Dear Friends,
We are pleased to share with you The Art of Origins with photos by Valentin Sivyakov and featuring artists Kevin Palme, Trey Dowell, Ayana Ross, Stan Clark, Cameron Bliss and Alice Stone Collins.
Please enjoy the artwork which will be on exhibit through August 16th at the gallery. If you are interested in any of the works, contact us at 404 408 4248.
Happy Summer!
“Narratives” at Kai Lin Art, installation view. (All photos by Valentin Sivyakov Photography)
Capturing stories, thoughts and moments in life can be an artist’s way of sharing who they are and showing it to the world in the most vulnerable way. When you group several artists with varied mediums and demographics, how do you find their commonality? Finding a common thread between artists requires seeing the work from their perspective, laced with their emotions and histories. Kai Lin Art’s current exhibition, Narratives, running through July 12, includes the works of Steven L. Anderson, Todd Anderson, Kiara Gilbert, Landon Perkins and AD “Kaya” Clark, working here under the name Kaya Faery.
Upon walking in, you’re immediately met with Steven L. Anderson’s Tree Rings, which are full of color and energy and portray the vitality of nature and the wisdom it carries. Anderson draws these concentric circles with markers, pens, oil sticks and ink, and the tree rings take shape as each line expands and builds the form into existence, which is full of vibrations reminiscent of what we feel when outside in nature.
Steven L. Anderson, “240 years”.
“My artwork is about the power of nature and the nature of power,” writes Anderson in an artist’s statement. “I have a creative practice that looks to trees and plants as an evergreen source of metaphors for how we experience the world.” Anderson continues, defining his artistic goal as “to make images, things, spaces and situations that fuse the exhilaration of the human spirit with the ferocious beauty of nature to make a palpable, tingling essence.”
Color studies accompany Anderson’s paintings in “Narratives.”
As someone who sees power in the outdoors and the arts, I appreciate Anderson’s Tree Rings being complimented by meticulously labeled color studies, connecting the process to the final form. The works are titled based on the number of lines or, better yet, the years the rings display. The work at the front of the exhibition is titled 240 Years and is striking with the varying use of color and weight of each line in the tree ring. Anderson’s work in the gallery space brings an essential feeling of rest and joy and takes a central focus among the four other artists being exhibited.
Through the gallery’s idiosyncratically shaped space, there are vignettes of the featured artists spotlit to hold the viewer’s attention. Being an independent curator over the last several years, I tend to read the room in an attempt to understand how the art and artists connect to one another. As I move through, I’m stopped by a grid wall of Todd Anderson’s (no relation to Steven) intaglio photopolymer gravure prints of the series, The Last Glaciers of Akshayuk Pass {Baffin Island}. The artist traveled north of the Arctic Circle on Baffin Island to study the Penny Ice Cap and its retreating glaciers, and these prints are a result of his studies and documentation of the land.
Todd Anderson, “Moulin on Turner Glacier, Baffin Island” (l) and “Melt on Parade Glacier, Baffin Island”.
Regarding this series, Anderson’s artist statement explains, “I have logged over 500 miles on and off trail hiking to the individual glaciers to sketch, watercolor and/or photograph them.” The intricacy and meaning of the prints are further explained as being “drawn with needles and the aid of a magnifier, [offering] extreme amounts of detail that seek to portray the complexity and dynamics of the natural world.” The relational aspect of both Steven Anderson’s and Todd Anderson’s works linked to nature builds on the colloquialism “to stop and smell the roses” with a micro-dive into their personal perspectives.
Work by Kiara Gilbert (installation view).
Continuing to maneuver through the exhibition, I come upon the work of two Black artists, Kiara Gilbert and AD “Kaya” Clark, shifting the perspective of the nature narrative to one that centers blackness and our relation to queerness and selfhood. While different in subject, these works are placed together but siloed from the others in a nook adjacent to the washroom. I can’t help but ask myself, during my personal interrogation of the placement within the gallery, if the optics of placing the two Black artists in an alcove near the washrooms had been fully considered. Nonetheless, I stayed with Gilbert’s work, reading into the emotion of their carved woodblocks covered with black acrylic paint.
