We proudly introduce you to featured artists Christine Adame, Dion Dion and Barbara Holmes.
____________________________
CHRISTINE ADAME
 |
| Christine Adame. “Soledad." 2016. Neon, 8”x36”. $750. |
About the artist: Based in Southeast Missouri, artist Christine Adame’s work sifts through heritage and the role it plays in the journey of the self. She composes visual archives of personal transition touching on familial storytelling, identity, and resilience. Her work commonly manifests as an intersection of drawing, text, and layered technologies.
 |
| Featured in “Remnants” at Art Saint Louis: Christine Adame, Cape Girardeau, MO. “Tracks of My Life.” 2019. Round-Back Case-Bound Book, Memoirs of Barbara L. Boubel Book, Paper Arts, 18”x12”x3”. NFS. |
Roxanne Phillips: Why do you make art?
Christine Adame: I make art to tell stories in the best way I can. "Art can go where other things cannot” as Tania Bruguera says. I like to think she meant it responds or provokes in a particular way that sometimes words alone, or action alone, cannot.
 |
| Featured in “Remnants” at Art Saint Louis: Award of Excellence recipient Christine Adame, Cape Girardeau, MO. “Dad’s Quilt.” 2019. Cotton, Polyester, Journaled Words, 22”x108”. $5,000. Artist’s statement: “My work are heirlooms, reflecting on the impact of family relationships on personal transition. Family archives, gesture, storytelling, and mourning are the raw materials of these pieces. I do not intend for these heirlooms be monolithic or all encompassing, but to point to familiar archetypes for clarity on one’s journey.” |
RP: Describe your artistic process/technique
CA: My artistic process is combination of making, thinking, and writing. After a very long time of thoughts rumbling around in my head I’ll have some sort of intuition about materials. I’ll make the thing and then realize that its a response of the questions I’ve been asking the whole time.
 |
| Christine Adame. “Grandparent’s Song." 2016. Ektagraphic Slide Projector, Transparency Slides, Reamalgamated Words, Dimensions Variable. $1.500. |
RP: Describe your path from deciding you want to be an artist to becoming one.
CA: I decided I would be an artist way back when I was 10 years old. On a long and winding path I toured many things similar to being an artist. Throughout my teenage years I constantly made illustrations. In college I studied architecture and worked as a designer for a couple of years. I took my first printmaking class in undergrad and that got me back to the breadcrumb trail of becoming an artist. After work I would make prints and took solace in the process. Ultimately I applied to grad school as a way to jump fully into fine arts and get mentorship on my practice. Now I am an artist and art educator.
 |
| Christine Adame. “Cambian." 2017. Charcoal Screen Print on Sand, 36”x24”. NFS. |
RP: What do you do to support your art and how does that impact your art practice?
CA: I teach at the college level, currently at Southeast Missouri State University. Teaching supports my creative practice in several ways—first of all financially, you could say it is my “day job”. Second, teaching broadens and feeds my skills. As an educator I am constantly asked to teach the basics and to teach at the edge of my expertise. I grow along with my students.
 |
| Christine Adame. “He never spoke about." 2019. Eriobotrya Japonica, Ammo Case, 12”x12”x10”. NFS. |
RP: Describe your dream studio.
CA: I’ve talked so much about this with my collective, a group of friends and artists called Sister Death. At the highest dream, it consists of a house in the Italian countryside, with plenty of space for a flexible studio setup, and a courtyard with jasmine to enjoy some espresso. We can live and work there but also open a residency for others to visit.
 |
| Artist Christine Adame. Photo by James Coreas. |
RP: What qualities attract you to other artists’ works?
CA: The human aspect draws me in. If it reflects on the human condition, I dwell on it and try to put myself in their message.
 |
| Christine Adame. “con safos." 2020. Embroidered Bandana, 29 1/2”x14 1/4”. $400. |
RP: On what are you currently working?
CA: I am currently working on some flags that relate back to my grandmothers. Lately I’ve been reflecting on ideas of patriotism, but from the lens of my memories of them.
 |
| Artist Christine Adame. Photo by James Coreas. |
Learn more about Christine Adame: https://christineadame.com and www.instagram.com/cnadame
____________________________
DION DION
 |
| IMAGES:
Featured in “Remnants” at Art Saint Louis: Dion Dion, Ballwin, MO. “Surfaces XXV—Expressionist Landscape IV.”
2020. Oil, Acrylic, Leaves, 36”x36”. $1,500.
Artist’s statement: “In
my current Surfaces Series, I’m focused on creating compelling textural
surfaces in addition to interesting and captivating objective or
non-objective elements. I can build up the surface choosing from a
variety of materials & techniques: underpaintings, addition of mixed
media, modeling paste, handmade paper, nature items, man-made objects
or cords. Paintings can be observed close up for intimate discoveries
and/or from a distance to feel the overall energy and movement created.” |
About the artist: Artist Dion Dion served as Executive Director of Art Saint Louis for 19 years. She was formally a nationally exhibiting artist in clay and handmade paper. After retiring from Art Saint Louis, she challenged herself with a new media – Painting - and has become a nationally exhibited painter. One of her paintings is traveling the U.S. for three years in the “World of Frida” exhibit, organized by the Bedford Gallery in California.
 |
| Dion Dion “Surfaces XXVI- Abstract IV.” 2020. Oil, Acrylic, Sculpture Paste on Canvas, 36”x 6”. $1,300. |
Roxanne Phillips: What first prompted your career as an artist?
