by Roxanne Phillips, MFA
For me, creative life is a constant search. Creating paintings is like an experiment. You get involved in the process, live it. And you never know for sure how it will end. The result is sometimes unexpected. When I work on a painting, the process is like some kind of dance filled with light, color, rhythms and codes. I'm trying to find the right path, feel the music and rhythm. As a result of this experiment, something new is born. It helps me get to know the world and myself better.
Sometimes, for inspiration, I turn on music that helps me get into the mood that I need. I practice this when I was creating art works which were related to my family roots and traditions. I was listening to Kazakh traditional music and that helped me to be in a right vibe.
RP: Why do you make art?
AAB: I was drawing since I was a child and always loved art. I’ve earned my first art education in art college. Kazakhstan, my home country was a part of Soviet Union at that time. Then when I studied in art university, Kazakhstan became an independent country. When I graduated, the life changed dramatically, this caused me to shift my career aspirations in the direction of art management and art administration. I was able to use my artistic knowledge and worked for non-profit organizations and for diplomatic agencies. I was managing different art projects and activities. I was also able to travel and that expanded my knowledge of art, which I wouldn’t be able to gain if I remain working in a studio as an artist. I returned to the art practice much later and tried to make sure to catch up with everything what I missed. The experience of seeing international art and working with contemporary artists eventually lead me back to my creative skills and I started making art again. I returned to my practice and in my work I have attempted to use the knowledge I gained for a specific investigation that illuminates not only my personal identity but also my personal history and cultural meaning. When I was pursuing my Master of Fine Art degree at Missouri State University, my past experience helped me to work on my research.
RP: What was it that first prompted your career/activity as an artist?
AAB: My parents both worked for the printing and publishing industry. My father is a graphic artist, printmaker and illustrator, my mother worked in printing and publishing all her life. I didn’t grow up with my father, they divorced when I was little, but art and books always were part of my life. When I was school age my mother used to have business trip to attend big book fairs represented by different publisher of the Soviet republics. She always took me with her on her business trips. I was able to attend big book fairs in Moscow, and in Central Asian countries. Being exposed to good quality visual materials, particularly to books’ illustrations helped me to grow my visual skills and understanding of art. In all my travels in school age and later when I was able to travel internationally I visited art museums and galleries.
RP: What do you wish someone would ask you about you or your art?
AAB: I use a lot of imagery which are part of my roots and traditions. They might not be understandable to those who are not familiar with Central Asian culture. When there are questions, I’m always open to tell more and share more about what I draw or paint and why I do it. I wish my audience could ask more what my art or certain images in the art mean. I am also interested to hear from my audience their interpretation of my art.
One of my first printmaking pieces illustrates the top of a yurt, called the shanyrak, which is the circular opening. The traditional Kazakh house is the yurt, a portable house covered with felt carpets. A properly constructed yurt is cool in summer and warm in winter, and it can be set up or disassembled in less than an hour. Such housing was easy for a nomadic lifestyle and practical for the climate of Kazakhstan. I wanted to use this very symbolic image in my work. It is also a very sacred object with multiple meanings symbolizing the strength and unity of a family. I implemented this symbol using the intaglio technique. I also used this image in other works. I often go back to my visual collection of related objects and ephemera in order to search deeper and find additional meanings in them. In my series of collages Journey, I incorporated an image from an earlier painting, adding layers of different paper sources and mixed media to reference traditional patchwork.
Printmaker and Master Printer, Pele Prints
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| Ainura Ashirova Barron. “Shanyrak - Roof of my House (Pouring tea).” 2019. Monoprint, Ink Drawings, Watercolor, Digitized to a Digital Collage, Print on Paper, 24"x36". $ 180. |
Roxanne Phillips: Describe your artistic process/technique:
Ainura Ashirova Barron: Most of the works which I do represent a visual journey that involved the investigation of my personal identity and roots as well as the exploration of my cultural history through a process that relied on photographs, stories and family traditions, such as crafting. I am particularly invested in examining my artistic instincts and how they connect to my cultural heritage. The influence of my cultural background can be seen in the materials used. As we all are products of our life experience I include my personal stories into my works using a range of media including paintings, graphics, collages, digital works and illustrations. Incorporating elements of crafts into my paintings, due to their association with women and femininity, is also important to me.
