Art Saint Louis is pleased to present our fifth post in our “Varsity Art” Artist Q&A Series highlighting artists who have participated in our annual show in years past.
In 1995 Art Saint Louis created our unique
“Varsity Art” exhibit with the goal of highlighting undergrad and grad level student
artists who are studying art in the STL region’s many colleges and
universities. In the 25 years that we've
presented this exhibit, we've had the great privilege of working with more than 700 collegiate art students as well as hundreds of art faculty. This year's 2020 presentation of “Varsity Art XXIV”
featured works by 40 undergrad and grad level art students representing
20 area universities and colleges in Missouri and Illinois.
For our fifth "Varsity Art" Artist Q&A we are honored to feature artists Allison Morris Lesch and Shane Simmons.
Our
ongoing gratitude to all of our participating artists and to ASL Staffers Roxanne
Phillips and Robin Hirsch-Steinhoff for their continued work on our Art
Dialogue Blog.
ALLISON MORRIS LESCH
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| Artist Allison Morris Lesch's go-to art supplies. |
About the artist: Allison Morris Lesch is an artist and art educator living in Saint Louis, Missouri. Her work explores hand-drawn, hand-painted illustration with a focus on color, pattern, and design. Alongside designing her own stock of prints, zines, and other wares, she has contributed pieces to multiple gallery shows and illustrated anthologies. In addition to her illustration work, she is a certified art educator and currently teaches private lessons from her studio classroom. For more information about art lessons, please visit the teaching section of her website.
Allison participated in Art Saint Louis' "Varsity Art XIX" exhibition in 2015 and represented Saint Louis University.
Allison participated in Art Saint Louis' "Varsity Art XIX" exhibition in 2015 and represented Saint Louis University.
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| St. Louis-based artist Allison Morris Lesch. |
Roxanne Phillips: What was it that first prompted your career/activity as an art instructor?
Allison Morris Lesch: During undergrad, I grew increasingly frustrated with the idea of an artist’s primary career goal being to produce work, exhibit it, and be recognized for it. Furthermore, while some extolled spending hour upon hour in the studio or cruising the gallery circuit, that lifestyle disinterested me. All in all, this stereotypical artist’s path felt self-centered, isolational, and depleting. I wanted to pursue something different.
In the midst of this realization, I began working at a local art-based summer camp as an instructor. I loved it. Making art with children felt freeing and meaningful. During camp, art was created within a community of campers and their instructors. People helped and encouraged one another; art was something to enjoy and experience, rather than evaluate. This communal form of art-making made sense to me. From that point forward, art education held a key role in my practice.
RP: Describe your path from deciding you want to be an art educator to becoming one.
AML: Upon realizing my desire to teach art, I began exploring the various ways to make that happen. I continued working as an instructor at the local art-based summer camp for several years - moving from assistant instructor to full instructor, and ultimately camp director. While camp occupied my summers, I pursued complementary coursework in art history, studio art, and art education. Following an undergraduate double major in Studio Art and Art History from Saint Louis University, I became state-certified in Art Education K-12 through the graduate teaching program at University of Missouri - Saint Louis.
Since becoming certified, I have pursued numerous paths in art education - classroom teaching, other summer camps, one-off workshops, studio assistantships, and museum services. All of these experiences have shaped my teaching. Currently, I teach privately, offering both one-on-one lessons and group classes. With private teaching, I enjoy the opportunity to work with students on a more individual basis - whether broadly exploring their creativity or honing a specific artistic skill.
Allison Morris Lesch: During undergrad, I grew increasingly frustrated with the idea of an artist’s primary career goal being to produce work, exhibit it, and be recognized for it. Furthermore, while some extolled spending hour upon hour in the studio or cruising the gallery circuit, that lifestyle disinterested me. All in all, this stereotypical artist’s path felt self-centered, isolational, and depleting. I wanted to pursue something different.
