What portions of our self do we edit, manipulate, and hide from view for the greater good of likes and followers? – William Pichette

"Under Control" by William Pichette, 8x20in, acrylic on printed canvas (2016), $210 | BUY NOW — *"Under Control" by William Pichette, 8x20in, acrylic on printed canvas (2016), $210 | BUY NOW*

William Pichette is a painter who sees the inherent qualities of his medium as integral to expressing the themes in the imagery. In his own words: “The thrill of the acrylic paint medium comes from how quick you must work to create. The paint dries very fast but each attempt at progress easily hides the previous attempts. Hiding ourselves proves more difficult. Once we reveal our truths through action and speech, it is not so easily undone. In a world where compliance and filtering our daily expression is the norm, muting the brilliance of our emotion is preferred, and it would be an outrageous offense to demonstrate weakness, vulnerability, honesty—humanity—I cherish in sight of visibility.”

Pichette often sets his figures against patterned backgrounds, the human a silhouette initiating a conversation with negative space, full of emotional suggestion, signs and portents.

“My pieces are inspired both by how we see and how we are seen. How do we see ourselves behind closed doors, looking in vanity mirrors, and through the lenses of our Instagram and Snapchat feed? What portions of our self do we edit, manipulate, and hide from view for the greater good of likes and followers? Those raw bits; the understanding of ourselves we hold so true that we would hate for others to see. Those nuances draw my focus; typically not blemishes and physical flaws of our outward appearance, but parts of our body none-the-less. They are the fights with mental illness and turmoil of thought, our agitation and need for direction, the imprints of the souls of others and the scars of love lost.”

Pichette just participated in 2017 Group Exhibition, Queer Voices, at Open Community Arts Center, Louisville, KY.

Age: 25
Hometown: Austin, Texas
Education: Bachelor of Liberal Arts in Ethnic Studies (Asian-American Studies), University of Texas
Instagram: https://www.instagram.com/Shquiggles/

"Impressionable Young Minds - Christine" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW — *"Impressionable Young Minds - Christine" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW*

"Wanderlust" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW — *"Wanderlust" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW*

"Impressionable Young Minds - Will" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW — *"Impressionable Young Minds - Will" by William Pichette, 8x10in, acrylic and ink on canvas (2016), $140 | BUY NOW*

"See and Be Seen" by William Pichette, 8x10in, acrylic and ink on canvas (2015), $110 | BUY NOW — *"See and Be Seen" by William Pichette, 8x10in, acrylic and ink on canvas (2015), $110 | BUY NOW*

"Turbulent Thought" by William Pichette, 18x18in, acrylic on wood board (2016), $375 | BUY NOW — *"Turbulent Thought" by William Pichette, 18x18in, acrylic on wood board (2016), $375 |* *BUY NOW*

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Painting

Vignette: Charlotte Pollock

Josh Jenkins · May 25, 2017

"The mind includes more than intellect. It contains a history of what we learn through our feet. It grasps the world that meets the eye, the city we know through our legs, the places we know in our hearts, in our guts, in our memories, and in our imaginations. It includes the world we feel in our bones." - E. V. Walter

Charlotte Pollock doesn’t just paint what is in front of her. Some landscape painters may, in fact, be documentarians; capturing with accuracy the details of color and light they find before them, but for Pollock, the choice of subject has specific meaning for her: “This series is the result of my desire to understand the meaning of place and its relationship to self. I paint places that emotionally resonate within me as a way to map my biography. Light and color articulate mood and combine with my paint application to make an interior world accessible to the viewer.”

“A sense of place,” is an elusive phrase that can be parsed many ways, but when we speak of art, we are trying to describe how an individual point-of-view of one moment in time might attempt to communicate ineffable aspects of a location. The artist doesn’t create a picture-postcard; instead they share their own unique experience and understanding of a given place, which may be markedly different than the viewer’s experience. It may also strike unexpected chords of universal experience - anything is possible. The E.V. Walter quote that partly inspires these paintings perhaps says it best: “It includes the world we feel in our bones.”

*"Have You Got Good Religion" by Charlotte Pollock, 36x48in, oil on canvas (2017)*

For Pollock, these paintings occupy the realm of autobiography, but on her own terms. What you may glean about the artist from these pieces will not be a complete picture, but what is there to discover just might only be available through her work.

Pollock’s solo exhibition, Lore & Landscapes, opens June 2 at Art Sanctuary with a reception that evening, 5:30-9:30pm. Reception is FREE, family-friendly, and open to the public. Refreshments will be available for purchase.

She also has work in On the Waterfront and Beyond through July 29 at the Jane Morgan Gallery in Louisville.

