Channel To Channel Art

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...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a somewhat trapezoidal shape, with a scalloped top edge. A red cotton thread completes the remainder of the diamond shape. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

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...

In this nebula/cloud painting by Jason Stout, a pink outlined cloud dominates the composition in an impossible landscape. Images within the cloud include money, guns, knives, feet in worn shoes...

A person reclines in a red striped lawn chair. The subject's body presses against the back of the hair, revealing a Notre Dame Fighting Irish logo on hi...

An exercise in language and rule making. Partly intuitive, partly randomized, modular blocks are arranged and rearranged on the letterpress bed. Colors are placed, shifted, or replac...

"In these works, Aldrich paints on surfaces that have been covered in uniform vertical strips of caulk. The textures don’t play into the subjects of these paintings so much as create a consistent 3D pattern across the whole surface of a wood panel covered with canvas. Two of the most interesting works in this style give us graphic renderings of domestic interiors laid out in blocks of color and elemental shapes. 'Kitchen Sink' and 'Ironing' depict counters, faucets and ironing boards through a distorted perspective that’s unnervingly deep and narrow, vertiginous and claustrophobic. The caulk brings lots of texture to these works, and Aldrich’s paint appears to be applied in chromatic washes of yellow, pink and blue that seem serene given their off-kilter surroundings. In fact, Aldrich uses the repeating vertical textures to create vividly colored lenticular illusions in these works, which only reveal themselves as viewers move past the paintings. In addition to their formal qualities and their narrative content, Aldrich’s works also comment on traditional gender roles in Western society. Her narrative portraits are mostly inspired by the covers of Nancy Drew novels. Drew, the “girl detective” who first appeared in print as a female counterpart to the Hardy Boys...

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...

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...

In this painting, Michelle Weddle utilizes line, color, and form to create a work which acts at the balance between the nonobjective and representational. Using rich blues and orange...

In THE GORGE WALKER, Charlie Newton attests to the spiritual reality of our human relationship with nature. Emphasizing the linear qualities of nature, its ability to permeate deep i...

AS FAR AS A VIEW, is part of a series of works that consider the decorative and escapist role of the landscape in the home. When seeking beauty in the world to distract us, delight us, and bring us into our own world, we seek something that stirs within us a memory or a dream. Traditionally, tapestries are a storytelling media as well as décor. This particular work is constructed from commercially printed tapestries acquired from a Chinese supplier during the pandemic. These tell a story of arrested, yet ample, desire. On one side of the piece we see a sunrise from a beach with palm trees. Gently folded over to the right is a second tapestry. In this the artist has chose to expose the desaturated backside which obscures slightly the third tapestry landscape of beach scene around midday. It brings to mind the passage of time much like time lapse photography...

Blueprint is a sculpture made from polystyrene, wood, and spray foam fused with an outer layer of iridescent fabric, cement, spray paint, and a steel grab bar...

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Amanda describes her work as a reaction to the “complex pattern, rhythm and color” in the world. In Mossy Trail the eye is immediately drawn to a bright red line of light highlightin...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires with water. The "water" in this case, has been replaced with glitter by the artist. Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

In this piece, two breeze blocks stacked on top of one another make the base of the sculpture. On top of these breeze blocks is a flat, rectangular steel...

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 Uni...

BANANARAMA by Elizabeth Winnel is compositionally similar to work she has created in the past- a set of lips at the center of the painting, mouth open...

THREE SERVINGS A DAY by Elizabeth Winnel is compositionally similar to work she has created in the past- a set of lips at the center of the painting, ...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shaped canvas that is color-blocked into three main sections. The topmost triangular portion of the canvas ...

This painting is the artist's rendering of Purgatory. Some of the faces are barely visible through the murky atmosphere, their expressions are frightened, yelling into the void. The ...

NIGHT TABLE OF THE ASSASSIN brings a view of what is seemingly a home office or studio work place and blends late-French symbolist still life painting with ...

This painting by Jason Stout was completed during the Covid-19 quarantine in 2020. While his previous work dealt mostly with surrealist spacescapes and nebulas, he focused on still l...

This "cloud composition" by Jason Stout is a surrealist spacescape, in which a whirl of objects are suspended in a cloud. In this painting, we see gun barr...

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 ...

This C-Print by Sarah Hobbs is part of a series included in her show "Twilight Living," at Channel to Channel. It depicts two blue inflatable chairs a...

This painting was created for Yuri's "Gold Center Series," in which he uses gold leaf to create a perfect circle in the center of the piece. In this painting, the gold circle overlap...

This digitally rendered latex print on canvas depicts drips of paint in a flowing pattern, creating an abstract landscape that, from a distance, appears to be a colorful sheet blowin...

"Nanette (Back with Fence)" is a textural, contemporary figure painting by Knoxville based artist Eleanor Aldrich. Refusing engagement, the figure is turned away from the viewer. Further distance is created by a rugged representation of a chain link fence and layers of paint, enamel, and silicone. The only clue to the figure's gender is in the title, and the collision of industrial materials with a female representation provides a poignant conflict. Flashes of found paper provide hints of a t-shirt or other type of graphic clothing...

This work is a collage work utilizing found newspaper as the foundation of the painting which is then squeegeed over with black and white oil paint. A masked gold leaf circle remains...

"PRLS-1000" is part of Eric Mack's urban grid series. Using a grid to create the framework of the painting, Mack creates movement across the piece with dynamic techniques of washy underpainting underneath matted pieces of paper, and thread. His paintings have been described as "intellect on top of emotion." Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. His most recent show “Charting the Terrain” is on view now at the California African American Museum in Los Angeles was covered by the Los Angeles Times, KCRW, and LALA Magazine. His last solo exhibition was titled "Impossible Architectures" at The University of North Carolina...

PVB-7600 is part of Eric Mack's ongoing body of work utilizing multi-media, complex compositions, and a grid centered around urban design. Using a grid to create the framework of the painting, Mack has utilized paper adhered by a matte medium to create graphic imagery of text and color blocks on top of a canvas dyed in ink. This painting is gallery wrapped with canvas on top of stretcher bars. Mack's paintings have been described as "intellect on top of emotion". Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. Collections include High Museum Atlanta...

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In this work, Michelle Weddle utilizes line, color, and form to create a painting which acts at the balance between the nonobjective and representational. Using organic, elliptical s...

JOSHUA EDWARD BENNET lives and works in New Orleans, LA. He received his MFA from Tulane University in New Orleans, LA in 2019 with a concentration in digital arts. Bennett received ...

This C-Print by Sarah Hobbs is part of a series included in her show "Twilight Living," at Channel to Channel. In this photograph, an electric box with several protruding wires is ce...

Jessica Gatlin uses the process of letter pressing to create these pieces on paper that have been mounted to a small panel. An exercise in language and rule making. Partly intuitive,...

In "Holes and Slices", Peña creates a silhouette of house and fills it with bubbly curved shapes and contrasts them with sharpe-edged shapes that contain gradients and muted tones of aqueous colors such as teal and light blue. He balances these colors with muted tones of pink and violet. The viewer can create a house that is yet to be built in between the gaps here. In "Holes and Slices", Peña remarks on a house and landscape that has yet to be built. The aquatic nature seems to hint at the possibility of a house and landscape under water. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small bubble-like cut outs where the viewer can see through to the pattern created with watercolor and acrylic paint. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...