George Downing | Rafter Special | Mixed Media | 39
Janis Pozzi-Johnson
What We Can't See
Oil on canvas
12
Kevin T. Kelly
The Infidels
Acrylic on paper
22
Thomas Petillo | Rebirth Number Seven | 8
Julia Martin
The Belle Boys' Advantage
Oil on canvas
48
Dan Addington | Light of Desire | Oil, wax, tar on wood | 34
Erin Anfinson | Collapse 2 | Encaustic on paper | 10
Antoine Claes | Embacle II (Obstruction II) | Oil on canvas —Antoine Claes
Christpher Priore | Reaching High and Low | Translucent lacquer on vinyl, nail | 50
Gabriel Mark
Love and Vice
Oil on Panel
40
Portrait Chair —Brett Osborn
Gloxinia Buds —Tom Baril
Dan Addington | Washed by Time's Waters | Oil, wax, tar on wood | 9
Brandi Milosavich
Grey Light and Branches 
Mixed Media on Panel
48
#452
2002
Acrylic, cotton, wool on linen canvas
60 x 30 in. —Joyce Melander-Dayton
Michael Brown | The Clown | Acrylic on panel | 11
Susan Roberts
Organic Forms (Blue)
Graphite and acrylic on paper
7 x 9
Drew Galloway
Late Afternoon Study
Oil on collaged metal
20
Vapors
1998
Acrylic and jute on linen canvas
30 x 10 in. —Joyce Melander-Dayton
Kristina Colucci | 17 Year Cicada
| Encaustic block painting on wood | 4.375
Caleb Charland | Sun with Face Mirror |
 Archival inkjet print | 20
Thomas Petillo | Expand Number Six | 8
Masumi Nyui | Nice To Not Meet You | Ink on cut paper —Masumi Nyui
Jamey Grimes
Between Space
Corrugated Plastic
Dimensions Variable —Jamey Grimes
Gordon Chandler | JD Tank | Welded s teel | 38
Terrain 3 —Allen Peterson
Caleb Charland | Circles with Matches 
| Gelatin silver print | 20
Dooby Tomkins
Batman Steals Third 
Oil, acrylic on canvas
72
Frank Milo
Mina (triptych)
Mixed media on canvas
72 x 84
Emily Leonard /
Tree Portrait in Pink /
Mixed media on paper /
15
Michael Brown | Yellow Spots | Acrylic on canvas | 20
Kristina Colucci | Vise #1 | Pewter, Wood, Steel | 12

L.A. Bachman

L.A. Bachman | Sprout | Mixed media on paper | 8

Artist Statement

Children know what they like and dislike before they develop the cognitive skills to explain their personal preferences. Through this series I want to catch people with the instant visual enjoyment of the drawings and paintings before the viewer has a chance to think any further. I have found that eluding to natural shapes amidst unrecognizable ones sooths people. Recognition can be a powerful force when faced with an unknown; therefore I incorporate organic patterns, as an offering of comfort.

Biography

L. A. Bachman investigates the effects of art on developing minds both young and old. In recent works, Bachman focuses on the principals of art and design as a subject matter. She revisited the principals of art and design after teaching high school and elementary students. Over the course of a semester she observed the dually calming and alarming effects of discussing art with students. When referencing the similarities between art and sports, (hand-eye coordination) and math, (value + proportion = perspective) some of art’s mystery was taken away; the objectivity was challenged.

The myth that artists are merely gifted or have a “God-given” talent is shaken when principals are introduced. Aesthetics has a science and philosophy to be learned and studied. This hesitation of the art novice to embrace abstract images inspires Bachman to create delicate, biological, abstract drawings. These drawings possess some recognizable shapes. The work also leaves room for the viewer’s interpretation, much like a child finds objects concealed in cloud formations or a psychiatrist’s use of a Rorschach blot.

Outside of making art, Bachman takes advantage of opportunities that incorporate the arts in various forms. An ongoing facet of her involvement in the art community has been working as a studio manager and personal assistant for the nationally known artist Adrienne Outlaw. Bachman is most recently collaborating with Justin Tam and Jamie Bennett in their LP release of The Pace of Our Feet. Bachman holds a BFA from Belmont University and a K-12 teaching license from the state of Tennessee. She originates from St. Louis, Missouri where her family still lives. Travel has been an intricate part of her ongoing education. What began as a May-mester in Florence, Italy through Belmont University in 2004 has led to many more artistic pilgrimages including Toronto, Canada, London, England, and most recently, Yonago, Japan. Interacting with other cultures and the arts of those cultures affect Bachman’s personal work.
 

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