Luanne Stovall is an artist currently based in Austin, Texas. Her earliest roots are in the Midwest (Cleveland, Ohio) followed by educational training at Miami University, Oxford, Ohio; the New York Studio School of Drawing, Painting, and Sculpture, NYC; Skowhegan School of Painting and Sculpture, Skowhegan, Maine; and the University of Texas, Austin, Texas. She received an M.F.A. in Painting from Tufts University and the School of the Museum of Fine Arts, Boston, MA in 2005. Stovall’s work has been exhibited widely and is included in numerous public and private collections. Her studio projects represent cycles of the “humble’ natural world in a modernist format, with emphasis on color, pattern, and transparency. The images can be realized as cut paper collages, gouache, acrylic, latex, oil paintings, wall murals, glass, vinyl, textiles, and site specific installations.
Responding to the shifting needs of a new era, Ms. Stovall believes that, in addition to a committed studio practice, artists are called upon to ask larger questions about how their work can serve the greater community. Artists are trained to be resourceful and imaginative, to think critically outside of the box in order to generate new forms of communication. This training is not only a useful, but imperative skill – a creative approach that can help to reimagine and map the blueprint of our future. Collaborative projects she is involved with connect her studio practice to social concerns of an increasingly global world.
Luanne has taught painting, drawing, color classes, and color workshops at numerous places including the University of Texas, Austin; School of the Museum of Fine Arts, Boston, Sloan School of Business, MIT, Cambridge, MA; Chamberlayne School of Design, Newton, MA; and the Art Institute of Austin. Her research and experience with color stem from a conviction that color is a primal, non-verbal form of communication, operating at a more intuitive level than written and spoken languages. A clearer understanding of the workings of color and light can initiate new design choices, allowing us to more successfully navigate the built environment. Her research in the field is the basis for the A New Field Guide to Color, an in- progress compendium of perspectives on color and light from many disciplines, including art, design, color psychology, linguistics, theatre, communications, healthcare, biology, and neuroscience