Art Saint Louis Artist Q&A Series Five
Art Saint Louis is pleased to present our fifth round of our ASL Artist Q&A weekly series highlighting our artist members, taking a look at their studio spaces and the where and how of their artmaking process. We encourage you to connect with the featured artists through their websites and/or social media accounts, all hyperlinked in this post.
Our continued gratitude to the participating artists and to ASL Staffers Roxanne Phillips and Robin Hirsch-Steinhoff for their work on the blog.
This week we are featuring artists Heather Haymart, Madeleine LeMieux, Marceline Saphian, and Sandi Shapiro.
Please stay tuned & visit again next week for more ASL Q&A.
If I could change anything about my studio, it would have more natural light, a place to display paintings, a better way to store finished paintings and blank boards. I would love to have a space for me to allow visitors who would like to see my work in person before they buy it, and it would be warm in the winter! Oh, and running water for sure.
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Heather: My studio routine is usually to have my coffee and write out my to do list for the day. They I go down to the studio and get started. Every day is different depending on what I need to be doing. Most of the time I work on multiple things at once, like sketching out compositions, prepping boards, varnishing, photographing art, packing and painting. After lunch, I usually work in my office on e-mails, website, newsletter, editing photos, bills, taxes etc. Sometimes I will flip my day, but I prefer to create in the morning when I have more creative and physical energy.
Roxanne: What is your go-to art supply that you must always have on-hand?
Heather: My go to art supplies are texture paste, acrylic paint, glazing medium, and art boards.
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Marceline Saphian: After working in basement spaces and garages for many years, I was lucky enough to get a studio. We added it to the side of our home and it has its own outside entrance so that I am going out of the house and entering a special separate space to work.
It is 20’x24’ and has four skylights. In the center is one half of a ping pong table and leftover older kitchen cabinets line two walls. One end holds a 28”x48” electric press which is very easy to use. I have about three good sized work spaces because I like to move from project to project... usually have several going at one time.
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Marceline: When I do a monotype, the process of printing takes about six to eight hours at one time. This is after several days of planning, making a drawing in full size, planning colors, cutting shapes from different textured papers, and getting all printing tools ready. Usually several unique prints can be pulled by repositioning inked shapes, re-inking shapes with other colors, or adding new shapes after removing early ones all done with the same plate. It is a fascinating process full of surprises.
After many years of printmaking, I have ended up with stacks of unsuccessful prints on expensive Rives BFK or Arches Cover or other good paper. I am now in the process of cutting up many of these compositions and repurposing them in new directions, with new current ideas. Connecting the old with the new feels to me that I am completing a continuum that echoes life. Many flat boxes of wonderful scraps, as well as lots of equipment decorate my studio...it is not always neat!x@?%#!!
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Madeleine LeMieux: I’ve been working out of the unfinished space in my basement for the last few months. It's not ideal but it has everything I need. There is a window so I get some natural light which is a necessity, and some fluorescents with daylight bulbs so I have bright light for night work which is also important because I'm a night owl. I have a bathroom and slop sink. I have two tables set up - one for computer work and one for sewing. There's a comfortable lounge chair for reading and a small selection of books I'm currently working through. There's a good amount of wall and floor space as well as an easel because I like to move from table to floor to wall to easel fluidly. To improve this space, I would finish it out and expand it, and add a few windows.
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Madeleine: I don't have a specific routine. I work around the schedules of my family, and right now that means after the kids go to bed or during times when my husband can take over their care. This means flexibility is key. I tend to be most productive in the evening and on weekends when I can dedicate more than an hour or two at a time to working. I like to bounce between making, reading, looking at artists online, and listening to music/watching trashy TV while I work through problems.
SANDI SHAPIRO
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Sandi Shapiro: I have always considered myself very lucky to have had a studio of my own. The first was built onto my house and when we sold it I rented a nice size room (about 14’x14’) on the second floor in a building in Maplewood at the corner of Sutton and Manchester, which I continue to rent. The one problem is that there are 28 steps UP to my studio and so it is hard carrying work up and down. However, cheap rent, good light and not too far from home and area so fun to walk around. So I am a happy camper.
The tables that I have my brushes, paints, etc. are all on wheels, so everything is easily moveable. i have a big piece of glass on one table where i mix paints (oils) etc. and two other tables for paints, turps, etc. So my easel and chair is in middle and I am surrounded by my paints.
