*Photographer, Garin Horner (Photo by Colleen Small)*

A Photo-ethnographic Study of Personal Spiritual Shrines & Altars

Most people likely think of religion and spirituality in monolithic terms: Buddhism, Christianity, Hinduism, Islamism, Judaism, etc., but by some estimates tally as many as 4,200 different religions existing in the world today. And spiritual practice is often a very individual and private action. Garin Horner seeks out and documents what he calls, “…intimate connections people have with places and objects that serve as focal points, where subjects feel strong links with transcendent beings, ethereal energies, and/or supernatural realities.”

‘The subjects I collaborate with are a combination of artists, actors, and spiritual practitioners who want to give voice to and celebrate their own distinct views as part of a multitude of spiritual beliefs. They are believers in a supernatural meta-ecology, or structure of subtle dimensions that co-exist with our reality comprised of various beings (or forces). Part of this view recognizes altars to be microcosms and/or nexuses of those subtle dimensions.”

"A Collection of 2016 Relics from the World's Religions" by Garin Horner, 24x30in, photography (2016), $450 | BUY NOW — *"A Collection of 2016 Relics from the World's Religions" by Garin Horner, 24x30in, photography (2016), $450 | BUY NOW*

It should come as no surprise that Horner sometimes encounters resistance from his subjects. He turns his lens on a topic that is sensitive even in the mainstream, so to ask people to reveal themselves in such specific, confessional terms requires delicacy.

“I contact my subjects through calls for collaboration and word of mouth. It’s a fairly complicated process that doesn't always work out. Whenever I am traveling to a city (for a conference or exhibition) I research spiritual organizations in the area and reach out to people. I also use a catalog from the Parliament for the World's Religions. Sometimes I get positive responses and people invite me to photograph them, but when I get there they have a change of heart.”

Horner keeps the identities and locations secret, and in some cases where the subject has refused to be photographed, Horner has, with permission, recreated what he has witnessed from detailed notes and sketches. So far, in the last 18 months he has produced about 25 separate images in the series.

"Ancestors Guide Us and Protect Us" by Garin Horner, 24x24in, photography (2017), $450 | BUY NOW — *"Ancestors Guide Us and Protect Us" by Garin Horner, 24x24in, photography (2017), $450 | BUY NOW*

“Most people don't want me to photograph them, but some do. Some are very excited to show other people their connection to their spiritual practices. Some are excited in the beginning and change their minds in the end. If someone goes as far as being photographed and signing a model release and then asks me to not show their photos - I don't.”

Horner exhibited photos in Louisville a few years ago as part of a show curated by the Midwest Society for Photographic Education. He was recently named Director of the Adrian College Center for Effective Teaching. Adrian College, Adrian, Michigan.

Horner’s newest exhibit, Otherworldly Signs / Unworldly Believers will be at the Prairie Center of the Arts, Peoria Ill, in October 2017.

Hometown: Ann Arbor, Michigan
Education: BFA, Sienna Heights University; MFA, Cranbrook Academy of Art
Website: www.garinhorner.net
Instagram: https://www.instagram.com/garinhorner

"Calling the Spirits of the Fallen" by Garin Horner, 24x30in, photography (2017), $450 | BUY NOW — *"Calling the Spirits of the Fallen" by Garin Horner, 24x30in, photography (2017), $450 | BUY NOW*

"rive Deep the Magic Nail" by Garin Horner, 24x30in, photography (2016), $450 | BUY NOW — *"rive Deep the Magic Nail" by Garin Horner, 24x30in, photography (2016), $450 | BUY NOW*

Are you interested in being on Artebella? Click here to learn more. — *Are you interested in being on Artebella? Click here to learn more.*

Photography

Vignette: Marcia Lamont Hopkins

Josh Jenkins · July 13, 2017

“Time, memory, and the natural world always play a key role in my work.” – Marcia Lamont Hopkins

By applying a poetic and often metaphorical language to her photographic images, Marcia Lamont Hopkins opens the door to the unknown, to multiple realities, both real and artificial, so that one questions what is really happening.

Her images establish a link between the landscape’s reality and the artist’s imagination. While this could, to some extent, be said to be true of any artist using landscapes, Hopkins pushes the limits of our perception of what is real. Each object or environment seems entirely natural and plausible, yet the juxtaposition within the artist’s gauzy, dreamlike atmosphere creates an uneasy sense of mystery. Is our understanding shifting in relationship to time, memory, or some other reality that we can’t quite define?

