Frank Herrmann: Theories and Works

Narrative, words, journey and process: they are words that are in almost every artist’s vocabulary, yet they have a personal and unique meaning to each individual who values them. As a 20th and now 21st century artist, Frank Herrmann has his own passionate context for those words, along with many others. His creative journey is continuously influenced by Rembrandt’s 17th century Europe. Although they are from different times and their painting processes are incredibly diverse, Herrmann more identifies with the inspirational mentalities of this past era. The most exciting part of his painting journey is that which has yet to be created. As with Rembrandt, there is a lure into that of the unseen and a suspense of what is on the other side of the easel which Herrmann speaks passionately about in his artist’s statement:

“Rembrandt’s The Painter in His Studio, while providing a self-portrait of the great painter, wordlessly conveys a description of the creative process itself. The viewer is deprived access to the artist’s work- in -progress—and Rembrandt delivers the lesson. We are invited to speculate, not only on the subject of the artist’s painting, but also on the artist’s role as a conduit and filter for ideas and concepts, facts and visions. The physical painting is a portrait. What I find more compelling, however, is the promise of the painting Rembrandt conceals from us. The Painter in His Studio has always held meaning for me as the artist’s comment on the synergy between subject and artist—between the viewer and the viewed. “Studio” serves as a metaphor for what I see as the process and –just as importantly—the promise of a painted work.”

Herrmann’s paintings are nothing sort of being aesthetically inviting. He uses color and shape to create an abstract, layered space that not only suggest a narrative, but creates such depth that the viewer may almost feel that they can walk into the work. When looking at his paintings, the viewer’s eyes will be stimulated by multiple outstanding main aspects. Being influenced by oceanic art, Herrmann will utilize simple pattern, line, and color theory to create a depth that feels real. Conflicting shades and shapes have an ironic harmony that truly completes his paintings.

"Yupmakcain Terrain IV" dimensions: 84"h x 78"w material: acrylic, Mimika, Yamate shield rubbings on canvas

“Yupmakcain Terrain IV”
dimensions: 84″h x 78″w
material: acrylic, Mimika, Yamate shield rubbings on canvas

dimensions: 72"h x 58"w material: acrylic on canvas

“Nohunta” dimensions: 72″h x 58″w
material: acrylic on canvas

dimensions: 8h x 5.5w material: drawing

“Motif Sky 13” dimensions: 8h x 5.5w
material: drawing

dimensions: 84"h x 80"w material: acrylic on canvas

“Thinking: Fertile Map” dimensions: 84″h x 80″w
material: acrylic on canvas

Kevin Cole: Works and Atlanta Airport Commission

At eleven years of age, Kevin Cole began winning awards and gaining recognition for his unique and thought provoking art. Since then, he has been on a journey as colorful as the art that he creates.

Based in Fairborn, Georgia, Kevin Cole has been in the art business for over 25 years. Along with The Marta Hewett Gallery, his long resume includes prestigious institutions such as the Yale University Gallery, Phillips Collection, and the Philadelphia Museum of Art. Recently he has been awarded a large commission for the Atlanta airport which is currently in production. Located in the Maynard H. Jackson International Terminal, the installation named “Double Vision,” is 50 feet long, 6 feet high and 1.5 feet deep.

The energy and life in his work are greatly influenced by his professor and close friend, local Cincinnati artist Tarrence Corbin. Underlying themes in his creations all revolve around the general concept of the spiritual journey through life, and are conveyed by the use vivid color and shape. Although the actual images in his work may be personally significant to Cole, he wants the viewer to be drawn in by the spirit of the work and relate it to their own experiences. He feels his art will speak to anyone who has an open mind to hear it.

Double Vision Commission

Double Vision Commission

Double Vision Commission

Double Vision Commission

Tim Harding

42"h x 37.5"w cut silk

42″h x 37.5″w cut silk

32"h x 32"w Cut Silk

32″h x 32″w Cut Silk

Rich in color, light and suggested movement, Marta Hewett Gallery artist Tim Harding’s work is as unique as his process and inspiration. After originally working in painting and photography, Harding became interested in fiber/textiles. He is focused on creating an illusion of three-dimensional figures by use of light and shadow and figure and ground. Harding’s method of layering colors helps him create an almost pixelated quality in his works. This quality helps him achieve a vibrant contrast in value that is often associated with many impressionists. He has been inspired by a large spectrum of art from traditional oriental kimono forms to Rauschenberg and Rothko. Harding States “The lack of barriers between art and life in primitive and other non-western cultures inspires in my own work the commitment to peruse aesthetic investigation in a medium (fiber) traditionally outside of our own cultures fine art history.”
In addition to the Marta Hewett Gallery, Tim Harding’s work can be found in prestigious institutions such as The American Craft Museum, The Center for Tapestry Arts and The Minnesota Museum of Art.