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Sandi: When I first come in my studio I look at my work. Sometimes when I leave my studio I put a painting facing the door so that I see it immediately and have an immediate reaction as what has to be done. If I am doing something more realistic I always go over the measurements with red paint and start working. If the work is abstract I just go over, generally, with white paint taking out what is wrong and start painting.
Art Saint Louis is pleased to present our fifth round of our ASL Artist Q&A weekly series highlighting our artist members, taking a look at their studio spaces and the where and how of their artmaking process. We encourage you to connect with the featured artists through their websites and/or social media accounts, all hyperlinked in this post.
Our continued gratitude to the participating artists and to ASL Staffers Roxanne Phillips and Robin Hirsch-Steinhoff for their work on the blog.
This week we are featuring artists Heather Haymart, Madeleine LeMieux, Marceline Saphian, and Sandi Shapiro.
Please stay tuned & visit again next week for more ASL Q&A.
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| Heather Haymart's studio with works-in-progress. |
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| Heather Haymart at work in her studio. |
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Heather Haymart: My studio is in the basement of my house and is made up of recycled and used items that I have repurposed. I take up about half of the basement which is pretty big, but I could always use more space! I have a large easel that my husband built for me. It is 8 feet wide and goes from the ceiling and the floor. It provides a "wall" between another portion of my basement and my studio. We converted former home-made loft beds and desks that were in my kids' rooms into multiple tables that I work on and store things under. I try to keep certain tables for certain tasks, so a couple are for gesso-ing, varnishing and painting the edges. One is for creating paintings on a flat surface before I move to the easel. One is for packing and wiring, and one is at my side as I paint on the easel. I use glass shelving that I inherited after we closed our gallery for my paint palettes. I bought a bunch of shop lights for lighting and I have a sliding glass door that lets in some natural light, but not much. It has been a work in progress for the fifteen years that we have lived in this house, and I am really happy with it right now.
Heather Haymart: My studio is in the basement of my house and is made up of recycled and used items that I have repurposed. I take up about half of the basement which is pretty big, but I could always use more space! I have a large easel that my husband built for me. It is 8 feet wide and goes from the ceiling and the floor. It provides a "wall" between another portion of my basement and my studio. We converted former home-made loft beds and desks that were in my kids' rooms into multiple tables that I work on and store things under. I try to keep certain tables for certain tasks, so a couple are for gesso-ing, varnishing and painting the edges. One is for creating paintings on a flat surface before I move to the easel. One is for packing and wiring, and one is at my side as I paint on the easel. I use glass shelving that I inherited after we closed our gallery for my paint palettes. I bought a bunch of shop lights for lighting and I have a sliding glass door that lets in some natural light, but not much. It has been a work in progress for the fifteen years that we have lived in this house, and I am really happy with it right now.
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| Heather Haymart photographing her artwork in her studio. |
If I could change anything about my studio, it would have more natural light, a place to display paintings, a better way to store finished paintings and blank boards. I would love to have a space for me to allow visitors who would like to see my work in person before they buy it, and it would be warm in the winter! Oh, and running water for sure.
 |
| Heather Haymart. Work-in-progress: "Gratitude." |
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Heather: My studio routine is usually to have my coffee and write out my to do list for the day. They I go down to the studio and get started. Every day is different depending on what I need to be doing. Most of the time I work on multiple things at once, like sketching out compositions, prepping boards, varnishing, photographing art, packing and painting. After lunch, I usually work in my office on e-mails, website, newsletter, editing photos, bills, taxes etc. Sometimes I will flip my day, but I prefer to create in the morning when I have more creative and physical energy.
 |
| Heather Haymart. Work-in-progress: "Feeling the weight of it all." |
Roxanne: What is your go-to art supply that you must always have on-hand?
Heather: My go to art supplies are texture paste, acrylic paint, glazing medium, and art boards.
Learn about Heather Haymart: www.heatherhaymart.com and www.instagram.com/heatherhaymart/ and https://twitter.com/heatherhaymart and www.facebook.com/heatherhaymartfineart/
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| Marceline Saphian at work in her home studio. |
Marceline Saphian: After working in basement spaces and garages for many years, I was lucky enough to get a studio. We added it to the side of our home and it has its own outside entrance so that I am going out of the house and entering a special separate space to work.