Kiara Gilbert, “Out of Reach”.
Gilbert’s artist statement expounds that their work “explores how emotional landscapes are shaped and perceptions of history are misinformed by colonized narratives surrounding the past.” The carved lines into wood create a marker of pain and memory seeking to reclaim the distance the Black community has placed on queerness throughout history. The five-foot die cut relief carving of a figure, Out of Reach entices you to reach back and envision the artist’s own experience and the layered ancestral past. A clear throughline of connective tissue in Gilbert’s work represents the narrative of resilience and loss.
While a Google search on the word “narrative” produces the definition “a spoken or written account of connected events; a story,” how we interpret the artists in this exhibition goes back to the idea of nature versus culture. Our personal narratives can affect how we receive artists’ visual language, and this exhibition could be a vehicle by which to understand more of who each of us is and what we understand of the world.
::
Lauren Jackson Harris is an Atlanta-based curator, consultant and writer. Harris is also the Founder of Black Women in Visual Art and serves on the Board of Directors for Dashboard and will be curating a section of the Inaugural Atlanta Art Fair in 2024.
ORIGINS
We are excited to announce our fifth exhibition of 2024 :: ORIGINS a group exhibition featuring Cameron Bliss, Stan Clark, Trey Dowell, Kevin Palme, Alice Stone Collins and introducing Ayana Ross.
Dear Friends,
We would like to cordially invite you to our
NARRATIVES artist talk
Saturday, June 29th, 2024
4:30 - 6:00PM
Please enjoy the photos from the opening below and thank you to Valentin Sivyakov Photography for the awesome shots!
See you Saturday @kailinart
For the last several years I have been creatively documenting the retreating glaciers of the Waterton-Glacier International Peace Park in Alberta, Canada, and Montana, United States. There were over 150 glaciers in the park when it was inaugurated in 1910. Today, less than 25 glaciers remain. Owing to the effects of human-induced climate change the park’s glaciers are rapidly retreating and expected to completely cease to exist by 2020.
While the ramifications of their loss are being scientifically investigated my project seeks to document the glaciers through a purely creative lens. Artwork can transcend the realms of analytics and commercialism and generate meaningful dialogues with a broad audience. It is hoped that The Last Glacier project will serve as a historical record of this momentous time of change within the park while offering unique insights into the larger issue of climate change.The Last Glacier project has entailed travelling to the park on an annual basis for the last four years. I have logged over 500 miles on and off trail hiking to the individual glaciers to sketch, watercolor and/or photograph them. This fieldwork has then served as the basis for the creation of original fine art reductive woodblock prints. Beyond its organic language, the woodcut medium is additionally apt for my needs as the carving away and reduction of a woodblock mirrors the ongoing state of the glaciers themselves.
The hills are shadows, and they flow
From form to form, and nothing stands;
They melt like mist, the solid lands,
Like clouds they shape themselves and go.
But in my spirit will I dwell,
And dream my dream, and hold it true;
For tho’ my lips may breathe adieu,
I cannot think the thing farewell.
“In Memoriam,” Section 123
Alfred, Lord Tennyson, 1849
Tennyson’s elegy for stasis, “In Memoriam,” represents a reaction to the collapse of the Renaissance worldview that held man as the measure of all things. The advent of geology in the late seventeenth century expanded our understanding of the natural world by introducing time as a fourth dimension and with it the ongoing erosion and building of landscape. Through this new perspective of geology, terra firma became terra mobilis. When viewing the natural world, we not only experience the emotive magnitude of a given place, but also intellectually imagine the possible past and future of landscape.I spent the formative years of my life rock climbing and continue to do so today. I find the simple act of moving over stone and up mountains informative and fulfilling. For me, climbing is transcendent in that, at the best of moments, I feel like my body is one with rock and that I am riding the terra mobilis that Tennyson alludes to. My artwork is a visual extension of my relationship with the natural world. Artworks from the series The Nearest Faraway Place were created to express the grandeur and mutability of landscape. Drawn with needles and the aid of a magnifier, these works offer extreme amounts of detail that seek to portray the complexity and dynamics of the natural world.
