"Remnants" Artist Q&A Series One

By Roxanne Phillips

We are pleased to offer a new series of interviews featuring artists whose works are featured in our new in-Gallery exhibit at Art Saint Louis, "Remnants" (January 16-February 17, 2021). You can also view all of the featured artworks and learn about the artists in our exhibition Facebook album here.

Art Saint Louis Gallery is free & open to the public Monday-Friday 8 a.m.-3 p.m. and Saturday 9 a.m.-2 p.m. (mask & social distancing required; limit 10 people at a time)

We are pleased to introduce you to artists Brenda Cross, Nolan L. Wright, and Natalie Baldeon.
____________________________


BRENDA CROSS

Featured in “Remnants” exhibit at Art Saint Louis: Brenda Cross, Florissant, MO. “Redacted.” 2020. Mixed Media on Cradled Wood Panel, 20”x20”. $500.
Artist’s statement: “Commonly referred to as “the second rape,” the legal system subjects sexual assault survivors to an arduous, retraumatizing process. Using shredded documents from the U.S. military investigation of my own sexual assault, "Redacted" invites viewers to experience the complex ways that both sexual assault and the subsequent legal process alter how survivors view themselves and the world around them.”

About the artist: Brenda Cross is an abstract painter and mixed media artist. Brenda has a B.S. in Public Health from Saint Louis University and currently works in community engagement for a non-profit organization. She lives in Florissant, Missouri, with her husband Louis and their dog Gloria and cat Cashew.

Brenda Cross. “Beneath the frozen lake.” 2020. Acrylic on Paper, 11”x14.” $70.

Roxanne Phillips: What was it that first prompted your career/activity as an artist?
Brenda Cross: I wanted artwork for the walls of my new home, and my husband offered to make me a painting. He has a degree in art, but ironically, he hates painting. We bought some acrylics and canvases and just started painting together one day in our basement. I enjoyed painting so much that I told him I would make the painting for our house. I painted nearly every day for several weeks straight after that first day of painting, and I’ve continued since then.

While I’ve only recently begun painting, I always had a creative streak as a child, and I credit that to my mom. I spent hours knitting, crocheting, and sewing. As I grew older, my main love became writing. Writing poetry has gotten me through some difficult times. I’ve found that painting has been just as therapeutic, especially as an outlet for expressing feelings and experiences that are difficult to put into words. In fact, the very first painting I sold was titled “The Anxious Mind.” This piece was a manifestation of struggles that were difficult for me to understand, let alone write about. Painting continues to help me cope with anxiety.

Brenda Cross. “Wanderer.” 2020. Mixed Media (Acrylic and Neocolor II) on Canvas, 36”x48.” $1,500.

RP: What is it about your preferred medium that you enjoy the most?
BC: I love that acrylics are so versatile. The possibilities of working with acrylics are endless -- it can be overwhelming at times for a new artist like me. I can achieve rich texture or smooth, fluid lines. There are pros and cons to how quickly acrylics dry, but one advantage is that I can build layers on my painting in a single painting session. I enjoy seeing what other artists who are further along in their careers do with acrylics, and I have learned a lot just from seeing the variety of techniques and acrylic products that other artists use.

Brenda Cross. “Dynasty.” 2020. Mixed Media (Acrylic and Neocolor II) on Canvas, 20”x30.” Sold.

RP: What is the biggest challenge with being an artist and juggling all life throws at you?
BC:  Like anything in life, you have to be diligent about setting time aside for the things that are important to you. It is so easy to get distracted. I often paint in the evening after working and after I’ve accomplished other tasks I’ve needed to do for the day. This way, I have uninterrupted time to paint and I don’t feel rushed.

Brenda Cross. “Block Party: Summer Send-Off.” 2020. Acrylic on Canvas, 8”x8.” Sold.

RP: What do you find most challenging/rewarding about the creative process?
BC: I’ve learned from other artists that you can’t only create when inspiration strikes. Moments of inspiration are rare. You have to pick up your paintbrush and just paint, even when you don’t necessarily feel like it. I don’t always love what I paint, and it’s easy to get frustrated when you don’t achieve the results you want. But I always try to congratulate myself for showing up to my studio and putting in the work. Showing up and learning is how you get to where you want to be.

Florissant, MO-based artist Brenda Cross at work in her home studio garage.

RP: Describe your dream studio.
BC: My husband and I bought our first home last May, and I am fortunate to have a large, dedicated space to paint in our finished basement. I do hope to improve the lighting in my studio and decorate it to feel more inviting, since I spend a lot of time in the space.