"Casaubon" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW — *"Casaubon" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 |* *BUY NOW*

In her artist’s statement, Hopkins explains it this way: “The series, Causabon’s Illusion, crafts a series of metaphorical vignettes rooted in elements of magical realism and the mind’s tendency to search for all-inclusive answers. In George Elliot’s Middlemarch, Edward Causabon spends his life in a futile and absurd attempt to find a comprehensive explanation for the whole of civilization’s knowledge and mythologies. Deluded, he believes that he alone has the key to humanity’s searching, an illusion which may be reflected in our culture today.”

"The Beekeeper" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW — *"The Beekeeper" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW*

As part of her 60WRD/MIN project, Art Historian and Chicago Tribune art critic Lori Waxman wrote of Hopkin’s work: “We like to control animals and nature, but when they get beyond our understanding things tend to get interesting. Hopkins envisions overgrown forests, historic graveyards, farm animals, and occasionally people, often in combination, in impeccable digital prints that blend multiple shots into believable wholes. The weirder and more convincing, the better: a sheep enmeshed in a dense forest seems as if it and the trees are made of the same stuff, a lama in a rolling meadow becomes one with the horizon and the clouds.”

Hopkins currently has a solo exhibit at Gratz Park Inn in Lexington, KY.

*Burnaway: The Voice of Art In The South, March 27, 2017

Hometown: Lexington, Kentucky
Education: BFA in Film and Fine Art and a Ph.D. in Psychology.
Website: http://www.marcia-hopkins.squarespace.com/

"Cemetery Sheep" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW — *"Cemetery Sheep" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW*

"Wedding" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW — *"Wedding" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW*

"Pyramid" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW — *"Pyramid" by Marcia Hopkins, 17x22in, digital archival print (2017), $500 | BUY NOW*

Photography

Vignette: Violet Herrmann

Josh Jenkins · January 6, 2017

*"Faces" (set of 2) by Violet Herrmann, 10x16in, photograph (2014)*

As a photographer and a designer, Violet Herrmann states she is, “…a firm believer in simplicity with a bold hint.” In “Mellwood,” her photograph reads at first glance as a captured ‘snapshot’ – a random glimpse of a passing moment, yet the cool, evening shades of blue are seductive, and there is tantalizing mystery in the dramatic depth found in the contrasting channels of space. It would all be a solid, albeit academic composition except for the hesitant figure on the right, leading us further into the scene but arresting that momentum by turning on their heel. It is the key to lifting the image beyond the ordinary.

All of which reflects the idea that good composition and design is a series of relationships, most of which might never register fully with the viewer, but will have undeniable impact on how a piece is read. Herrmann explains, “I believe that the best designs appear to have their components distributed randomly throughout the page; but one finds that every element is aligned to another found in the piece.”

*"Mellwood" by Violet Herrmann, 17x11in, photograph (2016)*

“My work describes me as an artist as well as a person. As a stubborn perfectionist, my designs reflect my personality by carefully placing components in relation to one another while maintaining an edginess that makes them unique. I believe that a design must ultimately speak for itself to be considered truly successful. If I have done a good job on my work, my personality should be able to shine through and reflect me as a designer.”

Herrmann has worked as a Graphic Design Intern for Simon Signs in Louisville Kentucky and her work has been displayed in the Kentucky College of Art and Design (KyCAD) Gala in the 849 Gallery, Louisville Kentucky. While at KyCAD she was awarded the Presidential Scholarship.

Hometown: Charlestown, Indiana
Age: 21
Education: BFA candidate, General Fine Arts, Kentucky College of Art + Design at Spalding University, Louisville Kentucky

*"Louisville Door Series" (1 of 12) by Violet Herrmann, 10x10in, photograph (2014)*

Painting

Vignette: Jessica Olberz Singleton

Josh Jenkins · December 6, 2016

"Spinning Sun" by Jessica Olberz Singleton, 24x24in, acrylic on canvas, $85 | BUY NOW — *"Spinning Sun" by Jessica Olberz Singleton, 24x24in, acrylic on canvas, $85 | BUY NOW*

When a layperson ponders what makes an artist, they might begin by considering that is simply a matter of perspective, and also the ability to hold a perception and explore it; a search for insight and understanding of our existence within the world around us. It is the thing that makes an artist stop and investigate a rain puddle, or find the gentle passing of time marked by nature as prosaic, and then find some way to capture that impression through creative expression.