My practice revolves around the theme of ancestral linkages formed through shared experiences in black queer communities. I use print media and sculptural installations to communicate themes of connection and collective memory through repetition and rediscovery over time. I am interested in interrogating the loss between generations of queer people who are often without queer elders to guide them and therefore have an extended adolescence as they are forced to learn how to function in society by repeating the patterns of history.
I employ references from pulp fiction, horror movies, and the bible to create fantastical scenes that speak on concrete experiences in a way that evokes something otherworldly. Print media serves as an accessibility measure as well as an extension of the usage of replication of actions in my work.
Kiara Gilbert (they/them) has predominantly spent their life between North Florida, and Georgia. The artist explores how emotional landscapes are shaped and perceptions of history are misinformed by colonized narratives surrounding the past. Growing up black and queer in the South has given them a reverence for the culture and beliefs that enslaved people cultivated and the ability to center black diasporic perspectives in their life and work. Through the use of print media and sculptural installations, they create scenes that speak on feelings of frustration, love, listlessness, and ancestral loss. They have been a recipient of the Six Creative Grant, the Janice Hartwell Award in Printmaking, a 2019 participant in the Humanity in Action Berlin Fellowship, and a Mint Leap Year Fellow from 2022-2023.
We are pleased to share with you the latest body of work from Steven L. Anderson from our Narratives exhibition which will be on display through July 12th @kailinart
Thanks to Valentin Sivyakov Photography for the incredible photos
For inquiries and availability or to schedule a tour of the gallery, please connect with us at 404 408 4248
Happy Summer!
NARRATIVES
We are excited to announce our fourth exhibition of 2024 :: NARRATIVES, a group exhibition featuring Steven L. Anderson, Todd Anderson, Kiara Gilbert, Landon Perkins and Kaya Faery.
We would like to invite you to our:
DEFINE :: MEET + GREET
Friday, May 17th, 2024
6:00 - 8:00pm
The exhibition will run through May 24th. Please take a look below and connect with us at the gallery if you’re interested in any pieces from the show!
Dear Friends,
We would like to invite you to our:
DEFINE Exhibition
MEET + GREET
Friday, May 17th, 2024
6:00 - 8:00pm
The exhibition will run through May 24th. Please take a look below and connect with us at the gallery if you’re interested in any pieces from the show!
Ekphrasis
Curatorial Statement
Honor Bowman Hall | Kai Lin Art
Featuring artists Ben Tollefson, Michael O'Brien, Zoltan Gerliczki, Dove McHargue, Gregory Eltringham, Holly Matthews, and Matt Robertson
In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.-Musee des Beux Arts, W.H. Auden
FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM
Ekphrasis (Greek) translates to “description” in English. However, the word is most used to describe the detailed description of a work of art through written language as a literary device. The excerpt from Auden’s poem above serves as an example.
I have named this exhibition Ekphrasis because the word captures the way the artists here have approached their subjects and it captures the perceptual experience of viewing an artwork and translating the visual into information. Both processes are descriptive.
While the artwork I make in my practice as a painter is not figurative, I first came to love art through my fascination with masterful pictorial description of the human form. When I worked at the Metropolitan Museum of Art in my early 20s, I used to go sit in the American Wing in front of John Singer Sargent’s Madame X. At times, I felt that I could see her breathing. I could imagine her trying to stand still, holding her posture straight. Maybe the room was cold—her ears and the tip of her nose are very slightly flushed. While perhaps less elegant, Duane Hanson’s 1977 sculpture Woman with Dog is another favorite for the same reason—the scene expands in the viewer’s mind. The woman and dog are familiar characters and our mind’s eye fills in the blanks, asking questions and imagining the unpictured characters, the day’s events, and the scene beyond the little rug. Here, the artwork is a window onto a more expansive story. The figures are uncanny, banal, and completely compelling simultaneously as we look on, and as Elkin’s writes, the object stares back.
