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| Featured in Art Saint Louis' "This Moment" exhibit: Mark Appling Fisher, St. Charles, MO. “The Community of Her Life, Just Outside Her Trailer.” 2020. Digital Photograph on Paper, 20”x28”. $300. Artist's statement: "The Community of Her Life, Just Outside Her Trailer One moment. Two questions. Ten years past. “Why you takin’ pictures here?” Outside her trailer, with worried eyes, wrapped in a life of defeat, facing certain loss - Of home. Of hearth. Of community. Of hope. “You the eviction man?”, she asked, softly. Now. Ten years past, this moment - in crisp winter light. I ask: “Where is she?” “Another home, hearth, community?” The eviction man has done his job." |
Roxanne Phllips: What inspired you to become a member of Art Saint Louis?
Mark Appling Fisher: Robin Hirsch-Steinhoff.
I was looking for an anchor, a safe harbor, a place from which my photos might set sail, a home from which I could venture out, a home also - of sorts - for my “art” (if that’s what it is, I’m never certain what to call it) - as well as a place that felt comfortable artistically. There was energy there, diversity, a sense of community, so many fine artists engaged so fully in their own explorations.
I first met Robin at one of the previous ASL locations - I think on Locust(?) - on the 3th floor of a building with rickety elevators, limited space, and a warm and welcoming young woman who greeted me, let me wander around as much as I wanted/needed to.
Robin has been the anchor, the steady hand at the helm, since. Had it not been for her, I doubt very seriously that I would have continued for long as a local/regional artist.
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| Mark Appling Fisher. “After Enola Gay.” 2020. Digital Photograph on Paper, 20”x24”. NFS. |
RP: When did you begin to know what your art is about?
MAF: Tomorrow morning, if I’m lucky.
Most of the time I seem to be pretty clueless, but it’s all a learning process. Every day I seem to find something I was unaware of the day before. Did you know that “Sliced Bread” was first created in Chillicothe, Missouri? Not fascinating, or pertinent to photography, but just something I learned. Crazy old world…
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| Mark Appling Fisher. “Before the Fall.” 2020. Digital Photograph on Paper, 20”x24”. NFS. |
RP: What do you do to support your art and how does that impact your art practice?
MAF: I am fortunate to be retired, after many years in education (41 years, +/-), so my time is mostly my own, beyond the constraints currently in place nationally with the pandemic. My movements are restricted due to my “high risk” status healthwise, so my travel expenses are virtually non-existent at this point. I am frequently asked if I make a good living with my photography, and my answer is always “…if I had to do this for a living, I wouldn’t be doing this for a living…” i know full well how fortunate I am in this regard.
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| Mark Appling Fisher. “Battles Fought, Battles Lost.” 2020. Digital Photograph on Paper, 20”x24”. NFS. |
RP: What advice would you give your younger artist self?
MAF: Start earlier, trust yourself more, embrace the mistakes, worry less about the outcome, enjoy the exploration for its own merits, give short shrift to the naysayers, explore more processes and formats.
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| Mark Appling Fisher. “Montovani for Mother.” 2018. Digital Photograph on Paper, 20”x24”. NFS. |
RP: What do you wish someone would ask you about you or your art?
MAF: Is that for sale?
RP: What is your dream project?
MAF: I think I am currently exploring my dream project as I continue what has come to be known (to me only, I guess) as The Missouri Project. It has occupied most of my time for the past 4 or 5 years. The project has gone thru several iterations and transmogrifications. The pandemic has caused it to come to a screeching halt for now. I hope to continue the project in the near future, with a well-designed book as the final product. No matter the outcome, the enjoyment derives from the journey itself, not the destination. I know that is a very trite and hackneyed idea, but in my case it also happens to be true.
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| Mark Appling Fisher. “Eden Suspended.” 2017. Digital Photograph on Paper, 20”x24”. NFS. |
RP: How has Coronavirus changed your art practice?
MAF: As with a great many folks in every walk of life, we’ve been driven inside, leaving only to forage for food and the occasional walk around the neighborhood or a drive in the country. Prior to the pandemic, I spent a great deal of my time in my truck, exploring small Missouri towns, racking up 400-500 miles in a single day, if the light was good, the location promising. In the first 6 weeks of the pandemic, I put less than 180 miles TOTAL on my truck. That’s quite a change for me.