Hometown: Louisville, Kentucky
Age: 26
Education: BFA, Allen R. Hite Institute, University of Louisville
Website: http://www.charlotteannpollock.com

*"Old Louisville in November" by Charlotte Pollock, 24x36in, oil on canvas (2017)*

*"March 29, 5pm" by Charlotte Pollock, 16x20in, oil on canvas (2016)*

*"Golden Hour on River Road" by Charlotte Pollock, 36x48in, oil on canvas (2017)*

Painting

Vignette: Tom Cannady

Josh Jenkins · April 14, 2017

"Scooch Over, Hon" by Tom Cannady, 48x60in, acrylic on canvas (2016), $3600  | BUY NOW — *"Scooch Over, Hon" by Tom Cannady, 48x60in, acrylic on canvas (2016), $3600 | BUY NOW*

Tom Cannady describes his paintings as, “nostalgic representations of Americana,” and he has expressed that notion primarily through the use of mid-20th century automobiles, vacation images, and signs. Iconic images filled with the sunlight and faux innocence of Frankie Avalon and Annette Funicello.

There were often people before, but they were typical – middle class Americans living the dream on a hard-earned vacation, but in newer work, Cannady introduces some of the same over-exaggerated quality that we find in the 1950’s cars: sleek, fins and detailing that call attention to themselves and remind us of a time when how a car looked mattered more than fuel efficiency, into human female figures. “They Went That Away” highlights the kind of emphatic sex symbol of the period, while “Scooch Over” completes the relationship between objectification of women and automobiles that has never left us, but which was in much greater bloom at this seminal moment.

"OneTwoThree" by Tom Cannady, 24x36in, acrylic on canvas (2016), $1800  | BUY NOW — *"OneTwoThree" by Tom Cannady, 24x36in, acrylic on canvas (2016), $1800 | BUY NOW*

Cannady creates paintings in what he describes as, “a pop impressionist style creating new perspectives or recreating unique moods from another time. I use vintage photographs acquired from multiple sources as reference points and inspiration. Many were originally printed in black & white, which gives me complete freedom to choose the pallet best suited to the composition. I lean to warm, bright hues with strong contrast.”

Cannady is currently showing works at Makers Crucible Showroom and Craft(s) Gallery & Mercantile in Louisville, Kentucky. In November 2016 he was selected as one of twenty artists representing the sixty participants in the LVA Open Studio Weekend in a group show of work at the University of Louisville, Hite Gallery.

Hometown: Louisville, Kentucky
Age: 59
Education: BS in Marketing and a minor in Art, Murray State University
Website: http://www.tjcannady.com

"They Went That Away" by Tom Cannady, 36x48in, acrylic on canvas (2016), $2400 | BUY NOW — *"They Went That Away" by Tom Cannady, 36x48in, acrylic on canvas (2016), $2400 | BUY NOW*

"Launch Party" by Tom Cannady, 48x24in, acrylic on canvas (2016), $2400 | BUY NOW — *"Launch Party" by Tom Cannady, 48x24in, acrylic on canvas (2016), $2400 | BUY NOW*

"Hurry Up, Fred!" by Tom Cannady, 48x36in, acrylic on canvas (2015) $2800 | BUY NOW — *"Hurry Up, Fred!" by Tom Cannady, 48x36in, acrylic on canvas (2015) $2800 | BUY NOW*

Painting

Vignette: Valtcho Tonov

Josh Jenkins · March 21, 2017

“I believe in the beauty of ordinary subjects.” — Valtcho Tonov

"Greece" by Valtcho Tonov, 10x20 in, oil on linen panel (2016), $700 (comes in gold plein air style frame)| BUY NOW — *"Greece" by Valtcho Tonov, 10x20 in, oil on linen panel (2016), $700 (comes in gold plein air style frame)| BUY NOW*

Even though Valtcho Tonov has no formal, institutional diploma, through private lessons and countless workshops he has been relentless in pursuing a personal course of study in painting. For many years he practiced painting the figure from life in a class setting and the landscape en plein air.

“As my experience accumulates as an artist during the years I understand that it's important to convey feeling with my art and relate in a profound way to the viewer. I believe in the beauty of ordinary subjects. I consider myself an abstract impressionist, however my style varies depending of my mood and the way I start a new painting.”

"Cherokee Park Path" by Valtcho Tonov, 12x16 in, oil on linen panel (2016), $700 (comes in plein air style dark frame) | BUY NOW — *"Cherokee Park Path" by Valtcho Tonov, 12x16 in, oil on linen panel (2016), $700 (comes in plein air style dark frame) | BUY NOW*

We see the different moods in “Cherokee Park Path”, which perfectly captures the unique winter light on the snow, everything crisp and clear under the brilliant sun, of how the equine forms in “Southern Horses” seem rooted to the earth as if the are plants awaiting harvest, and is there an image more evocative of moodiness than a view of the skyline distorted as if being witnessed through a rain-streaked window in “Louisville Winter”.

This is what a painter does; working with one of the most plastic and expressive of mediums, the artist is able to communicate a heightened perception of the world, forcing us to look harder at our own environment and the aspects of nature that we too easily take for granted.

"Mc Neely Lake, Louisville" by Valtcho Tonov, 12x16in, oil on linen panel (2016), $700 (comes in plein air style dark frame) | BUY NOW — *"Mc Neely Lake, Louisville" by Valtcho Tonov, 12x16in, oil on linen panel (2016), $700 (comes in plein air style dark frame) | BUY NOW*

Tonov is a member of Oil Painters Of America and the Plein Air Painters of Kentucky. After moving to the United States in 2001, he eventually settled in Louisville, Kentucky. Tonov has continued his studies under the tutelage of renowned artists such as John Michael Carter, Phil Starke, and others. He is part of an ongoing uninstructed figurative drawing/painting workshop at Mellwood Art Center in Louisville.

