New Work by Dorothy O'Connor
December 7-January 11, 2014

Closing Reception: Jan. 4th, 6-9 pm
Collectors Art Night: Jan. 3rd, 6:45 pm

Tinney Contemporary is pleased to present Scenes - an exhibition featuring work by photographer and installation artist, Dorothy O'Connor.  O'Connor's Scenes is an ongoing series that centers around transforming spaces, often a room, into fantastical landscapes which frequently utilize elements of nature and the natural world to tell a story.  Each concept, shaped predominantly by events in O'Connor's life, create a sort of conceptual autobiography-an interpretation of her own dreams.  Building these life-sized installations also allows the artist to literally live inside her own imagination, if only for a short time, and satisfies her need to create a more aesthetically pleasing reality. Each project takes months to complete, allowing O'Connor to fully immerse herself in its meticulous details. She enjoys creating many of the components in each set by hand: crocheting the ocean, crafting hundreds of paper birds, hand-stenciling wallpaper, weaving roots from jute, etc. Learning a new skill each time she builds a new scene helps to keep the process fresh.

This work began as a photography project. The scenes are captured on film and a photograph remains the lasting imprint. Opening them as tableau vivants (installations which feature a live model), however, allows an audience to experience the scenes as O'Connor does, but also allows for viewers to add their own interpretations and ideas, thus making the story a shared experience. 

For O'Connor's installation at Tinney Contemporary, entitled "Ceiling of Black Birds," she knew she wanted to make something out of paper, but as is the case with so much of her work, the specific concept came to her in a dream.  In the dream, someone turned to her and spoke the words "don't forget your funeral." O'Connor woke with a start and within minutes the entire scene was laid out in her mind. She received a grant from Flux Projects to construct the original installation and raised additional funds through One of her kickstarter rewards was a handmade paper bird and the option of sending her a small keepsake, something personal, for a bird to carry in the scene. The original scene took months to build and featured 220 handmade paper birds. O'Connor has remade the smaller birds for this version of the installation and they are available for purchase, with a portion of the proceeds benefitting animal charities in Nashville and Atlanta. 

Dorothy O'Connor graduated from Georgia State University with a degree in Literature and a minor in Studio Arts. She continued her education at The Creative Circus, a commercial art school in Atlanta. Her photographs and installations feature thoughtfully composed, hand-crafted scenes which combine elements of still-life, portraiture, landscape, and performance to produce unique and evocative works of art. In 2012, she was awarded a FLUX grant and presented her installation "Ceiling of Black Birds" as part of public art event, Flux Night 2012. She began 2013 with an artist residency at the Cheekwood Botanical Garden and Museum of Art in Nashville where she built her latest installation, "Shelter." Her work is included the permanent collections at the Museum of Contemporary Art of Georgia, the Center for Fine Art Photography, Cheekwood Botanical Garden and Museum of Art, and many private collections. 

In the rear gallery:
Super Scraps- New Paintings by Jodi Hays
Guest Curated by Sara Estes

Jodi Hays's latest series of paintings, Super Scraps, encourages the continuous evaluation and re-evaluation of our visual environment. Her work suggests that ultimately things do fit together. Whether it's a dilapidated building we pass or a bag we carry or a product we buy, all of these things, despite the inevitable chaos we encounter, are not only related, but also consequential. 

Diverging from the highly structured compositions that made up an earlier solo exhibition in 2011, Hays has introduced an element of disorder in her new work. This chaotic component is found amongst the controlled forms in various manifestations. Sometimes it is seen in a single, liberated gesture or a bold interruption of color. Other times it is embodied in an organic shape weaving its way through rigid lines. It's in the wealth of such thoughtful idiosyncrasies that we discover the principle of flexibility overcoming rigidity. Or in broader terms, softness overcoming hardness.

Hays's paintings are the culmination of her experiences, both personal and communal. Though pulled directly from her own life, the resulting imagery transcends any attempt at a biographical narrative. The referenced objects and scenes are often stripped of most identifying detail, granting them passage into the realm of ambiguity and allowing them to become nuanced representations of a shared reality. As she continues to reconfigure the world around her, Hays has built a visual language all her own.

Jodi Hays is the recipient of the Individual Artist Fellowship from the Tennessee Arts Commission, an Elizabeth Firestone Graham Foundation grant and her works are included in collections of the J. Crew Company (NY) and Nashville International Airport, among others. Residencies include The National Parks of America, The Cooper Union School of Art and Vermont Studio Center. Her work is included in several curated artists' registries including The Drawing Center (NY). She currently lives and works in Nashville, TN.