My normal day now is spent in editing photos for a variety of projects - a couple of magazines, a book proposal, exhibition entries, printing for exhibits I’ve been invited to - as well as shooting some things in my home studio. My location has changed - indoors versus outdoors - but the work itself remains largely the same.
Learn more about Mark Appling Fisher: www.markapplingfisher.com and www.facebook.com/mark.a.fisher.142
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NATALIE AVONDET
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| STL regional artist Natalie Avondet. |
About the artist:
As human beings, we each have a story. Through translucent layers of
bright, bold colors, I allow the paint to form the human face or subject
at hand, encouraging the viewer to dive deeper than the surface to
bring their own story to the painting. Bold, vivid colors, as well as
neutrals, represent the multitude of perspectives. There's always more
than one story.
I like a combination of old and new, urban and
rural; gritty yet delicate. I’m a city girl with a country soul who
believes in running wild and free. My story's not done yet.
Roxanne Phillips: What inspired you to become a member of Art Saint Louis?
Natalie Avondet:
I was new to town trying to navigate the wealth of opportunities here
in St. Louis on my own. When I came across Art St. Louis, I knew it was
the perfect organization for helping me find my way. And it has been
incredibly helpful.
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| Featured in Art Saint Louis’ “This Moment” virtual exhibit: Natalie Avondet, Manchester, MO. “I’m Still Dreaming.” July 2020. Acrylic on Canvas, 24”x24” unframed. $500. |
RP: Describe your artistic process/technique.
NA:
To begin, the canvas is covered quickly with acrylic paint applied much
like a mason smooths cement. Once dry, the subject is sketched and
layers of paint are applied. These layers harmonize to give the painting
its soul.
Throughout the process I use a range of instruments
from traditional artist brushes, to automotive and construction tools to
baking utensils.
RP: What kind of music, books, and movies do you listen to while making art, if any?
NA:
If I'm going to listen to music while painting it's going to be JJ Grey
& Mofro. I love his music and I love the passion he has for it.
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| Natalie Avondet. “Picasso.” 2020. Acrylic on Canvas, 24”x24”. $500. |
RP: How has Coronavirus changed your art practice?
NA:
My work has changed entirely. Prior to Covid-19, I never had time to
explore. The lockdown has provided me time to try new things and I
absolutely love the change up.
RP: Best advice you were ever given?
NA: I don't know if I can boil it down to just one but here are a few bits of advice I take to heart.
1. No one is going to do it for you.
2. Don't take criticism from anyone you would never go to for advice.
3. Don't take advice from anyone who's life you wouldn't want.
4. Your mind has to be stronger than your emotions.
5. Life, including happiness, is a series of choices.
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| Natalie Avondet. “Pollock.” 2020. Acrylic on Canvas, 24”x24”. $500. |
RP: What advice would you give your younger artist self?
NA: Everything's going to be alright.
Learn more about Natalie Avondet: www.natalieavondet.com and www.instagram.com/natalieavondet and www.facebook.com/natalieavondetartwork
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MICHELLE "MIKE" OCHONICKY
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| Featured
in Art Saint Louis’ “This Moment” virtual exhibit: Michelle “Mike”
Ochonicky, Eureka, MO. “Out of Rosendale.” 2020. Oil on Canvas,
12”x24”. NFS. Artist’s statement: “I am always sad to leave from a visit to my son and his family, driving too many hours across so many states. Rural Wisconsin's winter landscape feels especially desolate after leaving. The prohibition of visits to those I love so dearly is the hardest part of COVID-19 isolation.” |
Roxanne Phillips: hat is it about the “This Moment” theme that speaks to you?
Michelle "Mike" Ochonicky: I feel that this moment in history is one of such turmoil, and such isolation. We try to sustain hope and continue as if everything is normal, but it's not normal at all (I hope it's not!). Those feelings impact each person differently, expressible in diverse ways, and those variables present an intriguing theme for an art show.
RP: What are some things that Art Saint Louis does for the community about which you find inspiration?
MO: Art Saint Louis presents very interesting shows, based on a myriad of themes. I like that the artists whose works are presented vary from show to show.
