We
are pleased to offer another new post with interviews
featuring artists whose works are on view in our virtual and online
exhibit, "This Moment" on view through September 15, 2020. You can see all of the featured artworks and learn about the artists on our webpage for the exhibit here and in our exhibition Facebook album here.
For this week's post, we are pleased to present interviews with artists Eve Dake Bayer, Douglas Simes, Kathleen Greenwood, and SunnyJo Crow.
EVE DAKE BAYER
 |
| Featured in Art Saint Louis’ “This Moment” exhibit: Eve Dake Bayer. “Legacy.” 2020. Acrylic, Collage on Shipping Cardboard, 12”x18”. $375. Artist’s statement: ”Legacy" is reflection upon the acts of protest during the Covid pandemic. The background figures represent both the need for social distancing as the virus spreads, yet the need to gather and protest acts of injustice despite the pandemic. The ghostly horse figures symbolize the nation's history, both its' Civil War past, and our current culture that will become history in the wake of the pandemic.” |
About the artist: St. Louis-based artist Eve Dake Bayer obtained formal art training through local college courses and evening courses at Washington University in Saint Louis. She further developed her art skills and personal style through workshops in painting, printmaking, portraiture and sculpture offered through private instructors and arts institutions. Working primarily with paint, pastel and mixed media, her work is currently focusing on using art to explore social issues.
Roxanne Phillips: What is it about "This Moment" theme that speaks to you?
Eve Dake Bayer: There are so many challenges this year: pandemic disease, racial divide and social protest, and challenges to the narrative of history. There is so much to think about here, as an artist, in an effort to not only make sense of it all, but find a way to express the unrest visually.
RP: What are some things that Art Saint Louis does for the community in which you find inspiration?
EDB: I very much appreciate that Art Saint Louis promotes the art endeavors of regional artists, whose work would often get lost in the larger landscape. After making art solely as a private pursuit, I found Art Saint Louis to be a welcoming exhibition venue when I made the decision to show my work publicly.
I particularly like the themes ASL chooses for its’ shows: I think deeply about the show theme, and what art I can create around that theme, yet make the work personal to me and also relevant to the outside viewer. As a result, I think I am making more meaningful art, so I suppose you can say ASL is my ‘muse’ for these projects. Thank you, Art Saint Louis, for that.
RP: Describe your artistic process.
EDB: I first think a great deal about what I want to say with a particular project, and how I am going to accomplish that. Days might be spent in this mental planning process. I then select materials, test samples, sometimes arrange and rearrange, then commence what is to be the final piece. Occasionally I bail on the project and start over, but I've now learned and disciplined myself to just keep working through the frustrating parts, since that seems to be the catalyst for the work to 'come together'.
RP: What is it about your preferred medium that you enjoy the most?
EDB: I love printmaking, inking up specific images and then collaging over with whatever bits and pieces seem to be appropriate for the work. The magic for me is when the print is pulled, however, because I can never predict the final image. It forces me to give up control over the artwork, and I anticipate the results with great pleasure.
RP: What was your career path? How did you get from being an aspiring artist to doing it?
EDB: I drew and painted from a very young age, selling my first works at a middle school exhibition. For many not very good as well as some very good reasons, I didn’t pursue formal fine art education as a college student and instead entered a traditional profession. However, during that ‘career’ time, I returned to art study and sought out evening college and workshop art classes to develop skills and find my 'personal style". (I really think it found me.) Art-centric travel and participation in artists groups also helped me widen my sense of art appreciation and knowledge. Now, having retired from professional practice, I am avidly pursuing what has always been my first, and most enduring passion, visual art.
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?
EDB: I think it's a little bit of both. Pieces I create that come from something internally personal always seems to be my better work, at least to me. On the other hand, I've learned to embrace the 'happy accident' that can occur when developing an artwork, and to go with it. Those happy accidents can often take the work in a different direction than envisioned, for the greater good of the piece usually.
RP: What do you do to support your art and how does that impact your art practice?
EDB: I find that interaction with other visual artists who are passionate about their work drives me to experiment with new processes and mediums. I participate in small group drawing and painting sessions with like-minded art colleagues, and constantly mine the internet for new ideas and inspiration. I avidly research local, national and international exhibits, and make art museums and shows a constant focus of my travels. From these, I bring home new ideas and inspiration, and I very much see those influences in my current work.
RP: What advice would you give your younger artist self?
EDB: This is a hard one. Part of me wants to say: “don’t listen to other people, or the economy, or whatever, and just do art if that is what you want and need to do.” The other practical part of me says to that younger artist self: “plan your journey with whatever your current resources are, make the most of it, and very importantly, don’t ever look back with regrets. Whatever you do though, make sure it is something about which you are truly passionate.”
RP: Has rejection ever affected your creative process?
