The Academy at LVA 2018 Senior Showcase: Payton Sprau

Payton Sprau was a student in the Academy at LVA for 4 years, taking Drawing 1 and 2, and Digital Art classes. She first became involved with LVA’s Children’s Fine Art Classes (CFAC) after being nominated in sixth grade.

Payton attended a small Christian based school that had no visual art curriculum, so her participation in CFAC was crucial for her. She was involved in several after-school sports: soccer, volleyball, basketball, softball, and she was in the senior production of Cinderella, but she was still motivated enough to find time for art classes. During high school, Payton was also a Senior Girl Scout and volunteer aide at the Shanituck Day Camp every summer.

"I was accepted into both Northern Kentucky University and Purdue Polytechnic. For both colleges, I’ve been offered an average of $7,000 because of my test scores and GPA, and for being a Kentucky resident."

“Because of the people I have met and learned from I can say with honesty and pride that I have become a more supportive person for younger artists to lean on and gather inspiration from. I have learned to be more accepting of everyone’s unique attributes and to acknowledge people with greater capabilities without feeling personally threatened. Wilma Bethel was an amazing teacher for the past 5 years. She made a connection with me and I learned to accept my flaws and constantly work to improve not only my art but also myself. I can say without a doubt that she has made a positive difference in my life.”

Payton's work is included in The Academy at LVA Exhibition, which will be on display May 9 - 16 at Louisville Visual Art, 1538 Lytle Street in the Portland neighborhood. Gallery Hours are Monday through Thursday, 12-4pm, or by appointment. 

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Entire contents copyright © 2018 Louisville Visual Art. All rights reserved. 

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Vignette: Monica Barnett

"Derby Run" by Monica Barnett, Graphite, 40x30in, 2018, $750.00

Like many artists, Monica Barnett has studied and worked in various mediums throughout her career, but sometimes it is important to get back to basics.

“Recently, I have concentrated on drawing,” explains Barnett, ”specifically in graphite. My subjects: horses. I draw with a passion I hope is shown in the forms I create.”

In the quality of the drawings we find a blend of near scientific observation – in Barnett’s detailed examination of the musculature, with an idealized, almost romantic perspective – the animals are most often captured in motion, the mane extended. It is a point-of-view not unusual for an equine artist, especially one born and bred in Kentucky.

"Lippizaner" by Monica Barnett, Graphite, 30x40in, 2018, $750.00

Barnett does not restrict her choice of subjects to the thoroughbreds that are part of the identity of the Bluegrass State, her portfolio includes horses from France, Belgium, Wales, Austria, Saudi Arabia, Portugal, Norway, and the Netherlands.

Barnett participated in the 2018 Spring Art Show at Mellwood Art and Entertainment Center in February, and the Stella de Luce Art and Wine Show in March.

Hometown: Louisville, Kentucky
Education: BA, Berea College, Kentucky, 1986
Website: monicawbarnett.wordpress.com

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"French Camargue Ponies" by Monica Barnett, Graphite, 40x30in, 2018, $750.00

"Before the Race" by Monica Barnett, Graphite, 30x20in, 2018, $250.00

"Dutch Warmblood" by Monica Barnett, Graphite, 40x30in, 2018, $750.00

"Soviet Draft Horse" by Monica Barnett, Graphite, 40x30in, 2018, $750.00

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Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved.

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Art[squared] Spotlight: Douglas Miller

To celebrate the 5th anniversary of LVA’s “Art [squared]” event to benefit Children’s Fine Art Classes, we will feature five local artists who are contributing 24” x 24” paintings to be sold at the event through a Silent Auction. Today we highlight Douglas Miller:

Douglas Miller’s approach to art entered the Louisville consciousness subtly, evolving from handcrafted ear X-tacy signage to the mostly-dimensional animals familiar today to visitors of Cellar Door Chocolates, Copper & Kings American Brandy and Edenside Gallery, as well as gallerists from Asheville to Quebec.
 

"Miller Thesis 1 (Title 1)" by Douglas Miller, Ink, pencil, and acrylic on paper, 39X50in, 2018

His current project finds him at U of L’s Cressman Center downtown achieving success by examining failure with a new exhibition he’s calling Title (strikethrough). Miller says these drawings explore themes of “indeterminacy, failed projects, and the complications of representation. This series is informed by preliminary drawings, marginalia, and written notations that are inherent in the formulation processes of both visual and literary compositions.”

Miller was inspired by Russian author Nikolai Gogol’s unfinished 1842 novel Dead Souls “to conflate literary theories with visual representation” with his drawings. Compelled by process as a topic, Miller continues, “The Title (strikethrough) series presents fragmentary images, texts, and digressive narratives that demonstrate intermediaries between propositional states and reconciled concepts … ultimately finding interchanges between the methods of representation and what is represented, this series underscores the ruptures in the production of meaning.”