Brenda Cross. “Gratitude No. 2.” 2020. Acrylic on Canvas, 18”x24.” $375.

RP: What is your future creative life?
BC: I am currently in the process of creating my first series of paintings. In 2021, I want to focus on continuing to learn new techniques and skills for my artwork. I’m signed up for a painting class starting next month. I hope I will be able to show my art in more public spaces once the COVID-19 pandemic is over and it is safe to attend larger events.

My long-term goal is to be able to use my art to help support the work of amazing local St. Louis organizations working to advance causes that I care deeply about, including women's rights, racial equity, and public health.

Artist Brenda Cross.

Learn more about Brenda Cross: www.etsy.com/shop/bcrossstudio and www.instagram.com/b.cross_studio/
____________________________

NOLAN L. WRIGHT

Featured in Art Saint Louis’ “Remnants” exhibit: Nolan Wright, Carbondale, IL. ”Shipwreck.” 2020. Basketry, 7”x20”x14”. $2,250.
Artist’s statement: "I am attracted to undulating forms in nature and traces of the fleetingness and persistence of life visible in tree roots, twisting vines, tide pools, worm castings, and barnacles growing on weathered fishing vessels. A reservoir of images and experiences of those remnants inspired this piece, "Shipwreck," which combines a number of those elements, stitched and knotted together over time.”

About the artist: Nolan L. Wright was born in Tucson, Arizona, the son of an artist and a geologist. Studied with Gayle Wimmer at the University of Arizona fiber arts department in the 1970s, and with Clay Bennett on taking up basketry several years ago after detouring to other pursuits for thirty-odd years. Recent regional and national juried shows include “Excellence in Fiber V” (Fiber Art Network, 2019), “Dogwood to Kudzu” (Handweaver’s Guild of America, 2020, First Place), “Fantastic Fibers 2020” (Yeiser Art Center), and “Members in Print 2” (National Basketry Organization, 2020).

Nolan L. Wright. "Skirting the Issue.” 2020. Coiled, Artist Dyed and Paint-Dipped, Southern Long-Leaf Pine Needles, Coated Copper Wire, Waxed Linen, Thread, Baked Beeswax Finish, 8”x12”x12”. $2,500.

Nolan L. Wright. (detail view) "Skirting the Issue.” 2020. Coiled, Artist Dyed and Paint-Dipped, Southern Long-Leaf Pine Needles, Coated Copper Wire, Waxed Linen, Thread, Baked Beeswax Finish, 8”x12”x12”. $2,500.

Roxanne Phillips: Describe your artistic process/technique.

Nolan L. Wright: I generally start with a palate of colors and textures I want to work with, and at least a rough idea of a shape or gesture, but the pieces develop organically from there. If I don't feel like anything interesting is happening I tend to push it by adding material to make a curve more complex or create undulations, so I have something to respond to. It is pretty instinctive, involving a lot of ad-libbing as I go; even when I start with a more definitive plan I find something else almost always ends up bubbling up.

Nolan L. Wright. "Tidepool.” 2010. Knotted Fibers (mixed), Dessicated Corral, 6.25”x6.25”x2.5”. NFS.

RP: What is the biggest point of inspiration for your artwork?
NLW: The biggest inspiration for my work is the juxtaposition of shapes, textures, and colors that I see in the world around me, whether walking in a forest, on a mountain trail, in a canyon, along a shoreline, or even a city street. Trees, twisted by the wind or that have interesting bark or exposed roots; tide pools; tree fungi; seed pods; lichen covered rocks and piles of boulders. Typically, things that are pretty dense and gnarly, with some visual movement and complexity. It isn't that I study them, and I don't try to recreate any specific object or scene. It is more that they resonate with something inside me at an emotional level as well as aesthetically, are also internalized in some way, and I see their influence in the materials I choose and what happens when I interact with them.

Nolan L. Wright. “Canyon Country.” 2020. Southern Long Leaf Pine Needle Coiling, Waxed Linen Stitching, Additional Knotted Forms, Beeswax Finish. 6.5”x22”x19”. $2,300.

Nolan L. Wright. (detail view) “Canyon Country.” 2020. Southern Long Leaf Pine Needle Coiling, Waxed Linen Stitching, Additional Knotted Forms, Beeswax Finish. 6.5”x22”x19”. $2,300.

