The Framemaker will present “Four Hand Compositions” by artists Billy Renkl and Greg Sand as part of Clarksville’s First Thursday Art Walk on December 5. An opening reception will be held from 5 p.m. to 8 p.m. and will remain on display at the Framemaker throughout the month of December during normal business hours (Monday through Friday 10 a.m. – 5 p.m.).
Originally from Birmingham, Ala., artist and educator Billy Renkl currently teaches drawing at Austin Peay State University (APSU). He earned a Bachelor of Fine Arts degree in Visual Communications from Auburn University and a Master of Fine Arts degree in Drawing from the University of South Carolina. His work has been featured in many solo and group exhibitions, including solo shows at The Cumberland Gallery (Nashville, Tenn.), Marguerite Oestreicher Fine Arts (New Orleans, La.), Vanderbilt University, The University of Kentucky, The Tennessee Arts Commission, and the Galerie Neue Raume (Berlin, Germany). He is represented in several permanent collections, including The University of Alabama at Birmingham, Kiwanis Club International, The Tennessee State Museum, and The College of Notre Dame, Baltimore. In addition to gallery exhibitions, Renkl has worked with many clients on illustration assignments, including Southwest Airlines, How Magazine, Vanderbilt University, Klutz Inc., Strategy & Business, The River Styx, Poems and Plays, and Rigby Publishing.
Greg Sand currently produces artwork in Clarksville, Tenn. He received his Bachelor of Fine Arts degree in Photography from APSU in 2008. Sand explores the issues of existence, time, and death through the medium of digital photography. Sand’s images address the nature of photography and its role in defining reality. He has won the acclaim of both jurors and audiences. In 2009, Sand was selected by critic Catherine Edelman and the Griffin Museum of Photography as one of “the most exciting new artists emerging in the world of photography.”
In the exhibit “Four Hand Compositions” Renkl and Sand have collaborated together to create a new body of work that refutes the paradigm of the artist working in isolation. The title refers to ‘four hand piano’ — a duet intended to be played by two musicians on the same piano. Although both artists primarily use found imagery, they work with it in uniquely different ways. An example of this is: one artist emphasizes accrual while the other artist often employs subtraction.
The artists state, “Over the past seven years, we’ve each used the other as a ‘sounding board’ when discussing our individual bodies of work.” They continue, “Recasting our studio practice has been surprisingly easy because the act of collaboration favors regard over self-regard, conversation over solitude and empathy over self-expression. It is a relief to have a voice outside oneself to ratify what is effective and clarify what is not.”