Hometown: Plovdiv, Bulgaria
Age: 44
Education: self-taught but studied with John Michael Carter & Phil Starke
Website: http://www.vptart.co

"Louisville Winter" by Valtcho Tonov, 20x24 in, oil on canvas (2017), $900 (not framed, finished sides) | BUY NOW — *"Louisville Winter" by Valtcho Tonov, 20x24 in, oil on canvas (2017), $900 (not framed, finished sides) | BUY NOW*

"Southern Horses" by Valtcho Tonov, 11x14 in, oil on linen panel (2016), $600 (comes in gold frame) | BUY NOW — *"Southern Horses" by Valtcho Tonov, 11x14 in, oil on linen panel (2016), $600 (comes in gold frame) | BUY NOW*

Drawing, Painting

Q&A: Dorothy Kavka

Josh Jenkins · January 31, 2017

“I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries." — Dorothy Kavka

Dorothy Kavka sees herself as an artist who is a chronicler of women: “…both in the roles they are made to assume within their societies and their historical reality. I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries. The ‘other,’ or cultural diversity becomes the guise they assume that is demanded by their fathers, husbands, religious leaders, and lawmakers. My work explores the tension created by the existence of these forces on every woman.”

Kavka was accepted into a prestigious Women's Gallery Show in Chicago and in exhibits at the Kaviar Gallery and the Gallery Janjobe in Louisville. Recently, she won first place at the Jewish Community Center's 12th Annual Mazin Art Exhibition, juried by Joey Yates from the Kentucky Museum of Art and Craft.

When did you first think you would be an artist?

I always knew I would be an artist. Even as a young child, I was always drawing, I took classes at the Art Institute of Chicago (giving up ballet because my parents could not afford both classes), and saved a few of the drawings from those classes; it still amazes me that I could do such detailed work at that age.

Who or what inspires you now?

Knowing that people like what I do inspires me. I just won first place at the Mazin Juried Art Exhibit, and that was a real thrill.

You describe yourself as a “chronicler of women” as regards how they are viewed by society. How do you feel your representation of the human figure captures that?

I find that although I have a number of studies of men, my focus has always been on women. That may be because in the workshops I took, we usually had women models. Then again, I guess I just find women more interesting.

Among the images here are nude studies of women. How does your work avoid some of the objectification of the female form that is still so common?

I don't know. I just draw and paint what I feel at the time I do the work.

What are you reading right now?

I am reading a book about George Washington and about to read “The Bone Clocks” by David Mitchell, who also wrote “Cloud Atlas”. I was an English teacher, and I do enjoy a good book.

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

I think that it happened as an adult, when I was able to start taking workshops with well-known Chicago artists, such as Ed Paschke and Lillian Desow Fishbein. They never tried to "fix" my work by drawing or painting over them, but would offer suggestions that allowed me to discover for myself what I need to do.

If you could do anything else but make art, what would it be?

I need to do art; it is a calling that I cannot ignore.

Has your style changed or evolved over the years? If so what do you think
influenced this?

Yes, my art has changed over the years. Remember that I started art classes when I was a teenager. However, I did not begin to really take my art seriously until I started workshops with Chicago artists. At first I was doing realistic drawings and paintings - which were good, but somehow not fulfilling. Then, I began to work into them, changing the focus, and suddenly I found my stride.

Does art have a purpose? If so what is it?

This may sound trite, but I feel that art is the one thing that makes life enjoyable.

Hometown: Chicago, Illinois
Age: 76
Education: BA in English Language & Literature, University of Chicago; MA in English; University of Wisconsin; studied at Art Institute of Chicago and in private workshops with Ed Paschke and Lillian Desow Fishbein

Are you interested in being on Artebella? Click here to learn more.For information on how you can advertise through Artebella click here. — *Are you interested in being on Artebella?* *Click here* to learn more.
For information on how you can advertise through Artebella *click here*.

mood

Vignette: William Pichette

What portions of our self do we edit, manipulate, and hide from view for the greater good of likes and followers? – William Pichette

Vignette: Charlotte Pollock

Vignette: Tom Cannady

Vignette: Valtcho Tonov

“I believe in the beauty of ordinary subjects.” — Valtcho Tonov

Q&A: Dorothy Kavka

“I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries." — Dorothy Kavka

When did you first think you would be an artist?

Who or what inspires you now?

You describe yourself as a “chronicler of women” as regards how they are viewed by society. How do you feel your representation of the human figure captures that?

Among the images here are nude studies of women. How does your work avoid some of the objectification of the female form that is still so common?

What are you reading right now?

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

If you could do anything else but make art, what would it be?

Has your style changed or evolved over the years? If so what do you thinkinfluenced this?

Does art have a purpose? If so what is it?

Has your style changed or evolved over the years? If so what do you think
influenced this?