February 17, 2017 – March 24, 2017
Stephanie Carpenter: Semantic Sequences
Letterpress printing is a tactile art form. Each step of the process is a physical act, from sketching ideas on paper to gathering wood and metal type and making impressions on 100-year-old presses. The printing method demands that I work within a specific set of constraints; type is a set size and is created to work within a rigid grid. I explore these limitations using written language as a basis, breaking down words and letterforms to even smaller modular components, then rearranging them to communicate in a new way.
Stephanie Carpenter is a letterpress printer, book artist, and graphic designer. She is the Assistant Director at the Hamilton Wood Type & Printing Museum in Two Rivers, Wisconsin, where she teaches workshops, gives tours, and helps catalog one of the world’s largest collections of wood type. Her evenings are spent creating personal art in the form of posters, installations, and artists’ books. Stephanie enjoys the tactile nature of letterpress printing, creating her work using wood and metal type, hand-carved blocks, and found imagery. She received a BA in Communication Arts and Graphic Design from the University of Saint Francis in Fort Wayne, IN, and an MFA in Graphic Design from Indiana University, Bloomington. Stephanie currently teaches graphic design courses at Silver Lake College in Manitowoc, WI.
Ashley Beatty: Overlapping in Proximity of the Sublime
Working with a multitude of ideas that coalesce and diverge in cycles my work is temporal in nature, and is in constant metamorphosis. Each idea, mode of inspiration, or influence is bound with a harmonious thread in order to capture my surroundings. With use of my photography, and printmaking techniques, I conquer the conflict that orbits between visual and contextual. The ideas are eventually realized and linked by an ever evolving state of synthesis and antithesis.
Imperfection in perfection, the overlapping theme and inspiration through my photography. While exploring nature, the baseline of my art becomes focused on unseen or overlooked details. Details in nature take hold of something seemingly imperfect and make it perfect again. Uprooted trees, skulls, and decay are inexact, warped, damaged visual queues evoking further exploration within my practice.
Dendrology, an obsession that has become my tool to examine the sublime. Nature’s details direct the lens to visually capture celebration and grief for the sole purpose of weathering the storm until the meaning of life and death seep through in the final image.
Ashley Beatty received her BFA in 2006 from The School of the Art Institute of Chicago and is actively pursuing the achievement of her MFA at the start of 2017. She was a member of the art movement in Las Vegas at the Art factory from 2011-2013. Being a part of the Vegas art scene transformed Beatty’s artwork from a degree of experimental process into a clear thoughtful execution bringing out multiple bodies of work. Today she works with her surroundings to create formulas and formats propelling her artwork into a visual succession of critical conversation.
Beatty’s work has been written about in the Fort Wayne Reader, Fort Wayne Journal Gazette, What’s Up newsletter, and the Las Vegas Reader. Solo Exhibition venues include Cowboy Gallery, Las Vegas, NV, Old Crown Coffee House, Fort Wayne, IN, and Dash-In, Fort Wayne, IN. Group exhibition highlights include “underwater manipulations” 1-4 at Chicago Art Institute, Chicago, Il, “Denmark Skulls”, at Las Vegas Country Saloon and Gallery, Las Vegas, NV, “Fire Jelly” at Gypsy Den, Las Vegas, NV, “Skirt #1” at the Fort Wayne Art Museum, Fort Wayne, IN, “Bottle & Photo sculpture”, “Labyrinth Wall”, “Doll Face” at Wunderkammer Company, Fort Wayne, IN, “Patrick’s View” at the Louvre, Paris, France.
Adam Meyer: Liberations of Line & Matter
Adam Meyer brings to life the beauty of the digital age. A style that falls between Abstract Expressionism and Pop Art. Movement, an innate part of who we are, is essential to creating these works of art. The process of turning physical material into its digital form, only to print, manipulate and start again allows the artist to create new techniques and images. His use of digital scans along with layered acrylic and latex paints, on canvas combines both physical and digital art into one cohesive piece. Meyer’s artwork is informed by the process of thinking in movement & the imaginative consciousness of movement. The logic of illustration compliments the inner movement inside us all. Inspired by both his previous work at ad agencies
and his toddler’s first steps into creativity are one of the many ways different ends of one spectrum collide in his pieces. Primal art, located deep within us all, is a driving force as he brushes, pulls, blows and clicks his art into being. Digital technology is his medium to bring traditional art to the world in a whole new light.
Adam Meyer (http://adammeyer.co/ | firstname.lastname@example.org)
1984 – Fort Wayne, IN.
Deborah Robinson Miller: An Exploration of Perspective
I grew up in the suburbs of the 1950’s-1960’s. My visual art channels feelings caused by environmental, influences and observations. I address human fragility, self-doubt, courage, confidence, the past, the present, my changing perception of myself, and my role in this lifetime.
Taking apart and re-constructing vintage furniture is my way of challenging or examining the deconstruction or reconstruction of social conventions and domestic structure, and exploring new meanings to tradition — or re-arranging them. I am interested in skewing or combining perspectives to draw attention to different ways of seeing.
I combine materials such as painting, photo transfer, wood, vintage furniture, vintage fabrics, and found or collected remnants of the past, etc., in order to relish (and sometimes re-define) foundations, and to unite contradictory spaces of relationships and the home.
I hope that my use of materials, surfaces, images, and composition will unite as an invitation to the viewer to explore what is contained within my art.