*"Complacency" by Amy Chase, 9x5.5x5in, Porcelain Cone*

It was recently announced that Amy Chase is one of the recipients of the 2017 Al Smith Fellowship. The prestigious award, named in honor of former arts council chair and Kentucky journalist Al Smith, recognizes professional artists who have reached a high level of achievement in their careers. Since its beginning in 1983, the program has provided more than $2.5 million in funding to artists in the visual arts, literary arts, media arts, composing and choreography. In this round of funding, the fellowships were awarded to artists in the choreography and literary arts disciplines.

Examining a selection of Amy Chase’s work, one gets the sense that a community has been built. The forms are often abstract, but the relationships are clearly drawn, and some of the figures capture very human postures and attitudes. Those figures live on various platforms, so there is always a context of isolation or separation. Sometimes characters are drawn closer, and other times they are widening the distance between them. Often, and most irresistibly, two of them (for they almost always seem to come in pairs) are connected by a slender thread, pulling on their tether in a precarious fashion that creates a delicate tension.

*"Compliance" by Amy Chase, 10x8x10in, Porcelain*

“The surface consists of intricate patterns that are applied using precise silkscreened slip and glazing techniques. These choices in pattern address personal experiences, while at the same time evoking the viewer’s own memories.”

Chase’s artist’s statement makes it explicit that these patterns and textures are drawn from childhood memory, so there is an undeniable element of autobiography in this work. Yet the abstraction puts us at a distance; we are empathetic because the fundamental dynamic at play resonates within our own memory. The anonymity allows us to see ourselves in this nebulous but welcoming community.

*"Enticement" by Amy Chase, 3x4x3in, Porcelain, Underglaze, Luster*

Chase is currently the Design Coordinator for Louisville Visual Art in Louisville, Kentucky. Since residing in Louisville she has also been the Ceramics Instructor and Gallery Director at Spot 5 Art Studio and taught Ceramics at Jefferson Community and Technical College. From 2010–2012 she was the Adjunct Professor of Ceramics at Southeast Missouri State University located in Cape Girardeau, Missouri.

Amy Chase has been awarded the title of ‘Emerging Artist’ by American Style magazine, has been featured in Ceramics Monthly, Clay Times, 500 Ceramic Sculptures and 500 Ceramic Vases. Chase has also has an extensive exhibition record including venues such as: The Clay Studio in Philadelphia, Pennsylvania; The Clay Studio of Missoula in Missoula, Montana; The Washington Project for the Arts in Washington D.C.; Carbondale Clay Center in Carbondale, Colorado and Lincoln Arts in Lincoln, California.

Hometown: Murray, Kentucky
Education: BFA, Murray State University; MFA, Southern Illinois University
Website: http://amychaseceramics.com

*"Inclination" by Amy Chase, 8x4x3in, Earthenware, Fibers*

*"Solidarity" by Amy Chase, 9x7x4in, Porcelain, Stoneware, Flocking, String, Luster*

"Deciphering Fiction" by Amy Chase,  6x6x6in, Terracotta, Wood, String, Underglaze — *"Deciphering Fiction" by Amy Chase, 6x6x6in, Terracotta, Wood, String, Underglaze*

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, Print Making

Vignette: Adrienne Miller

Josh Jenkins · June 28, 2017

The Community Foundation of Louisville, in partnership with Louisville Visual Art, has presented Louisville-based artist and printmaker, Adrienne Miller, with the fifth annual Mary Alice Hadley Prize for Visual Art. The $5,000 award is an opportunity for local artists to enhance their careers through a targeted enrichment experience.

Miller will use the prize to research the landscape and art historical influence of the Four Corners area of the American Southwest. The two week trip will cover close to 2,000 miles in a loop through the Four Corners region and will include a variety of stops, including several different pueblo ruin sites, printmaking studios in Albuquerque, The Georgia O’Keefe museum and archives, several National Parks, energy vortexes in Sedona, and several large earth works in the region.

"Keep Out/ Stay In" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016), $600 | BUY NOW — *"Keep Out/ Stay In" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016), $600 | BUY NOW*

“I want the experience to be transformative and immersive so that I come away feeling as though the experience really was a tipping point for me,” said Miller of the Hadley Prize enrichment experience. “I want to return to Louisville renewed to create a whole new body of work.”

*"Come With Me Into The Void" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016)*

Miller’s images are hybrids of the representational and abstract that explore the human experience of constructed space. “Within the tradition of landscape art, the term picturesque refers to a view where the human presence is apparent,” states Miller. “We are often presented with a view or vista for our consideration. When viewing a landscape we are allowed to be objective, but when viewing ourselves, does that perspective change?”

“Within the delicacy of the Mylar drawings, I am beginning to break apart the environments into tiny details such as potted plants, ladder rungs, or the tilt of a roof line. For me, the landscape I embody on a daily basis is the idea of the home, an interior and much more intimate space. In some, the details explain a building interior while in others it appears to be just outside, similar to a residential yard space. The fluttering of the Mylar layers serves to remind the viewer of the constant state of change these sort of psychologically charged places experience. Through changes in perspective and unrealistic coexistence, the work encourages the viewer to address their own environments as well as themselves.”

