As a young boy in a poor family in Dallas, Young was determined to “do something that nobody else could do.” Around age 15, he entered one of the ubiquitous Art-Course-By-Mail contests advertised in a magazine. Faithfully copying the image of a young woman, Young was accepted into the course. He quickly became frustrated with the rote copying that the course required and soon gave it up so he could “work from my mind.”
Fortunately, while attending high school in Dallas, a teacher recognized Young’s artistic ability and selected him for a Saturday morning scholarship class at the Dallas Museum art school. There, Chapman Kelley, a well-known artist and teacher, saw Young’s natural talent and encouraged him to follow his own muse rather than imitate standard art world forms and processes.
Usually Young draws in pencil on brown wrapping paper. The paper is unrolled to the desired length, depending on the specifics of the image, from one foot to over five feet in length. The finished works are then, once again, rolled up scroll like and can stand for years in the corner of Young’s bedroom. He has also produced numerous drawings in sketchpads, with each page a subtle variation or deviation of the previous page in composition or form.
Stephanie Wilde is known for her elaborate and detailed work, which at first glance seems to be from another era. Wilde explores social and political issues, in a subtle and suggestive way: using symbolism and history as a constant reference, reaching her viewer through complex narrative.
Wilde is a self taught artist, who has exhibited over a period of three decades. In 2010, Wilde's work received recognition by some of the most respected collections. The Library of Congress, Washington DC, recently included in their print collection (AIDS forms the Tally). The New York Public Library purchased her AIDS work (AIDS forms the Tally) and the suite was chosen for Recent Acquisitions: Prints and Photographs, an exhibition celebrating the Stephen A. Schwarzman Building's Centennial in 2011. The Victoria and Albert Museum, London, England included her AIDS work (Slim) in their permanent collection. The Crocker Museum, Sacramento, California included her AIDS work (AIDS Forms the Tally) in the permanent collection. Scripps College, Claremont California included her work (I'm a 950 but want to be 1000) in the permanent collection
T. A. Hay
Thomas Andrew Hay was born in Clinton County, Kentucky, where he grew up on his family farm before leaving home at age fifteen. After several years spent “hobo-ing” throughout the United States and working as a map sketcher for the British military in World War I, he returned to Kentucky, where he would spend the rest of his life. It was not until Hay was in his late seventies, unable to keep up with farm work, that a woodworking hobby gave way to greater creative expression. He began creating simple, yet refined, images using accessible materials. With shoe polish for paint and his finger as a brush, he decorated gourds, wood blocks, paper plates, found styrofoam, and his own hand-carved sculptures.
Though his work may at first appear as conceptually simple as he has presented it visually, T. A. Hay’s work is imbued with meaning. He displays an innate ability to distill forms into fundamental, yet recognizable, geometries, bringing to mind Alabama artist Bill Traylor. The two-dimensional pieces exhibited in “Farm Works” depict such subjects as horses, ox shoes, and spinning wheels, his ardent repetition of which mirrors the meditative routine of farm labor. During his life, he occasionally received local press and visits to his home to view his art, but Hay’s work has not been widely shown.