"Pixilated" by Barry Burcaw, oil on canvas, 50x50in, 2-16, $2800

Barry Burcaw studied graphic design in school, earning a degree from the University of Bridgeport, but he only began painting once he retired from a long, successful career in advertising. This provides an easy explanation of why his compositions are so dominated by forceful geometric structure and bold saturated colors.

Often the abstract images remain rooted in representational sources; Burcaw is fond of landscapes and architectural sources as a point of departure, but it is not unusual for him to veer into diagrammatical structures of pure pattern and shape. “Pixilated” does this, as does “Vernal Equinox”, even if the title makes explicit that the qualities of atmosphere and climate that we assume were in the artist’s mind here. The lower half containing dark grey and earth tones beneath the blue and yellow tones in the upper half cannot help but connote landscape, if only because our expectations fill in the blanks with little prompting – doesn’t the abstract artist appropriately depend on the viewer’s frame of reference? “Solar Flares” is more obvious in its subject, placing a brilliant yellow orb in the center, and Burcaw’s curled linear forms representing the sun’s angry expression are more whimsical in their effect than the fiery astronomical phenomenon that provide the inspiration for the piece.

"Impressions of Santorini" by Barry Burcaw, oil on canvas, 50x50in, 2017, $3500

There is an unyielding exactitude in Burcaw’s work that suggests a highly structured perspective on the world at large. Perhaps this is a common underlying truth of any artist who utilizes geometry in such bold, almost confrontational terms.

Burcaw recently placed 4 paintings with Zephyr Gallery as part of their Corporate Art Program.

Hometown: Palisades, New York
Age: 74
Education: BS in Graphic Design, University of Bridgeport, CT

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"Vernal Equinox" by Barry Burcaw, oil on canvas, 50x50in, 2017, $2800

"Solar Flares" by Barry Burcaw, oil on canvas, 50x50in, 2008 $3500

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Painting

Vignette: Andrea Alonso

Josh Jenkins · June 8, 2017

"Birth of immortality" by Andrea Alonso, 48x36in, oil on canvas (2016) $1200 | BUY NOW — *"Birth of immortality" by Andrea Alonso, 48x36in, oil on canvas (2016) $1200 | BUY NOW*

Artist, Andrea Alonso — *Artist, Andrea Alonso*

Andrea Alonso’s painting, “The Birth of Immortality,” represents the birth of the tradition of Day of the Dead. The iconic celebrations now occur all around the globe, but started with the pre-Hispanic culture and Aztec mythology. Mictlantecuhtli was a god of the dead and the king of Mictlan (Chicunauhmictlan), the lowest and northernmost section of the underworld. The arrival of Spanish colonialism and the transforming influence of Catholicism brought about a merging of the beliefs that resulted in the Catrina, the Saints Day, and the Day of the Dead.

“The painting also shows that death can occur to any of us, elder and children, rich and poor,” says Alonso. The story is told by the old man of the corner, who lost his wife and is waiting for death to come for him.”

“My style emphasizes the universality of visual abstraction in highly developed compositions of patterns and forms, I try to suggest space within these geometric arrangements, and my main object is try to establish a sense of place within the painting. I think this is not common in most abstract paintings.”

"Solitary thoughts" by Andrea Alonso, 36x36in, oil on canvas (2017), $600 | BUY NOW — *"Solitary thoughts" by Andrea Alonso, 36x36in, oil on canvas (2017), $600 | BUY NOW*

Currently Alonso is one of the many Louisville artists featured in the Alley Gallery public art program sponsored by the Louisville Downtown Partnership and unveiled by Mayor Greg Fischer on May 11, 2017

Alonso was one of the five finalist in ArtPrize Pitch Night in Louisville with the sculpture project “The Hole,” and is or will be exhibiting work in the EKU Center for the Arts, Lexington KY, the Andersonville 14th annual show at Chicago, IL, the “O” Gallery, Nashville TN, 5-0-LOU Gallery and, Tim Faulkner Gallery Winter show 2017, in Louisville, KY. She has paintings featured in Art Yellow Book #2, by CICA Museum, South Korea.

Hometown: Monterrey, Mexico
Age: 31
Education: Architecture degree University of Monterrey, Mexico; MBA in Administration, Rioja University, Madrid, Spain.
Website: http://www.art-ark.com

"Paranoia" by Andrea Alonso, 48x48in, oil on canvas (2017), $950 | BUY NOW — *"Paranoia" by Andrea Alonso, 48x48in, oil on canvas (2017), $950 | BUY NOW*

"The Date" by Andrea Alonso, 36x36in, oil on canvas (2017), $600 | BUY NOW — *"The Date" by Andrea Alonso, 36x36in, oil on canvas (2017), $600 | BUY NOW*

"Winter Storm" by Andrea Alonso, 30x24in, oil on canvas (2016), $260 | BUY NOW — *"Winter Storm" by Andrea Alonso, 30x24in, oil on canvas (2016), $260 |* *BUY NOW*

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Photography

Vignette: Patricia Brock

Josh Jenkins · November 22, 2016

“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 | BUY NOW — *“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 | BUY NOW*

In the work of Patricia Brock we see how versatile the camera can be as a creative tool. Brock shoots a broad range of images, including work of a distinctly commercial sensibility. The intimate close-ups of flora capture the grace and delicacy of nature in representational terms, yet “Bathed in Sunlight” also allows the recognizable forms of flower petals to begin a shift into abstraction. The overwhelming light of the sun subtly blinding the detail at the very moment it clarifies it.

