Channel To Channel Art

DORMANT by Heather Hartman, made for her show "Kudzu Season," is one of a series of four paintings representing the four seasons relative to the Kudzu growth cycle. This painting, titled "Dormant," is the Winter-inspired piece in the series. After the first frost of winter, all of the leaves of the kudzu plant fall off of the vine, leaving it limp and bare. Here, we see the stark outline of a kudzu vine...

In GREEN CIRCLE QUILT 2, Natalie Harrison studies gradation through her use of paint and silicone molds. Drawing on the domestic history of molding th...

This painting by Alex McClurg presents multiple shapes, layered and stacked on top of another in order to create an immersive, hypnotizing pattern. The pi...

This painting by Alex McClurg is an abstract geometric composition. The first layer of this painting consists of a blue and grey equilateral triangle patt...

DOUBLE PORTRAIT was created with bubble wrap as a mold for silicone. Eleanor Aldrich then takes this silicone andP paints the portrait you see here of a couple embraced for their por...

Yuri Figueroa builds depth by layering in "Science Fiction Snow No. 1." Figueroa combines techniques of blending, dripping and smearing with the use of...

"Red Line" is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around...

In this painting, Michelle Weddle utilizes line, color, and form to create a work which acts at the balance between the nonobjective and representation...

In this painting, Michelle Weddle utilizes line, color, and form to create a work which acts at the balance between the nonobjective and representation...

In WELFARE, Samuel Dunson creates a work that encompasses generations, drawing upon the symbolism of his personal history and political beliefs to expres...

In TODDLER TANTRUM, Sue Fox tests the meditative limit of her artistic work. Intuitively collaging smaller pieces of bright pinks, purples, and yellows, she expresses the thoroughly ...

Yuri Figueroa builds depth by layering in "Science Fiction Snow No. 3." Figueroa combines techniques of blending, dripping and smearing with the use of...

Yuri Figueroa builds depth through layering in "Untitled 4". Figueroa combines techniques of blending, dripping, and creating more strong lines in order to push the depth of the piec...

"Fat Back with Tattoos" is part of the latest on-going series from Eleanor Aldrich. These "behind the lawn chair" vantage points provide Aldrich with the perfect subject matter to convey her mixed media approach. More info below: Eleanor Aldrich was born in Springerville, Arizona. A participant at the Skowhegan School of Painting and Sculpture in Maine, she also holds an MFA in Painting & Drawing from the University of Tennessee, Knoxville, where she currently lives. She earned her BFA in Painting & Drawing through the Academie Minerva (Groningen, the Netherlands) and Northern Arizona University, Flagstaff. She was a participant in the Drawing Center’s first Open Sessions. Eleanor has had solo shows in Boston, Nashville, Knoxville, Flagstaff, AZ, and at the University of Alabama. Her work has been shown at Saltworks Gallery (Atlanta, GA), the Drawing Center (New York, NY), Grin (Providence, RI) and Ortega y Gasset (New York, NY). Her work was chosen for 1708 Gallery’s ‘FEED 2013’ (Richmond, VA). She has been awarded an Endowment for the Arts through the Whiteman Foundation, and the Herman E. Spivey Fellowship. Her work has been included in New American Paintings and on Artforum. Aldrich's work is textural and alchemical; she matches materials – often industrial sealants – and techniques to the subject matter they look like, thereby approaching a likeness without realistic rendering. She attributes her appreciation of mystery and the possibility of transformation in her work to her Catholic upbringing, in which materials were transformed and images held power over life. Her work intersects modernist painting, her own experiences, and the physicality of the body. Sometimes her work is about the application – paint is combed, piped, sprinkled and sprayed, reflecting traditional feminine work and crafts. Often the subject matter acts as a metaphor. The lines of a lawn chair seat serves as a veiled reference to the grid, and its breakdown – presumably by human weight – to an imagined encounter with the human body. *Make sure to use the "view in a room...

This work is a secondary continuation to my "Vanilla Extract" series (2002 - ongoing) which examines the practice of racial positioning in contemporary print media. This piece depic...

INTERGALACTIC BOTTLE SERVICE is a playful title, it draws the viewer into the work by activating the imagination—that playful part of ourselves that makes artistic creativity possible. I titled this work based on my wife’s reaction, who upon seeing the work exclaimed "It's like drinking champagne on a spaceship!" When viewers look at this piece, I would delight in them having the same reaction, and running away with their imaginations. Now, when I look at this work, I imagine my partner and I propelled five hundred years into the future, where this work is displayed in a very exclusive VIP lounge on a luxury spaceship. Here, in the red velveteen booth beneath this painting the bourgeoisie are wearing white 1920’s...