The paintings and photographs in this exhibition are contemporary examples of descriptive, figure-based work by artists living right here in Georgia in 2024. Masterful, contemporary, and connected by a commitment to capturing/describing their subject: the figure, identity, the human condition and story. Like Madame X and Woman with Dog, these pictures are also descriptive of their time and tell a story about how art can illuminate the boundaries of social conversations about taste, convention, and society.
One of my favorite examples of ekphrasis comes from Chapter 19 of Charlotte Bronte’s novel, Villette. The narrator, Lucy, visits a Belgian museum and offers her thoughts on a large-scale painting entitled Cleopatra. While Lucy has a cynical take on the artwork’s model (too fat) and comments on the immodesty of the sitter’s dress as a stunt for spectacle’s sake, the epic scale of the artwork and the title make an impression on her. She calls it “the queen of the collection.” Isn’t it funny how we size up and appraise representations of the human figure the same way we size up and appraise a real person? The urge to consider, judge and connect is automatic.
Bronte’s ekphrasis through Lucy’s eyes of the height, weight, and presence of the figure is captivating. The scene begins with Lucy offering these thoughts on her visit to the museum and her experience of the artworks, “…there were fragments of truth here and there which satisfied the conscience, and gleams of light that cheered the vision…An expression in this portrait proved clear insight into the character; a face in that historical painting, by its vivid filial likeness, startingly reminded you that genius gave it birth.”
Like Auden’s poem, this passage hits on the miraculous power that visual storytelling holds. We look past the surface of a figurative artwork into the eyes of the subject, and search for a reflection of our own experience there (colored by our biases, desires, assumptions, and position in the world). At times tongue in cheek and edgy, at times poetic, but always fictional, the collection of images curated into this show is a celebration of visual storytelling about the human experience in art objects, and the expressive, descriptive power of artistry in paint and light.
Honor Bowman Hall | Biography
Honor Bowman Hall (b. 1984) is an artist and educator living and working in Savannah, GA.
Hall is from Roanoke, Virginia and holds a BA in Studio Art and English from the University of Mary Washington (class of 2006). After moving to New York in 2007, where she worked in the music industry and at the Metropolitan Museum of Art, Hall relocated to Savannah and received her MFA from the Savannah College of Art and Design. Following her graduate studies, she lived in Anchorage, Alaska from 2013-2017 and was the manager of the International Gallery of Contemporary Art (IGCA), the only not-for-profit exhibition space in Anchorage solely dedicated to contemporary art.
In addition to her work promoting and programming experimental art and facilitating exhibitions and events at IGCA, Hall also created two large murals in Alaska, including one at the Anchorage Museum, and taught Painting and Design courses at the University of Alaska Anchorage.
Now based in Savannah for a second time, Hall is the Dean of the School of Fine Arts and the School of Visual Communication at the Savannah College of Art and Design (SCAD).
Hall graduated from the Savannah College of Art and Design with an MFA in Painting in 2014. During her MFA candidacy, she was selected for a solo studio fellowship at the Elizabeth Foundation in New York, NY in conjunction with the SCAD Painting Department, and was selected to hold her thesis exhibition in conjunction with SCAD’s annual de:FINE Art event. Since her return to SCAD in 2017 as a member of the faculty, Hall continues to exhibit her work at SCAD. She has produced two murals for the university’s Savannah campus, and her artwork is featured on SCAD busses in Savannah and Atlanta.
Hall has held artist-in-residence positions in Savannah, Georgia, Richmond, Virginia and New York, New York and has exhibited in solo and group exhibitions across the United States and abroad. Her paintings appear in several public and private collections.