Ainura Ashirova Barron: Most of the works which I do represent a visual journey that involved the investigation of my personal identity and roots as well as the exploration of my cultural history through a process that relied on photographs, stories and family traditions, such as crafting. I am particularly invested in examining my artistic instincts and how they connect to my cultural heritage. The influence of my cultural background can be seen in the materials used. As we all are products of our life experience I include my personal stories into my works using a range of media including paintings, graphics, collages, digital works and illustrations. Incorporating elements of crafts into my paintings, due to their association with women and femininity, is also important to me.
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| Ainura Ashirova Barron's studio with work in progress. |
For me, creative life is a constant search. Creating paintings is like an experiment. You get involved in the process, live it. And you never know for sure how it will end. The result is sometimes unexpected. When I work on a painting, the process is like some kind of dance filled with light, color, rhythms and codes. I'm trying to find the right path, feel the music and rhythm. As a result of this experiment, something new is born. It helps me get to know the world and myself better.
Sometimes, for inspiration, I turn on music that helps me get into the mood that I need. I practice this when I was creating art works which were related to my family roots and traditions. I was listening to Kazakh traditional music and that helped me to be in a right vibe.
 |
| Ainura Ashirova Barron. “Crafting at Night.” 2019. Oil on Canvas, 18"x24”. $980. |
RP: Why do you make art?
AAB: I was drawing since I was a child and always loved art. I’ve earned my first art education in art college. Kazakhstan, my home country was a part of Soviet Union at that time. Then when I studied in art university, Kazakhstan became an independent country. When I graduated, the life changed dramatically, this caused me to shift my career aspirations in the direction of art management and art administration. I was able to use my artistic knowledge and worked for non-profit organizations and for diplomatic agencies. I was managing different art projects and activities. I was also able to travel and that expanded my knowledge of art, which I wouldn’t be able to gain if I remain working in a studio as an artist. I returned to the art practice much later and tried to make sure to catch up with everything what I missed. The experience of seeing international art and working with contemporary artists eventually lead me back to my creative skills and I started making art again. I returned to my practice and in my work I have attempted to use the knowledge I gained for a specific investigation that illuminates not only my personal identity but also my personal history and cultural meaning. When I was pursuing my Master of Fine Art degree at Missouri State University, my past experience helped me to work on my research.
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| Ainura Ashirova Barron with her artwork. |
RP: Do you have a sketchbook? What kinds of things do you put in it?
AAB: I have different sketchbooks for different needs. Depending on the quality of paper and their size I use them either for sketching ideas and doodling or for trying different materials and mediums. I have sketchbooks with heavier paper which could handle mixed media materials and I could experiment with watercolor, acrylic, pastels or charcoal. I also have a sketchbook which has light disposable paper which I use for some doodling and for initial ideas or compositions. But you never know how you can use your little sketches. I had a couple of very accidental little ink drawings which I liked and I scanned them in a high resolution and used in my digital art work.
AAB: I have different sketchbooks for different needs. Depending on the quality of paper and their size I use them either for sketching ideas and doodling or for trying different materials and mediums. I have sketchbooks with heavier paper which could handle mixed media materials and I could experiment with watercolor, acrylic, pastels or charcoal. I also have a sketchbook which has light disposable paper which I use for some doodling and for initial ideas or compositions. But you never know how you can use your little sketches. I had a couple of very accidental little ink drawings which I liked and I scanned them in a high resolution and used in my digital art work.
 |
| Ainura Ashirova Barron. “Melody of the Steppe.” 2018. Paper Collage, Mixed Media on Board, 15"x15". $450. |
RP: What was it that first prompted your career/activity as an artist?