With Wings

New Work by Jeanie Gooden
October 5-November 16, 2013

Closing Reception: November 2nd, 6-9 pm

Tinney Contemporary is pleased to present With Wings- New Work by Jeanie Gooden.  Gooden begins painting for a show with two goals of which she has come to think of as "Art" and "Heart." The "Art" portion is to reach beyond the comfort zone of previous work. The "Heart" portion is an internal exploration of thoughts, emotions and experiences that inspire her to begin layering the canvas.

Translating what she feels in the moment is what motivates Gooden's process. Though she feels it rewarding when her paintings are seen as beautiful, that it not her initial goal. For Gooden, it is more important to create paintings that connect with the people who come to see them. Gooden's desire is that her paintings communicate strength, be it soft and tranquil, or powerful and impacting.

Gooden's work is non-representational, using a variety of mixed media. She has learned that "never say never" is a true statement, for she once vowed never to "stick things onto canvas".  In recent years, Gooden's paintings have become increasingly layered using a variety of materials to build the surfaces.

When choosing materials and techniques for the paintings to be shown at Tinney Contemporary, Gooden maintained the hand stitching which she has used for several years, and, in some cases, added the new element of metal. The integration of the softness of canvas with the more rigid nature of metal added the dimension that she was hoping for.

The paintings in With Wings were created in two countries- Gooden's studio in the United States and in her studio in Mexico. Gooden lives and works between the two places, so in many ways she literally need "wings" to fly between the two. At a deeper level, Gooden drew from life experiences that have called for her spirit to fly during moments of challenge. Her hope is that those who attend this show will see something in the paintings that connects them to a common experience.

In the rear gallery: 
New Work by Lyle Carbajal

Lyle Carbajal uses his paintings to explore the unintentional. Through the use of color, bold line and image placement he hopes to capture the naiveté of daily life. Citing references to childhood imagery such as comics, monsters and machines, Carbajal juxtaposes the innocent associations of youth with the complicated path of maturation.

His focus on the face is evident in each painting, where visages are wild-eyed and gripped with anger, terror, confusion or pain.  The depictions of extreme emotive states in his paintings are as raw and innocent as those of a child.  Childhood memories and his Latin American background have helped Carbajal search for a primitive expression of the world.

Lyle Carbajal holds a degree in design yet is self-taught as a painter. His work has been exhibited in galleries around the world such as Museu de Estremoz in Portugal, the Caro D'Offay Gallery in Chicago, and Art Fair in Denmark.  His work can be found in many private and corporate collections.

Holding Pattern

New Wok by Stefany Hemming
August 24-September 28, 2013

Opening Reception: September 7th, 6-9 pm

Tinney Contemporary is pleased to present Holding Pattern- New Work by Stefany Hemming. Through her work Hemming explores painting as an obsessive, instinctive, physical practice: exposing the personal and universal relationship between chance and intention.

Hemming works within a strict set of formal parameters: one tool, one layer of paint and one continuous block of time. The color palette and subject are also limited. She has developed a reductive method of working that allows her to draw with paint, making fluid lines in sweeping strokes, at any width or speed. Within these confines, intuitive, animal-like mark-making and form-building occur. Spontaneous movement and raw action inform aesthetic balance and formality. Awkward, elegant, clumsy, confident, all strokes are left in their original state and all add equally to the reading of the completed work.

Through this frank and physical process, recurring concerns are revealed: vitality, stability, trust, loss, aging and lust. In Hemming's exploration, the work becomes a kind of documentation of the intangible; evidence of one block of time and the humanity that occupied it.  

Stefany Hemming lives and works in Vancouver, British Columbia.

In the rear gallery:
Shell Game- New Work by Mary Addison Hackett

In Shell Game, Hackett revisits her relationship with abstraction with the addition of invented flora, patterns lifted from family heirlooms, and carefully constructed layers that shift slightly in color when viewed from different angles.

Before studio hours, I had a meditation practice. During studio hours, I listened to mashups, mostly "Girl Talk," and "Vol. 1 of Switched On The Cool Sound of TV Advertising" on repeat. In between, I walked the dog and did housework; saw a movie or read a book; took a motorcycle ride and did some yoga or ran. There were a few storms. Some trees went down. On and on.  - Mary Addison Hackett, 2013

Hackett lived and worked in Chicago and Los Angeles for the last 25 years, exhibiting nationally and internationally. She recently returned to Nashville where she maintains a studio.

