THE NEW SOUTH III :: June 22 - July 27

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7:00 - 10:00 PM
exhibiting through July 27

The New South III June 22 - July 27, 2018 | Kai Lin Art is proud to host our third annual juried exhibition of works on paper, The New South III. The show explores the contemporary South through the perspectives of 60 artists living and working throughout the Southeast. From over 1,000 submitted artworks, 75 pieces were selected for the exhibition.

Overseeing the selection process this year are our jurors Justin Rabideau, Director of The Bernard A. Zuckerman Museum at Kennesaw State University and Larry Jens Anderson, Professor of Art at The Atlanta College of Art & SCAD-Atlanta.


In The Studio with Kevin Palme

1. Tell us a little bit more about yourself, your background school/teaching and how you found your way to Asheville?

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I grew up in NJ about an hour from New York City and attended Wake Forest University as an undergraduate. The art program there was small but had great professors who pushed me to refine my craft and my inquiry into my work. After school, I moved to Portland, OR for a couple of years and got to spend a lot of time hiking and taking in a different part of the country. We loved it there but ultimately, the rainy season was a bit too long and we moved back east to Savannah, GA where I attended the Savannah College of Art and Design for my MFA in painting. At SCAD, I met great artists and instructors who really helped me understand what my work was about and why I was making it. Following our time in Savannah, we moved to Asheville, in 2003, and have been here since. Asheville made sense for us for a lot of reasons, it was a midpoint between the north and south (my wife grew up in the southeast) and we had both gone to undergrad in NC. We had a few friends here who sold us on what a great town it is. It is not too large but offers some of the advantages of living in a city. But maybe most importantly, Asheville has a great reputation as an arts town. There's a rich history here as we live just 20 minutes from Black Mountain, the site of Black Mountain College. Its influence can still be felt today in the thriving and vibrant art community here.

2. Describe your process and why you've chosen ice cubes to paint.

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My process is more traditional than I used to imagine it would be. I was fortunate to have the opportunity to work with a few professors who really understood traditional painting and how many of the masters approached the chemistry of painting. Additionally, I had the chance to teach Art History for a few years at a local community college. Both of these experiences led me to question my own methodology and approach to painting and gave me a deep appreciation for traditional materials and techniques. So, I paint using formulas derived from Renaissance era painting to create transparent layers of paint to create complex and jewel-like color. That said, I don't work using only natural light or strictly from life and I use drying agents to help move my process forward.

I build, stretch, and prime my own canvases because I view those beginning stages of working like building the foundation of a house. It's a very physical and tactile part of the process and I really enjoy it. Typically, each canvas gets four to six layers of gesso to begin to create a good working surface that buries the canvas texture. Then, several layers of transparent paint are applied in increasingly refined and smooth applications, always careful to use good chemistry, to create a minimal field of color and atmosphere. At this stage, I am establishing a visual sense of depth in the picture plane while reinforcing the flatness of the surface. It's a dichotomy that I employ and one of my traditional holdovers from classical painting; the image is flat but is an illusion of depth. The ice cubes are painted during the latter stages of painting and I work using the light rather than the shadows. The negative space provides the darkness and I am adding light. This idea of painting the light is both practical and ideological for me. Working from photos that I have taken, I work broad areas of value and add increasing detail, beginning with larger brushes and ultimately ending with very small brushes. Often, I glaze back over the top of the ice cubes to bury them into the atmosphere of the canvas and then repaint them, almost as if I painted the back half of the cubes and then the front half.

3. Your work explores the temporal nature of existence. What are your thoughts on life as it relates to art and the meaning of it all?

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I began painting ice cubes a few years ago after a conversation with my wife. I had painted minimal abstraction for several years and was considering a shift in my work. I landed on ice cubes for a couple of reasons. Formally, ice offers a great challenge in terms of values, pattern, and painting a representational image of a transparent and translucent object. Subjectively, ice is a great metaphor for a variety of ideas and can take on numerous meanings depending on the viewer reading the work.