In her artist’s statement, Singleton explains, “I remember my shock and amazement the first time I saw the clouds move. I was five years old. I learned to slow down, be still, and look more closely. Taking that time today, I see and hear things that seem to come out of nowhere. Just last week I found a tiny, perfectly preserved frog skeleton beneath the seat of my car. It fits on a penny with room to spare. What are the odds?”

“Nature brings me to my senses and my senses remind me that I am in (and of) this world. And, so, inevitably I bring nature into my studio to spend more time with the leaves and the flowers. In my studio, I enjoy the sensory experience of mixing colors and moving them over the paper or canvas and watching how, with time, something new emerges.”

"Diamonds" by Jessica Olberz Singleton, 10x14in, watercolor and ink, $50 (unframed) | BUY NOW — *"Diamonds" by Jessica Olberz Singleton, 10x14in, watercolor and ink, $50 (unframed) | BUY NOW*

The importance of memory and sensory experience in Singleton’s work relate to time itself; the most underappreciated material in an artist’s toolbox. It plays a role in any artist’s process but is rarely acknowledged.

Singleton is also a photographer and a yoga instructor, and her painting includes mandalas that tie more obviously into health and wellness, but all of the artist’s work is inextricably connected to the harmony of nature. It clearly represents an important aspect of her spirituality, and in 2011 she opened The Trilliquin Center, where she teaches varying levels of yoga, including Gentle, Iyengar and Restorative Yoga, as well as art workshops and community events.

Hometown: Louisville, Kentucky
Age: 40
Education: BA, University of Louisville, 2000, majored in Fine Arts with a concentration in Drawing, minored in Psychology and Women's Studies.
Website: http://jessicaolberz.com

"White Mandala on Plaid Wash" by Jessica Olberz Singleton, 12x16in, watercolor and gouache, $80 (framed) | BUY NOW — *"White Mandala on Plaid Wash" by Jessica Olberz Singleton, 12x16in, watercolor and gouache, $80 (framed) | BUY NOW*

"Four Circles" by Jessica Olberz Singleton, 10x14in, watercolor and ink, $50 (unframed) | BUY NOW — *"Four Circles" by Jessica Olberz Singleton, 10x14in, watercolor and ink, $50 (unframed) | BUY NOW*

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Painting, Photography, Drawing

Q&A: Jennifer Laura Palmer

Josh Jenkins · October 21, 2016

“Sometimes it is a little better to travel than to arrive.” — Robert Pirsig

Location and maps are a crucial part of painter Jennifer Palmer’s work. “The first maps I collected were from my childhood and they were used on family trips. I loved that they were used on our trips and I could see my Dad’s handwritten notes and the highlighted route for each adventure. These memories have become even more precious since my Mother’s passing from cancer this past year.” Palmer is currently working on a new series involving plein air artworks created during road trips throughout Kentucky in a 1951 Chevy Pickup: http://palmertravelingartist.tumblr.com/

*"Paintings of Maine (In Progress)" by Jennifer Palmer, mixed media on poplar (2016)*

*1951 Chevy - Barbara Jane (Name after my Mother)*

Are you still touring Kentucky in your 1951 Chevy pick-up?

I currently am and the project is still in the beginning stages. I have spent the summer working on organizing my trip and scouting out locations to complete my artwork. This has allowed me the necessary time to come up with a more cohesive plan that has clear objectives and goals to make this a successful project. After my trip to Maine this summer I realized I wanted to challenge myself to something much larger than I had originally intended and to push myself creatively to use materials and process that I haven’t used before. This has slowed down the project, however, it has increased the drive to have a series that goes beyond what I had originally envisioned.

How many different places have you been?

Only a handful of places at this point and mostly I have been cruising routes and making notes on good places to stop and make some art. I feel I haven’t even scratched the surface of all the places to explore in this beautiful state. I have toured a lot of backroads in Kentucky cruising and I started to realize that I need to also include more urban areas on my travels.

"On site Traveling Drawing (Phippsburg, Maine)" by Jennifer Palmer, 9x12in, ink on paper (2016) — *"On site Traveling Drawing (Phippsburg, Maine)" by Jennifer Palmer, 9x12in,* *ink on paper (2016)*

What music do you listen to on the road?