And then the high contrast of her recent exploration of the newly opened Lincoln suspension bridge stands apart from the flowers; expansive in their composition, Brock pushes the color into extremes through digital manipulation, now emphasizing the geometric abstraction of the vertical cables through deliberate choice. The older bridge we see through those dissecting vertical elements establishing context and even further contrast.

*Patricia Brock taking a photo with her camera.*

Brock had used her mother’s box camera as a child, and returned to photography after retiring from teaching elementary school 18 years ago, embarking on a new career and opening her own photography business. She has printed on various materials such as photo paper, metallic papers, canvas and brushed aluminum recently introduced a new creative line for the home or garden with her photographs printed on brushed aluminum or acrylic, which can be used in outdoor spaces.

Brock is a juried participant of the Kentucky Arts Council’s Kentucky Crafted Program, The Architectural Artists Directory, and a juried exhibiting member of The Louisville Artisans Guild. Her work is represented by KORE Gallery in Louisville, KY. Currently her work is on exhibit as a part of At the Rivers Bend: Our Place on the Ohio, at the Evansville Museum in Evansville, IN. It runs through November 27.

“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 | BUY NOW — *“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 | BUY NOW*

PUBLISHED WORKS
2015 BLINK, Art Design Consultants, Cincinnati, OH
2008 Kentucky Quilt Trails
2007 Saint Paul’s Art on The Parish Green, New Albany, IN, advertising material
2006 The Delta Kappa Gamma Bulletin, Vol. 72-4
2006 The Delta Kappa Gamma Bulletin, Vol. 72-3
2006 Promotional Materials, KY Crafted: The Market, KY
2004 Botanica Fleur de Lis Poster, Louisville, KY

COLLECTIONS
Owensboro Health Regional Hospital, KY
Saint Joseph Hospital, KY
Private collections, Louisville, KY
Private collections, The Villages, FL

Hometown: Louisville, Kentucky
Age: 68
Education: BS in Education, MA in Education from Eastern Kentucky University
Gallery Representation: KORE Gallery (Louisville)
Website: http://www.PatriciaBrockPhotography.com

“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 | BUY NOW — *“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 | BUY NOW*

“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 | BUY NOW — *“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 | BUY NOW*

“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 | BUY NOW — *“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 | BUY NOW*

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Painting, Drawing

Vignette: Ray Kleinhelter

Josh Jenkins · November 2, 2016

*A photograph of Ray Kleinhelter at work on his boat (2016).*

Ray Kleinhelter paints abstract compositions of intricate geometric pattern. Although he cites American Richard Diebenkorn and London’s Frank Auerbach as influences, Kleinhelter’s approach touches upon a variety of 20th century movements, and a viewer might feel as if they are seeing a mash-up of Color Field, Abstract Expressionism and a touch of Pop Art. But such attempts to pigeonhole his work probably wouldn’t be accepted by the artist himself:

“I am interested in the process, (or craft) of painting, drawing, and printmaking. Every serious painter has a different interpretation of what this means. There are no rules to follow, but what we want are pictures that hold up. No explanation required. Painting in its purest form is much more interesting than any perceived meaning applied to the image. Contemporary interpretations of art, while intellectually compelling, have little to add to the language of painting, where form and content are inseparable.”

*"#12" by Ray Kleinhelter, 12x9in, watercolor on Arches hot press paper (2016)*

As with most artists, Kleinhelter began with representational work, and he still sees recognizable form and the natural world at the root of his intensely colored geometric abstracts:

*"Landscape Variation #4" by Ray Kleinhelter, 22.5x30in, charcoal on Stonehenge paper (2016)*

“I continue to draw and paint from nature, lately from my boat, exploring the appearance of land and light. These pictures inform others and act as starting points for improvisation. I rarely stop with one version of an image. In the last year or two, wood cut printing has become a catalyst toward flatter, more direct images. Interestingly, the paintings have changed through the experience of printmaking, moving toward what I believe is a cleaner sense of structure.”

You can visit Ray Kleinhelter on the Ohio River during OPEN STUDIO WEEKEND, November 5 & 6, 2016, where he will be painting on his boat. The event benefits scholarship programs for Louisville Visual Art and University of Louisville’s Hite Art Institute and tickets may be purchased here.

Hometown: Louisville, Kentucky
Education: Yale School of Art Summer Painting Scholar 1982; BFA, Kansas City Art Institute 1982; MFA, Indiana University, Bloomington 1986
Gallery Representation: Galerie Hertz (Louisville)

*"Riverbank #6" by Ray Kleinhelter, 34x40in, oil on panel (2016)*

"Riverbank #1" by Ray Kleinhelter, oil on panel (2016) — *"Riverbank #1" by Ray Kleinhelter, oil on panel (2016)*