:

Grace Claypool is a Nashville based artist with a studio practice focused on sculpture and drawing. She is currently completing her BFA in studio art at Lipscomb University with BFA expected in 2019. She is also the co-curator of Open Gallery.

FRUIT PUNCH OPENS MAY 4th, 5-8pm

BOBBY BECKER, AMANDA JOY BROWN, MATT CHRISTY, REGINA DAVIDSON, KATE FAULKNER, GEORGANNA GREENE, ROMERUS GREER, CHRIS HARSCH,
KIM RENÉ, MEGAN WHITE, JANET DECKER YANEZ

Artists of Ground Floor Gallery + Studios serve up a medley of recent work in a group show, Fruit Punch, during the month of May. Fruit Punch is an open-theme exhibition of GfG+S’s multifaceted artists. Please join us for our Artists’ Reception and Open Studios on May 4 from 5-8 pm. Curated by Kate Faulkner

 

 

Patternscapes, a solo exhibition by one of GfG’s studio artists, Amanda Joy Brown, opens during the next art crawl, Saturday, April 6th, 6-8pm. Brown’s incorporation of line, texture and color, to interpret remembered environments, gives a fresh edge to the tradition of landscape painting. Patternscapes will be on view, by appointment, through April.

Bio
Amanda Joy Brown studied painting at Harding University and earned her MFA in the painting program at the Savannah College of Art and Design. Her work has been exhibited in several countries and is included in private and public collections internationally.

Statement
The focus on landscape in my painting practice developed from a desire to both be present in my surroundings as well as capturing experiences as I remember them. These landscape-based pieces honor the abstraction of memory, in the shorthand of shapes and textures, and emulate both the simplicity and complexity of memory. Studying the combinations of color and texture within a landscape, I work with a medium that lends a 3D element to the surfaces, creating a heightened range of visual resonance through dimensional line.

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

 

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.