EDB: Definitely. At first, if/when something I do is rejected, either through criticism, group censure, or the jurying process, my knee jerk reaction is “I don’t need this, why am I even doing this, I could be doing something else, maybe my stuff is just @#$% or whatever, blah, blah, blah....” And I give myself two minutes (maybe three) of feeling disappointed and sorry for myself. Then my real self, me, the person inside, kicks in. I am a fighter, a realist, and I know how to work hard and am generally fearless (which is both a good and a bad thing sometimes). I pick up my brushes, my pen, my ink, my paper, and let the process of art work its’ magic. The result is usually better, and I step up to the plate again with optimism and enthusiasm.
Roxanne Phillips: What is it about "This Moment" theme that speaks to you?
Eve Dake Bayer: There are so many challenges this year: pandemic disease, racial divide and social protest, and challenges to the narrative of history. There is so much to think about here, as an artist, in an effort to not only make sense of it all, but find a way to express the unrest visually.
 |
| Artist Eve Dake Bayer with a work in progress. |
RP: What are some things that Art Saint Louis does for the community in which you find inspiration?
EDB: I very much appreciate that Art Saint Louis promotes the art endeavors of regional artists, whose work would often get lost in the larger landscape. After making art solely as a private pursuit, I found Art Saint Louis to be a welcoming exhibition venue when I made the decision to show my work publicly.
I particularly like the themes ASL chooses for its’ shows: I think deeply about the show theme, and what art I can create around that theme, yet make the work personal to me and also relevant to the outside viewer. As a result, I think I am making more meaningful art, so I suppose you can say ASL is my ‘muse’ for these projects. Thank you, Art Saint Louis, for that.
 |
| Eve Dake Bayer. “Bridges.” 2018-2020. Watercolor, Ink, Pastel on Paper, 6 1/4”x9 1/4”. $250. |
RP: Describe your artistic process.
EDB: I first think a great deal about what I want to say with a particular project, and how I am going to accomplish that. Days might be spent in this mental planning process. I then select materials, test samples, sometimes arrange and rearrange, then commence what is to be the final piece. Occasionally I bail on the project and start over, but I've now learned and disciplined myself to just keep working through the frustrating parts, since that seems to be the catalyst for the work to 'come together'.
 |
| Featured in Art Saint Louis’ “This Moment” exhibit: Eve Dake Bayer. “Three Horsemen.” 2020. Acrylic on Mixed Media Paper, 11”x14” unframed. $350. Artist’s statement: “The Covid virus is imagined as an army, its' leaders patiently and unrelenting observing as the virus takes its' toll.” |
RP: What is it about your preferred medium that you enjoy the most?
EDB: I love printmaking, inking up specific images and then collaging over with whatever bits and pieces seem to be appropriate for the work. The magic for me is when the print is pulled, however, because I can never predict the final image. It forces me to give up control over the artwork, and I anticipate the results with great pleasure.
 |
| Eve Dake Bayer. “Psyche's Many Facets.” 2019. Pastel on Paper, 12"x9”. $125. |
RP: What was your career path? How did you get from being an aspiring artist to doing it?
EDB: I drew and painted from a very young age, selling my first works at a middle school exhibition. For many not very good as well as some very good reasons, I didn’t pursue formal fine art education as a college student and instead entered a traditional profession. However, during that ‘career’ time, I returned to art study and sought out evening college and workshop art classes to develop skills and find my 'personal style". (I really think it found me.) Art-centric travel and participation in artists groups also helped me widen my sense of art appreciation and knowledge. Now, having retired from professional practice, I am avidly pursuing what has always been my first, and most enduring passion, visual art.
 |
| Eve Dake Bayer. “Mortality Revisited.” 2019. Watercolor on Paper, 6"x12". $125. |
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?
EDB: I think it's a little bit of both. Pieces I create that come from something internally personal always seems to be my better work, at least to me. On the other hand, I've learned to embrace the 'happy accident' that can occur when developing an artwork, and to go with it. Those happy accidents can often take the work in a different direction than envisioned, for the greater good of the piece usually.
 |
| Eve Dake Bayer. “Exodus in Blood, White and Blue.” 2018. Ink Monotype with Clear Overlay, 7.5”x9.5”. Not for Sale. |
RP: What do you do to support your art and how does that impact your art practice?
EDB: I find that interaction with other visual artists who are passionate about their work drives me to experiment with new processes and mediums. I participate in small group drawing and painting sessions with like-minded art colleagues, and constantly mine the internet for new ideas and inspiration. I avidly research local, national and international exhibits, and make art museums and shows a constant focus of my travels. From these, I bring home new ideas and inspiration, and I very much see those influences in my current work.
 |
| Eve Dake Bayer. “Mother Russia.” 1986. Pastel, Pencil on Wrapping Paper with Burned Edges, 18"x23”. Not for Sale. |
RP: What advice would you give your younger artist self?