Disorderly Notions

New Work by Patricia Bellan- Gillen
July 6-August 17, 2013

Closing Reception: August 3rd, 4 to 9 pm

Collectors Art Night: August 2nd, 6:45 pm

Somewhere in the brain of Patricia Bellan-Gillen, personal narratives mix with fairytales.  Historical events intertwine with the imagined and the veil of nostalgia blurs the border between fact and fiction.  Archetypal imagery dances in the temporal lobe with cartoon characters. Bellan-Gillen's work uses these bits and pieces of visual history, the "stones and bones" of memory to suggest a narrative and remix our stories.  These disorderly notions are exploited and employed in an attempt to engage the viewer's associative responses and to jar the forgotten memories and stories that lay quietly below the surface.

After years of studying cultural, dream, mythological and religious symbols, Bellan-Gillen is beginning to believe that the most important signs are the images that appear and keep pressing on one's mind with no explanation-unexpected but oddly recognizable visions that flash across the brain when words and phrases like "doubt," "reality TV," "turn to salt" or "separation of church and state" are heard...or the nascent compositions that appear while revisiting the pages of vintage Mad Magazine or hearing the memorable Da-Da-DaDa-DaDa theme song from the Rocky and Bullwinkel Show.   Honoring these puzzling visages maps the direction that she has begun to follow. This new body of work combines ideas and imagery generated through study and research with ideas and imagery that are felt, intuitive and enigmatic. The work also celebrates a return to the fundamental act of drawing.

Bellan-Gillen is an artist who welcomes provocation and puzzles. Consequently, her work confronts the viewer simultaneously with beauty and awkwardness, mediating grace with humor, and achieving a weird elegance. Above all, Bellan-Gillen places great trust in the viewer. 


About the artist: Patricia Bellan-Gillen lives in rural Burgettstown, Pennsylvania adjacent to the West Virginia border.  She is the Dorothy L. Stubnitz Professor of Art at Carnegie Mellon University in Pittsburgh, where she teaches a variety of classes including Foundation Drawing, Concept Studio, Painting and MFA Seminar.

Bellan-Gillen's paintings, prints and drawings have been the focus of over 35 solo exhibitions across the U.S., including venues in Washington DC, Chautauqua, NY, Las Cruces, NM, Albany, NY, Bloomington, IL and Portland, OR.   Her work has been included in numerous group shows in museums, commercial galleries, university galleries, and alternative spaces.  Venues have included: Hudson River Museum, Yonkers, NY, Chelsea Museum of Art, New York, NY, Frans Masreel Centrum, Belgium, and the Tacoma Museum of Art, Tacoma, WA.  

Shadow & Light

Guest curated by Reni Gower
May 18-June 29, 2013

Tinney Contemporary is pleased to present Shadow and Light, an exhibition guest curated by Reni Gower. Born in Australia, France, Czech Republic, Canada, and the United States, the artists (Jaq Belcher, Béatrice Coron, Michelle Forsyth, Reni Gower, Lenka Konopasek, Lauren Scanlon, and Daniella Woolf) bring a broad range of international perspectives to the contemporary art of paper cutting.  Using all manner of tools and paper, the artists create works that range from narrative commentaries to complex structural abstractions.  Their works are bold contemporary statements that celebrate the subtle nuance of the artist's hand through a process that traces its origins to 6th century China.  Light, shadow, and color play key roles, transforming this ancient technique into dynamic installations filled with delicate illusions.

Each artist contributes a unique sensibility within a complex (often installation based) construct that has hand cut paper at its core.  Whether manifested as silhouettes, romanticized fictions, enigmatic reenactments, cryptic scripts, or poetic abstractions, the artists address historical, cultural, and personal identity.  By encrypting their content through arduous and obsessive processes (cutting, rolling, punching, folding, pinning) these meditative works are charged with narrative, metaphor, and beauty.

"Laboriously cut by hand, the works in the exhibition are poetic interplays of light and shadow." Reni Gower, curator.

Artist Bios:


Australian born, Jaq Belcher currently lives and works in New York City where she is a studio member of the Elizabeth Foundation for the Arts.   She received her BA from the Royal Melbourne Institute of Technology, a BED from Melbourne University and a MA from the University of New South Wales College of Fine Arts.  She furthered her study and received numerous awards from the National Academy of Art and Design, New York.  Her work is held in private collections around the world and she actively exhibits in New York.  Recently her papercuts were featured in the exhibition Cutters at the Hunterdon Museum of Art. 

