Tennessee

In ALL ONE, Sue Fox makes a prescient statement about the complex racial issues which plague American life. While originally intended to function as an demographically-accurate ethno...

This is an early 19th-century English dresser base with timeless charm. The piece features six drawers, flanked by doors with fan inlay in the corners adorned with wooden knobs. Twin...

"I don’t do enough red paintings. I like red, but somehow it doesn’t end up in my work all that often, or it ends up pretty muted and earthy by the end. When I was lighting the sculpture upon which this painting is based, I knew I wanted to do something with the red lights I had. As with previous work, this painting explores entanglement as both a compositional structure and as an artistic idea. The representational part of the painting is pushed as close to a photographic rendering as I could at the time. Meanwhile, I’ve contrasted that with flat graphic elements. I also wanted to do something interesting with the cast shadow of the form: whereas in some previous works in the series the main form either had a traditional cast shadow grounding the it to the illusion of a ground plane, or no cast shadow which left it floating within the shallow depth of the image, in Untitled Construct 5 I wanted to do something more specific with the cast shadow. The idea came to me to invert it to be pure white. Technically this was a bit of a challenge because the whitest oil paints take months to dry – so this work had quite a bit of ‘sit and wait time’ between layers. Personally, I enjoy the composition of this painting because the red attracts the eye towards the bottom left of the painting, but the contrasting movements in black, gray and white pull the eye up and over...

This painting is inspired by a non-representational compositional sketch that I turned into a sculpture and then an oil painting. Whereas previous works were treating the sculptural form strictly as a still life, in Untitled Construct 2 I wanted to bring the work back to its abstract origins. I lit the sculpture with colored lights...

I have sketchbooks filled with small thumbnail drawings which I usually base compositional arrangements upon. These are non-representational: just lines, arcs, mass tones, etc – basically just playing with formal elements. I had an idea to recreate these doodles as small sculptures. I liked the results, and wanted to have it feed back into my painting work as an intermediate step. That idea grew and I began lighting the sculptures with colored lights...

AS FAR AS A VISTA, 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 ...

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...

This drawing by Austin Reavis is from a series of abstract works that build lines and forms, suggestive of construction elements, as a foreground to chan...

A gift yet come to fruition, the boys destined from the start for greatness or infamy. Laid out before him, a life full of visions longing for a chance to be conjured and revealed.

Original Oil Painting Floral Still Life With a Peach Gold Frame Signed by Artist W. Hall

My favorite color is the blue of the sky in October in Tennessee. It is an intense, electric blue that is created in part through color theory: as the leaves turn, the reds, oranges,...

This is the largest work I’ve ever created, and so I went big with the content too. This work was inspired by great cathedrals and the works by master artists found in them. I thought of the idea of “ascension” be it the ascension of Christ...

Imagine the swelling sea in an electric storm—fútbol/soccer fans in a packed stadium at night, their thunderous roars in the moments leading up to kickoff, their focus on one player on the field, the tension in the crowd increasing exponentially in contrast to the calm confidence of an expert, the distortion of space and time as she moves her foot ever closer to the ball—The Creation of Adam—a growing...

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...

This is the first of my dimensional works which operates across multiple panels. The larger of the two is the first dimensional panel on which I put a curved edge, blurring the line ...

The composition in this work is a fractal pattern based on the golden ratio: golden triangles in which each larger triangle is divided into smaller triangles. The high-gloss black wh...

This piece was from a series that began in Olympic National park during my residency there. Foxglove 2 was the second iteration of the study that...

This piece was from a series that began in Olympic National park during my residency there. FOXGLOVE #2 was the second iteration of the study tha...

In my most current forest wanderings, I am consistently fascinated by the entanglements of species and how they tend to create their own ecosystem. Although the desolation of defores...

This piece is about the allegory of being “lost in the woods” and the many different things that can mean right now. I always come by a site for my paintings by wandering into the wo...

This painting was a revisitation of ‘Woodland Shrine’, upon finding yet another site with a deer skull, it seemed uncannily familiar. This moment with the woods documented in paint b...

Commentary portraiture and the vacuous shell that currently holds the human condition and the relationship between internal spirit and external exhaustion.

Echo IV is a composite of images collected from my daily surroundings (light, architecture, and botanical forms) combined and reimagined as an attempt to grapple with larger questions of ecology and mutability. Layers of paper and cut Tyvek are painted and manipulated beneath the surface – pushed and pulled in and out of focus...

Everybody Eats No matter what it looks like Hunters get their prey

Collaging fragmented scraps of magenta, orange, and black magazine, Sue Fox utilizes color and movement to express the sanguine beauty and catastrophic horror experienced during the ...

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

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

This 19th Century Primitive English Work Table is made of antique pine. With one large working drawer, and very unique stretcher bar, for stability, this side table is functional and...

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Amanda Joy-Brown is a visual artist based in Nashville, TN. She received her MFA from the Savannah College of Art and Design and has...

James Perrin’s abstract oil paintings create a visual language which, though appearing chaotic at first, reveal their meticulous craftsmanship and intuitive-driven intentions. In Pe...

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 ...

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...

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...

Andy Harding is a sculptor living and working in Nashville, TN. A range of interests from Eastern philosophy to contemporary science inspire and influence his work, but the practical...

A very good 19th century English mahogany cupboard side table. This table has a handsome paneled detail with lower cabinet storage. Dimensions 15ʺW × 14ʺD × 32ʺH

This is a 19th century English Barley Twist arm chair frame with lovely carving on the arms. It has been appointed with newly upholstered off white ...

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

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 ...

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 ...

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

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 ...

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 ...

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 video is an original artwork by McLean Fahnestock. It depicts a burning palm tree on black and white film. The artist has replaced the "fire" with gold glitter in this animation...

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 ...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

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 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 c...

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, but it is also due in a large part to global climate change and massive drought. Wildfires are not relegated to the western US. They happen across the country and often occur in the Smokey Mountains, just on a smaller scale.” McLean Fahnestock...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

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...