EDB: This is a hard one. Part of me wants to say: “don’t listen to other people, or the economy, or whatever, and just do art if that is what you want and need to do.” The other practical part of me says to that younger artist self: “plan your journey with whatever your current resources are, make the most of it, and very importantly, don’t ever look back with regrets. Whatever you do though, make sure it is something about which you are truly passionate.”
 |
| St. Louis artist Eve Dake Bayer in her studio. |
RP: Has rejection ever affected your creative process?
EDB: Definitely. At first, if/when something I do is rejected, either through criticism, group censure, or the jurying process, my knee jerk reaction is “I don’t need this, why am I even doing this, I could be doing something else, maybe my stuff is just @#$% or whatever, blah, blah, blah....” And I give myself two minutes (maybe three) of feeling disappointed and sorry for myself. Then my real self, me, the person inside, kicks in. I am a fighter, a realist, and I know how to work hard and am generally fearless (which is both a good and a bad thing sometimes). I pick up my brushes, my pen, my ink, my paper, and let the process of art work its’ magic. The result is usually better, and I step up to the plate again with optimism and enthusiasm.
 |
| Eve Dake Bayer. “Erase.” 2020. Mixed Media on Cardboard, 8"x10”. $250. |
Learn more about Eve Dake Bayer: www.instagram.com/eve_visualarts/ and www.facebook.com/AVAVisualArts/
____________________________ ___________________
DOUGLAS SIMES
____________________________ ___________________
DOUGLAS SIMES
 |
| St. Louis-based artist Douglas Simes at the New York Public Library. |
About the artist: Douglas Simes moved to St. Louis in 2019 from New York City. His drawings have been seen in several group exhibitions in New York, including the gallery at the Manhattan Borough President’s Office. In St. Louis, a computer-generated work was on view last fall in “An Idea of Order,” a juried group exhibition at the St. Louis Artists’ Guild that explored the relationship between art and mathematics. In March 2020 he was represented in the exhibition “Portraits” at the Fine Art Gallery at Fontbonne University. His photographs of the St. Louis riverfront and rural southeast Missouri were the subject of two solo exhibitions, one at the New York Public Library, another in New Madrid at the River Walk Gallery.
Before leaving New York he was on the staff of Rawlings Architects, an award-winning firm in the Wall Street area. Architectural projects included the 40 Bleecker Luxury Residences in the East Village and two elementary school projects in the outer boroughs. At Helpern Architects Douglas worked on renovations of the Marble Collegiate Church on Fifth Avenue and the neo-Gothic Sterling Memorial Library at Yale University. He studied drafting and perspective drawing at the School of Visual Arts and earned an M.Arch. degree from Pratt Institute in 2007.
Douglas has studied life drawing and anatomy for nearly 20 years at the Art Students League of New York. A self-portrait was published in the League catalog and he twice received the coveted Red Dot award in League exhibitions. His instructors included Sherry Camhy, Terrance Coyle, Costa Vavagiakis, James L. McElhinney, Michael Burban and Dan Gheno.
Douglas grew up on Long Island, just east of New York City, and attended Friends Academy, a Quaker school on the North Shore. He was a competitive sailor in the Westhampton Beach area. He was obsessed with art in his youth. His mother was a textile designer in the early 1930s and briefly shared a studio with Joseph Cornell. His father managed the family lighting fixture company and was a POW in Europe during the final year of World War II. Douglas pursued his B.A. at Lehigh University at the height of the Vietnam era, studying engineering and English Literature.
A professional actor for 25 years, he appeared Off-Broadway and in regional companies from New York to Alaska after training at the Yale School of Drama. He taught acting at Cornell University, the University of Miami and the State University of New York at Stony Brook. He met his wife, Sarah Burke, a St. Louis native, when they played Anne Frank’s parents at the Cleveland Play House. Before relocating to St. Louis in 2019, they lived for 30 years on the Upper West Side of Manhattan.
Editor's note: Douglas' work will be featured in the upcoming Art Saint Louis exhibit, "Creatures II" (September 26-October 22).
 |
| Douglas Simes. “Pigeon.” 2019. Sanguine Pencil on Rives Heavyweight Paper, 12”x17”. $900. |
Roxanne Phillips: How has Art Saint Louis had an impact on your life and/or the lives of artists with whom you've directly worked?
Douglas Simes: I am so grateful to Robin, Chandler, and Roxanne for the opportunities they’ve given me to show my work, and for a venue that offers a chance to experience the work of other St. Louis artists. When I arrived in St. Louis a year ago, I had effectively retired from architecture. I wanted to devote my time to creating drawings and also acquaint myself as much as possible with the artistic community in my new home. Robin has been particularly welcoming and supportive. The work she has put into making these exhibits happen in the face of COVID protocols has been inspiring.
