I paint landscapes shaped by internal and external conditions I experience. I question how to make sense of and find closure in a world constantly evolving, a world where everyone and everything continuously grows. My painting process mimics my body’s movement as I create spaces of wonder and apprehension. Paint becomes my vehicle for contemplating change. I hope to remember that the act of transformation can be an overwhelming, terrifying, and surprisingly beautiful process.

What can grow does not always bloom, and what falls apart does not remain in pieces.

Artist Statement

I explore internal landscapes constructed from my environment, the human body, memories, and witnessing change through growth and destruction. Through my paintings and drawings, I question how to handle change when no one can ever fully predict or prepare for what the future holds. I often feel lost in the transition of change and the overwhelming, terrifying, and surprisingly beautiful spaces that can emerge from both malignant and benevolent growth. My process starts with painting from observation. I study nature, self-portraits, and the human figure collecting information like color palettes, textures, and forms that later merge into unknown internal landscapes. Working in this manner allows for the exploration of consciousness and documents my reactions to the constantly changing world we live in.

Artist Bio

Hannah Lindo is an oil painter from Garden City, Kansas who received a Bachelor of Fine Arts degree from Fort Hays State University in 2017 and a Master of Fine Arts degree from the University of Kansas in 2022. Lindo’s work is inspired by the act of looking and discovery, her paintings are observations from nature and the human body, and encourage the viewer to question their own intrigue when looking.

Belger Arts annual resident exhibition includes work by current Artists in Residence: Summer Brooks, Elaine Buss, Eleanor Foy, Sun Young Park, Adams Puryear, and Nicole Woodard. For the six artists, the past year has been one of processing and navigating uncertainty, while persistently evolving, creatively thriving, and laying the “groundwork” for what’s to come.

Summer Brooks’ figurative depictions of black women challenge constraining ideals of beauty. Pressed and carved hair textures, confront stereotypes and aesthetic standards, while her use of materials such as India ink and spray foam challenge the conventions of the ceramics medium. Elaine Buss’ sculptural forms include symbols that serve as a visual language that reveals her fascination with knowing and exploring. Her work invites the viewer to experience what has informed, comforted, and humbled her. Eleanor Foy’s work is heavily inspired by the American West. For Foy, Westerns embody and perpetuate the violence of our colonial past, and underscore our relationship to history, land, and language. Foy considers the construction of her lamps and sculptures an indulgence and a criticism of romantic Americana. Sun Young Park combines clay and non-clay materials to create large, abstract sculptures that reflect how she processes and translates her reality and explores the duality of the material and the conceptual. Adams Puryear documents pop and internet culture, combining traditional techniques and contemporary imagery inspired by the internet’s “anti-filter.” Nicole Woodard creates representations of the human experience by decorating her abstracted figurative busts and heads with drawings that reveal human resilience.

Belger Crane Yard Studios continues to host national and international artists through its Artists in Residence program. A residency provides ceramic artists the opportunity to expand their body of work or create a special project that may be outside of the scope of their routine studio practice.

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Belger Arts annual resident exhibition includes work by current Artists in Residence: Summer Brooks, Elaine Buss, Eleanor Foy, Sun Young Park, Adams Puryear, and Nicole Woodard. For the six artists, the past year has been one of processing and navigating uncertainty, while persistently evolving, creatively thriving, and laying the “groundwork” for what’s to come.

Summer Brooks’ figurative depictions of black women challenge constraining ideals of beauty. Pressed and carved hair textures, confront stereotypes and aesthetic standards, while her use of materials such as India ink and spray foam challenge the conventions of the ceramics medium. Elaine Buss’ sculptural forms include symbols that serve as a visual language that reveals her fascination with knowing and exploring. Her work invites the viewer to experience what has informed, comforted, and humbled her. Eleanor Foy’s work is heavily inspired by the American West. For Foy, Westerns embody and perpetuate the violence of our colonial past, and underscore our relationship to history, land, and language. Foy considers the construction of her lamps and sculptures an indulgence and a criticism of romantic Americana. Sun Young Park combines clay and non-clay materials to create large, abstract sculptures that reflect how she processes and translates her reality and explores the duality of the material and the conceptual. Adams Puryear documents pop and internet culture, combining traditional techniques and contemporary imagery inspired by the internet’s “anti-filter.” Nicole Woodard creates representations of the human experience by decorating her abstracted figurative busts and heads with drawings that reveal human resilience.

Belger Crane Yard Studios continues to host national and international artists through its Artists in Residence program. A residency provides ceramic artists the opportunity to expand their body of work or create a special project that may be outside of the scope of their routine studio practice.

Edit

Belger Arts annual resident exhibition includes work by current Artists in Residence: Summer Brooks, Elaine Buss, Eleanor Foy, Sun Young Park, Adams Puryear, and Nicole Woodard. For the six artists, the past year has been one of processing and navigating uncertainty, while persistently evolving, creatively thriving, and laying the “groundwork” for what’s to come.

Summer Brooks’ figurative depictions of black women challenge constraining ideals of beauty. Pressed and carved hair textures, confront stereotypes and aesthetic standards, while her use of materials such as India ink and spray foam challenge the conventions of the ceramics medium. Elaine Buss’ sculptural forms include symbols that serve as a visual language that reveals her fascination with knowing and exploring. Her work invites the viewer to experience what has informed, comforted, and humbled her. Eleanor Foy’s work is heavily inspired by the American West. For Foy, Westerns embody and perpetuate the violence of our colonial past, and underscore our relationship to history, land, and language. Foy considers the construction of her lamps and sculptures an indulgence and a criticism of romantic Americana. Sun Young Park combines clay and non-clay materials to create large, abstract sculptures that reflect how she processes and translates her reality and explores the duality of the material and the conceptual. Adams Puryear documents pop and internet culture, combining traditional techniques and contemporary imagery inspired by the internet’s “anti-filter.” Nicole Woodard creates representations of the human experience by decorating her abstracted figurative busts and heads with drawings that reveal human resilience.

Belger Crane Yard Studios continues to host national and international artists through its Artists in Residence program. A residency provides ceramic artists the opportunity to expand their body of work or create a special project that may be outside of the scope of their routine studio practice.

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Passages includes more than 30 sculptures, prints, paintings, and drawings all from the Belger Collection. Stackhouse was born in Bronxville, NY, in 1942, and moved to Florida as a teenager. He was one of the first students enrolled at the University of South Florida and graduated with a degree in studio art in 1965. He later earned an MFA from the University of Maryland. His two-dimensional artwork often documents large-scale outdoor sculptures that were created with his students and volunteers. Many of them were of a scale where visitors could enter and pass through the installations. Often A‑frame wooden structures, the sculptures were literal passageways through art. Frequent imagery in Stackhouse’s output includes boats and ships (reflecting earthly and spiritual passages) and snakes (symbolic of regeneration and death). He was also especially intrigued with the process of a snake shedding its skin and slithering away afresh.

Early in his career Stackhouse maintained an active studio in New York City, while commuting to Washington, D.C., to teach at the Corcoran School of Art, and working on outdoor sculpture events throughout the country. In the mid-1990s he moved to Kansas City, teaching at the Kansas City Art Institute, continuing to create outdoor installations locally. Stackhouse and his wife and collaborator, Carol Mickett, have resided in the Tampa area for two decades. They continue to work on national public installation projects involving volunteers during the fabrication and installation process.