Hall is a member of the Friendship Magic Collective, an ongoing two-person art and music project for which she paints and plays cello. FMC’s most recent exhibition, Homecoming, was reviewed for Art Pulse Magazine #33.
We are pleased to share with you our latest collection of nine new works from resident Kai Lin Artist, Joe Camoosa.
In this body of work, Camoosa explores patterning and layering, color theory and maximalism, dynamic rhythm and musical motion, frenetic connections and serene brushstrokes.
Most all these works are named after musical terms. From his Magnus opus piece “This Side Up”, Camoosa’s signature language is evident in his use of painted, transparent shapes that plop and drop across the canvas in a delicately precise stratification wherein shapes are hidden and then exposed. The effect of these patterns create a three-dimensional illusion on the two-dimensional plane. There’s almost no place the eye doesn’t stop exploring. One element leads into another, perhaps a mental mind map of psychological angst and analysis.
Our exhibition of DEFINE will be on display at the gallery through May 24th, 2024. For inquiries and availability connect with us at the gallery at 404 408 4248 or info@kailinart.com
Joe Camoosa Statement
“Much like seeing patterns in random data or faces and shapes in the clouds, my work strives to induce a contemplative shift in perception for the viewer. I’m fascinated by the momentary in-between space alternating between abstraction and recognition - of being someplace and nowhere at the same time. My paintings and drawings explore the relationships between shape, color, and pattern and are informed by my love for architecture, music, and cartography.”
Joe Camoosa Bio
Joe Camoosa (b. 1969, Asbury Park, NJ) lives and works in Atlanta, Georgia. He received an MFA in painting and drawing from the Lamar Dodd School of Art at the University of Georgia and graduated from Florida State University where he studied Mass Communication and Anthropology. His work is held in numerous corporate and private collections and has been exhibited in galleries in Atlanta, Nashville, Asheville, Richmond and New York, and museums such as MOCA GA, Atlanta Contemporary, The Hudgens Center for the Arts, The Georgia Museum of Art, and The Macon Museum of Arts and Sciences. He was a member of the Studio Artists Program at Atlanta Contemporary, a 2016-2017 Walthall Artist Fellow and is represented by Kai Lin Art, Atlanta. Camoosa is currently an adjunct instructor at The Ernest G. Welch School of Art & Design at Georgia State University.
Ekphrasis
Curatorial Statement
Honor Bowman Hall | Kai Lin Art
Featuring artists Ben Tollefson, Michael O'Brien, Zoltan Gerliczki, Dove McHargue, Gregory Eltringham, Holly Matthews, and Matt Robertson
In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.-Musee des Beux Arts, W.H. Auden
Ekphrasis (Greek) translates to “description” in English. However, the word is most used to describe the detailed description of a work of art through written language as a literary device. The excerpt from Auden’s poem above serves as an example.
I have named this exhibition Ekphrasis because the word captures the way the artists here have approached their subjects and it captures the perceptual experience of viewing an artwork and translating the visual into information. Both processes are descriptive.
While the artwork I make in my practice as a painter is not figurative, I first came to love art through my fascination with masterful pictorial description of the human form. When I worked at the Metropolitan Museum of Art in my early 20s, I used to go sit in the American Wing in front of John Singer Sargent’s Madame X. At times, I felt that I could see her breathing. I could imagine her trying to stand still, holding her posture straight. Maybe the room was cold—her ears and the tip of her nose are very slightly flushed. While perhaps less elegant, Duane Hanson’s 1977 sculpture Woman with Dog is another favorite for the same reason—the scene expands in the viewer’s mind. The woman and dog are familiar characters and our mind’s eye fills in the blanks, asking questions and imagining the unpictured characters, the day’s events, and the scene beyond the little rug. Here, the artwork is a window onto a more expansive story. The figures are uncanny, banal, and completely compelling simultaneously as we look on, and as Elkin’s writes, the object stares back.