RP: What do you find most challenging/rewarding about the creative process?
NLW: The most challenging part of the creative process for me is turning off or tuning out the internal chatter about the work (such as wondering whether a piece is any good, or being excited at times thinking it is great), because it gets in the way of enjoying the actual doing, and often leads to mistakes. The most rewarding are the long stretches of calm, like a kind of meditation, engaged in the physicality of the craft, seeing something grow; moments where I find myself simply enjoying the experience of encountering an organic thing, not unlike the things in nature that inspire me, marveling that any agency on my part was involved.

Nolan L. Wright. “Color Study.” 2019. Coiled Pine Needle Basket, Dyed Southern Longleaf Pine Needles, Acrylic Paint, Waxed Linen, Baked Beeswax Finish. 4”x12.5”x9”. NFS.

RP: What do you do to support your art and how does that impact your art practice?
NLW: I am not sure if this is what you mean, but as a young man I worked in construction and did other jobs to augment my living as an artist, and supported my growth as an artist by taking a couple of classes and then serving as a studio assistant, having been largely self taught before that. I ultimately put aside my art for more than twenty years, having been convinced I was supposed to be "saying something" with my art, and not really wanting to pursue what came to mind, and instead went to college, got married, and worked in professional white collar positions to help support my family. Several years ago, after I stopped worrying about having to say something with my art, I went back to the school of arts and crafts where I had served as a studio assistant and took a basketry class in that same studio, and subsequently reached out to and went to work one on one with a master basketry artist. I still have a full-time day job, working as a librarian and member of the faculty at a law school, but am managing to produce four or five pieces a year. The job has a fair amount of flexibility--I am tenured and also have an understanding boss--but there are days when I have a hard time stopping myself from heading into my studio when I should be on my way to the law school, and I have learned the hard way that just stopping to complete a few knots or stitches has a tendency to turn into far more.

Nolan L. Wright. “Breaking Containment.” 2020. Knotted Cord (mixed), Dyed and Coiled Longleaf Pine Needles, Beeswax Finish. 10”x10”x8”. $2,500.

Artist Nolan L. Wright's Carbondale, IL studio.

Carbondale-based artist Nolan L. Wright's studio.

RP: What is it about your preferred medium that you enjoy the most?
NLW: I love coiling and knotting because it takes a lot of time for a piece to develop, allowing me to ease into it. Fiber is also a flexible, forgiving material, with great variety, and potential; it is easy to make changes if need be, and the possibilities are almost endless, given the range of materials available and directions that can be pursued. Finally, it doesn't require a lot of space or expensive equipment. I can even take material with me and work on a piece while traveling or pick some up along the way.

Nolan L. Wright. “Counterpoint.” 2019. Coiled Pine Needle Basket, Dyed Southern Longleaf Pine Needles, Waxed Linen, Nylon Thread, Coiled Forms, Baked Beeswax Finish. 4.5”x16”x16”. $1,200.

Nolan L. Wright. (detail view) “Counterpoint.” 2019. Coiled Pine Needle Basket, Dyed Southern Longleaf Pine Needles, Waxed Linen, Nylon Thread, Coiled Forms, Baked Beeswax Finish. 4.5”x16”x16”. $1,200.

RP: What is your future creative life?
NLW: I look forward to being able to spend more time in the studio after I retire from teaching and my library job this coming summer, and being able to spend time with other artists after the COVID pandemic, at workshops, studio visits, and other gatherings.

Nolan L. Wright. “Becalmed.” 2018. Coiled Vessel with Southern Longleaf Pine Needles, Waxed Linen Thread, Baked Beeswax Finish. 12”x12”x5”. $800.

Carbondale, IL-based artist Nolan L. Wright.

Learn more about Nolan L. Wright: www.instagram.com/nolanlwright/
____________________________

NATALIE BALDEON

Featured in Art Saint Louis “Remnants” exhibit: Natalie Baldeon, St. Louis, MO. “New Standard Oddment.” 2020. Watercolor, Acrylic, Gouache on Canvas, 24”x24”. $750.
Artist’s statement: “My work investigates psychological states and responses to transitions throughout life. In recent works, I seek to expose the abject biological and complex emotional aspects of motherhood, paralleled with the routine performative tasks that are inextricably linked with it.”

About the artist: Natalie Baldeon is a visual artist and educator living in St. Louis, MO. Baldeon's work investigates psychological states and responses to transitions throughout life. The intention of the work is exposure; turning outward what may be concealed within one's body or subconscious, as well as within the restrictions, taboos and expectations of societal roles. Her most recent body of work focuses on motherhood, and the complexities that accompany it.

Natalie Baldeon. "As the World Burns." 2019.Watercolor and Gouache on Paper, 22x30”. $1,200.