"Man Made Islands" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW — *"Man Made Islands" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW*

The $5,000 M.A. Hadley Prize is awarded from the George and Mary Alice Hadley Fund at the Community Foundation of Louisville. The endowment was established in 1991, and it supports the arts and humanities, particularly visual arts, crafts, theater and the Louisville Free Public Library. The award is a partnership between the Community Foundation of Louisville and Louisville Visual Art, which managed the application process.

Hometown: Memphis, Tennessee
Education: BFA, Studio Art with an emphasis in Photography, Murray State University / MFA, Studio Art with an emphasis in Printmaking, Northern Illinois University
Website: http://www.adrienne-miller.com/
Instagram: https://www.instagram.com/ay_dree_un/

*"Man Made Islands (detail)" by Adrienne Miller,*

"Maintaining the Overgrowth" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW — *"Maintaining the Overgrowth" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW*

Sculpture

Feature: Falls Art Foundry

Josh Jenkins · June 6, 2017

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*

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*

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.

Painting

Vignette: Benjamin Duke

Josh Jenkins · December 13, 2016

“How much monster, Duke’s Paintings ask us, are we willing to feel in ourselves, to accept, to affirm? What are the limits to which our egos restrict us, and what attractions and sensations liberate us from the cage of self? What aspirations and endeavors, Ben Duke’s paintings keep asking, lead beyond all compromises and reveal to us, finally what a body can think and do and feel.” — From Brian Kubarycz’s introductory essay to the catalogue entitled: Benjamin Duke 2001-2010: Ten years of Work with essays by Brian Kubarycz, and Su YuAnn, published by Garden City Publishing.

"Persistent Remainders" by Benjamin Duke, 60x65in, oil (2016), $8500 | BUY NOW — *"Persistent Remainders" by Benjamin Duke, 60x65in, oil (2016), $8500 | BUY NOW*

Benjamin Duke returns to exhibit in Louisville 11 months after presenting his painting “Louisville 2015: Full of Life, Now” (2015), to Metro Hall. He was Louisville’s first participant in a visiting artist initiative, introduced in 2015 as part of the Mayor’s Music & Art Series. The painting is on display in the Mayor’s Conference Room at Metro Hall.

Duke’s work takes our recognizable existence and twists it with pretzel logic. It is immediately accessible yet touches upon deeper currents: “In my paintings I ask myself “Is this the way the world is?’ I reshape and retool my painting experience to answer that question. But while the question begins with the world, it ends with the work itself: “Is this the way the world is in this work?”

The search is for the world in painting and painting in the world (painting worlds / painting’s world). Am I in the world or is the world in me? I allude to my life, to writers works, to imagery and it is my hope that this record of allusion conjures and creates the same. I am referring to text, theory, idea but I am also finding myself already there, looking out to see in.”

"Awakening as Self-Identity Matrix #2" by Benjamin Duke, 60x60in, oil, $8500 | BUY NOW — *"Awakening as Self-Identity Matrix #2" by Benjamin Duke, 60x60in, oil, $8500 | BUY NOW*

It wasn't a Dream, It was a Real Place, Duke’s new exhibit, will run December 16, 2016 through January 27, 2017 in University of Louisville’s Cressman Center for Visual Arts at 100 East Main Street. There will be an Artist’s Reception open to the public December 16 from 6 pm to 8 pm.

"Lingua Franca #2" by Benjamin Duke, 60x72in, oil (2016), $10,000 | BUY NOW — *"Lingua Franca #2" by Benjamin Duke, 60x72in, oil (2016), $10,000 | BUY NOW*

Duke is Associate Professor of painting at Michigan State University. Born in Louisville, Kentucky, he received his Master of Fine Arts from the Maryland Institute College of Art Hoffberger School of Painting. His work has been exhibited in solo and group exhibitions from Chicago to Taiwan. Duke has also been awarded international residencies at Bamboo Curtain Studios, The Kuandu Museum of Fine Art at Taipei National University of the Arts, and the Vermont Studio Center.

Hometown: Louisville, KY
Education: BFA, University of Utah, Painting and Drawing Emphasis, 2002; MFA, Maryland Institute College of Art, Hoffberger School of Painting, 2006.
Website: http://www.bendukeart.com/
Gallery Representative: Ann Nathan Gallery (Chicago), A Gallery (Salt Lake City)

"TXT" by Benjamin Duke, 65x87in, oil (2016), $10,000 | BUY NOW — *"TXT" by Benjamin Duke, 65x87in, oil (2016), $10,000 | BUY NOW*

"Awakening as Self-Identity Matrix #4" by Benjamin Duke, 65x72in, oil (2016), $8500  | BUY NOW — *"Awakening as Self-Identity Matrix #4" by Benjamin Duke, 65x72in, oil (2016), $8500 | BUY NOW*

"Lingua Franca" by Benjamin Duke, 44x54in, oil (2016), $8500 | BUY NOW — *"Lingua Franca" by Benjamin Duke, 44x54in, oil (2016), $8500 | BUY NOW*

Digital, Illustration

Q&A: Illustrator Scott Soeder

Josh Jenkins · October 13, 2016

*Photograph of artist Scott Soeder at work.*

"Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts." — Scott Soeder

Various vehicle illustrations by Scott Soeder.