The paintings and photographs in this exhibition are contemporary examples of descriptive, figure-based work by artists living right here in Georgia in 2024. Masterful, contemporary, and connected by a commitment to capturing/describing their subject: the figure, identity, the human condition and story. Like Madame X and Woman with Dog, these pictures are also descriptive of their time and tell a story about how art can illuminate the boundaries of social conversations about taste, convention, and society.
One of my favorite examples of ekphrasis comes from Chapter 19 of Charlotte Bronte’s novel, Villette. The narrator, Lucy, visits a Belgian museum and offers her thoughts on a large-scale painting entitled Cleopatra. While Lucy has a cynical take on the artwork’s model (too fat) and comments on the immodesty of the sitter’s dress as a stunt for spectacle’s sake, the epic scale of the artwork and the title make an impression on her. She calls it “the queen of the collection.” Isn’t it funny how we size up and appraise representations of the human figure the same way we size up and appraise a real person? The urge to consider, judge and connect is automatic.
Bronte’s ekphrasis through Lucy’s eyes of the height, weight, and presence of the figure is captivating. The scene begins with Lucy offering these thoughts on her visit to the museum and her experience of the artworks, “…there were fragments of truth here and there which satisfied the conscience, and gleams of light that cheered the vision…An expression in this portrait proved clear insight into the character; a face in that historical painting, by its vivid filial likeness, startingly reminded you that genius gave it birth.”
Like Auden’s poem, this passage hits on the miraculous power that visual storytelling holds. We look past the surface of a figurative artwork into the eyes of the subject, and search for a reflection of our own experience there (colored by our biases, desires, assumptions, and position in the world). At times tongue in cheek and edgy, at times poetic, but always fictional, the collection of images curated into this show is a celebration of visual storytelling about the human experience in art objects, and the expressive, descriptive power of artistry in paint and light.
Honor Bowman Hall | Biography
Honor Bowman Hall (b. 1984) is an artist and educator living and working in Savannah, GA.
Hall is from Roanoke, Virginia and holds a BA in Studio Art and English from the University of Mary Washington (class of 2006). After moving to New York in 2007, where she worked in the music industry and at the Metropolitan Museum of Art, Hall relocated to Savannah and received her MFA from the Savannah College of Art and Design. Following her graduate studies, she lived in Anchorage, Alaska from 2013-2017 and was the manager of the International Gallery of Contemporary Art (IGCA), the only not-for-profit exhibition space in Anchorage solely dedicated to contemporary art.
In addition to her work promoting and programming experimental art and facilitating exhibitions and events at IGCA, Hall also created two large murals in Alaska, including one at the Anchorage Museum, and taught Painting and Design courses at the University of Alaska Anchorage.
Now based in Savannah for a second time, Hall is the Dean of the School of Fine Arts and the School of Visual Communication at the Savannah College of Art and Design (SCAD).
Hall graduated from the Savannah College of Art and Design with an MFA in Painting in 2014. During her MFA candidacy, she was selected for a solo studio fellowship at the Elizabeth Foundation in New York, NY in conjunction with the SCAD Painting Department, and was selected to hold her thesis exhibition in conjunction with SCAD’s annual de:FINE Art event. Since her return to SCAD in 2017 as a member of the faculty, Hall continues to exhibit her work at SCAD. She has produced two murals for the university’s Savannah campus, and her artwork is featured on SCAD busses in Savannah and Atlanta.
Hall has held artist-in-residence positions in Savannah, Georgia, Richmond, Virginia and New York, New York and has exhibited in solo and group exhibitions across the United States and abroad. Her paintings appear in several public and private collections.
Hall is a member of the Friendship Magic Collective, an ongoing two-person art and music project for which she paints and plays cello. FMC’s most recent exhibition, Homecoming, was reviewed for Art Pulse Magazine #33.
DEFINE : a group exhibition
We are excited to announce our third exhibition of 2024 :: DEFINE a group exhibition featuring Joe Camoosa, Coki Panda, Rod Ben, Sanithna, Sean Sweeney, Chris Veal, Jonny Warren, Fabian Williams, Killamari and Adam Wellborn.