A major part of the reason that I am painting ice is the temporal nature of life and the idea that ice is fundamentally temporary. It melts and changes forms really quickly so the idea of painting it is interesting to me in that I am laboring over a mundane and temporary subject. In the paintings, ice can be a metaphor for a person, a building, a society, the environment, all of which are temporary even though we sometimes take that for granted and treat life as though it's permanent. The fact is that life is always changing and these paintings capture a moment in time; in that way, they become memorials or at least memories.

4. Do your children influence your art practice?

I have three daughters and while I would love to say that they influence my work, I am not sure I could say that fairly. They often make suggestions about what I should paint or what color I should use, and I am always ready to hear their feedback. While they may not directly impact my work in an overt way, they're an important part of who I am and must subconsciously affect the work. They do sometimes come to the studio with me, especially during the summer, and paint while I work which can be really fun.

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5. What does beauty mean to you?

Beauty is really important to my work and has been for several years. Of course, beauty is extremely subjective, but I still feel like its worth pursuing in my work. As I was learning art history in more depth as an undergraduate, I saw so much work that seemed to deal with an anti-aesthetic as a challenge to the conventions of the artworld and to taste. That certainly has its place in the artworld, but for me, my work is a means of establishing a connection with a viewer based on something beautiful. In that sense, it is an act of hope or compassion when I make something that I hope is beautiful.

6. Do you have any suggestions for emerging artists that are coming out of art school?

Work hard, be disciplined, and if possible, find a community of artists. One of the most difficult things about leaving school and beginning a career as an artist is that there aren't assignments or a community to keep young artists producing. It can be challenging to come up with ideas and deadlines. Set up goals to make a certain number of pieces in a given time or to work for a specific number of hours each week and stick to it. I am fortunate to work in a group studio where we hold each other somewhat accountable. Ultimately, there are no consequences, but the expectation is that we will be there on a regular basis and will be pushing hard to create new ideas and new work.


7. Tell us something interesting about yourself!

I wanted to be a brain surgeon and thought I would go pre-med before deciding to major in art but couldn't see myself studying that much chemistry.

8. Where do you see the progression of your work heading?

I never really know where the work is going in the long term. I think I'll probably paint ice cubes for at least a little while longer because there are so many opportunities to take the work in a variety of directions that I don't see myself getting bored with it. Most importantly, I see myself continuing to push my ideas and practice to keep improving. My goal is to treat art-making as a lifelong path where one work or one series of works leads to the next so that over a long period of time, a thread emerges and defines my life's work. And hopefully, at the end of it, the work is still getting better.

See Kevin Palme's paintings in person at Kai Lin Art as a part of Magic through June 16th
12:00 - 6:00 PM Wednesdays - Fridays
12:00 - 5:00 PM Saturdays
& by appointment

404 408 4248 | INFO@KAILINART.COM

The Art of Larry Jens Anderson

"Being an artist has always been akin to being a magician. I make things appear where there was emptiness (i.e. blank paper). The subjects vary but the concept of pulling things out of the void remains the same. In this body of work I directly apply the concept of the rabbit and the hat plus drawings and paintings of the magician. Life is full of those who appear and disappear as to who they are. A businessman becomes a Klan member becomes a dunce. A feather is decorative and its delicacy becomes a knife blade. The magic of illusion on the picture plane is endless and exist as a depiction of varieties of alternative realities. Subjects included also include notations on current events concerning death and politics. These recurring themes are right there; questions calling out for visual commentary."

404 408 4248 | INFO@KAILINART.COM

Larry Jens Anderson is an Atlanta-based artist with a MVA from Georgia State University. His work has been exhibited extensively throughout the Southeastern United States and is included in numerous collections including MOCA GA, the Museum of Modern Art’s book collection, and the High Museum. His career has included video, painting, installations, performance, sculpture, and drawing. For over thirty years, Anderson has been a professor of art in colleges in Atlanta and currently teaches at Savannah College of Art and Design. Anderson has also curated numerous group shows across the Southeastern United States and is a founding member and curator of TABOO artist collective.