French artist Béatrice Coron lived in Egypt, Mexico, and China before relocating to New York City.  In addition to the art of paper cutting and artist's books, Béatrice also creates public art commissions in stainless steel and aluminum.  Her work has been actively exhibited in France and the United States and is included in major collections, such as the Metropolitan Museum of Art, National Gallery of Art, and the Walker Art Center.  Her public art installations can be found in universities  libraries, subways, and airports, such as Stanford University, Princeton University, Bibliothèque Nationale de France, and the Douglas International Airport, Charlotte, NC.

Michelle Forsyth is a Canadian artist living and working in Pullman, WA.  She is an Associate Professor / Head of Painting at Washington State University.  She holds an MFA from Rutgers University and a BFA from the University of Victoria.  Her art work has been showcased coast to coast and throughout Canada in Brooklyn, Philadelphia, Las Vegas, Seattle and Spokane as well as Victoria, Toronto, Vancouver and Calgary.  She is the recipient of grants from the Canada Council for the Arts and Artist Trust, and was recently awarded second prize in the William and Dorothy Yeck Young Painters Competition in Oxford, OH.  

Virginia based artist, Reni Gower is a Professor of Art in the Painting and Printmaking Department at Virginia Commonwealth University.  She received a MFA from Syracuse University, a MA from University of Minnesota, and a BS from the University of Wisconsin.  Her art work has been showcased at international and national venues for over 30 years.  She is the recipient of numerous awards including a NEA / SECCA Southeastern Artist Fellowship and Virginia Commission for the Arts Project Grants.  Her work is represented in numerous collections such as the Tweed Museum, Capitol One, Pleasant Company / Mattel, Inc, Via Designs, Inc, and Media General, Inc. 

Lenka Konopasek was born in the Czech Republic where she attended the School of Applied Arts in Prague.  After immigrating to the United States, she received a BFA from University of Utah and a MFA from Maine College of Art.  She teaches art at University of Utah and Westminster College in Salt Lake City.  She is the recipient of numerous NEA / Utah Arts Council Individual Artist Grants.  Her work has been exhibited widely throughout United States, Taiwan, Germany, India and the Czech Republic.  She is represented by galleries in Salt Lake City, Denver, Tulsa and Prague.

Southern born and raised, Lauren Scanlon is an independent, interdisciplinary artist.  She earned a BA in cultural anthropology from the University of Memphis and worked as a human statue in New Orleans and Asheville, NC before earning an MFA in printmaking from Ohio State University in 2007.  Her work has been shown extensively throughout the Southeast and Midwest and she has received numerous awards, grants, and residencies.  Represented by Penland Gallery, NC her work is in the print and artist book collections of MOMA - Franklin Furnace, the University of Maine, and Penland School of Craft.

California based textile artist / painter / teacher, Daniella Woolf holds an MA in Textile Structures from UCLA and a BA from California State University.  Her work has been exhibited extensively for over 35 years most notably on the west coast.  She is represented by Wexler Gallery in Philadelphia.  She is a recipient of the Rydell Visual Arts Fellowship and Gail Rich Award for Excellence in the Arts in Santa Cruz.  In 2010 she published the book and teaching DVD, Encaustic With a Textile Sensibility.  Her newest book, The Encaustic Studio: A Wax Workshop in Mixed-Media Art was published by Interweave Press in May 2012. 

The Resonance of Beauty

New Work by Anna Jaap
April 6-May 11, 2013

Closing Reception: May 4th, 6-9 pm

Tinney Contemporary is pleased to present The Resonance of Beauty, New Works by Anna Jaap. This body of work continues in a tradition of organic abstraction, making visual connections between forms and structures in the natural world and focusing on beauty. How do we define it? What is its value? How does it speak to us in our daily lives?

Nature and the decorative arts, longstanding themes in the work, are historically tied to definitions of beauty. Other inspirations, such as cells, riverbeds, bones, and bacteria, are less obviously beautiful. Upon closer inspection, however, they reveal eloquent shapes, lines, and movement. From the smallest atom to the spiraling pinwheel of a galaxy, there are repeated, unifying threads of beauty.

New are paintings with poured acrylic surfaces mixed with charcoal dust. The elements of earth and water combine to form a fluid substrate that is reminiscent of the beginnings of life and the rhythms of nature. An iconic symbol of beauty, the rose, floats suspended in several of these works. Freed of customary associations, it exists only as specimen of line, form and color that varies widely in its approximation of beauty.

