This week we are please to introduce you to featured artists Tamara Louise Eberle and Tracey Ippolito.
____________________________
TAMARA LOUISE EBERLE
 |
| Featured
in the Art Saint Louis virtual exhibition, “Human Touch”: Tamara Louise
Eberle, St. Louis, MO. “Holding On.” 2020. Digital Photograph on Paper,
8”x8”. $75 unframed. Artist’s statement: “In times of uncertainty I find myself wanting to hold physical items for comfort and to hold onto the comforts of childhood. The photo is a reflection of the need for soothing, nurturing, and self-care, when the weight of the world feels overpowering. Much loved, this bear was my childhood transitional object and my main source of self-soothing for much of my life. The holding of it symbolically represents my desire to scoop up the pain being collectively felt around the world this year and provide love and comfort while also depicting my own current need to be comforted.” |
About the artist: The art making process has been a lifelong necessary & fundamental part of my human existence. Trained as an art educator and then an art therapist, I have had the opportunity to be exposed to many artistic materials and processes. My body of work is diverse: ranging from fibers, photography, drawing, and sculpture. I use art as a way to cope and share my life experiences with others. As an art therapist I encourage others to do the same.
 |
| St. Louis-based artist Tamara Louise Eberle. |
 |
| Tamara Louise Eberle. "Pixels." 2020. Digital Art of Photo Paper, 4”x6". $35 unframed. |
Roxanne Phillips: What was it that first prompted your career/activity as an artist?
Tamara Louise Eberle: Creating has been a part of my life for as long as I can remember. My father is an artist and creativity was a part of my upbringing. I remember at a young age working hard on my art and rejecting the notion that I had to attend piano lessons. As a young teenager I once excused myself early from social time with friends to go in to fulfill an art submission deadline. I knew all throughout my life that I was going to be an artist in some capacity. In early high school after encountering a series of difficult situations I became determined to focus on becoming an art therapist and helping others heal through the power of art. I have a BS in Art Education and an MA in Art Therapy Counseling.
 |
| Tamara Louise Eberle. "Fortitude." 2020. Paint Tray Prints in Resin on Wood, diptych 18.5”x25". NFS. Artist statement: These prints were created and pulled using school glue to lift what remained behind on paint trays in my art therapy office. Each mark represents a story of personal trauma & healing that occurred through art therapy. Setting the prints in resin commemorates the unintended art left behind. |
RP: What is the biggest point of inspiration for your artwork?
TLE:
The biggest source of inspiration for my artwork is my life, my
struggles and my emotions. I make artwork for me and sometimes I enjoy
showing it to others. I consider art to be my first language and the
number one way I deal with processing my own cognitions. I have learned
over time that art is not something I like to do, but instead something I
need to do. I am inspired by bright colors, rainbows, and abstract
designs. As an art therapist I am exposed daily to horrendous examples
of human suffering, making art about work helps me to be able to process
these stories to keep myself healthy for my clients.
 |
| Tamara Louise Eberle. "The Weight of Helping." 2018. Color Photograph on Metallic Paper, 8”x13". $125 Unframed. Artist statement: This is an 8-pound crochet scarf created from yarn and steel hex-nuts, photographed being worn by the artist. Intentionally unidentifiable, this self-portrait represents the common practice of limiting personal disclosure within the therapeutic relationship. This piece depicts the therapeutic weight that art therapists must carry while still standing tall and remaining strong for clients. |
RP: What is the biggest challenge with being an artist and juggling all life throws at you?
TLE: My current biggest challenge in art making is having uninterrupted time for creating. Being an art therapist I have an art therapy office and access to an art room at work and my own studio at home. I am around art supplies all the time, however, focused time to work on my own artistic development is difficult to prioritize between the demands of work and family. I find myself often doing one small step of some art process quickly before rushing off to a different task. Since having a family I have changed some of my modes of creation to be easier to transport and clean up. Digital art and photography has been a great option to allow myself to continue creating for example while taking a lunch break without needing to put a lot of time into set up or cleanup. Finding time to keep the artist side of myself happy can be a struggle but the changes due to the pandemic this year have both allowed and required that I prioritize more time in making and showing art.
 |
| Artist Tamara Louise Eberle's St. Louis studio. |
RP: Describe your dream studio.