"Miller Thesis 3 (Title 3)" by Douglas Miller, Pencil and acrylic on paper, 24X30in, 2017

This literary digression is a turn down a fresh alley for Miller. He says, “Modeling this series of drawings on methodologies typically constrained to literary texts, I intend to identify parallels between generating drawings and the formations of literary texts. Central to this thesis and the series of drawings is an emphasis on the disruptions of meaning and the digressive characteristics that adversely occur in the development of projects and how these function to create a more diverse, complicated, and ultimately uncertain interpretation.”

“In this way, the Title (strikethrough) series demonstrates a fictive series of narratives that are preparatory and indeterminate in anticipation of a larger conclusive work that is never reconciled.”

Miller’s MFA exhibition Title (strikethrough) is on view April 27 through August 4, 2018 at The University of Louisville's Cressman Center, with an opening reception April 27 from 6:00-8:00 p.m. He will also have work on exhibit at Lenihan Sotheby's International Realty in May of this year.

Education: BFA, University of Louisville, 2009                              Scroll down for more images
Website: www.douglassmillerart.com
Facebook: facebook.com/douglasmillerart/
Instagram: @douglasmillerart

"Miller Thesis 5 (Title 5)" by Douglas Miller, Pencil and watercolor on paper, 18X22in, 2017

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Written by Peter Berkowitz. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved.

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Vignette: Elle Brown

“I believe that being a woman is very important, especially in a world that predominantly shuts us down.” – Elle Brown

"A Transitioning" by Elle Brown (detail), Charcoal on paper, 163x18in, 2017, POR

Every art student has a portfolio of work from figure drawing classes, but Elle Brown, a recent BFA recipient from the University of Kentucky, has kept her focus on the human form, developing her studies into a highly personal exploration of gender, body image, and identity.

"A Transitioning" by Elle Brown, Charcoal on paper, 163x18in, 2017, POR

“The general direction my work has been heading in explores larger scale drawings, prints, and paintings using layered print matrixes and inks. Like most of the work I make, my subject matter is mainly the nude female form, considering my work deals with the struggles and misconceptions of my own body image being portrayed to the world in a generation predominantly led by beauty. Body image is something many people, including me, struggle with.”

“The reason I use the female form is because I believe that being a woman is very important, especially in a world that predominantly shuts us down. Fitting into society has always been an enormous concern of mine, to a point where I would alter my image or personality to seem more likeable or approachable. I want my work to ideally omit my feelings and struggles that I have faced, I wish to come to not only love and respect my body and myself, but also not compare myself with the harsh fictions of people portrayed around me.”

Brown appears to be building an ongoing narrative through the use of multiple drawings. In one, extended, series of five-minute drawings that stretches around the walls of the gallery, she creates a frieze-like presence around us using our innate sense of linear flow to lead us into “reading” the work as we would a comic book panel.  "Being an art history minor and traveling through Europe, I would see elaborate friezes which is what always fascinated me the most about the buildings. Depicting movement and interaction, I created this installation as a viewing to see the day to day, pure form of a woman."

“I want to portray the mood and feelings of my own body. I do this by using a muted color palette along with subject matter connected to these feelings. I also play with what makes a piece of work finished or unfinished. I believe there is a giving balance that expresses gestural implied shapes, and skillful specific lines.”

Hometown: Louisville, Kentucky
Education: BFA, Art Studio, University of Kentucky, Minor, Art History
Website: wixsite/ellebrown
Instagram: ellebrownart

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"Free Yet Restricted" by Elle Brown, Oil on canvas, 36x48in, 2017, POR

"Still" by Elle Brown, Charcoal on paper, 22x30in, 2017, POR

"Con(fusion)" by Elle Brown, Charcoal on paper, 22x30in, 2017, POR

"Imagined Trophy" by Elle Brown, Oil on canvas, 41x58in, 2017, POR

"Light Through The Storm" by Elle Brown, Charcoal on paper, 10x13in, 2018, POR

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Written by Keith Waits. Entire contents copyright © 2018 Louisville Visual Art. All rights reserved.

Feature: James Grubola, Distinguished Teaching Artist

After more than forty years teaching at a single institution, the question of legacy is a fair one to consider. First, in an age where upwardly mobile is a literal calling to never stay in one professional situation for very long, lest you be perceived as lacking ambition, that loyalty and dedication to one institution seems charmingly old-fashioned. Perhaps that mentality, commonplace in the corporate world, has yet to infect art professors, who are, after all, working artists who value the financial stability of an academic life.