For more on The Art of Larry, visit his page by clicking this link

The Art of Andrew Catanese :: artist selected for MARTA Midtown Mural

Dear Collectors and Patrons,

We are so pleased to announce that our KAI LIN ARTist Andrew Catanese was selected as the muralist for the Midtown Atlanta MARTA Station!

WABE NPR: New Murals Soon To Decorate Midtown MARTA Station

The project will feature a vibrant color palette to illustrate vignettes from fables about friendship, unity, and communion. Celebrating Atlanta's diverse and collaborative community, Andrew's "use of lush natural imagery will transform the concrete into an urban oasis."

Andrew has also been featured recently in an article from ArtsATL

In the studio with MARTA muralist Andrew Catanese

For more on The Art of Andrew Catanese and for inquiries into the availability of the works currently on exhibition at the gallery, please connect with us!

Yu-Kai Lin
KAI LIN ART // // 404 408 4248

Andrew Catanese developed a body of work that engages in a process of myth making. The paintings adapt vignettes from Dante’s Inferno and places them in landscapes along the Chattahoochee River. Encounters with coyote and deer in the dark woods and along the liminal space of the river hold intrinsic symbolism akin to formal narratives like those in Dante’s epic poem. The works, through the incorporation of Dante’s writing, critically address archaic moral dogmas whose arbitrary values have never reflected the complexity of the human condition. Catanese imbues these places with myth and magic as a way to discuss how people form a sense of who they are and their moral systems based upon their surroundings. In doing so, the landscapes become important parts of a person’s identity as they learn and construct mythologies. 


MAGIC photos :: show extended June 15th!

Dear Art Aficionados,

We are pleased to share that we are extending our MAGIC exhibition featuring the art of:


The exhibition will now run through Friday, June 15th!

Please connect with us at the gallery if you have an interest in any of the pieces from the exhibition. Enjoy the photos below!


MAGIC Artist Talk :: this Saturday, 4-5pm @kailinart

Hello and Happy Summer! You are cordially invited to join us for our ARTIST TALK this Saturday for our MAGIC exhibition featuring the artists:


Saturday, May 19th, 2018
4:00 - 5:00 PM

See you on Saturday!

Yu-Kai Lin

The Art of Kevin Palme

We are surrounded by impermanence. Fleeting moments, shifting perspectives, and change all illuminate the fact that nothing in life is permanent. Daily and seasonal transitions, birth, growth and death all remind us of the inevitability of impermanence. Even the most seemingly eternal landscapes will eventually succumb to time. We are left with memories. Abstract and residual, our memories are a means by which we can honor the past and recall experiences, relationships and parts of our histories.

Oddly enough, painting feels permanent. It is a means of documentation that can be quick or slow, but one that seems durable and in some ways, timeless. An image left on a painted surface is the tangible result of working with a flexible and changing medium until the arrival of an end. It is a path that allows for a memory to be made into something more concrete than an idea.

Towers, walls, and pyramids of ice cubes in various states of melting are, of course, impermanent. These ice structures were designed to fail and simply melt, returning to a prior state. Cast against dark backgrounds and photographed in high contrast light, there is something beautiful about these ice structures. The images feel dramatic and historical. There is also an element of absurdity in the act of committing these images to painting; ice is simply a temporary state of water that is destined to not to last, but a painting of ice seems like it could.