TLE: My dream studio would be at least 2x as big with more natural light and be able to accommodate space for ceramics. Because I work in many different types of media most of my current studio space is used for storage of my collection of supplies. I would love to have a space to spread out while creating while having all of my supplies and tools close by instead of my wood shop in the garage and my studio in my basement. I have recently worked to make my studio place my sanctuary away from daily life by adding additional lighting, plants, artistic inspiration, and displaying some of my favorite creations.
 |
| Tamara Louise Eberle. "Organic." 2020. Digital Art on Photo Paper. 12”x12". $75 Unframed. Artist statement: Using a scanner and Photoshop, this piece was created by layering & manipulating 2-inch art slides my dad created in the 70s during his BFA. Interested in connecting our artistic kinship I integrated his previously forgotten artwork into mine to elicit a new visceral viewing experience. |
RP: Has rejection ever affected your creative process? If so, how?
TLE: Absolutely, rejection has at times fueled my creative process. Not in the traditional sense of being rejected from elite art shows. Instead, I am referring to my own ingrained negative cognitions of self-rejection mixed with the rejections of life disappointment and previous failed relationships. These situations have been processed mainly through creativity as healing and is part of what guided my decision to become an art therapist. By turning a rejection into art it becomes an easier experience to process and explain.
 |
| Tamara Louise Eberle. "Changing." 2020. Sharpie on Paper, 4”x6". $40 unframed. Artist statement: My work has been exploring lines drawing as a metaphor for human change. Change often occurs small and incrementally so that it is not noticed in the small decision or day to day interactions but over time a pattern develops that has significantly changes who a person is and how they interact with others. |
RP: What is it about your preferred medium that you enjoy the most?
TLE: Throughout my education I was required to take classes in almost all medias, exposing me to a plethora of techniques and options available for expression. Because of this background I have a hard time limiting myself to just one medium. Fibers has always been one of my favorites. I learned to sew from my grandmother at a young age and carried this knowledge with me into my career. I love working in 3D, being able to create something with my hands and hold it carries a special quality to me. I have recently found that digital art allows me to express ideas and concepts that I would not be able to do with any other type of media.
 |
|
Tamara Louise Eberle. "Connection." 2020. Watercolor, Oil pastels, Sharpie, Embroidery Thread on Watercolor Paper, 5”x7". NFS. Artist statement: A process piece about connection, attachment, social convention, interconnection, and normative behavior. |
RP: On what are you currently working?
TLE:
During my master's program I created a series of bras as stand in
representations personifying women's' experiences related to societal
stereotypes. Currently I am working on a similar series of personified
scarves as stand-ins to express my experience as a trauma art therapist.
These scarves play with a variety of textures and materials that
explore childhood and familial trauma. Additionally, I am planning to
continue working on themes of exploring childhood nostalgia and my
connections to my family history of creativity.
