"Wabi-sabi is the quintessential Japanese aesthetic. It is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional..." — Leonard Koren

Photographer Steve Squall’s images luxuriously embrace old school Black & White tonalities and the now-rare use of nude models in nature. As an artist, he is seeking to reconnect to the fundamentals, an intention driven by a specific, almost spiritual motivation.

“My current body of work focuses on the female form with an emphasis on the Japanese aesthetic philosophy of Wabi-Sabi,” explains Squall. “The images focus on simplicity in execution, embracing spontaneity - the ‘happy accident’, and finding the beauty in imperfection. It's largely a reaction to the highly produced work that I do for a living that often requires an entire team of creatives, heavy attention to detail, and a sizable amount of equipment to create.”

"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW — *"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW*

“Allowing myself to simply walk into a setting with nothing but a camera body, a single lens, a model, and just exploring while stopping to shoot when we find interesting scenes or stunning natural light has been quite a freeing experience. The work has helped me to rediscover the simple joy of just taking a photo without having a jumble of variables running through my head. It's reminiscent of the feeling I got so hooked on when I first picked up a camera and would just point it at whatever I thought looked interesting without worrying about too much else.”

"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 | BUY NOW — *"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 | BUY NOW*

Squall’s images are classic in their juxtaposition of the soft human flesh against the stark and harsh textures of the elements. A woman stretched out across a large rock, her hair spread across the surface, is a formal study in contrasting textures, but also a suggestion of humankind in relationship to the environment, the artificial raiment of society discarded but the exposed flesh separated from nature by a vulnerability that cannot be so easily erased.

“I liken the experience to the famous quote attributed to Picasso: "It took me four years to paint like Raphael, but a lifetime to paint like a child." Well, it took me more than four years to photograph like a pro, and now I'm learning how to photograph like a child.”

Hometown: Shively, Kentucky
Education: BA in Graphic Design, Indiana University Southeast, 2009.
Website: www.stevesquall.com

"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 | BUY NOW — *"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 | BUY NOW*

"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW — *"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW*

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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: Debra Lott

Josh Jenkins · March 16, 2017

"Virtual Reflection" by Debra Lott, 36x72in (diptych), oil on canvas (2017), $2400 | BUY NOW — *"Virtual Reflection" by Debra Lott, 36x72in (diptych), oil on canvas (2017), $2400 | BUY NOW*

When painter Debra Lott observes that we live in a, “…world where the virtual and authentic collide and confuse,” the degree of understatement is not meant to be sarcastic, but simply a way to explain the foundation on which she has built her newest work. Self-portrait has not been such an overt theme in her previous work, although she has been focused on a woman’s existence in the contemporary society in a fashion so personal that it nearly passes as the same thing. Such is the nature of art that it always reveals something important about the artist.

Now Lott places herself unmistakably front and center to speak to the narcissistic tendencies of modern communication:

“My inspiration and influences are the popular mass media. This source became the tipping point for my experimentation into painting this series. The absurdity of the media images prompted me to take my work in a new direction. The paintings form satirical statements that incorporate figurative distortion and exaggeration while mocking the media’s use of photo- shopped, erotic, and often implausible poses.”

"Going to Great Lengths" by Debra Lott, 30x20in, oil on canvas (2016), $950  | BUY NOW — *"Going to Great Lengths" by Debra Lott, 30x20in, oil on canvas (2016), $950 | BUY NOW*

“My techniques include distortion, elongation, detachment and segmentation. The expressive brushstrokes and fantasy color schemes are symbolic of the theatrical and sensational drama of cultural media. My expressive and quasi abstract style combine color, form and texture to convey the illusion of beauty that is often construed as reality.

“My goal is to move in a direction toward further experimentation and abstraction. I began experimenting with the concept of ‘authentic’ versus ‘virtual’ especially as it applies to cultural media. To communicate this idea of counterfeit, I chose a complementary color scheme and ‘like values’ that allow the subject and background to overlap and create some uncertainty as to what is positive and negative space. My goal was to increase the abstraction of the content and cause the body to become part of the surrounding space.”

"Yes I Can" by Debra Lott, 30x48in, oil on canvas (2017), $1400 | BUY NOW — *"Yes I Can" by Debra Lott, 30x48in, oil on canvas (2017), $1400 | BUY NOW*

Lott presently has 2 pieces in the Owensboro Art Guild 55th Juried Exhibition, up through April 14th, 2017, and a solo show titled, Collections, runs through April 16, 2017 at the Pigment Gallery at Mellwood Arts Center in Louisville. There will be an Artist’s Reception, March 31st 6-9pm

"Self Love" by Debra Lott, 30x20in, oil on canvas (2017), $775 | BUY NOW — *"Self Love" by Debra Lott, 30x20in, oil on canvas (2017), $775 | BUY NOW*