Please join us for our WOVEN Artist Talk featuring Sandy Teepen, Philip Carpenter, Chloe Alexander, Marc Boyson and Lauren Lesley as they discuss their latest body of work:
WOVEN ARTIST TALK
Saturday, April 6th, 2024
5:00 - 6:00pm*
Thank you to Valentin Sivyakov for the awesome photos from our opening.. Enjoy the photos and see you for the talk!
KAI LIN ART crew
404 408 4248
*The talk will begin promptly at 5pm so please come at least 15 minutes early
Dear Friends,
We are pleased to share with you The Art of WOVEN featuring all new works by Sandy Teepen, Chloe Alexander, Philip Carpenter, Marc Boyson, and Lauren Lesley. Thank you to Valentin Sivyakov Photography for the awesome shots.
Please enjoy these works and swing by the gallery during the run of the exhibition for a closer look! The exhibit will run through April 12th.
For availability please reach out the gallery at 404 408 4248.
Happy M{art}ch!
We are pleased to announce our second exhibition of 2024 : WOVEN :: a group exhibition featuring Sandy Teepen, Marc Boyson, Chloe Alexander, Philip Carpenter, Lauren Lesley
WOVEN :: A GROUP EXHIBITION FEATURING
SANDY TEEPEN, MARC BOYSON, PHILIP CARPENTER, CHLOE ALEXANDER, LAUREN LESLEY
Philip Carpenter
Making color pencil drawings replaced painting for me, but the processes are similar in that each drawing requires its own painterly invention to describe surfaces and to create effective illusions. My interests sometimes wander, lured by the pleasures of irony, but I always return to making portraits of ordinary things, mostly utilitarian objects that seem to find me. Some are even the vestiges of my former work as a painter. I meticulously record the beauty of their wear as my way of honoring their often unknowable histories. The drawings combine my knack for realism with my minimalist sensibilities.
Marc Boyson
My practice is grounded in the trace that references the invisible line of autobiographical data. The line reveals my daily movement, however small, over a surface, between buildings, work, errands, day trips, or longer journeys. These everyday movements become a journal of intuition, memory, and GPS records. The simple act of leaving a marc.
Chloe Alexander
My printmaking practice is a delicate balance between precision and spontaneity, allowing me to create images that are both deliberate and intuitive. The repetitive nature of the print process introduces an element of rhythm and ritual, turning each print into a reflection of patience and dedication. Nostalgia, a universal emotion, is a cornerstone of my artistic exploration. The interplay of colors, textures, and figuration creates a visual language that serves to transcend the ephemeral nature of spoken words, inviting the viewer to navigate the landscape of their memories that I aspire to recall to the conscious mind. Just as printmaking has long been used to disseminate messages, I hope that a broad audience can access the universality of the motifs that I employ. Once immersed in these visual narratives, they may add to, alter, or reimagine the intent of the work based on their assumptions or lived experiences- an acknowledgment of the familiarity and fleeting recollections that resonate within us all.
Lauren Lesley
Lauren Lesley's body of work contains graphite and charcoal drawings which reflect on specific time periods throughout her life. Each one represents subjects that she has a strong emotional connection to but is physically disconnected from; pets, poignant childhood mementos, and details of events and life moments that weave together concepts of meaning, memory, identity, and the passing of time. The act of unearthing, reconstructing, and highlighting these recollections decreases the emotional distance between the artist and the subjects by allowing her to revisit and meticulously revive them with each stroke of a pencil.
Sandy Teepen
There is a thread that runs through Sandy’s life. In fact, there are lots of threads running through it. A fabric artist, Sandy has worked in a wide variety of fabric forms – weaving, costuming, and her current emphasis, quilted collage. Her collages combine traditional forms and imagery with contemporary color sensibilities and design. Her work has been shown in numerous quilt and art exhibitions including the Georgia National Fair and the widely acclaimed Quilts in the Garden event in Livermore, CA.