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| Michelle "Mike" Ochonicky. "Ohio Street.” 2019. Oil on Canvas, 16”x20”. NFS. |
RP: What is the best thing about St. Louis for your art practice?
MO: St. Louis is a melting pot with a diverse population throughout the region. I love working in the center of the country where I feel the convergence of viewpoints from each coast, from north, from south, knowing people who have arrived here from all over the world.
RP: What was it that first prompted your career/activity as an artist?
MO: Even as a child, I loved art. An early memory is of my mom teaching me how to trace around a cereal bowl to draw a moon-face! A visit to my high school by sculptor Rudy Torrini sealed the deal: I studied drawing and sculpture with him in college, and I still approach all of my artwork with the 3-dimensional vision he encouraged. I've come a long way from tracing a cereal bowl but art remains my passion today.
RP: When was the first time that you remember realizing that you are a creative person?
MO: My parents had taken me to the St. Louis Art Museum to see the mummy when I was a very young child. I came home and immersed myself in finger painting what I'd seen, posting an art show on the tile wall of our kitchen, and invited my grandparents to attend the opening. I was smitten. I KNEW art was at my core. It led me not only to a degree in art but to a lifelong career.
RP: When did you begin to know what your art is about?
MO: I have always be intrigued by how one's physical presence establishes one's relationship to a painting and the role of light in that determination. My paintings are always about a sense of place, inviting the viewer be in that space, to feel what is depicted on my canvas. Art is all about communication but that communication need not be obvious. I prefer for my work's message to be more subtle and, hopefully, thought-provoking.
RP: What was your career path? How did you get from being an aspiring artist to doing it?
MO: 41 years ago I took the giant leap out of a job in the corporate world into the world that my college degree in art had prepared me for (well, sort of!). I've never regretted that decision. I still feel that I'm evolving as an artist. Along the way, I've had stints as the executive director of three different statewide, arts-related nonprofits, all of which helped to provide expanded experience in the arts.
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| Michelle "Mike" Ochonicky."Spello.” 2020. Oil on Canvas, 16”x20”. NFS. |
RP: What is it about your preferred medium that you enjoy the most?
MO: My preferred medium is scrimshaw (etching onto natural bone), which has been my focus for most of my artistic career. Scrimshaw is an intricate, precise, black-&-white historic art of details. Painting, on the other hand, affords me a colorful, larger-scale break from my etching.
RP: Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
MO: I don't think art can be forced. The idea that "Now I will create a masterpiece" just doesn't work! While I have an initial view in my mind of the work when I begin it, I allow for my work to take its natural direction as it develops, and there's a LOT of heart and soul poured into that process.
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| Michelle "Mike" Ochonicky. "Evening on the Porch.” 2020. Oil on Canvas, 16”x20”. NFS. |
RP: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
MO: Well, before COVID when all concept of time dissolved, I normally worked daily in my studio during the week, showing my work often at art shows on weekends. Now, I still work daily: long days if I am "in" the groove; shorter hours if a piece isn't working at that time. I imagine the finished work in my mind before I start, so I generally paint (or etch) what I "see" in my mind.
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| Michelle "Mike" Ochonicky painting outside the studio with her dog Emmet. |
RP: Why did you choose the medium you work in?
MO: I love the smell of oil paint! Standing in front of a canvas just compels me to paint.
Regarding my scrimshaw, I enjoy the deep intricacy of that artform, as well as appreciating its long history.
Either way, I lose track of all time when I'm working in my studio.
RP: What kind of music, books, and movies do you listen to while making art, if any?
MO: NPR is normally on in my studio (because I don't always get a lot of time to read), or world music.
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| Michelle "Mike" Ochonicky’s studio. |
RP: Describe your studio space and if anything, what would you change?
MO: My studio is very tiny compared to most artists' studios, but it's my space. It's light and bright with a skylight, plus one window that looks out into the woods, and a window on the opposite side that overlooks a waterfall and pond--so how could I improve on that?! Maybe it would be nice if it could be a bit larger.
RP: How has Coronavirus changed your art practice?
MO: Coronavirus has created so much personal sorrow for me, but I have found an escape through my art. I have time, lots of time, to work on what I've been picturing in my mind, to "travel" through the art I make.
RP: Describe your dream studio.
MO: My studio, with maybe more space.
RP: Best advice you were ever given?