Also new are a series of charcoal drawings done on vintage wallpaper samples. Complex negative space and the push/pull between foreground and background characterize the works. Here the rose is layered over block-printed patterns and idyllic vignettes-bringing the past forward and overlaying it with an echo of beauty, and of itself. 

Born in Arlington, TX in 1966, Anna Jaap received her BFA Magna Cum Laude from Lipscomb University in 1987 with an emphasis in classical painting. For twenty-five years, she has maintained a working studio-establishing herself first as a printmaker before shifting her focus to painting and drawing in 2001.

Jaap's pieces are featured in corporate, museum, and private collections around the world. Selected clients include Avon, Agricultural Bank of China, BentleyForbes, Paramount Pictures, Ralph Lauren Home, and Tiffany.

The artist lives and paints in Nashville, surrounded by the rolling farmland of Tennessee.

In the rear gallery:  Stasis, New Works by Carla Ciuffo

Stasis [the state of equilibrium or inactivity caused by opposing equal forces.]

Time, suspended in fractions of seconds, leaves us moments of choice. Postponed moments can produce infinite variables of outcomes and consequences. Ciuffo's series Stasis looks at sympathetic and opposing forces in nature using organic elements, symbolic gestures and the human figure to illustrate moments of choice that are "in between," removing us for a period of inactivity.

A pervading symbol throughout the series is a leaf shaped tree photographed at Cheekwood Botanical Garden.  A fluid icon, it shifts from grounding to fluctuating, with stabilizing roots or set adrift in space. Human figures are ambiguous, creating a safe distance of anonymity as well as representing human elements we can attach and identify with. To emphasize a feeling of exposed dimension Ciuffo positions images within significant negative space forming tableaux that resist confinement as time stands still.

A self taught photographer, Ciuffo captures snippets of life and remanufactures them using texture and light as a vehicle for personal reflection. Quality of light, both natural and constructed with layers of texture, provides luminosity within alternate dimensions that expand the boundaries of her photographic world. Transplanted from New York, via Arizona, to Nashville Tennessee, Ciuffo has produced a body of work that calls upon Arizona and Tennessee light sources, New York grit, and a variety of surfaces and grains. 

Ciuffo's work can be found in private collections in Nashville: Emmylou Harris, Nina Miller (portrait of Buddy Miller) and collections in New York, Los Angeles and Paris, France.

Discontinuity Continuum

New Works by Pam Longobardi and Craig Dongoski
February 23-March 30, 2013

Opening Reception: March 2nd, 6-9 pm

eg. a fracture in rocks marking a change in physical or chemical properties; a property of a mathematical function and of tree structures in theoretical linguistics; a conception of history as espoused by the philosopher Michel Foucault; a break in continuity.

For the first time in over a decade, Pam Longobardi and Craig Dongoski will exhibit their studio works together. Longobardi shows new work in paintings on copper, collage-cyanotype works on paper.  The paintings create self-contained universes where Longobardi visualizes a future point where unprecedented changes wrought by humans may be clearly read through the paintings' materiality.  She uses a combination of naturally occurring materials (copper and chemical patinas) and industrially created materials  (plastics, acrylic and lacquers) that are mixed to create that cracks, craters and stratigraphic layers on the copper panel.  These works reveal large, connected energy systems punctuated by the minutia of a microscopic lens, continuing her investigation of the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate. Longobardi utilizes the genre of landscape painting to suggest future worlds that parallel our own, often depicting colonization and escape.  Suggestions of buildings, factories and cities are minimized and fossilized in a future geologic layer.  Miniature and sometimes solitary human figuration exists in caves and on isolated promontories.  The forces of nature are wrought physically on the surfaces of these works as she cultivates phenomenological events to occur.  While these paintings depict disruption and cataclysm, they also function as record and warning of untold changes we are now experiencing in the physical world.  While Longobardi's Drifters Project functions in the world of the real, these paintings explore the imaginary and near-real and envision a lessened human footprint and nature as an ultimately powerful and enduring presence.