Scott Soeder is an award-winning professional illustrator and designer specializing in illustrations for children's books, magazines, apps and games. Select clients include Highlights for Children, Timehop, Lightchange Studios, Reelio Inc, 311, Lake Street Dive, Sharks 4 Kids and more. A graduate of the University of Louisville, he is based in based in Louisville, KY.

When did you first think you would be an artist?

I can’t say there was any defining moment. I have been drawing as long as I can remember, as if I’m simply naturally attracted to do so. Maybe we all are and for whatever reason some of us move away from it. I played football on a team when I was a kid, but by the time I got to high school I had very little interest in playing. Maybe art is like that for others. Also I was a scrawny kid, even in high school, and I knew I would end up a small pile of broken bones had I attempted to play. I was very fortunate to have parents who kept me stocked in art supplies and who encouraged me. I absolutely adored looking at and reading “Peanuts” in the newspaper and watching Bugs Bunny cartoons. Animation and comics were my experience with art. When I was around 7 or 8 or some age expressed in a single digit, my grandfather made me an easel. I would sit for hours drawing at that easel. I remember feeling like a real artist working at that easel. At an early age I was equipped with art supplies, had a paying customer and friends referred to me as a “good drawer” So artist was added to my list of “what I want to be when I grow up” directly under Astronaut and Spiderman.

Is all your work for clients?

Being a full-time artist means that a big chunk of what I create is for clients. However, I do spend time working on pieces for fun, to experiment, or for personal projects. I have been working on illustrating a series of vehicles from pop culture titled Pop Wheels for fun and to give my self a challenge. I have done about 16 and have a long list of others I’d like to do. Also, I work on writing and illustrating my own stories for children’s picture books.

What frightens you the most?

That’s a great question and probably depends on the moment I’m asked. An overarching, big-picture-thought that comes to mind is - being forgotten. That my little blip of time on the planet being Scott Soeder was wasted and that I didn’t use everything I’d been given to the fullest. I want to be able to leave something behind that my children, grandchildren and great-grandchildren could say: “my dad did that”. Besides my children themselves of course, they are my best creations. But in terms of art, Charles Schulz lives in Charlie Brown and will continue to for generations, possibly inspiring other kids to pick up a pencil and draw. That’s an amazing accomplishment.

What is your favorite music to listen to when making art?

Something upbeat and rocking. The list of specific artists would be long! I love music and enjoy listening to it while working. I’d say most of the time it would be music from 311 or pop metal bands from the 80s.

What are you reading right now?

I’ve been reading Chuck Jones’ autobiography, “Chuck Amuck”. I love looking at his drawings in the book and it is really funny. I would have loved to meet him. I bet he was hilarious.

What advice would you give a young artist just out of college?

Learn about business and develop your business acumen. Educate yourself on all the opportunities available for artists. Put in the work.

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

I feel like every moment is one of transition. It is persistent evolution. Always striving to express the emotion or develop the image I see in my head. There are moments or milestone pieces if you will. The ones where something clicked or a visual problem was solved or it made someone laugh, etc. Some of my favorite moments are getting an email or message from someone who really enjoyed a piece and took the time to say so.

What does art mean to you?

Art feels like a part of me. It has been tied up in my identity for as long as I remember. Art has been the means of showing others ideas in my mind, of depicting humor and simply passing time. When I was a kid my sister had dance lessons and I would bring a sketchbook and art supplies with me to stay occupied. I don’t know what I would have done without it. A great benefit of art is that I am never bored! Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts.

If you could have a talent that you currently don't already have what would it be and why?

I would like to be able to sing. Being able to sing like Steve Perry from Journey would be nice. I play drums and can hold my own on a few other instruments like guitar and bass, but I lack a singing voice. A rusty muffler being drug down a gravel road would sound more pleasant. I have a personal project where I am playing and recording all the instruments myself and having a decent singing voice would be advantageous.

If you could meet any celebrity who would it be and what would you ask them?

If it could be anyone even if they were deceased it would be Charles Schulz. If it were a contemporary it would be John Lasseter. I would ask Charles Schulz about his work ethic and productivity tips. He drew every single Peanuts strip himself for 50 years. He’d have to have some awesome tips! I would ask John Lasseter about storytelling and creating great characters. Pixar has had an amazing track record of doing both.

Name: Scott Soeder
Hometown: Louisville, Kentucky
Age: 43
Education: BFA in Communication Art & Design, Magna Cum Laude, University of Louisville, Louisville, Kentucky
Website: http://www.scottsoeder.com

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Please contact josh@louisvillevisualart.org for further information on advertising through Artebella. — *Please contact* *josh@louisvillevisualart.org* *for further information on advertising through Artebella.*

award

Vignette: Amy Chase