For James Grubola, the most important metric is established by his students, so the crucial measure is in the achievements from thousands of people who earned their Bachelor’s degrees through the University of Louisville since 1975, when he joined the faculty. But the credentials and formal recognitions are certainly there:

2001 - “Red Apple Award” for excellence in teaching from the University of Louisville's Alumni Association.

2008 -  the “Trustee's Award”, one of the university's highest awards which each year recognizes one faculty member who has had the greatest positive impact on students at the University of Louisville.

2015 - College of Arts and Sciences Distinguished Faculty Award in Teaching.

But Grubola also served as Chair of the Department of Fine Arts and Director of the Hite Art Institute at U of L  for 16 years, and if to be a department head is to be a builder, under Grubola’s leadership, Hite saw the introduction of the Mary Spencer Nay Scholarship Endowment, the addition of a program in glass housed in the Cressman Center for Visual Arts - the university’s first, permanent, non-medical facility located in downtown Louisville, and the adoption of a selective admissions policy for the department. Not at all a bad record.

"The Liminal Series- Cycloid Arches" by James Grubola,  silver and goldpoint  22x30in, POR

As a teacher, Grubola served as head of the drawing program, instructing courses on all levels of drawing from beginning through graduate, and anatomy was his specialty. As an artist, he has of late returned to the human form as subject. Working for many years with still life images devoid of the body (the Uranometria Series), and at times distinctly abstract in character (the Liminal Series), for his swan song exhibition as U of L faculty, he has returned to the body, including an ongoing series depicting dancers with the Louisville Ballet.

Early in their careers, Grubola and his wife, artist and curator Kay Grubola, were artists-in-residence at the Christopher Ballet in Michigan, and when he was a graduate student at Indiana University he drew during ballet classes, so the interest in dance figures is nothing new, yet it is interesting that an artist who favors silverpoint and goldpoint as mediums should be focused so intently on the kineticism of choreographed movement. His statement that, “a sense of order has always been an important part of my work,” suggests that Grubola seeks to work through the movement to connect with the tremendous discipline that underlies dance. His past work displays the kind of control required by the arduous silverpoint technique - the carefully crafted linear expression of the Liminal Series barely contains the visceral, sometimes dark emotional energy found in some of those images.

"The Thursday Sessions - 23 March 17 - VII" by James Grubola, graphite, POR

Clearly Grubola is embracing a similar dynamic in the dance studio, as he relates in the statement for the new exhibit: “For me this work is a means to build a vocabulary of gestures and marks that reflect a dancer’s body in motion rather than depicting any individual dancer or specific dance step. As the dancers go through a series of steps - first at the barre, and then moving to floor exercises - I draw, my hand seldom stopping, building lines, gestures and marks.“

The kineticism is there, formed in vigorous line around the barely detectable dancers in motion - think of the Tazmanian Devil cartoon character in full whirling dervish mode. The suggestion of animation seems entirely appropriate to the forceful way Grubola captures the grace and athleticism of dance with such immediacy. The artist has a deep and profound relationship to the world of ballet that is communicated with great clarity. It is a relationship he explicitly cites when referencing the more detailed and developed figure drawings in his statement:

“After the pose has been set, my figure drawings all begin the same. Working life-size (or slightly smaller to fit the full figure on the page) I begin by marking the limits of the body on the page with an empty hand. Just as a ballet dancer ‘marks’ steps in a combination through a series hand gestures to help make a muscle memory, I move over the page trying to visualize key landmarks and measuring distances with my hand creating a muscle memory between my hand and eye of figure before me and the graphic construction to come.”

"The Friday Sessions - The Gauze Shirt" by James Grubola, silverpoint, POR

In the finished drawings we see here, the figure is rendered in great representational detail, but the muted tonality that results from meticulous buildup of silverpoint allows an extreme sensitivity to the graphic perception of the nude body. The confrontational aspect of exposing the body is equally muted, putting the viewer at a slight remove, as if we perceive the body as object through a veneer of...civility doesn’t seem the correct word, but there is a condition of safety that would not be provided by a bolder medium, or the introduction of color as realistic as the presentation of the dimensional form. An image of a nude body tends to elicit an emotional reaction, but Grubola reinforces the intellectualism of his point-of-view, the academic distance of a teacher.

James Grubola:
The Friday (and Thursday) Sessions
Figurative and Dance Drawings 2014 - 2017

January 19 - February 24, 2018

Opening Reception
Friday, January 19, 6:00 - 8:00 pm

Cressman Center for Visual Arts
Hite Art Institute | Department of Fine Arts
University of Louisville

Gallery Hours
Wednesday - Friday 11 - 6
Saturday 11 - 3

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"The Thursday Sessions - 19 January - VII" by James Grubola, graphite, POR

"The Friday Sessions - The Gauze Shirt 1" by James Grubola, silverpoint, POR

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Written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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