In the midst of this realization, I began working at a local art-based summer camp as an instructor. I loved it. Making art with children felt freeing and meaningful. During camp, art was created within a community of campers and their instructors. People helped and encouraged one another; art was something to enjoy and experience, rather than evaluate. This communal form of art-making made sense to me. From that point forward, art education held a key role in my practice.
RP: Describe your path from deciding you want to be an art educator to becoming one.
AML: Upon realizing my desire to teach art, I began exploring the various ways to make that happen. I continued working as an instructor at the local art-based summer camp for several years - moving from assistant instructor to full instructor, and ultimately camp director. While camp occupied my summers, I pursued complementary coursework in art history, studio art, and art education. Following an undergraduate double major in Studio Art and Art History from Saint Louis University, I became state-certified in Art Education K-12 through the graduate teaching program at University of Missouri - Saint Louis.
Since becoming certified, I have pursued numerous paths in art education - classroom teaching, other summer camps, one-off workshops, studio assistantships, and museum services. All of these experiences have shaped my teaching. Currently, I teach privately, offering both one-on-one lessons and group classes. With private teaching, I enjoy the opportunity to work with students on a more individual basis - whether broadly exploring their creativity or honing a specific artistic skill.
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| Illustrations from Allison Morris Lesch's "STAMP" Zine. |
RP: Outside of teaching, what does your art practice look like?
AML: Outside of teaching, my art practice is primarily drawing-based, with some painting and screenprinting thrown into the mix. My go-to art supplies are color pencils, extra fine tip ink pens, and acrylic gouache paints. My work has an illustrative bend, with finished pieces ranging from gestural blind contours of local jazz gigs to more finely detailed paintings of postage stamps. Over the past couple years, I became especially interested in zinemaking; I love the idea of designing and making small books for self-publication. When looking at my work as a whole, pieces are linked together by a desire to showcase by-hand artmarking (rather than digital) and a strong sense of craftsmanship/design.
AML: Outside of teaching, my art practice is primarily drawing-based, with some painting and screenprinting thrown into the mix. My go-to art supplies are color pencils, extra fine tip ink pens, and acrylic gouache paints. My work has an illustrative bend, with finished pieces ranging from gestural blind contours of local jazz gigs to more finely detailed paintings of postage stamps. Over the past couple years, I became especially interested in zinemaking; I love the idea of designing and making small books for self-publication. When looking at my work as a whole, pieces are linked together by a desire to showcase by-hand artmarking (rather than digital) and a strong sense of craftsmanship/design.
RP: What is the best thing about St. Louis for your art practice?
AML: Despite occasional visions of moving to a larger city, Saint Louis’s lower cost of living means that I can actually balance an artistic career with a sustainable, enjoyable lifestyle. A couple years ago my partner, Joseph Winstein-Hibbs (a jazz drummer, jazz pianist, and private music instructor), and I began renting a small house. We both wanted studio spaces where we could pursue our personal music and art practices, while also embark on teaching private lessons in our respective fields. Since moving in, we each set up beautiful, inspiring studio rooms and have growing rosters of students. The same opportunity would not be possible if confined to an apartment in a larger city.
AML: Despite occasional visions of moving to a larger city, Saint Louis’s lower cost of living means that I can actually balance an artistic career with a sustainable, enjoyable lifestyle. A couple years ago my partner, Joseph Winstein-Hibbs (a jazz drummer, jazz pianist, and private music instructor), and I began renting a small house. We both wanted studio spaces where we could pursue our personal music and art practices, while also embark on teaching private lessons in our respective fields. Since moving in, we each set up beautiful, inspiring studio rooms and have growing rosters of students. The same opportunity would not be possible if confined to an apartment in a larger city.
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| Allison Morris Lesch at-work in her home studio. |
RP: Describe your studio space – size, location, set up, what qualities must it have, what would you change?