Douglas Simes: I am so grateful to Robin, Chandler, and Roxanne for the opportunities they’ve given me to show my work, and for a venue that offers a chance to experience the work of other St. Louis artists. When I arrived in St. Louis a year ago, I had effectively retired from architecture. I wanted to devote my time to creating drawings and also acquaint myself as much as possible with the artistic community in my new home. Robin has been particularly welcoming and supportive. The work she has put into making these exhibits happen in the face of COVID protocols has been inspiring.
 |
| Featured in Art Saint Louis’ “This Moment” exhibition: Douglas Simes. ”Self-Portrait as a Desperate Man in Need of a Haircut.” July 2020. Sanguine Pencil, White Charcoal on Toned Paper, 18”x12” unframed. $600. Artist’s statement: “The inevitable self-portrait. Seeing myself in the bathroom mirror one morning, Gustave Courbet’s “The Desperate Man” came to mind. Instantly I thought, “Oh, that’s what I’ll do!” In April I lost my NYC colleague Richard Husson to COVID. This kind of snarky take on a classic image is very Richard.” |
RP: What is it about "This Moment" theme that speaks to you?
DS: This has been a period of unparalleled turbulence and national reckoning. The artists in this exhibition have addressed these issues with relentlessly stark and compelling imagery – so much so, at first viewing, I wondered what I was doing here.
But my relationship to the victims of the coronavirus is very personal. In April I lost two colleagues at the Art Students League to the disease. Richard Husson was an artist of enormous dedication to his work and long-time monitor for Sherry Camhy. He was chasing 80 when he died, and still wore a pony-tail; a garrulous southerner, he could never resist cracking wise. It meant a lot to me to present my drawing in the show in his memory.
The other colleague was Terence Coyle who taught anatomy and painting at the League for decades. He edited all the Robert Beverly Hale books. He was in his 90's. 2 years ago I encountered him in the League stairwell and told him I still had his handouts from when I studied with him in 2003. Immediately he opened his weathered leather bag, rummaged, and pulled out a Xerox. “Here,” he said, “Take this. It’s the new version.”
 |
| Douglas Simes. “Shakespeare’s Joan La Pucelle and her Fiends.” 2020. Graphite, White Charcoal, Pen & Ink on Toned Paper, 18”x12”. $900. |
RP: What was your career path? How did you get from being an aspiring artist to doing it?
DS: The Arts, in one way or another, have defined my entire life. I wanted to be an artist from the time I was a child. As a youngster I told my father so; his response was, “You want to starve?” I would draw and water paint obsessively. Then in junior high I discovered acting and devoted my free time to that for 6 years.
I thought about architecture as a teenager, but learned on a school tour of Rensselaer Polytech that the architecture building was the only one on campus that had lights on all night. Cowed, I went to Lehigh University and studied engineering.
Then the girl I was in love with left me for an artist and I thought, “I’ll show her. I’ll become an actor.” I switched my major to English and started auditioning. After two years working with the CSC Repertory Theatre in Greenwich Village I attended the Yale School of Drama. For the next 25 years I pursued a career as a professional actor, mainly in regional theatre. I met my wife Sarah Burke – a St. Louis native – when we played Anne Frank’s parents at the Cleveland Play House.
DS: The Arts, in one way or another, have defined my entire life. I wanted to be an artist from the time I was a child. As a youngster I told my father so; his response was, “You want to starve?” I would draw and water paint obsessively. Then in junior high I discovered acting and devoted my free time to that for 6 years.
I thought about architecture as a teenager, but learned on a school tour of Rensselaer Polytech that the architecture building was the only one on campus that had lights on all night. Cowed, I went to Lehigh University and studied engineering.
Then the girl I was in love with left me for an artist and I thought, “I’ll show her. I’ll become an actor.” I switched my major to English and started auditioning. After two years working with the CSC Repertory Theatre in Greenwich Village I attended the Yale School of Drama. For the next 25 years I pursued a career as a professional actor, mainly in regional theatre. I met my wife Sarah Burke – a St. Louis native – when we played Anne Frank’s parents at the Cleveland Play House.
 |
| Douglas Simes. “Elizabeth.” February 2019. Pen & Ink on Illustration Board, 15”x13”. $900. |
One day after my 48th birthday I was ruminating on my childhood obsession with drawing and I willed myself to pick up a pencil and sketch. A month later I took my first class at the Art Students League in New York.
In the summer of 2001 I found a survival job office managing at an architecture office in Harlem. Three years later (at the age of 55) I enrolled in the Masters of Architecture program at Pratt Institute. For 13 years I worked at three architecture firms, the last being Rawlings Architects, an office run by Rensselaer Polytech grads. I retired last year. Sarah and I moved to St. Louis in 2019 and I’ve been devoting my time to creating drawings ever since. I have a small drafting studio in our apartment.
It’s been a joyous return to my childhood ambition, but occasionally I think of the advice of Dan Gheno, my last drawing teacher at the League. When asked what he would say to an aspiring artist, he said, “Don’t wait.”
In the summer of 2001 I found a survival job office managing at an architecture office in Harlem. Three years later (at the age of 55) I enrolled in the Masters of Architecture program at Pratt Institute. For 13 years I worked at three architecture firms, the last being Rawlings Architects, an office run by Rensselaer Polytech grads. I retired last year. Sarah and I moved to St. Louis in 2019 and I’ve been devoting my time to creating drawings ever since. I have a small drafting studio in our apartment.
