We are hosting a private event this afternoon, but will be open from 7 – 11pm and will have our Happy Hour specials running from open-close. $2 off select draft pours, $2 off wines by-the-glass, 1/2 price select whiskey pours, and $3 Stockyards Cerveza Royale cans.

butch Murphy’s sculpture practice came late in life when searching for a meaningful form of expression and creativity. Through his journey, Murphy was mentored by long-time friends, artists Michel Beaudry and Bonnie Baxter, as well as life-long partner, Corva with her foundation in Art History. Murphy’s work has been exhibited in several local galleries, with a solo show at the Ashby Hodge Gallery of American Art. He has developed several ongoing venues for public display of his work throughout mid-Missouri, the Kansas Flint Hills, the Kansas City metro area, South Carolina and Oklahoma.

I’m the creator, fabricator and abstract metal sculptor, autodidact by training, combining new and found carbon steel producing representational forms. I make no drawings beyond a simple chalk drawing on my work bench. Stealing words from Jackson Pollock, as I’m producing my sculptures there is a definite period where I spend time just getting acquainted, thus providing direction and evolution. I create to instill a degree of spectator confusion asking for responsive participation. Although in recent years I’ve focused on horse sculptures, I’ve been inspired by such things as a reflection on the ceiling or an early morning dream, many that just vaporize, fortunately. I don’t see myself being trapped by a leitmotiv, however, I am definitely captured by geometry and the Cubist movement. I’m taken by the layering three dimensional effect seen in paintings by Braque and best described by what Donald Baechler defined, and I borrowed, ‘editing’. For now, each production is a study … never expecting perfection, as that would eliminate the search, and for me, the end. — Murphy

Melissa McCracken was born in Kansas City, Missouri in 1990. She graduated with a B.A. in Psychology from William Jewell College in 2013, but ultimately pursued a career in the arts post-graduation. As a synesthete, she utilizes her unique ability to see colors in the sounds she hears. Many of her paintings incorporate vibrant colors and lively textures to depict the movement of music. Implementing the effects of both palette knives and brushwork, McCracken seeks to convey the swirl of colors embedded deep in her mind’s eye. Layered blossoms of color and streaks of white create cosmic-like scenes, evoking new perceptions of melody and rhythm in her audience. Through her work, McCracken strives to unmask the elusive areas of the world we encounter, allowing a refreshing experience of the familiar.

I believe that we too often view the world through a singular and narrow lens, only allowing our habitual and empirical experiences to inform our perspective. Through my work, I hope to widen that lens, even if it is at the smallest degree.

By incorporating elements of synesthesia, I create a visualization of music. My hope is to transcend traditional interpretations of experience and to reimagine the familiar. Intended to feel elusive, I invite the viewer to envision the potential of each piece in their own regard, thereby making the final product one of collective consciousness. — McCracken

Gimme Ten, celebrates ten years of The Hand Magazine. The show features a dozen artists from the United States and Mexico. Their work spans a range of subject matter, topics, techniques, and visual styles. 

Raul Pineda Arce will be showing work in the United States for the first time. His expertly crafted mezzotint prints address violence and loss through beautifully rendered, haunting narratives. Haley Younce creates delicate intaglio prints on tissue paper that are, “inspired by the investigation of coping mechanisms throughout [her] mental health journey.” Jeanne Arenz, Andy Holiday and Lijun Chao, Locus Chen, and Patty deGrandpre use printmaking techniques to create abstract works that bubble and twist with color and energy. Steven Mastroianni’s large scale cyanotype prints combine drawing and cameraless photographic process to create “dream-inspired micro/macrocosms”. Stephanie Kolpy, Maureen Mulhern-White, and Matel Rokke use various combinations of print and photography in their works, all of which combine animal imagery with vibrant color, architectural forms, and hallucinatory landscapes. William Hays’ multi-colored relief prints are inspired by his memories and impressions of landscapes. Catherine Kramer is the youngest artist in the show. Kramer is an MFA student at the University of Miami. Her stunning intaglio prints are inspired by botanical illustration and her visits to botanical gardens.

Bio

Founded in April 2013, The Hand Magazine is based in Prairie Village, Kansas, USA. It is owned, published and co-edited by Adam Finkelston. James Meara is lead designer and co-editor. Together, Finkelston and Meara curate each quarterly issue from submitted images from around the world. The Hand Magazine is dedicated to the support and exhibition of hand-made artworks using mechanical or reproduction-based processes. The goal is to present the most innovative and unique contemporary photography, printmaking, and collage artwork in the world. “The Hand” is about connecting artists, serving as a resource for artists and enthusiasts, and building bridges across creative communities. Let’s join hands. More information is available on the magazine website: http://www.thehandmagazine.space…

ʻŌLELO NOʻEAU #230

ʻAʻole noi ʻike ke kanaka i na nani o kona wahi i hānau ʻia ai.

A person doesn’t see all the beauties of his birthplace.

You don’t realize how beautiful your home is until you go away.

-Mary Kawena Pukui, Ōlelo Noʻeau: Hawaiian Proverbs & Poetical Sayings

Though it can be interpreted in various ways, “kuʻu ēwe, kuʻu piko” can be translated to mean “my umbilical, my navel” in Hawaiian. I use these words to refer to my connection to my Native Hawaiian ancestry and to emphasize that this connection is still intact.

It is to acknowledge the ancestral ties that I have recognized have been strained, or in some instances, completely lost within my family. 

Thus, this body of work showcases my ongoing journey to reacquaint myself with my multicultural background and utilizes aspects of the land, the various cultures, and the histories present within Hawai’i to foster a stronger connection and understanding to my home and how my relationship to it will change. 

Artist Bio

Tiana Nanayo Kuuleialoha Honda was born and raised on the island of Hawaiʻi in the small town of Hilo. Though her cultural background consists of several mixed ethnicities, she primarily identifies as Native Hawaiian (from her mother) and Japanese (from her father). Tiana received her B.A. in Art with a minor in Japanese Studies from the University of Hawaiʻi at Hilo in 2019 and will receive her MFA in Visual Art from the University of Kansas in 2023.