404 408 4248 | INFO@KAILINART.COM

404 408 4248 | INFO@KAILINART.COM

MAGIC | April 27 - June 15


April 27 - June 15, 2018

Opening Reception
Friday, April 27
7:00 - 10:00 PM
free and open to the public
Exhibition runs through June 15



MAGIC : APRIL 27 - JUNE 15 | Kai Lin Art is excited announce our third exhibition of 2018: MAGIC, featuring new artwork from Larry Jens Anderson, Greg Noblin, Kevin Palme and Andrew Catanese. Each of these artists work in a range of mediums from painting and drawing to photographic illustration. The artists of MAGIC draw inspiration from a fantastical world of imagination and inspiration. Featuring refreshing and vibrant imagery, MAGIC is the perfect exhibition to start Spring. 

Larry Jens Anderson, a longtime artist of the gallery and lauded Professor of Art at SCAD and the Atlanta College of Art has been an inspiration and mentor for many artists over his multi-decade art career. Anderson takes over our Grey Gallery for MAGIC with an experimental collection of paintings, watercolors, and drawings. Themes and motifs of illusions, alternate realities, death and politics weave through the body of work which explores the magic of illusion from making things appear where there was once emptiness. Much of the work challenges the viewer to consider how the unexplainable can continually occur. Though the subject matter may vary, Anderson’s concept of pulling things out of the void remains the same. 

Photographer and photo manipulation wizard Greg Noblin returns to the gallery with a new collection of his trademark panelist works. Drawing inspiration from twilight hours and liminal, the transitory space in Noblin’s images are simple and beautiful. Curious animals and quiet spaces find their way through the night sky and magically transport the viewer to a place of tranquil introspection. Noblin has been working as an artist and photographer since the early 2000’s and recently won International Photographer of the Year. 

Based in Asheville North Carolina, painter Kevin Palme brings his larger scale still life to Atlanta for MAGIC. Rendered with incredible technique, the ice cubes of Palme’s oil paintings dance between abstraction and photo realism allowing for considerations of the form and color as well as the life-like, temporary quality in each of the ice cubes. Palme’s cubes are frozen in state of rest but leaping out of the canvas with truly magical effects. The reflected images are visible in the melted foreground and the serene hues shift and change as the viewer moves through each piece.

Andrew Catanese developed a body of work that engages in a process of myth making. The paintings adapt vignettes from Dante’s Inferno and places them in landscapes along the Chattahoochee River. Encounters with coyote and deer in the dark woods and along the liminal space of the river hold intrinsic symbolism akin to formal narratives like those in Dante’s epic poem. The works, through the incorporation of Dante’s writing, critically address archaic moral dogmas whose arbitrary values have never reflected the complexity of the human condition. Catanese imbues these places with myth and magic as a way to discuss how people form a sense of who they are and their moral systems based upon their surroundings. In doing so, the landscapes become important parts of a person’s identity as they learn and construct mythologies. 
KAI LIN ART is an award winning contemporary gallery based in Atlanta’s booming West Midtown Arts District founded in 2008 by Yu-Kai Lin. The mission of the gallery is to cultivate creativity, connection, and conversation through art. Dedicated to promoting emerging and established artists in the Southeast and beyond, the gallery maintains an accelerated program with new exhibitions every six to eight weeks. Kai Lin Art is free and open to public Wednesday through Saturday and by appointment.




FRESH 2 | opening photos + mixer this Saturday!

Thanks to everyone for coming to our opening for Fresh 2! We had a blast hosting everyone as well as the 22 artists that are a part of the show. We would like to invite you to our:

Saturday, April 7th
4:00 - 6:00pm

FRESH 2 features :
atlTVhead, Lee Arnett , Inkyeong Baek, Lauren Betty, Andrew Catanese, Will Eskridge, Mike Germon, Phil Harris, Lisa Hart, Chris Hobe, Michelle Martin, Dustin Lee Massey, Art McNaughton, Landon Perkins, Stephen Philms, Carmen Rice, Chris Skeene, Freda Sue, Jesse Watts, Art Werger, Jay Wiggins (Evereman), and Kevin Palme

Enjoy the photos and see you Saturday!

If you are interested in any of the works from the show,
please connect with us or 404 408 4248!

