Keith Linton's work begins with contemporary, industrial products such as foams, plastics, and other synthetics. In their raw, original state, these appear cold and manufactured. His attempt is to enliven and give character to these materials through multiple processes giving them a sense of history. 

Collections of objects are assembled then taken to a detrimental state when a piece remains unresolved. This disregard is executed with intent of reproducing and showing evidence of uncontrollable and unforgiving energy, taking influence from forces of nature, the structure of the universe, as well as the artist's thought and creative process.

Revivication takes place with application of layers of paint, fragments left over from previous pieces, or fresh synthetics. Additions are made on an immediate basis and are intended to visually or structurally improve weak areas. This process of addition and subtraction provides several templates that are revisited.

- Keith Linton

Lisa Dupree places individual strands of very fine thread one at a time on a pencil drawing that has been sprayed with adhesive.  Depending on the detail of the piece, a work about 5in x 5in will take me upwards of 50 hours.  The subject matter thus far have been reminiscent, personal, to show skill, to show a love of color and shape, to pay homage to an artist, or to portray a loved one. 

"My long term plans for my thread medium are to do a variety of thread portraits of elderly women, expressly showing their famous wrinkles.  It will show the beauty of growing old and give us all something to look forward to, rather than something to dread.  Generally, that is what my thread work is for and that is why it is important to me.  I feel the need to show how awesome so many things are that are usually overlooked.  What better way to do that than with a medium that draws so much awe itself.  I also hope to inspire my viewers to work as hard as they can, and to know that if they do, they can accomplish exactly what they want."

- Lisa M. DuPree

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?