Tennessee - Mixed Media

"Rebel" 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 th...

"Cutting Edge" is an installation piece by Dustin Hedrick comprised of paint and artist's tape. The red artist's tape creates a geometric, abstract portrait on the painted blue walls...

"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...

"Cobwebs & Catacombs" is a site specific tape installation by Dustin Hedrick. This work explores portraiture by enveloping the viewer in vast fields of pattern & texture. Lines unfol...

"Green 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 arou...

REDSKIN 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 the...

"Window VI" is one piece in Heather Hartman's Spare Room series. Hartman’s work combines paper softly appearing behind polyester mesh to create the illusion of light glowing through ...

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...

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...

"GC Ms 5 Babel" by Yuri Figueroa is a mixed media painting that combines squeegeed oil paint, collaged newspaper, and meticulously applied gold leaf. "GC Ms 5 Babel" seems to celebr...

"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...

"He was beautiful without ever having spoken a word" stems from finding pattern and rhythm in the world around him. His paintings begin from finding places and ...

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...

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...

VANDYKE is a site specific tape installation by Dustin Hedrick. This work explores portraiture by enveloping the viewer in vast fields of pattern & texture. Lines unfold like cobwebs...

"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...

AUGUST 21 captures the 2017 solar eclipse in Knoxville, TN. This painting is is part of an on-going series that explores the light and landscape in Tennessee. Hartman creates an imag...

This is a multi-paneled painting of Heather Hartman's investigation into the light and landscape of Tennessee. earth tones are combined with violets to give space for the light, crea...

WHIRL II captures the soft patterned shadow of the leaves. This painting is is part of an on-going series that explores the light and landscape in Tennessee. Hartman creates an image...

In “Snake Eyes”, Eleanor Aldrich uses oil, silicone, enamel, thumbtacks, and sharpie on canvas to create a visceral exploration into a lounging back. The m...

Eleanor Aldrich’s mixed media painting “The Net Hammock” is a textural rendering of a figure resting in a sprawling hammock. Made of oil, enamel, silicone, caulking, and found trans...

"Fallen Sun Song" is created by bleaching black denim and piecing together garments dyed with ink. Grommets are used throughout the piece to show the wall behind it. A brass colored ...

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...

In POSSIBLE, IMPOSSIBLE, POSSIBLE, Peña combines representational elements of a bright green landscape in the background with a more abstracted silhouette of a house in the middle gr...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. 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 circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. 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...

"View" captures an environment exposed through an obstructions such as streaks on glass. This painting is is part of an on-going series that explores the light and landscape in Tenne...

"Window IV" captures the sun peering in behind sheer curtains. This painting is is part of an on-going series that explores the light and landscape in T...

MORNING captures the soft patterned shadow of leaves peering through a window. This painting is is part of an on-going series that explores the light and landscape in Tennessee. Hart...

THE LONG SUMMER captures the patterned light peering through the blinds on a late Summer's afternoon. This painting is is part of an on-going series th...

This painting is part of a series that explores the light and landscape in Tennessee. Hartman creates an image on paper then stretches a silkscreen on top of the image to create the ...

"Initially thought of The Struggle to Evolve Before the End of Time series as a linear progression depicting man’s struggle, pain and search for resolution. As time passed, however,...

Isobel portrays a minimalistic character of a cowboy holding two purple flowers in his left hand and a cigarette in his right. The smoke of the cigarette displays a scene of a woman, suggesting the cowboy holds memories of her. Using bold, confident strokes, Brandon Jones...

"Chaos Theory #10" is an encaustic-on-panel piece by Charles Ivey from his "Chaos Theories" series. Ivey uses the encaustic process of combining hot beesw...