Craig Dongoski presents a body of work that employs drawing-sound experiments and innovations in tandem with chimpanzees through the Language Research Center in Atlanta. He has been exploring and articulating the mark in its most basic form as a vehicle for communicative expression for much of his career. Working with a particular chimpanzee named Panzee in a year long interaction has instigated a wide field of new possibilities to expand the scope of research. Panzee spontaneously developed her own mark-making habit early in her life, but it has not been considered in any serious capacity. The significance of the marks to Panzee is as yet unknown; but there is an overall shape, aesthetic deliberateness and intention, and evidence of visual concentration. The marks are evenly spaced and carefully placed along very tightly spaced lines. Panzee's marks are seated in the solid artistic realms of ancient writing, calligraphy and gestural abstraction. Art demonstrates its most radical shifts when there is a rupture in mark making, such as Van Gogh, Pollock, Michaux, Rainer.  Utilizing his signature linear style, Dongoski's work with Panzee is involved with the potential of innate expression within human artistic practice and present provocative statements both philosophically and artistically within this context. Through varied interpretations of the marks, a contribution is made to the art historical dialogue within the origin of human expression.

In the Kress Lobby Gallery: Kimber Berry's Liquid Landscapes

American abstractionist Kimber Berry has captured the attention of the global art community over the past decade with her explosively colorful, visually dense, multi-dimensional canvases and installations. Often done on industrial materials, she masterfully and gleefully integrates elements of the digital and pure paint. She creates a symphonic dance between the virtual world and the organic universe and challenges the viewer to discern between them.  

Berry's universe is an ultra-world that exists within and without the time/space continuum. In one moment the viewer is taken beneath the ocean's surface into a kaleidoscopic world of color and form suggesting coral reefs. In the next instant we are taken outside of the earth's atmosphere and even into other dimensions - and back - at the speed of our perception. Kimber Berry's world is consummately informed by her childhood. 

Originally from Los Angeles, Berry grew up surrounded by over-the-top advertising and the glitz of Hollywood. This background was the genesis that fueled her desire to explore the psychological experience of living in an over-stimulated society, constantly bombarded by media noise. Her installations and paintings interlace, overlap and converge upon themselves in much the same manner of existing in multiple environments at once. The fluidity of paint and the brush stroke act as narrative tools to recreate the psychological compression of stimuli found in our society.  

Berry creates simulated environments in which the observer can psychologically step within, creating an experience that engages the viewer on a deeper level. Moving beyond the rigid boundaries of painting distinctly within the edge of a canvas, Berry provides a fluid existence that allows her art to melt into, embed, connect, and disconnect, through the aspiration to fully engage a wall- essentially, becoming part of the space. Her paintings and installations exist in the psychological space between object and life, reality and illusion. 

Southern Abstraction

New Works by Martica Griffin, Mary Long, and Lisa Weiss
January 19-February 16, 2013

Opening Reception: February 2nd, 6-9 pm

Collectors Art Night: February 1st, 5:30-8 pm

Tinney Contemporary is pleased to present Southern Abstraction- an exhibition showcasing new abstract paintings by Martica Griffin, Mary Long, and Lisa Weiss.  Through their inventive use of various mediums, color palettes, and painting techniques, Griffin, Long, and Weiss manage to create works as unique and captivating as the artists themselves.   Drawing inspiration from personal histories and from travels across the South and around the world, these artists' paintings reflect the richness of their experiences, while inviting viewers to explore both the literal and figurative layers in their works.    

Martica Griffin is a Nashville-based painter whose works combine geometrical form with gesture. The foundation of each work is organic black lines overlaid with a color grid. This energy and structure work together to give the paintings their own sense of rhythm.  Griffin allows the pieces take her where they want to go-scraping, drawing, painting, and glazing, layer after layer.  According to Griffin, "No matter where these adventures in paint take me, it's the journey into the unknown that makes abstract painting so exciting."  

Self-taught in wax encaustic, Memphis based artist Mary Long has been painting with this medium almost exclusively for the past decade.  Using a mostly pre-planned color scheme, Long includes in her paintings personal symbols, graphic elements, marks made with oil stick, and sometimes, decorative paper.  According to Long, the wax encaustic technique allows her to explore her paintings in a more tactile way by selectively scraping, incising, and scarring, which brings to the works elements that are both solid and transparent.

Born and raised in Tennessee, Lisa Weiss describes her new body of work as an "unearthed meditative space."  The work is subtle, minimal and worn, inspired by the qualities of wabi sabi. Expansive light fields are explored revealing marks and symbols that appear, then fade. The paintings can be viewed either as illusive transitional spaces or more as material walls where a weathered surface shows the passing of time. Using many layers of painting media, washi paper, and marble dust on panel, an exquisite surface quality is created that evokes ancient walls or tablets. Within the paintings simple abstract structures alluding to architecture coexist with simple but vast fields of marks, drips and staining.