MO: I received two contradictory bits of advice that impacted me: "What do you intend to do with your life? You can't eat oil paint." And the other was "Follow your heart." I found a way to merge those two concepts.
RP: What do you do to support your art and how does that impact your art practice?
MO: I teach some classes at St. Louis Community College; teaching my students pushes me to keep learning, too. Additionally, I am the Arts Editor for The Healthy Planet magazine which makes me stay in touch with the current art scene in the region.
RP: What advice would you give your younger artist self?
MO: You learn from every experience, from every job, from every person you meet and someday you will utilize every little bit, every little skill that you learn.
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| Michelle "Mike" Ochonicky. "Low Tide.” 2020. Oil on Canvas, 11”x14”. $800 |
RP: What motivates you to continue making art?
MO: I can only describe it as passion.
RP: What is your dream project?
MO: The next project I work on!
RP: What is the best thing about being an artist?
MO: Going to work everyday is a joy!
Learn more about Michelle "Mike" Ochonicky: https://stonehollowstudio.com/ and www.instagram.com/stonehollowstudio and www.facebook.com/Stone-Hollow-Studio-37490077798
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GARRY MCMICHAEL
About the artist: For three decades, Garry McMichael has been
traveling the back roads of Middle America, especially the Ozarks,
capturing its beauty with the camera, charcoals, pastels and paint.
Garry is constantly searching for those fleeting moments when the
landscape, the atmospheric conditions and the ever-changing light come
together in a flash of visual inspiration.
McMichael has been a photojournalist, commercial photographer and artist
for the past 30 years and is owner of PaintStLouis.org where he
organizes and teaches workshops in St. Louis, Missouri. He is actively
involved with the Greater St. Louis Art Association, Art Saint Louis, and
is Past-President of the Gateway Pastel Artists Association. A firm
believer that “A rising tide lifts all boats” Garry works diligently to
help artists improve their art and marketing skills.
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| Featured in Art Saint Louis’ “This Moment” virtual exhibit: Garry McMichael, St. Louis, MO. “This Moment: Dreaming of Sky Holes; Is Today Thursday? A Lesson in Patience.” 2020. Oil, Acrylic on Canvas, 18”x18” each/18”x56” total, unframed. $1,600. Artist’s statement: “Every morning I open my eyes and the first thing I see is this window and the scene outside. Often, I grab my iPhone and photograph the scene as I see it. These paintings are inspired by three of these scenes. The triptych represents the “First Moment" of each day.” |
Roxanne Phillips: What is it about the “This Moment” theme that speaks to you?
Garry McMichael: As an artist that falls in the “increased risk” category for the coronavirus, the exhibit theme of "This Moment" was a perfect challenge for me. I could sit around and feel sorry for myself, or I could become an artist-in-residence, and really spend some serious time creating my art. I chose the second route and in the last five months have created over eleven new paintings, many that felt directly with the theme “This Moment.” My painting in the show was the perfect example.
RP: What are some things that Art Saint Louis does for the community about which you find inspiration?
GM: There are several excellent art organizations in the St Louis Regions. All of them exist to help artists become better and develop a network of fellow artists. Art St Louis is one of the best. They provide numerous juried exhibition opportunities for artist to get it in front of the public. Their weekly newsletter helps keep us informed of many activities available to artists throughout the region. A big shout out to both Robin and Chandler for making Art Saint Louis the success it is.
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| Garry McMichael. “Winter Solstice Elephant Rocks, My Ozarks series.” 2019. Acrylic on Canvas, 24”x36”. |
RP: Describe your artistic process/technique.
GM: I’m not an impulsive painter, certainly not very bold. I am not a plein air painter, and rarely am I impressed with abstract work. I am a contemplative painter. Nothing gives me more pleasure than spending hours trying to decide what I’m going to paint next, how I’m going to approach it, and what will be the end result. I love detail in a painting and can spend hours working to get the painting’s values just right.
Recently I came across this quote by John Cage that best explains what it is about making art. “When you are in your studio, everybody is in your studio - the past, your friends, enemies, the art world, and above all your own ideas -all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you’re lucky, even you leave."
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| Garry McMichael. “World Series Cairn, Mystic Cairns series.” 2018. Oil on Canvas, 17”x12”. |
RP: What is it about your preferred medium that you enjoy the most?
