Drawing Near with Joshua Jean-Marie / October 1, 2021 by Michael Winters

by Jordan Lienhoop

Drawing near is embodied in Joshua Jean-Marie’s life, extending from his creative practice to his community involvement. A self-taught photographer with a love for film, Josh notices moments of intimacy between people, resulting in work that contains layers of connection. His photographs invite viewers to look closely at the people around them and to engage in a more meaningful way, whether on a bus, at a park, or in a food truck line.

See more of Josh’s work on his Instagram @joshuajeanmarie, and check out his work with the podcast How You Create.

Joy & Grief in Meena Matocha's Art / June 8, 2021 by Michael Winters

by Jordan Lienhoop

During Lent 2018, Meena Matocha’s process of art making radically changed. After experiencing loss within her family and community, she began using ash, charcoal, and soil to create deeply emotive paintings—a way of physically and spiritually grappling with the reality of both grief and joy in this life. Both figurative and abstracted, Meena’s work invites slower looking and contemplation through its many layers, materials, and expressive forms.

See more of Meena’s work on her Instagram @meenamatochaart and Facebook page.

*“A Prayer in Times of Isolation” by Meena Matocha. 36”x48”, 2020.*

*“Redemption of Ashes I” by Meena Matocha. Commissioned by Church of the Cross Austin for Lent and Easter 2018. Charcoal, ashes, acrylic and wax on panel, 48”x36”.*

*“Where O Death is Your Sting?” by Meena Matocha. Charcoal, ashes, acrylic, & cold wax on panel.*

*“Gravity and Grace” by Meena Matocha. Charcoal, ashes, soil, acrylic and wax on panel, 36x48”, 2019.*

*“Through a Glass Darkly” by Meena Matocha. Charcoal, ashes, soil, acrylic, wax on panel, 12”x12”, 2019.*

*“Covid Journal” by Meena Matocha. Fine art paper print of ink sketch on watercolor paper, 2020-2021.*

On Motherhood & Artmaking: Jocelyn Mathewes / May 26, 2021 by Michael Winters

by Jordan Lienhoop

In her artist book Offspring: of motherhood and artmaking, interdisciplinary artist Jocelyn Mathewes uses analog mediums to create an expressive portrait of motherhood, childhood, and time. From pigment transfers to emulsion lifts, her use of alternative processes allows for experimentation and exploration—ways of making that were cultivated in her own childhood and are found today throughout her creative practice.

Jocelyn’s work from Offspring was featured in our exhibit The Art of Motherhood. View more of her work on her website and her Instagram at @jocelynmathews.

“Offspring: of motherhood & artmaking” artist book by Jocelyn Mathewes. 9 x 12 inches, 48 pages, hardcover.

*"The Gaze" by Jocelyn Mathews. Polaroid emulsion lifts on watercolor paper with gold leaf.⁠*

“Medicine Threshold” by Jocelyn Mathewes. From Within Normal Limits series, 2021. Prescription bottles, paint, shredded money, metallic fiber, elastic, curtain rod. Approx 6' x 4' x 3" (dimensions variable).

*“The Heart Size is Unremarkable” by Jocelyn Mathewes. From Within Normal Limits series. Image transfer, collage, embroidery on paper, 9 x 12 inches.*

*“30 Works in 30 Days” by Jocelyn Mathewes. Vintage recipe cards, gauze, medical supplies, prescription sheets, maps. Approx 36 x 36. inches.*

Collaboration & Experimentation with Tim Robertson / March 24, 2021 by Michael Winters

by Jordan Lienhoop

Tim Robertson’s time in Cambodia from 2009 to 2014 greatly shaped his view of art and community, forming a creative practice around collaboration and experimentation. That path has led him from pigment transfers to risograph printmaking—techniques and tools that continue to create new opportunities for learning and sharing his art making with others.

See more of Tim’s work on Instagram @timothyirobertson and @risolutionpress, as well as his website, where you can get a copy of his photo zine. Plus, check out a photo from his 2015 exhibit Shelby Park Dreams here.

Last Blink (2015) by Tim Robertson. Pigment transfer and mixed media on wood. — *Last Blink* (2015) by Tim Robertson. Pigment transfer and mixed media on wood.

Spread from Seed Vault (2017) by Tim Robertson. Photo zine with embossed cover — Spread from *Seed Vault* (2017) by Tim Robertson. Photo zine with embossed cover

Gingko (2020) by Tim Robertson. Risograph print, black and gold ink — *Gingko* (2020) by Tim Robertson. Risograph print, black and gold ink

This New Silence (II) by Tim Robertson. From Shelby Park Dreams series (2015). — *This New Silence (II)* by Tim Robertson. From *Shelby Park Dreams* series (2015).