Roxanne Phillips: Describe your artistic process/technique
Natalie Baldeon: My creative practice has changed drastically in the past few years. I used to work primarily with oils, and work for long hours in fluctuating intervals (aka whenever I 'felt' like it). After the birth of my son in 2018, it forced me to become more efficient, methodical and regimented with my studio time. I began to work primarily with watercolor, due to the lack of ventilation in my studio and relatively no prep or clean up. I now work mostly during my son's naps, and at night.

My creative process usually begins with an idea or sketch, which I then decide how to translate into a final piece. I work in a variety of ways: sometimes from imagination, sometimes from photos or digital collages.

Natalie Baldeon. "Perceived Control/Pyroclastic Reality." 2020. Watercolor on Paper, 16x22”. $450.

Natalie Baldeon. "Reverence 4 Vesta." 2020. Acrylic on Canvas, 36x48”. $2,000.

RP: What do you find most challenging/rewarding about the creative process?
NB: Personally, I feel the most challenging part of the creative process is self-doubt. Constantly doubting, over thinking and comparing yourself to others can be so harmful for creation. I think there is a time and place for analyzing and deciding what works or doesn't, but I think that time should be reserved for after a piece is finished. That way, you can keep the momentum going by taking lessons learned from previous work and applying them to the next ones.

The most rewarding part of the creative process is when you have a great studio day. Days when your ideas are transferred to your work fluidly and your conceptual and aesthetic choices work together harmoniously. Struggling in the studio is an important and unavoidable part of the process too, which just makes a good studio day all the better.

Natalie Baldeon. "Post Partum." 2019. Watercolor on Paper, 18x24”. $1,000.

RP: What is the best thing about St. Louis for your art practice?
NB: The vibrant, diverse and supportive art community is probably one of my favorite things about St Louis. It is also very affordable compared to other parts of America.

Natalie Baldeon. "Fading." 2020. Watercolor on Paper, 11x15”. $750.

RP: When did you begin to know what your art is about?
NB: I think I always kind of knew subconsciously. The specific themes in your work may change over the years, but the visual and conceptual aesthetic you are drawn to remains pretty consistent. I have always been interested in making the painful or unspoken aspects of life visible, and even beautiful. I also think going to grad school helped me learn to crystallize and articulate some of my interests.

Natalie Baldeon. "The Tower." 2020. Oil on Canvas, 36x48”. $2,000.

RP: Do you have a sketchbook? What kinds of things do you put in it?
NB: Yes, definitely! I would argue this is a necessity. My sketchbooks usually contain a mixture of ideas for potential paintings, doodles, random thoughts, content brainstorms, etc. Sometimes when I am struggling to create a new painting, I will look to old sketchbooks for inspiration.

Artist Natalie Baldeon's St. Louis studio.

St. Louis artist Natalie Baldeon's studio.

RP: Describe your dream studio.
NB: Considering my studio is currently in my basement, I yearn for a space with large windows, proper ventilation and northern light. I think eventually I will be able to find one that meets a few of those criteria, but for now I am most productive being able to sneak down and paint for an hour or two while my son naps.

Natalie Baldeon. "Wishful Thinking." 2019. Watercolor on Paper, 8x8”. $250.

RP: Has rejection ever affected your creative process? If so, how?
NB: Absolutely. I feel like rejection and failure are the strongest motivators to improve. When you don't get a job or into an art show it can be devastating, but it’s important not to let it stop you from moving forward. Sometimes it is hard to admit that some of the art we make isn't great, but eventually through trial and error, you find things that work.

Artist Natalie Baldeon.

Learn more about Natalie Baldeon: www.nataliebaldeon.com and www.instagram.com/nataliebaldeon/
____________________________

Roxanne Phillips is an artist and art educator based in St. Louis since 2001. She earned a MFA in Printmaking & Drawing from Washington University in St. Louis and BFA in Painting & Drawing from University of North Texas. Roxanne is an adjunct art instructor at Washington University in St. Louis and has worked with Art Saint Louis since 2017 as Administrative Assistant and Installer. From 2018-2020 she was Master Printer for Pele Prints. Her works have been featured in numerous exhibitions throughout the St. Louis region including at Art Saint Louis, Crossroads Art Studio & Gallery, and St. Louis Artists’ Guild. Her work is currently available at Union Studio in St. Louis. She has served as exhibit Juror for several regional exhibits & art fairs. Roxanne is past Board member of St. Louis Women’s Caucus for Art.