I tend to just keep the windows down and listen to my surroundings and mostly the sound of the truck’s engine.

Do you listen to music while you paint?

I do and tend to listen to the same music over and over until I finish a series. You would most likely find Shovels and Rope and Roy Orbison in rotation in the studio.

What expectations did you have for the journey?

To stumble upon beauty in every place I visit.

Tell us something about the people you have met?

I have found that everyone enjoys sharing a story if you are willing to slow down and ask some questions and be sincere in wanting to hear what they have to say. The people I have encountered are the greatest resources on learning more about the areas I am visiting. They know the area and give out the best suggestions for places to see and also to eat. I have experienced that people always love sharing stories about their animals and that is a great way to start a conversation.

Also, I would like to add since I am still in the planning stages I would love to hear from people in Kentucky on places to go and more importantly why do they think I should visit there and document the space.

"Olsen House (Cushing Maine)" by Jennifer Palmer, photograph (2016) — *"Olsen House (Cushing Maine)" by Jennifer Palmer, photograph (2016)*

What's your favorite place to visit?

I will have to say Maine. I spent two weeks there this summer on an art road trip and I fell hard for the state. The landscape, the history, the people and the air were so inspiring. What made the trip memorable was visiting the Farnsworth Museum and seeing Andrew Wyeth’s work in person. It literally brought tears to my eyes. I was then able to make the journey to the Olsen House and spend time photographing the house and grounds. I have never felt such a connection with a place.

Honestly, this trip to Maine got me a little side tracked on the Traveling Artist Project here in Kentucky with the Chevy, however, it stirred a passion and desire to make it a more impactful series by slowing down and really taking time to plan out the project so I can create a wide range of pieces in various mediums. Kentucky holds the same charm and beauty and I want to explore the forgotten spaces to see the hidden gems myself and then be able to share these finds with an audience in a thoughtful manner.

*"Olsen House (Hidden Stories)" by Jennifer Palmer, photograph (2016)*

So far, what is the longest you spent in any one location?

I crave the chance to be nomadic however, my heart always belongs to one place and that is wherever my horses are located. That is what brought me to Kentucky 10 years ago and what keeps me appreciating this amazing state is all the open land that is still available here. So my journeys tend to be short in nature, however, the list is extensive on places I want to visit, even if it is only short term.

"Maine Summer" by Jennifer Palmer, 16x22.5in, mixed media on paper (2016), $300 | BUY NOW — *"Maine Summer" by Jennifer Palmer, 16x22.5in, mixed media on paper (2016), $300 | BUY NOW*

What's the most challenging part when starting on a piece of work?

To not worry about what the outcome will be and just create and be in the moment.

How long do you usually spend on a specific piece of art?

It varies and can be a few hours to months. Recently, I have been going over work I had in storage for a few years and remaking it into a new series. I strongly believe in including an element of history in my work and I am enjoying making something new out of pieces that I never felt were quite finished. It is nice to see new life given to them and also to go back and relive the time period of when I was creating them.

*"Travel Drawing Series (Maine)" by Jennifer Palmer, 9x12in, ink on paper (2016)*

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

It has and it goes through cycles. Location and time of year influences it, also the events going on in my life. The most significant change came with the passing of my Mother from pancreatic cancer. She was the inspiration in starting to live my life to the fullest and to finally get my dream truck, and then for this journey to gather stories. I realized how significant stories and personal histories are after you lose someone and they take the stories with them. If you don’t take the time to gather and archive them you will end up losing them forever. And now my work is more about searching out those feelings and memories and I am seeing a shift of including more figurative elements into my work as a way of processing these shifts in life.

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

Wendell Berry and I would love to ask him to show me his favorite location in
Kentucky and learn more about why he chose that spot.

Name: Jennifer Palmer
Hometown: Simpsonville, Kentucky
Age: 35
Education: MFA in painting from the Savannah College of Art and Design; BA in Art and Political Science, Cedar Crest College (Allentown, Pennsylvania)
Website: http://jenniferpalmer.tumblr.com

*"Summer Days (Finchville, KY) by Jennifer Palmer, photograph (2016)*

"Maine Traveling Sketchbook" by Jennifer Palmer, ink on paper (2016) — *"Maine Traveling Sketchbook" by Jennifer Palmer, ink on paper (2016)*