GM: Oil and Acrylic are my mediums of choice. Acrylic because of the quick drying times that allows me to work in layers. Oil because it makes me slow down, spending more time thinking about the process.
RP: What was your career path? How did you get from being an aspiring artist to doing it?
GM: I’ve been an artist since I was nine years old. Pencil drawing and photography all the time. As I started college I was fearful that I couldn't earn a living as an artist. Instead I became a commercial photographer, at first working in a commercial photography studio, then as an editorial freelance photographer working throughout the South, Southwest and the Midwest.
After fourteen years as an editorial photographer my body started to give out, especially my knees. I returned to running my own a commercial photography studio. But in all that time I never quit drawing and then discovered pastels, then acrylics and oils. Through the years I found myself painting more and doing less photography.
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| Garry McMichael. “Haw Creek Falls, My Ozarks series.” 2020. Acrylic on Canvas, 16”x12”. |
RP: What do you do to support your art and how does that impact your art practice?
GM: I still practice commercial photography, doing several assignments a month. I also photograph 2-d and 3-d art for artists and help them develop their own websites.
RP: Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
GM: I’m a “heart and soul” guy! I have more than my fair share of imagination, but one I’ve decided what I want to paint it’s all details and control.
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| Garry McMichael: Then and Now. Garry with first Brownie. Garry McMichael. Photo by Traci Bealka. |
RP: When was the first time that you remember realizing that you are a creative person?
GM: The first time I wanted to play in the mud and my Mother said NO. You can’t do that.
RP: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
GM: My favorite time to paint is at night, after 9 p.m. when my wife goes to bed. The house is quiet, No one is calling me on the phone and the only emails are junk. The house is quiet except for the cats. I’ll typically paint until about 1:00am to 1:30 a.m., but if I’m in the zone I’ll look up at the clock only to realize it’s 3 a.m. or later. I get up mid-morning and work on commercial projects and marketing until about mid afternoon. Then I’ll take a nap until the nightly news comes on.
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| St. Louis artist Garry McMichael in his Soulard studio. |
RP: Describe your studio space – size, location, set up, what qualities must it have, what would you change?
GM: We own a dream studio. Back in 2003 my wife and I purchased an old funeral home, built in 1917. We have galley space, studio space, office space and a giant garage with a woodworking shop. My wife, Diane Tessman, is a fiber artist. She has tons of fiber materials stored in the basement and her own studio next to mine. As I said we have a dream studio.
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| Garry McMichael. “Winter Solstice Elephant Rocks, My Ozarks series.” 2019. Acrylic on Canvas, 24”x36”. |
RP: How has Coronavirus changed your art practice?
GM: It’s given me the time to really paint. No places to go, no sports live or on TV, no theaters open, and no monthly meetings to distract me.
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| Garry McMichael. “Ozark Roots, My Ozarks series.” 2020. Acrylic on Canvas, 40”x60”. |
RP: What advice would you give your younger artist self?
GM: Every new artist has heard it before. Just paint! Paint everyday. Practice, practice, practice.
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| Garry McMichael. “Cairn One, Mystic Cairn Series.” 2019. Acrylic, Oil on Canvas, 16”x12”. |
RP: What is your dream project?
GM: My next painting.
RP: What is the best thing about being an artist?
GM: I’ve been living my dream all my life. Art has opened the world to me. Thanks to being an artist I have seen and experienced things that few others have.
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| Garry McMichael. “Trout Fishing Roaring River, My Ozarks series.” 2020, Oil on Canvas, 12”x12”. |
RP: Has rejection ever affected your creative process?
GM: Rejection is part of the creative process. Taken properly, it can make us better. Entering a juried exhibition you must understand everybody has an opinion of what art should be. It’s subjective. What one Juror may think is cutting edge another may think it’s juvenile. Rejoice when the juror likes your work, but don’t let rejection be the reason you stop making art. As an aside, the hardest person to take criticism from is Diane, my spouse of 33 years. But often she is right. Sometimes it takes me awhile to come around.
Learn more about Garry McMichael: www.garrymcmichael.com and https://garry-mcmichael.pixels.com and www.instagram.com/garry.mcmichael.art and www.facebook.com/garrymcmichaelart
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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.
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.
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