It’s been a joyous return to my childhood ambition, but occasionally I think of the advice of Dan Gheno, my last drawing teacher at the League. When asked what he would say to an aspiring artist, he said, “Don’t wait.”
 |
| Douglas Simes at work in his St. Louis studio. |
RP: Describe your artistic process/technique.
DS: I’m a draftsman. I work in dry media and multiliner pens. I have this wish to work more in ink wash and water color, but, unfortunately, I also have this aversion to making a mess. I enjoy drawing because of the rigor and specificity of thought it requires from concept to execution.
When I first studied at the Art Students League I worked in graphite exclusively. I produced highly rendered figure drawings. Then I discovered Sanguine pencil and Rives heavyweight paper and it was like switching from a point and shoot to an SLR with a zoom lens.
DS: I’m a draftsman. I work in dry media and multiliner pens. I have this wish to work more in ink wash and water color, but, unfortunately, I also have this aversion to making a mess. I enjoy drawing because of the rigor and specificity of thought it requires from concept to execution.
When I first studied at the Art Students League I worked in graphite exclusively. I produced highly rendered figure drawings. Then I discovered Sanguine pencil and Rives heavyweight paper and it was like switching from a point and shoot to an SLR with a zoom lens.
 |
| Douglas Simes. “Regina.” 2018. Sanguine Pencil & White Charcoal on Toned Paper, 17”x12”. $900. |
About 7 years ago I studied with James McElhinney who taught principles in drawing that I abide by to this day: gesture, structure, topology and composition. I feel that James taught me what drawing is really about – mark making that’s rooted in movement and physical description. My work took an even more conceptual turn. It’s always been cool in temperature. I’m still concerned about having a visceral rapport with the model. I feel my work is informed by my years as an actor. Relationship is important to me.
From other training at the Art Students League, I maintain an aggressive attention to anatomy. My Self-Portrait as a Desperate Man features a nod to my League anatomy teacher, Michael Burban. My right arm is raised and I worked to include the small coracobrachialis muscle near the arm pit. Michael taught us that Renaissance artists referred to it as the Crucifixion muscle, because that was the only time you’d see it. I started working with multiliner pens when James urged us, when using a sketchbook, to only work in pen because it wouldn’t smudge. Since then I’ve executed a number of projects that explore the concept of the cross-contour in an effort to emulate Baroque masters such as Hendrick Goltzius.
From other training at the Art Students League, I maintain an aggressive attention to anatomy. My Self-Portrait as a Desperate Man features a nod to my League anatomy teacher, Michael Burban. My right arm is raised and I worked to include the small coracobrachialis muscle near the arm pit. Michael taught us that Renaissance artists referred to it as the Crucifixion muscle, because that was the only time you’d see it. I started working with multiliner pens when James urged us, when using a sketchbook, to only work in pen because it wouldn’t smudge. Since then I’ve executed a number of projects that explore the concept of the cross-contour in an effort to emulate Baroque masters such as Hendrick Goltzius.
 |
| Douglas Simes. “Zorro in his Chair.” 2020. Sanguine Pencil on Rives Heavyweight Cream Paper, 14”x17”. $900. |
RP: Best advice you were ever given?
DS: One morning in James McElhinney’s drawing class I overheard him say to another student, “Look, it’s not about making a work of art. It’s about making yourself smarter.”
When drawing in sanguine I work with the same instrument that Anthony Panzera uses: an oil-based Cretacolor sanguine pencil (which, by the way, cannot be found in any art store in St. Louis). In an interview, Penzera offered this insight into his practice: because of the way sanguine medium is lightly applied and easily dulled, he has at his work station a full box of them, all sharpened. I always try to have as many pencils prepared as I can.
When I was studying with Costa Vavagiakis at the Art Students League, there was one long pose drawing that required a lot of dark shadow tones on the figure and in the environment. I overworked it and when Costa came by for his critique, I said, “Costa, I think I’ve screwed up this drawing.” He considered the drawing, looked at me, smiled and said, “There’s always redemption." Those words come to mind quite often.
And speaking of environment, James McElhinney always reminded us, “Criminals have backgrounds. Models have environments.”
DS: One morning in James McElhinney’s drawing class I overheard him say to another student, “Look, it’s not about making a work of art. It’s about making yourself smarter.”
When drawing in sanguine I work with the same instrument that Anthony Panzera uses: an oil-based Cretacolor sanguine pencil (which, by the way, cannot be found in any art store in St. Louis). In an interview, Penzera offered this insight into his practice: because of the way sanguine medium is lightly applied and easily dulled, he has at his work station a full box of them, all sharpened. I always try to have as many pencils prepared as I can.