AAB: My parents both worked for the printing and publishing industry. My father is a graphic artist, printmaker and illustrator, my mother worked in printing and publishing all her life. I didn’t grow up with my father, they divorced when I was little, but art and books always were part of my life. When I was school age my mother used to have business trip to attend big book fairs represented by different publisher of the Soviet republics. She always took me with her on her business trips. I was able to attend big book fairs in Moscow, and in Central Asian countries. Being exposed to good quality visual materials, particularly to books’ illustrations helped me to grow my visual skills and understanding of art. In all my travels in school age and later when I was able to travel internationally I visited art museums and galleries.
 |
| Ainura Ashirova Barron. “Shanyrak - Roof of my House (Red). 2019. Monoprint, Ink Drawings, Watercolor, Digitized to a Digital Collage, Print on Paper, 24”x36". $180. |
RP: What do you wish someone would ask you about you or your art?
AAB: I use a lot of imagery which are part of my roots and traditions. They might not be understandable to those who are not familiar with Central Asian culture. When there are questions, I’m always open to tell more and share more about what I draw or paint and why I do it. I wish my audience could ask more what my art or certain images in the art mean. I am also interested to hear from my audience their interpretation of my art.
 |
| Ainura Ashirova Barron in her studio. |
One of my first printmaking pieces illustrates the top of a yurt, called the shanyrak, which is the circular opening. The traditional Kazakh house is the yurt, a portable house covered with felt carpets. A properly constructed yurt is cool in summer and warm in winter, and it can be set up or disassembled in less than an hour. Such housing was easy for a nomadic lifestyle and practical for the climate of Kazakhstan. I wanted to use this very symbolic image in my work. It is also a very sacred object with multiple meanings symbolizing the strength and unity of a family. I implemented this symbol using the intaglio technique. I also used this image in other works. I often go back to my visual collection of related objects and ephemera in order to search deeper and find additional meanings in them. In my series of collages Journey, I incorporated an image from an earlier painting, adding layers of different paper sources and mixed media to reference traditional patchwork.
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A native of Kazakhstan, Ainura Ashirova Barron lives and works in St. Charles, MO. She earned her MFA in Visual Studies from Missouri State University in 2019. She also holds a BFA in Graphic Design from Kazakh National Academy of Arts (1997) and BA in Set Design from Almaty Arts College (1991). Her work has been exhibited in solo and group exhibits in Poland and Kazakhstan as well as throughout the St. Louis region including shows at Art Saint Louis, Creamery Art Center, Foundry Art Center, Framations Art Gallery, St. Louis Artists' Guild, St. Charles Community College, Springfield Art Museum, and Zeke Gallery. Learn more about Ainura: www.ainurabarron.com and www.instagram.com/ainura_barron
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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. She has worked with Art Saint Louis since 2017 as Administrative Assistant and Installer and since 2018 as Master Printer for Pele Prints. She also works as adjunct art instructor at Washington University in St. Louis. 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.
A native of Kazakhstan, Ainura Ashirova Barron lives and works in St. Charles, MO. She earned her MFA in Visual Studies from Missouri State University in 2019. She also holds a BFA in Graphic Design from Kazakh National Academy of Arts (1997) and BA in Set Design from Almaty Arts College (1991). Her work has been exhibited in solo and group exhibits in Poland and Kazakhstan as well as throughout the St. Louis region including shows at Art Saint Louis, Creamery Art Center, Foundry Art Center, Framations Art Gallery, St. Louis Artists' Guild, St. Charles Community College, Springfield Art Museum, and Zeke Gallery. Learn more about Ainura: www.ainurabarron.com and www.instagram.com/ainura_barron
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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. She has worked with Art Saint Louis since 2017 as Administrative Assistant and Installer and since 2018 as Master Printer for Pele Prints. She also works as adjunct art instructor at Washington University in St. Louis. 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.
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