404 408 4248 | INFO@KAILINART.COM

Piedmont House + Kai Lin Art partnership

We are pleased to announce our gallery has now partnered with The Piedmont House in Midtown Atlanta for a rotating exhibition of art curated from Kai Lin Art with new exhibitions each season. The exhibit is featured in the main lobby space of the luxury residence. 

The first exhibition features

for inquiries and interest in art, please connect with us @kailinart 404 408 4248

Piedmont House is a new 198 penthouse-inspired residence located in the heart of Atlanta, Georgia at 205 12th Street NE Atlanta, GA 30309



Enjoy this interview that our artist Greg Noblin had with Deposit Photos about winning the International Photographer of the Year competition for 2018 in the photo manipulation category 

FRIDAY, 16 MARCH 2018 15:23

Gregory Noblin was one of the winners of the International Photographer of the Year with his image “Whimsical Photo Surrealism”. The image won first place in the category “Fine Art: Photo Manipulation”. Gregory is an exceptionally talented artist with works that send viewers off to far away lands to dream a little. His winning photograph touches the surface of how deep each individual image from his collection is. Today Gregory shares his story, interesting tips and a pool of useful thoughts about the creative process.

Tell us a little bit about yourself and your creative journey.

I grew up in a small city in North Central Ohio. I often played with toys as a child and invented worlds for those toys to exist. As I progressed through school, I became involved in band and played music throughout high school. I went to college for music, however, a position opened up for me to work for General Motors. I dropped out of college and went to “work”.

I always wanted to do something creative with my life and I’ve always been drawn to those activities that require some creative thinking, such as cooking, music, photography, etc. I eventually transferred to a GM assembly plant in Atlanta, Georgia. After a couple of years there, General Motors offered buyouts to quit. I took that opportunity to fully embrace being creative, I used that money to go back to school to get a BFA.

Shortly before attaining my BFA in photography, I realized I wanted to do something more than commercial work. I had also fallen in love with Photoshop. I wasn’t very good, however, I realized the potential the software allowed me. I understood I could utilize the photography skills I had gained to photograph things in ways that would allow me to create those worlds I had dreamed up as a child. I found a creative process that could allow me to create the impossible.

How did you start your career? What were some of the hurdles when you encountered in the beginning?

Once I had graduated college I sent artist submissions to every gallery in Atlanta. Several replied, all but two were rejections. The work I created for my graduation show was too large for one gallery, however the other asked me to bring two pieces for them to review. Upon seeing the two pieces I was in the next show. Luck. There’s a quote by someone I cannot remember, but it says, “Luck is where opportunity and preparation meet.” That’s what began my career.

I had work on hand and a gallery needed one more artist to fill a show at the last minute. I also got some sales from that show, and because of that the gallery offered me representation. This happened in 2010 and I’ve been with that gallery, Kai Lin Art, ever since. Over the past 7-8 years, sales have been up and down but gradually increasing, yet it’s been a struggle. I’d say one of the most difficult hurdles, well it’s like this:

I initially came out of school with 15 pieces of work. My illustrative images had been printed and I mounted them to wood panel and put encaustic wax on them. They looked great, however I didn’t know what I was really doing. Having some issues with the wax, them being incredibly fragile, and me also not being any good at making wood panels, I decided to ditch that idea and went strictly with self printed giclées.

Eventually I found myself unhappy with the size and still loved the idea of larger pieces with a physical texture. This began a journey of getting better with making wood panels and finding the appropriate materials, such as gel medium. This process was loaded with failure and frustration. At times I’d have to make a whole new piece because of not completely understanding the process I was trying to implement or create. It was also during these times when sales would lag and I would immediately question if I should continue. Somehow I stuck with it.

How would you describe your style and approach to photography and photo manipulation?

I kind of fell out of love with photography and in love with Photoshop in college. I also feel that being in school at the time when the DLSR revolution was occurring really aided in the workflow process. It took a while, but I eventually came to understand it’s not so much the tools you use, but the image, message, or story being told.