Selected Adjudicated Exhibitions:
2018 - Owensboro Museum of Fine Art, OAG 55th Juried Exhibition, Owensboro, KY, February 25-April 14, 2017
2017 - Lexington Art League, Demographically Speaking, A Figurative Exhibition, Lexington, KY, January13-February 12, 2017
2016 - Art Comes Alive 2016, ART Design Consultants Inc. Cincinnati, OH, July 23-August 29, 2016 Figurative Artist of the Year Award
2015 - The Chautauqua National Exhibition, Eastern Kentucky University, Richmond, KY 1/26/2015-2/20/2015
2013 - The Art at the X National Juried Exhibition, Xavier University, Cincinnati, 'Multicultural Expressions of Faith', Award of Excellence, August 23-October 11, 2013
2010-2013 - National Art Education Women Caucus Juried Art Exhibition, 2010, 2011, 2012, 2013
2011 - 55th Mid-states Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, December- March 2011
2010 - Manifest Gallery International Drawing Annual- Exhibition in Print, Cincinnati Ohio, art work selected - Seasons of Grace, Charcoal on Paper
2010   Water Tower Regional, Louisville Visual Art Association, KY, January 24-March 7, 2010
2009   54th Mid-States Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, Dec 7-January 18, 2009.
2007   Mad Art Gallery, St Louis, Missouri, Contemporary Women Artists XIV, International Juried Exhibition, Sept 7-29, 2007, St Louis Chapter of the National Women’s Caucus for the Arts
2006   Kniznick Gallery of the Women’s Studies Research Center, Brandeis University, Boston, Vital Voices: Women’s Visions, 2006, (National Juried Exhibition in conjunction with National Women’s Caucus for the Arts)

Hometown: Lake Worth, Florida
Age: 65
Education: MAT with a concentration in painting, Florida Atlantic University, a BA in Art Education, Palm Beach Atlantic University
Gallery Representation: PYRO Gallery
Website: http://www.debralott.com/

"Original Selfie" by Debra Lott, 24x24in, oil on canvas (2017), $675 | BUY NOW — *"Original Selfie" by Debra Lott, 24x24in, oil on canvas (2017), $675 | BUY NOW*

Fiber, Painting, Mixed Media

Vignette: Denise Furnish

Josh Jenkins · February 24, 2017

"Gain/Loss (detail)" by Denise Furnish, 31x31in, yoyo quilt patch, archival ink on cotton, acrylic, $900 | BUY NOW — *"Gain/Loss (detail)" by Denise Furnish, 31x31in, yoyo quilt patch, archival ink on cotton, acrylic, $900 | BUY NOW*

“I was asked, ‘What is a quilt?’ It is a question that, at first, seems obvious, but the answer goes much deeper than a hand-made bedcovering. The process of defining a quilt is the essence of my art. The quilt is a sign of women’s work. The making of a quilt implies a chain of signification through conception, use, deterioration, and, in my case, transformation.” — from Denise Furnish’s Artist Statement

"Gold Star" by Denise Furnish, 77.5x76in, discarded lone star quilt, acrylic, $3200 | BUY NOW — "*Gold Star" by Denise Furnish,* *77.5x76in, discarded lone star quilt, acrylic, $3200 | BUY NOW*

In the history of Modern Art, or the still-being-written chronicle of Contemporary Art, the quilt can still seem like an outlier, despite several generations of fiber artists using it as the foundation of their work. Yet the very associations that might lie at the heart of perceived limitations – namely its functional role as comforting family heirloom, are also the source of the quilt’s unique power in communicating themes and ideas. Denise Furnish exploits these attributes but also subverts them by using discarded quilts as a vehicle for painting.

*"Bed" by Robert Rauschenberg 75.25x31.5x8in, oil and pencil on pillow, quilt, and sheet on wood supports (1955) © 2017 Robert Rauschenberg Foundation*

“The quilt as a sign for bed interests me, yet I nearly always remove quilts from the bed and put them on the wall. For his collage, “Bed”, Robert Rauschenberg took a quilt from a bed and destroyed it to make art in 1955. The difference is that I am interested in taking already damaged quilts and transforming them into art. I later realized that seeing that work in the Museum of Modern Art in 1968 has influenced me.”

The inherent qualities of each quilt are crucial in the conceptual nature of Furnish’s approach, informing her thoughts and application of medium, but there is also a sense of rejuvenation emanating from the transformation of a tattered, worse-for-wear object becoming a wholly new creative action.

“My work developed as a chain of signification beginning with the recognition of quilt as a sign of pre-feminist ‘women’s work.’ This work was created and executed with attention to design and purpose. It was used, washed, worn. Often, it was separated from its maker. It was found by me and painted–a sign not only of transformation, but also of post-feminist women’s achievement.”

Denise Furnish’s work is currently featured in the Louisville Visual Art exhibit, Tessile Ora, on display at Louisville’s Metro Hall through May 26, 2017.

Hometown: Louisville, Kentucky
Education: BA, University of Kentucky, 1972; Attended Louisville School of Art 1980-1981; BFA University of Louisville, 2008; MA University of Louisville, 2009
Website: http://www.denisefurnish.com

"Red Basketweave" by Denise Furnish, 56x37in, worn and discarded flower basket crib quilt, acrylic, $1200 | BUY NOW — *"Red Basketweave" by Denise Furnish, 56x37in, worn and discarded flower basket crib quilt, acrylic, $1200 | BUY NOW*

"Flower Garden Boogie Woogie" by Denise Furnish, 48x53in, worn and discarded flower basket crib quilt, acrylic,telephone wire, tablecloth, $1200 | BUY NOW — "*Flower Garden Boogie Woogie" by Denise Furnish, 48x53in, worn and discarded flower basket crib quilt, acrylic,telephone wire, tablecloth, $1200 | BUY NOW*

"Lavender Log Cabin" by Denise Furnish, 40x28in, discarded log cabin crib quilt top, acrylic, $900| BUY — *"Lavender Log Cabin" by Denise Furnish, 40x28in, discarded log cabin crib quilt top, acrylic, $900| BUY*

"FIreball" by Denise Furnish, 43x29in, discarded fireball crib quilt, acrylic, $1200| BUY NOW — *"FIreball" by Denise Furnish, 43x29in, discarded fireball crib quilt, acrylic, $1200| 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

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women

Vignette: Steve Squall