Che Rhodes received his Bachelor of Art degree in 1995 from Centre College in Danville, Kentucky under the direction of Stephen Powell. He then went on to study with Jon F. Clark at Tyler School of Art, Temple University in Philadelphia, Pennsylvania. In 1998 and 1999, he was employed as an instructor at Tyler School of Art and Hot Soup Studios in Philadelphia.  He is currently represented by the Tobin Hewett Gallery in Louisville,  Kentucky.

Recent solo exhibition venues include Gallery HQ and Millenic Glass, both in Kansas City, Kansas. He is a former member of the Glass Art Society Board of Directors and was head of the Glass Department at Southern Illinois University, Carbondale from 1999 through 2004. Che is the director of the glass program at the University of Louisville.

Matthew Weir is a sculptor in Louisville, Kentucky. His past work is diverse, comprised of stone and wood carving, blacksmithing, bronze sculpture, and synthetic material works.

Matthew makes sculpture in various forms and materials, additions for interiors and other conceptual projects. Presently, he is working on a piece for St. Xavier high school from whom he was commissioned to create a life-size bronze tiger.

Weir’s range is broad, yet ultimately his own. His lineage in Louisville sculpture is one owed to and trained from a strong line of living and deceased artists. His sculpture works are of the highest quality of material education, his conceptual installation work: challenging yet demanding.

The series From Ozzie to Ozzy documents almost six decades of television families, and is intended to promote discourse concerning cultural shifts and perceptive changes of what family is and the dynamics of how it may operate in a given time and place, with a set of particular circumstances.

-Russel Hulsey

Through his comparisons of these make-believe families that we know so well, Russel Hulsey invites us to examine what popular culture tells us about family. Why do so many people want to be just like the Brady family and see the Munsters as odd? The blurry appearance of the images brings to mind time past and questions how our perspectives toward these families and family in general have changed.

-Karen Gillenwater

In this particular set of prints Hudson juxtaposes two movements in the history of art and design; Minimalism and Rococo opening up each piece to the viewers own interpretations on decoration, pop art and pattern.

These are part of a larger body of work that will be exhibited as a large scale installation including paintings, prints, and wall drawings.

These moving and static images capture coldly volatile and uninviting factories, razor-wire fences and dumping grounds. Human subjects fade in and out in front of these alienating "placeless" landscapes, as they playfully illuminate the scene while engaged in activities such as eating an ice cream cone, blowing up balloons, and laughingly exposing a carefree spirit.

The merging of these two seemingly disconnected worlds strikes a contrast between disturbing and joyful. Can the viewer derive meaning based on past personal experiences shared with the subject and the landscapes? Is it possible to harmonize these worlds, and if so, why should we?