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

Until I Can See You: Cameron Alexander Lawrence / February 26, 2021 by Michael Winters

by Jordan Lienhoop

As a painter and poet, Cameron Alexander Lawrence's creative rhythms have led to abundance—he created 35 new works in just two months!—and connection, as his artistic practice helps him be more present to himself and others. His solo exhibition Until I Can See You is a meditation on and a search for that connection between self and others. Cameron’s work offers an opportunity for viewers to look more closely, even beyond the paint into their interior world and that of those around them.

See more of Cameron’s work on Instagram @cameronlawrence, and visit his online storefront to purchase works from the show.

*“The Distance Between Two Fires” (2021) by Cameron Alexander Lawrence. Acrylic on canvas, 48 x 48 inches.*

*“Watchers” (2021) by Cameron Alexander Lawrence. Acrylic on wood panel, 12 x 9 inches.*

*“More Than We Knew” (2021) by Cameron Alexander Lawrence. Acrylic on wood panel, 12 x 9 inches.*

*“Veiled Landscape” (2021) by Cameron Alexander Lawrence. Acrylic, spray paint, and oil pastel on canvas, 48 x 36 inches.*

*“38” (2020) by Cameron Alexander Lawrence. Oil on paper, 16 x 12 inches.*

*“Nocturne” (2021) by Cameron Alexander Lawrence. Acrylic on canvas, 40 x 30 inches.*

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

Embedded in Story: Mandy Cano Villalobos / December 13, 2020 by Michael Winters

by Jordan Lienhoop

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According to her mother, multidisciplinary artist Mandy Cano Villalobos “popped out of the womb drawing,” creating galleries of her work down the hallway of their apartment building as a child. Even her material choices, which range from pomegranate seeds to human hair to old family clothing, have been shaped by her childhood experiences and interests, forming an artistic vision and practice embedded in story.

Artwork from her series Magnificat and Cor are currently in the sanctuary for our Advent series Wrapped in Flesh. You can view the installation photos here.

See more of Mandy’s work, including her site installations, on her website and on her Instagram @mandy_cano_villalobos.

*“Magnificat XV” (2019) by Mandy Cano Villalobos. Cloth, string, and imitation gold.*

*“Magnificat X” (2019) by Mandy Cano Villalobos. Cloth, string, and imitation gold.*

“Solace in Blue” (2019) by Mandy Cano Villalobos. Imitation gold on wine stained paper, 7 x 9 inches. — *“Solace in Blue” (2019) by Mandy Cano Villalobos*. *Imitation gold on wine stained paper, 7 x 9 inches.*

*“Cor Aurum I” (2019) by Mandy Cano Villalobos. Cloth, wood, metal and imitation gold.*

*“Cor Aurum II” by Mandy Cano Villalobos, 2019. Cloth, wood, metal and imitation gold.*

*“Prince of Holes” (2018) by Mandy Cano Villalobos. Imitation gold on hand scorched rag, 9 x 12 inches.*

This post is part of a series featuring artists involved in our ministry and community.

Life as Given: Sam Cooney / October 27, 2020 by Michael Winters

by Jordan Lienhoop

Painting and working with his hands has been a part of Sam Cooney's life since childhood, but it wasn’t until a few years ago that he began to reflect on what was driving his work. He started to paint the scenes around him—what he found as beautiful—and the culmination of these efforts is his body of work Life as Given. The six large-scale paintings give testament to the abundance of everyday life and invite viewers to see their daily moments in a new way.

See more of Sam’s work on Instagram at @samcooney. Plus, check out a piece from his first exhibit with us in 2015, here.

*“Roly-Poly” by Sam Cooney. Oil paint on panel, 80”x45”*

*“The Orange Kitchen” by Sam Cooney. Oil paint on panel, 80”x45”*

*“Nephew” by Sam Cooney. Oil paint on panel, 36”x48”*

*“Harry’s Market” by Sam Cooney. Oil paint on panel, 36”x48”*

*“Family on Couch” by Sam Cooney. Oil paint on panel, 80”x45”*

*“Thoughts & Feelings” by Sam Cooney. Oil paint on panel, 36”x48”*

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

Portrait of a Tree: Brittany Anne Jarboe Jennings / September 29, 2020 by Michael Winters

by Jordan Lienhoop

Art across a variety of mediums become a form of expression for Brittany Anne Jarboe Jennings. She’s a cellist, visual artist, and poet (though she doesn’t fully claim the last one yet). It’s as a visual artist, however, that she expresses and processes her emotions and reactions to the world around her, creating highly detailed portraits of trees, or, of herself.