People use cameras to document some moment in time, the reality of an event or location. I dispute this concept entirely. Even people on vacation alter this reality to get a better photograph. They move family members around a monument to get better lighting, tell the grumpy person to smile just for the camera. These little things are changing the reality of that moment. This makes me question the reality of any photograph. Are we really capturing reality, or our perception of that reality? Or are we completely changing reality to suit our desires, in this case, a more pleasing vacation photograph?

My style was a departure from that. My goal quickly became to take photographs and exploit the concepts of not being reality made from real things I photographed. When combined with my desires to create worlds or situations that can not exist I discovered I was able to create fantastic scenes.

I am also fanatical about texture. Textures are a visual and tactile expression of nostalgia to me. They create a history of sorts, whether real or imagined. Because of this calling back to childhood memories of imagination, I include heavy use of textures in my work, both in the digital image as well as the physical panel pieces. I am constantly photographing and building a catalog of textures to use in my images. 

My aim is to, hopefully, achieve images that look distinctively not like photographs but are completely made up from photographs all while holding a vintage and nostalgia quality to them. I want them to appear as though they are found bits from a lost story book.

Among your projects, which series or a single image is your favourite? What’s the story behind the project or image?

This is an interesting question. I certainly do have favorites and I like some for different reasons. By title I prefer “The View Is Wonderful”, “War of The Roses” “Misbehavin’” and “Mr. Penguin Goes On Holiday” and “Set Sail”.

I’ve noticed my images fall into three categories. First, there’s this overarching narrative of overcoming something and finding freedom or seeking freedom on an individual level. I believe we all share this desire to find freedom and happiness on the individual level, however we also recognize those things may require others to attain and other times are not completely up to us to decide what that freedom looks like. Sometimes it’s deceptive and not entirely free as we think. This reaches back to that perception of the reality idea. 

The second is more tongue-in-cheek and either ironic, such as in Bear Dance where a balloon bear dances with pins, or humorous like in Harvest where a Cow in a UFO is abducting hay bales.

The third category are the images that are usually devoid of animals. These are, I think, more about playing with the more surreal and often have a hint of Art Deco influence.

What technology/software/camera gear do you use that makes you productive and helps you deliver your best work?

For image capture I use a Nikon D610 with a 24mm-85mm lens. When I’m photographing the elements such as pillow stuffing for clouds, or toys and other small objects, I shoot them in a more traditional studio way, like one would for catalog work using strobe lighting on a table with the object surrounded by white mat boards / fill cards. The idea is to get the lighting as flat as possible so I can add the shadowing later in Photoshop. My strobes are 500w/s with softboxes and a wireless setup.

I use Photoshop and Bridge, I do not use Lightroom at all. My image library sits in an Atikio Thunder 4 bay box attached to a 5K iMac. The thunder box allows me to hot swap hard drives for backup purposes. I have two 4TB 7200rpm mass storage drives and everything else is Samsung 850 EVO solid state drives. Also, and most importantly, I use a Wacom Intuos 4.

Who were your biggest influences and where do you seek inspiration?

Easy question, Maggie Taylor is by far my biggest influence. Her use of nostalgic and vintage sensibilities were unquestionably influential. Also, her use of the square format, something I’ve recently departed from, influenced me a great deal. I was interested in the challenge of building compositions in a square constraint. 

Other main influences are Rene Magritte, Robert ParkeHarrison, and Mark Ryden.

Have you ever been in a creative rut/artistic block? How did you overcome it?