A collector of books, magazines, stamps, comics, and ephemera, Scott Zieher uses elements extracted from these materials to create collages, as well as producing drawings and writing...

"I welcome the continual emergence of change, evolution, and the inevitable challenges that form a large part of a working artist’s life." With CHEF'S HAT, a recent and evolving work, I am moving into more dimensionality and space. My intention is to push patterned and embellished surfaces on paper from its naturally flat surface into a more structural and spatial plane. This involves making sculptural pieces from paper and experimenting with new construction methods using strips and lengths of paper over-lapped and fastened together, shaped into objects with physical presence. I feel I am migrating from the flat surface into the third dimension. I envision the paper constructions as a landscape to be wandered in and out of, through and around, a space that invites all and sundry to enter on their own terms. I hold firmly to the belief that my work exhibits a playfulness that belies a more serious assessment of our social world. I am interested in how something that is initially perceived as frivolous and celebratory can constitute a reaction against and resistance to the shadowy world of misfortune, hard luck, and weariness. Born in 1959, Lanie Gannon was predominantly inspired by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all representative of a strong desire to evolve and strengthen the art world, in response to the tensions of the previous 1960s. Process art branched...

A collector of books, magazines, stamps, comics, and ephemera, Scott Zieher uses elements extracted from these materials to create collages, as well as producing drawings and writing...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

A collector of books, magazines, stamps, comics, and ephemera, Scott Zieher uses elements extracted from these materials to create collages, as well as producing drawings and writing...

Eleanor Aldrich’s paper and caulking drawings are about the tension between physicality and image. The photographic qualities of the found images used for transfer contrast with the ...

In ARCHITECTURAL HYPERBOLE 04, Liz Miller creates a sculptural wall hanging piece which builds on the juxtapositions between strength and malleability, architecture and fiber, structure and knots. Contrasting her stately, rococo metal...

In ARCHITECTURAL HYPERBOLE 04, Liz Miller creates a sculptural wall hanging piece which builds on the juxtapositions between strength and malleability, arch...

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A collector of books, magazines, stamps, comics, and ephemera, Scott Zieher uses elements extracted from these materials to create collages, as well as producing drawings and writing...

A collector of books, magazines, stamps, comics, and ephemera, Scott Zieher uses elements extracted from these materials to create collages, as well as producing drawings and writing...

This painting is a portrait of the rapper, Conway The Machine. Rendered on Gold found fabric, Conway is centered in the composition, meeting the vie...

A feminine figure reclines in a pink and blue-strapped hammock. The figure sitting in the hammock is activated by Aldrich’s transformation of paint and silicone into layered, glistening, and oozing swaths of skin. The hammock, recalling the grid, works as a pattern trying to hold and contain the body resting inside it. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

This ceramic gas mask is part of a collection of work that Eleanor Aldrich made in 2019.

Douglas Degges (b. Shreveport, LA) is an artist and educator currently based in Mansfield Center, CT where he is an Assistant Professor of Art in Painting and Drawing at the Universi...

Douglas Degges (b. Shreveport, LA) is an artist and educator currently based in Mansfield Center, CT where he is an Assistant Professor of Art in Painting and Drawing at the Universi...

This piece by Kenzie Wells was created for a series titled "Strange Houses." "Strange Houses" is a series of dimensional paintings and objects that consider the physical and psycho...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Douglas Degges (b. Shreveport, LA) is an artist and educator currently based in Mansfield Center, CT where he is an Assistant Professor of Art in Painting and Drawing at the Universi...

Jason Stout was born in 1977. He received his BFA in studio art from the University of Tennessee at Martin in 2001 and a MFA in Painting from the University of Texas at San Antonio i...

Yuri Figueroa builds depth by layering in "Science Fiction Snow No. 1." Figueroa combines techniques of blending, dripping and smearing with the use of...

"Red Line" is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around...

This work is the result of a deep dive I did into researching stingrays, specifically the blue-spotted stingray.

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This piece was created using carefully curated materials that were then bound together. The materials used were all discarded and would otherwise have gone to a landfill. I repurpose...