See more of Brittany’s work on Instagram at @brittandthecello.

*Nursing Chair no. 2 by Brittany Anne Jarboe Jennings. Mixed media drawing. 11x14”*

*Brentwood Ave. corner Maple by Brittany Anne Jarboe Jennings. Graphite drawing. 14x17”*

*Abstract sketch by Brittany Anne Jarboe Jennings. Mixed media drawing. 5.5x8.5”*

My Youngest Son is Precious by Brittany Anne Jarboe Jennings. Mixed media on yupo paper. 11”x14" Award winner in Made in the Belly of the Whale exhibit.my youngest son is precious/ my youngest son is sweet,/ with kisses at an evening’s close/ and ti… — *My Youngest Son is Precious by Brittany Anne Jarboe Jennings. Mixed media on yupo paper. 11”x14" Award winner in Made in the Belly of the Whale exhibit.*
my youngest son is precious/ my youngest son is sweet,/ with kisses at an evening’s close/ and tiny giggles of glee./ my youngest son has eyes as blue as the frosted blues of a blueberry’s top./ but there are some moments I’d rather spend/ with pencil and paper than be/ the rock, the helper, the cook, or/ my youngest sons’ continual trapeze./ july 13.2020

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

A Creative Walkabout with Sarah Hall / August 24, 2020 by Michael Winters

by Jordan Lienhoop

*Sarah Hall en route to create a tree rubbing.*

For painter and puppet-maker Sarah Hall, going to the woods every day is all the inspiration she needs to generate new ideas and thoughts. Whether having a walkabout or watching a cicada hatch, the outdoors sparks shapes and stories inside her that become large tree rubbings and plein air painting puppets, inspiring kids (and adults!) to be curious explorers of their communities as well.

See more of Sarah’s work on Instagram at @hiyo_post and follow Gorp at @hiyogorp.

*“Holiday Series” (2019), tree rubbing by Sarah Hall. Acrylic on canvas.*

*Tree rubbing by Sarah Hall. Acrylic on canvas.*

*HIYO postcards from Gorp (2020) by Sarah Hall*

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

Honing Her Craft: Melissa Mann Bean / July 20, 2020 by Michael Winters

by Jordan Lienhoop

Photographer, designer, professor, mother: Melissa Mann Bean has held numerous titles over the last 24 years, adding mixed media artist to the list as she pursues new mediums and continues to hone her craft. Drawing on those roles and experiences, she warmly shares her journey and insights with young artists and women artists through mentorship and retreats.

See more of Melissa’s work online at Melissa Mann Bean Artwork and follow her on Instagram at @melissamannbeanartwork.

“Sewing History” (2020) by Melissa Mann Bean. Gouache, paper, photographs with stitching, acrylic on tissue paper with ribbon from an antique fabric (the mask). 18”x24” — “*Sewing History” (2020) by Melissa Mann Bean. Gouache, paper, photographs with stitching, acrylic on tissue paper with ribbon from an antique fabric (the mask). 18”x24”*

*“Twin Towers, NYC” (September 1, 2001) by Melissa Mann Bean. Different prices on print sizes/paper available. Contact artist.*

“Don’t Be Anxious, Caged Bird” (2020) by Melissa Mann Bean. Watercolor pencil on watercolor paper, ink, found hand written paper in antique hymnal, flower original photograph. 8”x8”. $45 + shipping.

*“Orchard Trees, Shelby County Kentucky” by Melissa Mann Bean. Different prices on print sizes/paper available. Contact artist.*

*"Praiseworthy: Laying Down Grief” by Melissa Mann Bean. Acrylic and found antique papers/poem on canvas, original photograph of hummingbird taken in Yew Dell Gardens. 12”x24"*

This post is part of a series featuring artists involved in our ministry and community in Louisville, Kentucky.

In Pursuit of Beauty with Leandro Lozada / May 26, 2020 by Michael Winters

by Jordan Lienhoop

Photographer Leandro Lozada became enchanted with photography at a young age, spending hours looking at the photographs in National Geographic and the ones hanging in his mom’s house. When he was 18, he saved up for his first Canon point and shoot camera from the pawn shop, and from there, his creation and pursuit of beauty grew.

Check out Leandro’s work online at Lozada Photography and follow him on Instagram at @lozada1816. To see Leandro’s Saints project that was mentioned in the interview, click here.

This post is part of a series where we feature artists involved in our ministry and community in Louisville, Kentucky.