 |
| Featured in the Art Saint Louis virtual exhibition, “Human Touch”: Tamara Louise Eberle, St. Louis, MO. “Alone with Myself.” 2020. Digital Art on Paper. 30”x40”. NFS. Artist’s statement: “This self-portrait is both a profound and comical reflection of viewing myself from many different perspectives in the chaos of 2020. In this newly constructed digital world, everything feels upside down and anything which used to be normal is now restricted. When personal connections have all turned digital and friends and coworkers are all distant, I have had much more introspective time for self-discovery and observation in isolation.” |
Learn more about Tamara Louise Eberle: www.instagram.com/smileforthetamara
____________________________
TRACEY IPPOLITO
 |
| Tracey Ippolito, Fenton, MO. “A Craving So Fearful.” 2020. Acrylic on Canvas, 16”x20”. $475 unframed. Artist’s statement: No one could have predicted it. A world where we must fear each other. What has come out of it, though we still struggle to find our way through a new kind of existence has been something unexpected and ultimately beneficial. We miss each other. We reach out for one another in an appreciative way so unexpected. I refer to this here as the "craving" in my painting. It is true that mankind inherently requires other humans in order to truly live. This desperate need is portrayed through the wayward houses featured on the left of this piece as a melting pot of peoples reach for one another, trying for the warmth of human contact through the filter of the wall or ceiling. It has been best to focus on what we do have in the face of the death and loss that looms over us, as depicted by the skeleton figure. It hovers with the threat of uncertainty and fear. Loosely covered in protective garb and a wayward mask, holding hollowed human hands as if they are dirty protective gloves punctuating that we are trying but the trying has yet to be enough. This figure stands on the sun, representing the possible doom posed to us all in these difficult times, nevertheless, another star shines off in the upper left corner, illuminating the skeletal figure, whether it is aware or not, denoting our strength to emerge through anything when united. Ultimately, it is from this light source that we see the narrative of this year. Blue birds fly out of the chimney, going on about their lives, (the way we used to be), until they transform into bats, (The threat of death and disease), but in the end, the hope for us all, is that this stage will finally lead us to something new and beautiful (bright, other-worldly butterflies). It will usher in something new for our species. A new world of awareness, hope and true appreciation. |
About the artist: I am from a small town in New Hampshire where I found refuge in creating art through a very troubled childhood. I then knew art would be my life. Always struggling with mental illness, strange experiences led me to creating my own philosophy on art I call, ”Universalism.” I worked on this vision for over a decade, just this year, completing the series and companion book. I am now starting to tour with it, to share with as many as possible.
 |
| Tracey Ippolito. “I Only Have Today.” 2017. Acrylic on Canvas, 24”x30”. $1,650. |
 |
| Tracey Ippolito. “The Never-ending Self-Portrait.” 2019. Oil on Cavnas, 24”x30”. $1,650. |
Roxanne Phillips: When did you begin to know what your art is about?
Tracey Ippolito: After being diagnosed with Schizoaffective Disorder for the first time, learning about that and dissociation, I had a sort of awakening. It made sense out of all I had painted before that moment, at least to myself. I then composed one of my favorite pieces, “The Never-ending Self-Portrait.” A depiction of my experience with mental illness.
 |
| Tracey Ippolito. “LadyHead.” 2016. Oil on Canvas, 16”x20”. $675. |
RP: What is it about your preferred medium that you enjoy the most?
TI: I started oil painting when I was about 8. I fell in love with the gliding, smoothness and blending characteristics. I also find the process titillating and write therapeutic. Additionally, I love nothing more than the masters of old. Knowing that in using what they did makes me feel close to them. There is a great comfort and security in that for me.
 |
| Tracey Ippolito. “The Tower.” 2020. Oil on Canvas, 36”x48”. $7,250. |
RP: What is the biggest point of inspiration for your artwork?
TI: Once I learned what painting was, I was driven to create worlds. My worlds. They are reality to me but other-worldly to others. At first, these worlds were my means of escaping my life, which has sometimes seemed too difficult. In painting, I was safe. As an adult, I wanted nothing more than to find a way to help others with my abilities. To show them my struggles and underlying hope that never fully fades. Then, once I discovered Vincent van Gogh and Frida Kahlo, I finally knew I wasn't alone. I found a home in their lives which so reflected my own. When at my worst, they remind and motivate me that I must keep going.
 |
| Tracey Ippolito. “Integration.” 2020. Oil on Canvas, 24”x48”. $4,275. |
RP: When did you begin to know what your art is about?
TI: After being diagnosed with Schizoaffective Disorder for the first time, learning about that and dissociation, I had a sort of awakening. It made sense out of all I had painted before that moment, at least to myself. I then composed one of my favorite pieces, “The Never-ending Self-Portrait.” A depiction of my experience with mental illness.
 |
| Tracey Ippolito. “Lovebirds.” 2017. Acrylic on Paper, 12”x14”. $375. |
RP: What is it about your preferred medium that you enjoy the most?