When I was studying with Costa Vavagiakis at the Art Students League, there was one long pose drawing that required a lot of dark shadow tones on the figure and in the environment. I overworked it and when Costa came by for his critique, I said, “Costa, I think I’ve screwed up this drawing.” He considered the drawing, looked at me, smiled and said, “There’s always redemption." Those words come to mind quite often.
And speaking of environment, James McElhinney always reminded us, “Criminals have backgrounds. Models have environments.”
 |
| Douglas Simes. “Sarah.” 2019. Pen & Ink on Toned Paper, 12”x18”. $900. |
RP: How has Coronavirus changed your art practice?
DS: Oddly, the shut-down has increased my activity and output. I have to maintain a “to do” list in Excel. When live models were taken away the moment demanded invention and resourcefulness. I was eager to resurrect drawing ideas from the back burner. This period has been defined by a series of projects where each task was informed by the previous one. Initially, I embarked on a review of anatomy which in turn became the basis of a drawing I produced for an online narrative art class at the Gateway Academy. That class offered information on compositional tools I used to develop a series of “memory” drawings derived from the Polaroid snapshots my father took in the late 1950s and early 60s. Then came the self-portrait. I wanted to continue with others in different media, but I was offered an opportunity to teach linear perspective online at the St. Louis Artists Guild.
This is the busiest I’ve been all year.
Learn more about Douglas Simes: www.instagram.com/dwsimes/DS: Oddly, the shut-down has increased my activity and output. I have to maintain a “to do” list in Excel. When live models were taken away the moment demanded invention and resourcefulness. I was eager to resurrect drawing ideas from the back burner. This period has been defined by a series of projects where each task was informed by the previous one. Initially, I embarked on a review of anatomy which in turn became the basis of a drawing I produced for an online narrative art class at the Gateway Academy. That class offered information on compositional tools I used to develop a series of “memory” drawings derived from the Polaroid snapshots my father took in the late 1950s and early 60s. Then came the self-portrait. I wanted to continue with others in different media, but I was offered an opportunity to teach linear perspective online at the St. Louis Artists Guild.
This is the busiest I’ve been all year.
____________________________ ___________________
KATHLEEN GREENWOOD
 |
| Featured in Art Saint Louis’ “This Moment” exhibit: Kathleen Greenwood. “Bored at Home.” 2020. Digital Art Composite on Archival Premium Matt Art Paper, 21.5”x21.5” framed. $118. |
About the artist: Kathleen Greenwood was born in Chicago into a military family and lived in several different states, eventually settling in Illinois. Her interest in art began at an early age and continued throughout the years, dappling in various forms of media. After retirement, her interest in art intensified and she began experimenting with mixed media and digital art. After a lot of practice, self initiated study and local and out-of-state workshops, Kathleen began to participate in art fairs, local exhibits, online call to entries and created submissions for magazines.
Kathleen has taught art workshops in the community and donated art to various charities and a local nursing home rehabilitation center. Her influences include but are not limited to well known artists that use watercolor, acrylic paint, cold wax and oil, graphite and pen. Courses she has taken include marble art, watercolor, photography and digital art using a wide variety of software. All of these experiences were not only valuable technically but taught her how her art can be used to help community organizations. She learned that anyone can be a philanthropist regardless of their status or net worth and that art can make the world a better place.
Kathleen has been published in the GSP online international magazine including a spotlight page, Living the Photo Artistic Life magazine and the Photographize magazine. She has won awards/or exhibited at the Fusion Art Gallery, St. Louis Artists’ Guild, Light, Space and Time Gallery, Heaven’s Art Gallery, the Orenda Gallery in Reno, and had a digital display with the Agora Gallery, New York. Locally she has participated in the “October National Exhibit” in Decatur, IL and the “Chatham Library Exhibit” in Chatham, IL.
Kathleen experiments with a lot of different concepts and media but her most recent projects are focusing on learning new material which will help her combine traditional art with digital art and graphic design.
 |
| Kathleen Greenwood. “Rest Stop.” 2019. Digital Art Print or on Archival Matt Paper, 26”x20”.$39.02. |
Roxanne Phllips: Describe your artistic process/technique.
Kathleen Greenwood: My process varies depending upon the project. Sometimes it is free flowing and experimental and other times it can be very complex and will involve concept maps, mood boards and thumbnail sketches.
 |
| Kathleen Greenwood. “Castle-Royale.” 2019. DIgital on Archival Fine Art Paper, 36”x24” unframed or 41.5”x41.5” framed. $225. |
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?
KG: My creative process always involves my heart and soul no matter what technique I choose to use. I think its important to be true to your own style and vision even if the style doesn’t fit the popular main stream choice of an audience.
 |
| Featured in Art Saint Louis’ “This Moment” exhibit: Kathleen Greenwood. “Tunnel Vision.” 2020. Digital Art on Canvas, 24”x16”. $110. |
RP: Why did you choose the medium in which you work?