Kevin Muente

Kevin Muente

“Dry Creek Bed, Kentucky” by Kevin Muente, oil on canvas 48″h x 96″w

Kevin Muente is professor of art at Northern Kentucky University. He received his BFA in drawing and painting from the University of Wisconsin-Milwaukee in 1994 and his MFA in painting from the University of Cincinnati in 1999. While working for nationally-known mural artist Timothy Haglund, he assisted in the production of murals at the Hyatt Regency in Milwaukee, the Johnson Wax Worldwide Headquarters in Racine, Wisconsin, and at several private residences.

Muente has exhibited his paintings in various national juried competitions and is currently represented by Richard J. Demato Fine Arts Gallery in Sag Harbor, New York; Heike Pickett Gallery in Versailles, Kentucky; and Gross McCleaf Gallery in Philadelphia, Pennsylvania. He has garnered several awards and honors including the Kentucky Arts Council’s Al Smith Individual Artist Fellowship, a Cincinnati Summer fair Aid to Individual Artist Grant, and Artist Residencies at Denali National Park and Preserve in Alaska and Rocky Mountain National Park in Colorado. Muente has previously taught at the Milwaukee Art Museum and Missouri Western State College.

Biography courtesy of

Eric Standley

Eric Standley received his B.F.A. from the Massachusetts College of Art and his M.F.A. from Savannah College of Art and Design. He is an Associate Professor of Studio Art and the Foundations of Art and Design Coordinator for the School of Visual Arts at Virginia Tech. He sleeps on rare occasions and dreams that with hard work and concentration he might one day become a modernist. He holds allegiance to a faith of his own construction, which is reinvented on a daily basis.

Biographical information courtesy of

Eric StandleyMHG Standley_Either_Or_Newmarch_7_x_7_in_cut_area

Gallery hosts AEQAI holiday gathering


The Cincinnati-based e-journal for critical thinking, review and reflective prose on contemporary art, AEQAI, gathered for an evening full of discussion. Attending were AEQAI writers and board members including AEQAI editor Dan Brown, City of Covington Art Director Cate Yellig, author Karen Chambers, Northern Kentucky University English Graduate Program Professor Dr. Robert Wallce, artist Kevin Muente, artist and board member Jens Rozenkrantz, among others. AEQAI offers articles to invigorate the imagination and thought of its reader while stimulating artists and curators to produce better artworks and exhibitions.

The word ‘AEQAI’ was selected as a mispelling from a reprint of Livy’s text for the ‘Aequi.’ The Aequi were the peoples that Lucuis Quintus Cincinnatus of ancient Rome conquered upon his famous brief tenure as a ‘temporary’ dictator. He crushed their rebellion and then reintegrated them into the burgeoning empire. It is a playful analogy to the artist community since it implies the inevitable incorporation of the avant garde into mainstream culture. AEQAI states, “We creatives are the Aequi.”

Striking new paintings available by Kevin Veara

Veara Miasma #37

Kevin Veara is fascinated with the density of life in the natural world. There is an elemental aspect to nature that recalls the primordial soup from which all life springs. Nature teams with abundance and beauty, but there is fierceness as well: eat or be eaten. Veara captures these intertwining images in his new paintings Miasma #37 (above) and Miasma #38 (below), acrylic on wood panel.

His paintings focus on birds and plants of the Sangamon River Valley, near Springfield, Illionois, that are found in the steep, forested banks and flood plains of the Sangamon River. His array of avian life, native and migratory, are often pictured as encircled by menacingly sharp-leaved plants that remind us of human complicity in climate change, habit fragmentation, invasive species and genetic modification. “I create omnivorous plants to represent the environment,” Veara said.

Veara Miasma #38

Veara’s studio is surrounded by forest that is home to myriad species of birds, many of which he can see at feeders outside his studio windows. “Out here in the country my observations of birds have solidified my ideas about natural time – a calendar based on the arrival and departure of birds, such as the Juncos that arrive in the fall from the arctic for the ‘warm winter’ and return to the arctic in the spring,” Veara said. This part of the Sangamon Valley is as far south as they come. Birds use the area to breed. And Veara has always had a great liking for birds, as he sees them as a barometer of the quality of the enviroment.

Their populations rise and fall in response to the quality of the environment. Being in the forst makes Veara more aware of his surroundings. “The house puts me in the middle of it, this process,” Veara said. He has drawn several hours each day for the past 18 years. His paintings begin with drawings on tracing paper which are transferred to a gesso prepared, wooden panel. The boards he paints on are thick and project the final, painted image out from the wall, giving each a distinct solidness and particular space.

To view other paintings by Kevin Veara, visit his artist page on the gallery website.