"Awakening - Rise and Embrace the Morning" by Barbara Tyson Mosley, 24x48in, acrylic on canvas (2017), $1500 | BUY NOW — *"Awakening - Rise and Embrace the Morning" by Barbara Tyson Mosley, 24x48in, acrylic on canvas (2017), $1500 | BUY NOW*

We have observed that quite often fiber artists work like painters, but Barbara Tyler Mosley is a painter whose work might put you in mind of some fiber artists. Of course, the comparison assumes the intuitive manipulation of plastic medium is, while not unique to the act of painting, at least a defining characteristic. Mosley’s mark-making application is both organic and highly structured.

Her abstract landscapes are vibrant with color. “These works harmoniously emphasize the relationship between earth, sea, and sky,” it states in Mosley’s Artist’s Statement. “As she quickly works on canvas manipulating the paint to reflect light and color changes, the viewer’s eye sees a playground of color and movement as she expands the scale of color and line.”

In the tightly constructed layers of that color and line we can see the echo of the hand stitching of a textile artist, allowing repetition of the mark to create visual texture in the manner of thread stitched through fabric. This repetition carries through the strict, 12” x 12” dimensions of the individual paintings in the series, so that a perspective from a distance puts us in mind of quilt construction.

"Moonlight is Yellow" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW — *"Moonlight is Yellow" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW*

But Mosley is still, determinedly, a painter, boasting a highly developed point-of-view on the integration of representational and abstract.

Mosley’s current exhibit, "12 x 12 Plus" will be at KORE Gallery at the Mellwood Art Center in Louisville through February 28, 2017. She will then be showing more of the 12 x 12 paintings at the New Edition Gallery in Lexington, KY through the month of March. This fall, she will be exhibiting with Tomisha Allen in September and October of 2017 at the Wayside Expressions Gallery, Louisville, KY.

"Evening Calm" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW — *"Evening Calm" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW*

Permanent Collections:
PNC Bank Tower, Contemporary Ethnic Dolls, Pittsburgh, PA
Heritage Art Center Gallery, Lexington, KY
The University of Virginia Medical Center, Charlottesville, VA
The Corcoran Gallery of Art (Evans-Tibbs Collection), Washington, DC
The Fine Arts Institute, San Bernardino Museum of Art, Redlands, CA
The International Multicultural Fine Arts Exchange Foundation, Washington, DC

Hometown: Harrisburg, Pennsylvania
Education: BA, Studio Art, Painting, University of the District of Columbia, Washington, DC, 1985; MA in Liberal Studies Degree (Humanities; 20th Century Art History) Georgetown University, Washington, DC, 1990; MFA Candidate, Design George Washington University, Washington, DC, 2002-2004

"In the Night" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW — *"In the Night" by Barbara Tyson Mosley, 12x12in, acrylic on canvas (2016), $500 | BUY NOW*

"Morning Coffee and Caramel Tea" by Barbara Tyson Mosley, 24x36in, acrylic on canvas (2014), $650 | BUY NOW — *"Morning Coffee and Caramel Tea" by Barbara Tyson Mosley, 24x36in, acrylic on canvas (2014), $650 | BUY NOW*

"The 13th of Friday" by Barbara Tyson Mosley, 36x48in, acrylic on canvas (2013), $2500 | BUY NOW — *"The 13th of Friday" by Barbara Tyson Mosley, 36x48in, acrylic on canvas (2013), $2500 | BUY NOW*

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Photography, Fiber, Installation

Vignette: Sarah Kinslow

Josh Jenkins · December 16, 2016

"Parachute Room" by Sarah Kinslow, 25x14in, still frame of cinemagraph (2016), $100 | BUY NOW — *"Parachute Room" by Sarah Kinslow, 25x14in, still frame of cinemagraph (2016), $100 | BUY NOW*

Artists change over time. As a student in LVA’s Children’s Fine Art Classes, Sarah Kinslow was adept at highly detailed pen & ink drawings, the highlight of a portfolio that earned her a scholarship. Now in art school, she has shifted into fiber as a medium: “From a young age I was introduced to the art world via textile crafts such as crocheting, knitting, embroidery, cross-stitch, and many other processes. This was part of my everyday life and it impacted the trajectory of my career path early on. Through these processes I have been able to express myself and look to other artists following the same lines.”

Like many artists that work with fiber, Kinslow has an acute awareness of the history and heritage of these techniques as, "woman's work" or as menial household activities that, however important to daily life they might have once been, they were not by any means considered art.

“I want my work with textiles to give the viewer a different perspective, and provide them a place visually or physically to see that these realities are not what we may perceive them to be. They are to question what impact they themselves have on to the pieces, such as my installation work, and what their presence does to the work and their impact on their own reality.”

Who wouldn’t welcome the opportunity to revisit the tent forts of their childhood? Kinslow’s installations are at once modern and traditional, anachronistic yet cozy. By building space that invites a viewer to sit in quiet contemplation, she explores the layers of meaning in the word “comfort” and reconnects us to the fundamental touchstones of family with a sure sense of place. The larger cultural associations can run even deeper, with the universality of a tented enclosure found in enough history to provide a common thread of understanding.

Hometown: Louisville, Kentucky
Age: 20
Education: Currently a student at the Kentucky College of Art and Design at Spalding University, Louisville, Kentucky for a BFA in Painting/Drawing and Pre-Art Therapy.

