DIY gallery and arts group Brown House Collective opening night in East Knoxville

At the core of creation is the desperate need to express, to share, to be seen, and to share. The human condition is one of separation, of constant conflict and the desire to be understood. Despite the difficulty, we grasp at connection in any way we can.

Art is one of those ways we seek to bind broken bonds. Through the lilt of a song, the gesture of a brush, or the captured moment of a photograph, we reach out.

However, bringing these expressions into dialogue with others is difficult when there is nowhere to do so. Traditionally, platforms for expression are galleries and museums, but these systems are out of reach for many and aren’t able to meet everyone’s needs, especially when there are so few accessible.

Artists turn to self-made spaces. They see the need and fill it for not only themselves, but others. The rise of DIY, home galleries is becoming a prevalent solution for artists who want to bring their own vision to the stage, and do so with minimal barriers to entry. Even where many opportunities exist, there is still a need and a niche for spaces of connection rather than mere observation.

Tucked away in an East Knox basement, the Brown House Collective picks up the torch for artist-run initiatives to make the next steps forward in a growing network.

Jaden Michael Lynch, Karly Jean Kainz, and Trisha Ram opened the creative project with the goal of expanding artistic opportunities in the city. The trio recently met through their work at Trader Joe’s and quickly synthesized a flexible concept which will function as a hub for activity, not just a static gallery.

Knoxville local Jaden Michael Lynch described their vision saying,

“I’ve always seen that Knoxville is in need of more art community. I wanted to bring people together to make a space where it’s not so intimidating or so structured.”

“I’m self-taught,” he explained. “So we want to give room for up and coming artists and for people who aspire to create and hopefully teach them how to market themselves or do this and that, then bring them into the space. Ultimately, that’s our goal here.”

The Brown House Collective officially launched on Saturday, April 26, their opening exhibition featuring work from the organizers.

The collective’s headquarters are located in a barren, concrete room below Ram’s rented room. Originally, she wanted to turn it into her studio, but upon meeting Lynch and Kainz, was inspired to offer it as a voice for local artists. Ram and Kainz are both new Knoxville transplants, but soon noticed there was a need. Having gone to school for art, they appreciated the work being made by talented artists in the area, but noticed that they didn’t always know how to navigate the more ‘official’ art world.

The three brainstormed where they could start a collective or host shows, but they found that every available place was supported by the same monoculture.

They wanted something different.

DIY, home-grown spaces like Bad Water, Cherry East, and now Brown House bring art back into a more raw, more real space, closer to the reality of the artists and appreciators’ lives than a white box gallery. It speaks of living with art rather than being separate from it. It also is overcoming lack of access, making do with what they have and forging onward.

The ethos of the rough-hewn room echoes that of the works. The physicality of a basement acts as a sort of installation piece with pipes and air ducts intersecting the gallery layout. Bad Water Gallery Director, Kelsie Conley, commented her appreciation of the wooden support columns, painted by a previous tenant, as a sort of permanent art fixture.

One post is adorned by a Valvoline sticker, something inherently familiar in its presence.

The presented artworks summoned a similar feeling. Though distinct in medium and style, their totality had a cozy quality which balanced on the edge of discomfort. Lynch explores the nocturnal and banal through his camera lens. Recognizable scenes of gas stations and broken windows are rendered monumental in their abstraction. The camera turned towards everyday objects set in dimly lit landscapes, coerces viewers to take another look, tempting them to discern the abstracted energies which emanate from the images.

Trisha Ram plays with color and whimsy, evoking childhood and the lightness of nature. She describes her work as filling the space, “where words fall short, images take over.” The Embrace stood out as a particularly strong example of this. Vibrant color melts across a dark canvas, black outlines for arms frenetically grasp each other. Closed lids quiet the image, centering the shared moment between two figures. Despite the chromatic palette, the subjects still seem troubled, as though they are the only spots of color in each others’ worlds.

*An Attraction to Endless Joy* by Karly Jean Kainz

Everyday materials like wood and clay inspire Kainz to create. Her research about Midwestern Grottos led her to experiment with layering, repetition, and a healthy amount of chaos. These influences can be seen in the ceramic series An Attraction to Endless Joy, with overlapping imagery unspooling their story.

The Brown House opening, though interrupted by torrential rain, was attended by a dedicated crowd that braved the weather, soaked to the skin, as they enjoyed local musicians Sunfold, Miss Apartment, and Jesse Newcomb.

The collective’s future holds a new show each month, outreach programs like neighborhood cleanups, and pop-up events at other venues. Ram mentioned that they wanted to expand beyond East Knoxville, as it isn’t a place people flock to, but with the recent surge in new arts destinations, perhaps it will be soon.

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