KG: I have my preferences but I have always been drawn to mix[ed] media. I like the multiple pathways and enjoy experimentation. The opportunity to expand and continue to grow is infinite.
 |
| Art Selfie of Springfield, IL-based artist Kathleen Greenwood. |
RP: What kind of music, books, and movies do you listen to while making art, if any?
KG: When I am working on an art piece, I am extremely focused and always calculating my actions to ensure they create the effect I want without any distractions. I use music, books and movie for inspiration or as a method to relax during breaks from my creative time.
 |
| Kathleen Greenwood. “Free Spirit.” 2019. Digital on Archival Matt Paper, 41.5”x31.5”, framed. $225. |
RP: How has Coronavirus changed your art practice?
KG: The virus has effected the time it takes to obtain art supplies. There has also been a problem having some of my art framed because the business I work with has been closed for months. When the business re-opened, I discovered it takes twice as long to receive a finished product (to have an item framed) due to shipping delays, staff shortage and low inventory from suppliers.
Learn more about Kathleen Greenwood: www.fineartamerica.com/profiles/kathleen-greenwood and www.facebook.com/kathleen.greenwood.378
____________________________
___________________
SUNNYJO CROW
About the artist: I was born and raised in Granite City Illinois and currently live in Sullivan, MO. My childhood was filled with getting in trouble for daydreaming during class in the younger years. As I got older I would get in trouble for drawing during class instead of following along. My mother was against me becoming an artist and would do everything in her power to discourage it when I was young. However, it never stopped me from practicing my art.
 |
| Featured in Art Saint Louis’ “This Moment” exhibit: SunnyJo Crow,. “Through the Stained Glass Window.” 2020. Acrylic on Textured Canvas, 49”x48” unframed. $2,000. |
Roxanne Phillips: What is it about “This Moment” theme that speaks to you?
SunnyJo Crow: “This Moment” theme speaks to me because it’s the current things we are facing and their meaning is far-reaching. What is happening right now is going to change how we handle things for a long time.
 |
| SunnyJo Crow. “Incoming Storms.” 2020. Acrylic on Textured Canvas, 36"x37.5”. $300. |
RP: Describe your artistic process/technique.
SJC: My artistic process starts with building the canvas and stretching the canvas to my liking. Then I can start the process of texturing my canvases with Mediums that I hand make from a mix of drywall compote tile adhesive paint and glues that I use along with sand cloth grit string among a few to name. After it is set and dried I then can begin the painting which I use Golden and Liquitex professional-grade paint.
RP: What was it that first prompted your career/activity as an artist?
SJC: I have always drawn and took up acrylic painting in 2009 to which I fell in love with as a hobby up until 2012 when I got sick with MS ( multiple sclerosis) I was going to school to be a doctor up until that year and painting was a hobby. After 2012 I took up full time creating and developing my craft from then till the current date. I really didn’t take it more seriously until the last year as a career because of fear that I had to overcome.
RP: What is it about your preferred medium that you enjoy the most?
SJC: My preferred medium would have to be acrylic. Because it is quick to work with and drys in a timely manner yet is forgiving enough for me to make the mistakes that I learn from yet gives me joy when working with it exp glazing of color.
 |
| SunnyJo Crow. “Stripes of Blue.” 2018. Acrylic on Textured Canvas, 36"x12”. $200. |
RP: When was the first time that you remember realizing that you are a creative person?
SJC: I realized I was a creative person from a very young age I loved to daydream, draw, dance, and figure skate at a young age. I was very eccentric from a young age as well and I loved to explore ideas and new ways to do those creative things.
RP: When did you begin to know what your art is about?
SJC: I started understanding what my art was about when I stopped asking the question and just acknowledged the feelings I was having when I was creating it. There are still times that my art is hard for me to say what they are about more so than how I felt bringing them to life.
SJC: I realized I was a creative person from a very young age I loved to daydream, draw, dance, and figure skate at a young age. I was very eccentric from a young age as well and I loved to explore ideas and new ways to do those creative things.
RP: When did you begin to know what your art is about?
SJC: I started understanding what my art was about when I stopped asking the question and just acknowledged the feelings I was having when I was creating it. There are still times that my art is hard for me to say what they are about more so than how I felt bringing them to life.
 |
| SunnyJo Crow. “Purple Rain.” 2018. Acrylic on Textured Canvas, 36"x12”. $200. |
RP: What was your career path? How did you get from being an aspiring artist to doing it?
SJC: My career path was never set in stone. I think the hardest part about becoming an aspiring artist to artist was self-acceptance that yes I was an artist. I was the last one to accept that of myself and my goal of getting to the end is still unwritten but I wish to bring beauty and creativity to the world.
SJC: My career path was never set in stone. I think the hardest part about becoming an aspiring artist to artist was self-acceptance that yes I was an artist. I was the last one to accept that of myself and my goal of getting to the end is still unwritten but I wish to bring beauty and creativity to the world.
 |
| SunnyJo Crow. “Swirl.” 2019. Acrylic on Textured Canvas, 25.5"x24. $300. |
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?