*"A Place For Contemplation #2" by Sarah Kinslow, 30x20in, digital photo of installation (2016)*

*"Exploration #4" by Sarah Kinslow, 6x10in, monotype dry point print (2016)*

"Fluidity" by Sarah Kinslow, 20x14in, digital print (2016) — *"Fluidity" by Sarah Kinslow, 20x14in, digital print (2016)*

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Painting

Vignette: Jeremy Brightbill

Josh Jenkins · October 19, 2016

*A photograph of artist Jeremy Brightbill in studio.*

Jeremy Brightbill has been an abstract painter for years, although some level of representational imagery was present in previous work. Most recently, he is creating densely layered compositions of pure abstraction that almost have the feeling of textiles; the broad, coarse brush marks interwoven almost as strands of fiber might be worked on a loom. We anticipate tactile textures in textile work, and Brightbill’s painted surface is a primitive, elemental exploration of interconnectedness.

Yet, all of that may sound too serious for the artist himself, who emphasizes human experience and self-awareness when discussing his paintings. “My current work explores play and experiment, love and memory, and self-delusion,” explains Brightbill. “We tend to create narratives around our experiences that may or may not be accurate. This fascinates me, and, I believe, comes through in my work.”

"Blood Would Drip From The Honey" by Jeremy Brightbill, 24x24in, acrylic on wood (2016), $400 | BUY NOW — *"Blood Would Drip From The Honey" by Jeremy Brightbill, 24x24in,* *acrylic on wood (2016), $400 | BUY NOW*

Brightbill is a self-educated artist who began making artwork in Charleston, West Virginia, in the mid-nineties. In 1999, he moved to Bloomington, Indiana, where he lived and worked for just over sixteen years. He briefly lived in Annapolis, Maryland, and is currently based in Louisville, Kentucky.

You can find his work displayed in Bloomington, IN at Dimensions Gallery, and he currently has a solo show up at the offices of Sold Sisters Realty in Ripley, WV.

Age: 41
Hometown: Charleston, WV / Bloomington, IN
Education: I worked in museums for 19 years. I did not go to school for art.
Website: www.jeremybrightbill.squarespace.com

"Lost Shoes" by Jeremy Brightbill, 16x20in, acrylic on wood (2016), $200 | BUY NOW — *"Lost Shoes" by Jeremy Brightbill, 16x20in, acrylic on wood (2016), $200 | BUY NOW*

"The Best Path Is The One That I've Taken" by Jeremy Brightbill, 24x24in, acrylic on wood (2016), $400 | BUY NOW — *"The Best Path Is The One That I've Taken" by Jeremy Brightbill, 24x24in,* *acrylic on wood (2016), $400 | BUY NOW*

"Map For The Blind" by Jeremy Brightbill, 24x24in, acrylic on wood (2016), $400 | BUY NOW — *"Map For The Blind" by Jeremy Brightbill, 24x24in,* *acrylic on wood (2016), $400 | BUY NOW*

"Pretty Much The Opposite" by Jeremy Brightbill, 21x28.5 in, acrylic on wood (2016), $425 | BUY NOW — *"Pretty Much The Opposite" by Jeremy Brightbill, 21x28.5 in,* *acrylic on wood (2016), $425 | BUY NOW*

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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.*

Fiber

Vignette: Maria Tinnell

Josh Jenkins · September 21, 2016

*"Queen of Hearts Secret Garden" by Maria Tinnell, 6x6x7.7in, coiled linen basket (2016), $524 | BUY NOW*

Maria Tinnell is a fiber artist whose focus is on coiled basketry. She creates her work by wrapping unwaxed linen thread over a braided nylon core, stitching each coil to the next as she proceeds.

Tinnell arrived at this process after exploring a wide variety of approaches to textile art, falling in love with the linen and the surprising durability it brings to her work. The basket as a form carries expectations of functionality that makes the use of fiber materials a small surprise, but these baskets are impressive for the balance of strength and aesthetic appeal, with designs of strong color and pattern that blend traditional and contemporary sensibilities.

"Secret Garden Wearable Basket Necklace" by Maria Tinnell, 4x3.5x2.25in, coiled linen basket (2015), $84 | BUY NOW — *"Secret Garden Wearable Basket Necklace" by Maria Tinnell, 4x3.5x2.25in, coiled linen basket (2015), $84* *| BUY NOW*

“I love making coiled baskets; they are simple and natural. Stitching by hand I do not require loud machines or protective gear, just my hands, needle, thread, and maybe some beads. Historically, baskets have been both basic and decorative. They can help tell a story, record important occasions, and pass guarded messages.

In addition to stand-alone baskets, I have created wearable baskets combining beadwork to match the colors of the linen. I integrate beads and other objects within the baskets. I began experimenting with oral and leaf shaped beads to create draping coils, and I am currently working on baskets with a focus on nature's patterns. Butterfly wings, ladybug and bumble bee patterns, as well as floral and leaf patterns.”

Tinnell’s work has been featured in Arts Across Kentucky and Louisville Today magazine. She has been a Member of LAFTA since 1999 and currently has work at Craft[s] gallery on Fourth Street.

Hometown: Louisville, Kentucky
Age: 55
Education: BFA with major in textiles, University of Louisville
Website: https://www.etsy.com/shop/mtbaskets

"Callalilly Wearable Basket Necklace" by Maria Tinnell, 4.5x4x3in, coiled linen basket (2015), $100 | BUY NOW — *"Callalilly Wearable Basket Necklace" by Maria Tinnell, 4.5x4x3in, coiled linen basket (2015), $100* *| BUY NOW*

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textile

Vignette: Barbara Tyson Mosley

Vignette: Sarah Kinslow

Vignette: Jeremy Brightbill

Vignette: Maria Tinnell