When the street artist MTO came to Lexington’s PRHBTN festival last fall to paint a mural on a Manchester Street warehouse, he showed how huge, bold and controversial art can be.
Woolfolk, who turns 89 on Valentine’s Day, paints intricate watercolor landscapes that take up no more than a few square inches. About 30 of them will be on display at the Carnegie Center for Literacy and Learning beginning Jan. 16 for Gallery Hop.
She has been a regular, prize-winning exhibitor at miniature art shows around the world for decades, but this is her largest Lexington show in years. It was organized after her work was included in a Carnegie Center exhibit last year featuring images of surrounding Gratz Park.
“After that, we were fascinated by her art,” said Luisa Trujillo, the center’s art director.
Woolfolk is from Louisville, where she remembers always dabbling in art and poetry. She worked in a World War II ration office, for an oil company and for the magazine of the Louisville & Nashville Railroad before raising four children.
She moved to Lexington with her first husband in 1951. Her second husband, the late Patch Woolfolk, was a professor of animal science at the University of Kentucky.
Woolfolk’s only formal art training was in high school. But she took night classes after her interest was rekindled while working as a bookkeeper for a physician, whose office housed the Lexington Art League in its early years. (Later, she would serve as the league’s president.)
“I flew up to New Jersey and was absolutely stunned by all the little pieces,” she said. “I’ve always liked little stuff.”
In 1980, she won “best of show” at a prestigious art exhibit in Washington, D.C. Her pair of small watercolors were the only miniatures in that show, and the prize led to an invitation to join the Miniature Painters, Sculptors and Gravers Society of Washington.
That involvement led to many prizes at miniature art shows around the country and as far away as Russia and Tasmania. She also has illustrated several books for Lexington authors and organizations.
Trujillo said the Carnegie Center also was interested in Woolfolk’s art because she has always excelled in both images and words.
A poet since childhood, she is a past president of the Kentucky State Poetry Society and edited its journal, Pegasus, for 21 years. Two of her poems were included in The Kentucky Anthology: 200 years of writing in the Bluegrass State, published in 2005 by the University Press of Kentucky.
That book was edited by Wade Hall, a longtime English professor at Bellarmine Univeristy and a collector of regional quilts, more than 100 of which he donated to the University of Kentucky for display in the W.T. Young Library.
Woolfolk has always done needlework, too, and she wanted to contribute to Hall’s collection. But, because of her love of miniatures, and a good sense of humor, she gave him a potholder instead of a quilt.
Woolfolk said she never used a magnifying glass to paint her miniatures, just very tiny brushes, some with just a few hairs. Her scenes were drawn from photographs she made, many at spots around Central Kentucky she found while driving back roads with her husband.
Age finally dimmed Woolfolk’s eyesight, and she has given up painting. She recently entered what she said will be her last art show, in Maryland. She also completed a big, small project for the Carnegie Center.
As part of a November event celebrating J.D. Salinger’s classic, The Catcher in the Rye, Woolfolk made 100 tiny paper boxes that were given to attendees. Each contained a piece of paper with a quote from the book.
Woolfolk has been making similar tiny boxes for years and giving them away to friends. Usually, though, they come with a line of her own poetry: “A secret place to hold your dreams, for dreams take little space.”