AML: I feel incredibly grateful to have my studio space. As I mentioned in my previous answer, my partner and I moved to a small two-bedroom house with one of our primary goals being to each have studio spaces. My studio space is in one of the “bedrooms”, and it has evolved more and more over the past couple years. Interior design is a passion of mine, and I live by the William Morris quote, “have nothing in your houses that you do not know to be useful, or believe to be beautiful.” In turn, I am very mindful of how I organize and design my studio space. For example, I painted all of the walls white to serve as a blank canvas; pops of color come from the artwork pinned on my homasote boards, the vintage tins that I’ve collected to hold art supplies, and a couple well-placed houseplants. At this point, there is not much that I would change about the space. Sometimes I wish that it were a bit larger, but the tiny size makes it especially cozy and dear.
AML: I feel incredibly grateful to have my studio space. As I mentioned in my previous answer, my partner and I moved to a small two-bedroom house with one of our primary goals being to each have studio spaces. My studio space is in one of the “bedrooms”, and it has evolved more and more over the past couple years. Interior design is a passion of mine, and I live by the William Morris quote, “have nothing in your houses that you do not know to be useful, or believe to be beautiful.” In turn, I am very mindful of how I organize and design my studio space. For example, I painted all of the walls white to serve as a blank canvas; pops of color come from the artwork pinned on my homasote boards, the vintage tins that I’ve collected to hold art supplies, and a couple well-placed houseplants. At this point, there is not much that I would change about the space. Sometimes I wish that it were a bit larger, but the tiny size makes it especially cozy and dear.
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| Allison Morris Lesch's workspace/studio. |
RP: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
AML: I aspire to have a studio routine, but it is still a work in progress. I often feel most creative in the morning, but I get sidetracked by other commitments or distractions that keep me from the studio. My ideal routine would be to wake up, do my usual morning ritual, and then sketch before starting the day’s work - whether that’s painting illustrations or teaching students. My sketchbooks are an important part of my art practice. I use them not only to draw, but also to take notes, brainstorm, and reflect. They are a key part of my thinking process. When I am actively keeping a sketchbook, I feel more apt to keep generating creative thoughts throughout my day, even when not sketching; it makes me more excited to get back in the studio and keeps me in an artistic flow.
RP: How has Art Saint Louis had an impact on your life and/or the lives of artists with whom you've directly worked?
AML: I was part of Art Saint Louis’ annual "Varsity Art" exhibit during my senior year of undergrad; over the years, several of my friends and peers have participated in the show as well. The exhibition is an excellent way of recognizing young, emerging artists. "Varsity Art" was my first experience of showing artwork professionally and to a wider audience; I had previously participated only in on-campus student shows. Looking back, I remember the thrill of dropping off my piece at the gallery and attending the opening reception to see my work on display. I am grateful to Art Saint Louis for that experience.
Learn more about Allison Morris Lesch: www.allisonmorrislesch.com
AML: I aspire to have a studio routine, but it is still a work in progress. I often feel most creative in the morning, but I get sidetracked by other commitments or distractions that keep me from the studio. My ideal routine would be to wake up, do my usual morning ritual, and then sketch before starting the day’s work - whether that’s painting illustrations or teaching students. My sketchbooks are an important part of my art practice. I use them not only to draw, but also to take notes, brainstorm, and reflect. They are a key part of my thinking process. When I am actively keeping a sketchbook, I feel more apt to keep generating creative thoughts throughout my day, even when not sketching; it makes me more excited to get back in the studio and keeps me in an artistic flow.
RP: How has Art Saint Louis had an impact on your life and/or the lives of artists with whom you've directly worked?
AML: I was part of Art Saint Louis’ annual "Varsity Art" exhibit during my senior year of undergrad; over the years, several of my friends and peers have participated in the show as well. The exhibition is an excellent way of recognizing young, emerging artists. "Varsity Art" was my first experience of showing artwork professionally and to a wider audience; I had previously participated only in on-campus student shows. Looking back, I remember the thrill of dropping off my piece at the gallery and attending the opening reception to see my work on display. I am grateful to Art Saint Louis for that experience.