We are pleased to share with you photos from the opening of The New South V! Thank you to Valentin Sivyakov Photography.
Also please join us for our
The New South V
“Meet The Artists”
Saturday, February 17th, 2024
4:00 - 6:00pm
For inquiries and availability, please contact the gallery at 404 408 4248
As an Artist, and Art Educator entrusted with the task of selecting artworks for the prestigious New South V exhibition, I found myself drawing parallels between my role and the nostalgic joy of creating mixtapes. Just as a mixtape is a carefully organized collection of songs, this exhibition called for a discerning eye to curate a cohesive and compelling display of artistic expressions. With an abundance of art in the world, the call for submissions presented an exciting opportunity to bring together a visual tapestry that would resonate with viewers on multiple levels.
In approaching this endeavor, I considered the diverse interests and sensibilities of the exhibition's audience. Like crafting a mixtape for someone who appreciates different musical elements, I sought to cater to the viewers' love for various aspects of art. From the captivating depiction of figures to the meticulous attention to formal issues, from the immersive landscapes to the evocative play of lighting, each artwork was chosen with the intention of creating a rich and engaging experience.
Through thoughtful conversations with Wesley, my aim was to strike a harmonious balance between different artistic styles and themes. Just as a mixtape weaves together different genres and moods, this exhibition aims to create a tapestry of artistic expressions that captivates and inspires. By showcasing the diverse beauty of art, I hope to invite viewers to explore and appreciate the vast creative possibilities that lie within the realm of visual art.
William Downs, Artist,Educator and Co-Director of Day & Night Projects
New South V : The Gestalt Result
Have you ever been to a party where you spent the evening speaking with a lot of different people? You were carried along by a shared stream of consciousness, responding to memories, impressions, chance encounters, verbal processing of recent events, and offering empathy, comradery, or commiseration. By the end of the evening, you’ve been all over, mentally, you’re left with an overall impression of the experience. The variety of conversations are simultaneously mixing and contrasting in your head. You have a sense of the “conversation” of the evening. I’ll refer to this, for the sake of writing, as “The Gestalt Result”.
This is what I was left with after viewing all the entries. Each of the submissions had a distinct thing to say. Some spoke quite clearly and pointedly to one another. Others offered surprising contrast or contradictions that enlivened the conversation.
I was left with the impression of drifting through a party, catching bits of conversations as I went, stepping back, and letting the common themes of the conversations meld together to an overall impression, and then, after reflection, going back to revisit the conversation and add detail to some of the impressions.
The “conversation” is the theme that I am always looking for in collections of work, be it by an individual or a group. What is the “conversation” between the works? How do I see similarity or difference with concept, compositions, value, texture, use of color, shape, etc.? This is what produces the impression that is beyond a specific work. The conversation that grows beyond listening to one person dominate the party. This is “The Gestalt Result” and, for me, it makes viewing more exciting and fulfilling. I’m left with the same impression as when I’ve left a party filled with different conversations.
The impressions that people would gain from going to the same party will be as different as the people themselves. The content of the conversations is filtered through our own preferences, hindrances, and chance. The impression is formed with the influence of our history, mood, expectations, etc. My hope is that the individuals experiencing The New South V will leave with their own “Gestalt Result” that will have some highlights (stand-out conversations) and will remain as a stream of thought for them long after they have returned home.
Wesley Terpstra, Educator / Artist
The New South V will be on display through March 1st @kailinart
We will be hosting a “MEET THE ARTISTS” on
Saturday, February 17th
from 4:00 - 6:00pm
Please connect with us at the gallery at 404 408 4248 bif you are interested in any of the works from the exhibit. Enjoy the art!
We are pleased to share with you The Art of The New South V :: our annual juried works on paper exhibition featuring 57 creators from across the Southeast now on exhibit @kailinart through March 1st.
Save the date for our
“Meet The New South V Artists”
Saturday, February 17th
4:00 - 6:00pm