It is 20’x24’ and has four skylights. In the center is one half of a ping pong table and leftover older kitchen cabinets line two walls. One end holds a 28”x48” electric press which is very easy to use. I have about three good sized work spaces because I like to move from project to project... usually have several going at one time.
 |
| Marceline Saphian's studio. |
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Marceline: When I do a monotype, the process of printing takes about six to eight hours at one time. This is after several days of planning, making a drawing in full size, planning colors, cutting shapes from different textured papers, and getting all printing tools ready. Usually several unique prints can be pulled by repositioning inked shapes, re-inking shapes with other colors, or adding new shapes after removing early ones all done with the same plate. It is a fascinating process full of surprises.
After many years of printmaking, I have ended up with stacks of unsuccessful prints on expensive Rives BFK or Arches Cover or other good paper. I am now in the process of cutting up many of these compositions and repurposing them in new directions, with new current ideas. Connecting the old with the new feels to me that I am completing a continuum that echoes life. Many flat boxes of wonderful scraps, as well as lots of equipment decorate my studio...it is not always neat!x@?%#!!
Learn about Marceline Saphian here: https://marcelinesaphian.com/home.html
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| Madeleine LeMieux in her basement studio. |
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| Madeleine LeMieux's studio. |
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| Madeleine LeMieux's studio. |
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Madeleine LeMieux: I’ve been working out of the unfinished space in my basement for the last few months. It's not ideal but it has everything I need. There is a window so I get some natural light which is a necessity, and some fluorescents with daylight bulbs so I have bright light for night work which is also important because I'm a night owl. I have a bathroom and slop sink. I have two tables set up - one for computer work and one for sewing. There's a comfortable lounge chair for reading and a small selection of books I'm currently working through. There's a good amount of wall and floor space as well as an easel because I like to move from table to floor to wall to easel fluidly. To improve this space, I would finish it out and expand it, and add a few windows.
 |
| Madeleine LeMieux. Work-in-progress: "Family Bathroom." 2020. Digitally Printed Photograph and Cotton Canvas, Acrylic Paint, Spandex, Polyfill, Thread, Grommets, 6'x4'. |
Roxanne: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
Madeleine: I don't have a specific routine. I work around the schedules of my family, and right now that means after the kids go to bed or during times when my husband can take over their care. This means flexibility is key. I tend to be most productive in the evening and on weekends when I can dedicate more than an hour or two at a time to working. I like to bounce between making, reading, looking at artists online, and listening to music/watching trashy TV while I work through problems.
 |
| Madeleine LeMieux. "Ana Prismatic." 2020. Digitally Printed Photograph and Cotton Canvas, Acrylic Paint, Spandex, Polyfill, Thread, Grommets, 31"x33". |
Learn about Madeleine LeMieux: www.madeleine-lemieux.com/ and www.instagram.com/lainafair/ and www.facebook.com/mmlemieux
SANDI SHAPIRO
Roxanne Phillips: Describe your studio space – size, location, set up, what qualities must a studio have, what would you change about your current studio?
Sandi Shapiro: I have always considered myself very lucky to have had a studio of my own. The first was built onto my house and when we sold it I rented a nice size room (about 14’x14’) on the second floor in a building in Maplewood at the corner of Sutton and Manchester, which I continue to rent. The one problem is that there are 28 steps UP to my studio and so it is hard carrying work up and down. However, cheap rent, good light and not too far from home and area so fun to walk around. So I am a happy camper.
The tables that I have my brushes, paints, etc. are all on wheels, so everything is easily moveable. i have a big piece of glass on one table where i mix paints (oils) etc. and two other tables for paints, turps, etc. So my easel and chair is in middle and I am surrounded by my paints.
 |
| Sandi Shapiro's Maplewood, MO studio. |
Sandi: When I first come in my studio I look at my work. Sometimes when I leave my studio I put a painting facing the door so that I see it immediately and have an immediate reaction as what has to be done. If I am doing something more realistic I always go over the measurements with red paint and start working. If the work is abstract I just go over, generally, with white paint taking out what is wrong and start painting.
I always leave my pallet and brushes clean and clean my turps. I then cover the pallets (which is actually a glass window pane) with wax paper so they stay a bit wet when I return the next afternoon. I turn off lights, radio (which I always have on while I’m painting) and lock up. After working in the studio for about 3 hours, I usually go home tired.
Learn about Sandi Shapiro here: www.sandishapiroartist.com/
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