Learn more about Allison Morris Lesch: www.allisonmorrislesch.com
SHANE SIMMONS
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| Artist Shane Simmons. |
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| Shane Simmons. “Mushroomcloudsandcandyskulls 1.” 2010. Acrylic on Panel, 24”x24”. Courtesy Bruno David Gallery. |
About the artist: Artist Shane Simmons is Director of Exhibition Design and Installation (and previously Chief of Installation) at The Pulitzer Arts Foundation where he has worked for nearly twelve years. Prior to the Pulitzer, he served as Exhibitions and Operations Manager for The Contemporary Art Museum St. Louis and prior to that position was Preparator for five years at The Saint Louis Art Museum. Simmons holds a BFA in Painting from Webster University (1998-2000).
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| Shane Simmons. “Telescopic 7.” 2014. Acrylic on Panel, 48”x48”. Courtesy Bruno David Gallery. |
Roxanne Phillips: You participated in our “Varsity Art III” exhibit in 1999 and it's been nearly 20 years since you graduated. What advice would you give to current art students?
Shane Simmons: Don't mistake activism for artwork, or vice versa, no matter what you have been told they are two different pursuits.
Shane Simmons: Don't mistake activism for artwork, or vice versa, no matter what you have been told they are two different pursuits.
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| Shane Simmons. “Telescopic 3.” 2014. Acrylic on Panel, 40”x36”. Courtesy Bruno David Gallery. |
RP: Have you continued working in the same medium or switched to a different medium?
SS: At the time that I was involved in the "Varsity Art" exhibition with Art Saint Louis I think that I was probably experimenting with mediums and substrates quite a bit which I still do but I have settled into a core set of these that I typically return to, typically some type of acrylic and enamel paint, permanent markers, and plywood.
SS: At the time that I was involved in the "Varsity Art" exhibition with Art Saint Louis I think that I was probably experimenting with mediums and substrates quite a bit which I still do but I have settled into a core set of these that I typically return to, typically some type of acrylic and enamel paint, permanent markers, and plywood.
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| Artist Shane Simmons' St. Louis studio. |
RP: When in school you have a built in community of other artists- some artists find their studio time very isolating? Do you find it necessary to have an art community?
SS: One way that I have maintained a connection to the art community since leaving art school has been by working in galleries and museums. This has been a way for me to further my education and examine art history and human art production first hand while getting to know and learning from a variety of experts while having regular employment. That said I'm not only comfortable with a certain degree of isolation but I require it.
SS: One way that I have maintained a connection to the art community since leaving art school has been by working in galleries and museums. This has been a way for me to further my education and examine art history and human art production first hand while getting to know and learning from a variety of experts while having regular employment. That said I'm not only comfortable with a certain degree of isolation but I require it.
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| Shane Simmons. “Telescopic 5.“ 2014. Acrylic on Panel, 48”x28”. Courtesy Bruno David Gallery. |
RP: Schools provide most large equipment for art processes for students to experiment -what equipment or tools have you found is necessary in your current studio? Have you found limitations in your art making by lack of equipment or how have you worked around these limitations?
SS: I try to keep my materials, tools and equipment simple, inexpensive, and compact. My woodworking tools are common to most tradespeople or carpenters and are all things your Grandpa might have had around the house. I try to keep my art materials pretty common place, portable, and inexpensive. I like to work from interesting pieces of wood that I salvage from my jobs, save from dumpsters or buy from the hardware store and work into that material with fairly humble and commonly available drawing tools, craft paints, and the odd fine tube of paint when necessary. Most of my materials would fit into a backpack and I like to be able to move and install most of my works myself.
SS: I try to keep my materials, tools and equipment simple, inexpensive, and compact. My woodworking tools are common to most tradespeople or carpenters and are all things your Grandpa might have had around the house. I try to keep my art materials pretty common place, portable, and inexpensive. I like to work from interesting pieces of wood that I salvage from my jobs, save from dumpsters or buy from the hardware store and work into that material with fairly humble and commonly available drawing tools, craft paints, and the odd fine tube of paint when necessary. Most of my materials would fit into a backpack and I like to be able to move and install most of my works myself.
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| Shane Simmons. “Telescopic 10.” 2014. Acrylic on Panel, 48”x48”. Courtesy Bruno David Gallery. |
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