Oh my, YES. All the time. I think this is the natural state of any artist. There are only a few sure fire ways I’ve found to get out of a rut or block. Number one for me is to look at work. This is such an important thing. It’s when I look at other people’s work that I get more ideas than when I’m sitting in neutral. Something happens in the brain when we visually or audibly consume the creations of others. The work doesn’t necessarily need to be in the same direction but it triggers my creative neurons. I’ll also listen to music in the same genre of the image I’m trying to create. This sets up a soundscape for me to invent new situations or story vignettes in my mind. The third thing is to create work, even if it’s bad. Getting in there and just making stuff makes things happen. Waiting for inspiration will create long droughts of ruts and blocks.

What are some of the themes you explore in your works that are personally very close to you?

Throughout my life I’ve had many struggles. Some were near catastrophic others minor setbacks. If there’s anything I’ve learned in this life it’s that I am not unique and feel we all share common experiences through the course of our journey. I also believe we all have a base set of common desires. These are the topics I like to delve into with my pictures.  I also typically use animals as an allegory of the human desire or experience and attempt to present these vignetted stories in such a way where the viewer has as much to decide what it all means as I do.

When it comes to editing, you have a very distinct style. How long would you guess you spend on average editing a photo?

I’ve completed an image top to bottom in as little as four hours. Other times I have to take a break from looking at what I’m working on and come back to it. Some images have taken several days to complete or get where I’m happy with it. The quickest images to complete are the ones that just hit me in my mind. Every now and then I suddenly, and usually out of nowhere, get this mental image of a complete scene. Then it’s just a matter of gathering all the elements, photographing them, and putting it together.

What makes a good picture stand out from an average one?

First and foremost it has to have central idea, location or subject that stands out. There needs to be an eye grabbing component to the picture. Secondly there needs to be a strong sense of design, and the elements implemented in the design must have purpose. After the eye grabbing thing, I feel a successful image should follow the golden rules of composition; rule of thirds, steelyard, high or low horizon, triangles to guide the eye through the image. There also needs to be something inquisitive about it, maybe a why or a where type of question about it. Just something a bit out of the ordinary to maintain interest and to keep the viewer looking.

What is one question nobody has ever asked you about your work that you wish they had?

Why do you create?

What kind of skills do you need, outside of being really talented at shooting, to make it in the industry?

One of the most difficult things to teach or learn – vision. 

Everything else can be outsourced or hired to perform. But without vision to see compelling concepts, the work will struggle to be convincing.

How do you market your work?

I don’t do nearly enough promotion as I should. I utilize the typical fare of a Facebook Page and Instagram, although my posts are sporadic. I have a website as well. Other than those things my gallery representation takes care of all the other things.

How was your experience with participating in the contest International Photographer of the year? How do you feel about your accomplishment/win?

The experience was good, straight forward, and not complicated. I am excited about the win and it has already opened several opportunities. The scale and quality of the work submitted is stellar and I’m honored to have even been considered. 

I don’t enter into many competitions as I often forget to do so. I’d urge everyone to enter as many and as often as possible.

For more on The Art of Greg Noblin visit his page

@tinydoorsatl and @blockheadatl collaborate

We are pleased to announce that Tiny Doors ATL has collaborated with our artist Blockhead to create the Tiny Beltline made up of a Blockhead! The newest piece is showing at our FRESH 2 exhibit featuring over 22 artists. We are honored to be exhibiting this piece that is now on view and available @kailinart 

For more info or if you're interested in collecting the piece, connect with us at 404 408 4248 or

The ART of FRESH 2

Saturday, April 7th
4:00 - 6:00pm

If you are interested in any of the works from the show,
please connect with us or 404 408 4248!

The exhibition will run through April 20

FRESH 2 features :
atlTVhead, Lee Arnett , Inkyeong Baek, Lauren Betty, Andrew Catanese, Will Eskridge, Mike Germon, Phil Harris, Lisa Hart, Chris Hobe, Michelle Martin, Dustin Lee Massey, Art McNaughton, Landon Perkins, Stephen Philms, Carmen Rice, Chris Skeene, Freda Sue, Jesse Watts, Art Werger, Jay Wiggins (Evereman),
and Kevin Palme