TI: I started oil painting when I was about 8. I fell in love with the gliding, smoothness and blending characteristics. I also find the process titillating and write therapeutic. Additionally, I love nothing more than the masters of old. Knowing that in using what they did makes me feel close to them. There is a great comfort and security in that for me.
 |
| Tracey Ippolito. “In the Valley We Once Called Home.” 2017. Acrylic on Canvas, 16”x20”. $850. |
RP: Why do you make art?
TI: I make art out of absolute necessity, first and foremost. It focuses and utilizes my mind in ways I am not capable of otherwise. If I go too long without engaging in painting, I start to worry, start to feel afraid and continue on to experience further symptoms of my mental illnesses, despite medications. Beyond that, I have had unique mental episodes, sometimes leading to a high spiritual experience. I have ever since felt totally compelled to bring about the positive aspect of these higher experiences in others. I was so grateful and just wanted to share. That's when my philosophy on art began which ended up being a project that took over a decade.
 |
| Tracey Ippolito. “Grey Lady and the Haunted Home.” 2017. Acrylic on Paper, 11”x14”. $375. |
RP: What is it you are most eager to convey through your art/how do you want the viewer to receive or interpret your art?
TI: My work takes time to absorb. My philosophy and series of art I call Universalism was created as paintings with accompanying poems. These things bind together to create something greater. The show, which is intended to travel, is meant to be seen in a chronological order, each piece building from the last. The final entry is about integrating spiritually as a person, to recognize yourself in the work, to then feel a connection with others, and ultimately, that we all begin to be creators of their own worlds. People need to be willing to take time.
 |
| Fenton, Missouri-based artist Tracey Ippolito's home studio. |
 |
| St. Louis regional artist Tracey Ippolito's home studio. |
RP: Describe your dream studio.
TI: I have a beautiful Francis Bacon book which features him in his studio- which is an absolute wreck of a disaster. I love it. I feel it. I need everything out and accessible to me at all times, lest I not be able to reach something I need. My mind mirrors this need, when I'm in the midst of a project, you’d have to be very diligent to find a place to step so you don't ruin something or hurt yourself. I prefer the freedom to be messy and do so in small, enclosed spaces. I also want rich, inviting colors and dramatic features around me to comfort and encourage me to dig as deep as I want. Given my druthers, there would be also be an elaborate, custom easel that exists for now, only in my mind.
 |
| Tracey Ippolito. “Sleeping Between Worlds.” 2020. Oil on Canvas, 30”x40”. $3,750. |
RP: What are you currently working on?
TI: After wrapping up the first showing of the “Universalism” show, I felt bereft. As if my soul had been dug out. I grabbed a sketchbook and began to sketch my emotions, a nude female figure somewhat seated, seemingly falling back deeply, supported by an unknown force that she is useless to neither fight nor assist. Like a ragdoll held up by an invisible person. A few days later, thumbing through my sketchbook, a small quick sketch fell out. It is a planned Universalist piece called, “The Green Cloud." It features a seated woman in exactly the same pose I’d begun days before. Too coincidental to ignore, I knew it was next for me to paint. The woman's head is surrounded by a green misty substance that intermingles with her floating hair. She is under a floodlight and sitting in front of a storefront for rent, funny, because the Illinois gallery my show was at, was originally not going to continue past my exhibition.
 |
| Tracey Ippolito. “The God Question.” 2020. Oil on Canvas, 30”x40”. $6,500. |
RP: What is your future creative life?
TI: Now with my Universalist series completed, along with its book, it is my wish and intention to travel with the show. To spread my philosophy and share with as much of the world as I can. As for creating during and beyond this, I will continue with that brand of art, but also branch out and experiment. I plan to utilize many different mediums which is exciting and a great way to grow.
 |
| St. Louis regional artist Tracey Ippolito. |
Learn more about Tracey Ippolito: http://artofuniversalism.com and www.instagram.com/artofuniversalism and www.facebook.com/tracey.ippolito and https://twitter.com/Theartofme3
____________________________
Comments