SJC: I think that putting your heart and soul into your work is exactly how it is but for me, it is also something that happens with letting my mind clear to do it where it is a flow of freeing ability. I find when I don’t have a clear mind to let it wander in my work I fight with a piece and then it can become more painful.
RP: Do you have a studio routine? Most creative time of day to work?
SJC: I do not have a studio routine I create when I feel like I am in a creative mood which is most of the time. The most creative time of the day for me seems to be in the middle of the night when it is quiet.
RP: What kind of music, books, and movies do you listen to while making art?
SJC: I sometimes listen to videos on youtube of long classical type movie theme music. Other times I will listen to documentary type videos in the background.
SJC: I think that putting your heart and soul into your work is exactly how it is but for me, it is also something that happens with letting my mind clear to do it where it is a flow of freeing ability. I find when I don’t have a clear mind to let it wander in my work I fight with a piece and then it can become more painful.
RP: Do you have a studio routine? Most creative time of day to work?
SJC: I do not have a studio routine I create when I feel like I am in a creative mood which is most of the time. The most creative time of the day for me seems to be in the middle of the night when it is quiet.
RP: What kind of music, books, and movies do you listen to while making art?
SJC: I sometimes listen to videos on youtube of long classical type movie theme music. Other times I will listen to documentary type videos in the background.
 |
| SunnyJo Crow's home studio. |
RJP: Describe your studio space and is there anything you’d want to change?
SJC: My studio is about 15’x10’ in size it has lots of natural light that come in during the day and bright lighting in it for at night that is set to be like natural light. if I could change anything about my studio at this point it would be the size a much bigger studio would be handy with some of the larger paintings I like to work with.
RP: Describe your dream studio.
SJC: My dream studio would be a big open area with tall ceilings and tons of open space to work with.
SJC: My studio is about 15’x10’ in size it has lots of natural light that come in during the day and bright lighting in it for at night that is set to be like natural light. if I could change anything about my studio at this point it would be the size a much bigger studio would be handy with some of the larger paintings I like to work with.
RP: Describe your dream studio.
SJC: My dream studio would be a big open area with tall ceilings and tons of open space to work with.
 |
| SunnyJo Crow. “Through the Rainbow.” Acrylic on Textured Canvas, 35.5"x18”. $250. |
RP: Best advice you were ever given?
SJC: The best advice I ever received was from my mother. As my mother neared the end of her life, she felt that she never got to follow her dreams and it seemed to weigh heavily on her. I want to make sure that I follow my dreams so I do not have that same weight that she carried at the end.
SJC: The best advice I ever received was from my mother. As my mother neared the end of her life, she felt that she never got to follow her dreams and it seemed to weigh heavily on her. I want to make sure that I follow my dreams so I do not have that same weight that she carried at the end.
 |
| Sullivan, MO-based artist SunnyJo Crow. |
RP: What do you do to support your art and how does that impact your art practice?
SJC: My art is supported through a few commissions I get and from my husband who tends to buy me any art supply when he can. Having such a supportive partner in my life has made a huge impact on my art practice.
RP: What advice would you give your younger artist self?
SJC: I would have given my younger artist self the advice of quit being afraid and just do it. Fear has been the biggest enemy I have had since I wasn’t school taught and am self-taught.
SJC: My art is supported through a few commissions I get and from my husband who tends to buy me any art supply when he can. Having such a supportive partner in my life has made a huge impact on my art practice.
RP: What advice would you give your younger artist self?
SJC: I would have given my younger artist self the advice of quit being afraid and just do it. Fear has been the biggest enemy I have had since I wasn’t school taught and am self-taught.
 |
| SunnyJo Crow. “Looking to the Sky.” 2019. Acrylic on Textured Canvas, 36"x37.5”. $300. |
RP: What motivates you to continue making art?
SJC: I am motivated to continue making art by impulsive ideas. If I have an idea in my mind I must bring it to life. Whether its the way I see a sunset or a tree or even just an abstract blend of color. I must create its just part of me.
RP: Has rejection ever affected your creative process?
SJC: Rejection has never affected my creative process. Even if it was someone close to me and they disliked one of my pieces I would just say that one is not for you. If I hate a piece I have made I will just keep working at it till I know It is done to my liking.
Learn more about SunnyJo Crow: www.crows.coffee and www.facebook.com/fadedcrow
____________________________
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 with 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.
SJC: I am motivated to continue making art by impulsive ideas. If I have an idea in my mind I must bring it to life. Whether its the way I see a sunset or a tree or even just an abstract blend of color. I must create its just part of me.
RP: Has rejection ever affected your creative process?
SJC: Rejection has never affected my creative process. Even if it was someone close to me and they disliked one of my pieces I would just say that one is not for you. If I hate a piece I have made I will just keep working at it till I know It is done to my liking.
Learn more about SunnyJo Crow: www.crows.coffee and www.facebook.com/fadedcrow
____________________________
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 with 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.
Comments