Dion Dion: Art has always been an integral part of my life from creating bulletin boards for teachers in elementary school, from drawing images from comic books, then having a painting in High School that was selected for a regional High School exhibit. My love for creating art expanded into college with a double major in Art and English. After graduating, I taught art in both middle schools and high schools. Then I started exhibiting my works at juried art fairs and exhibitions. After 15 years of teaching, I retired to focus on my art full-time. My personal art career went on hiatus while Executive Director of Art Saint Louis where I worked to help other artists with their careers. Now I’m back to ‘creating’ and I love it.
 |
| Dion Dion. “Surfaces XII-Expressionist Landscape III.” 2019. Oil, Acrylic on Canvas, 36”x36”. $1,300. |
RP: What is the biggest point of inspiration for your artwork?
D2: The point of inspiration – whether intended or unintended - is my garden and nature. In my works – sometimes abstract, expressionist or impressionist – elements of nature reveal themselves. The movement and gesture of the painted strokes, the shapes created, the layering of colors, and the addition of natural elements – all create the feelings of the natural world and growth.
 |
| Dion Dion. "Surfaces XXI’ Quoth The Raven Nevermore—Expressionist Landscape II.” 2019. Oil, Acrylic on Canvas, 36”x36”. $1,000. |
RP: What is it about your preferred medium that you enjoy most?
D2: As a painter, what I most like is that I’m able to use multiple media to tell my story. I’m free to explore oils, acrylics, and multiple oil and sculpture media and to incorporate both man-made and nature-made materials. It’s both fun and challenging to determine how everything is actually going to work together. Since I was previously a 3-d artist in clay and handmade paper, the desire to create and incorporate 3-d effects and objects is ingrained and a natural impetus.
 |
| Dion Dion. “Surfaces XIV – Forest.” 2019. Oil, Acrylic, Handmade Paper. Sculpture Paste on Canvas, 48”x36”. $1,500. |
RP: Do you have a studio routine?
D2: Studio, what Studio? I currently do not have an official studio other than my dining room or kitchen. That’s why I signed up to audit painting class at St. Louis Community College Wildwood so I could have a larger space in which to create and the comradery of being with other artists. COVID-19 has put the kibosh on that option. Painting class by Zoom is weird, but at least we get to see each other’s work and talk about art together.
 |
| Dion Dion. “Surfaces XXIV- Abstract III.” 2020. Oil, Acrylic, Sculpture Paste on Canvas, 36”x48”. $1,500. |
RP: Describe your dream studio.
D2: I’m hoping to have a studio addition created but I’m not sure how much that might cost. I envision one wall being all glass to let in the natural light, plus good artificial light when painting at night. I envision having ample space available for creating and displaying both large and smaller paintings. Incorporating built-in storage space to contain and organize all my multiple types of supplies. The installation of a ceiling fan to help with air circulation. And the addition of a comfy chair to sit in while studying the work while in progress.
Learn more about Dion Dion: www.facebook.com/dion.dion2
____________________________
BARBARA HOLMES
 |
| Featured in Art Saint Louis’ “Remnants” exhibit: Barbara Holmes, University City, MO. “Out of Shadows, A Woven Life.” 2020. Paper, Thread, Dowels, Acrylic Wash on Board, 22”x19”x5”. $300 Artist’s statement: “I wanted to reuse materials: outdated calendars, balsa wood, embroidery thread and brown honeycomb cushioning paper. After weaving calendar strips and balsa wood into the packaging paper, I began to see shapes. I used embroidery thread and acrylic washes to articulate the shapes. The end result reminded me of life's shadows and my effort to weave a coherent life.” |
About the artist: A native of St. Louis, Barbara Holmes holds a graduate degree in Divinity from Yale University and PhD in Urban Studies from Cleveland State University. She has taken art classes at Marymount College, The Cleveland Institute of Art, Cuyahoga Community College, St. Louis Community College and attended numerous workshops in New Haven, Cleveland and St. Louis.
 |
| Barbara Holmes. “Orpheus Looks Back.” 2012. Acrylic, Wire on Board. 24”x19”. $600. |
Roxanne Phillips: Describe your artistic process/technique
Barbara Holmes: I have painted with watercolor, oil and acrylic. I have made collages and pictures out of old stuff. However, a favorite technique is my adaptation of cloisonné. This technique connects today’s wonderful array of acrylic gels, mediums, and colors with the ancient art form of cloisonne. I explore texture within the shapes formed by the wire.
Cloisonné is an ancient technique for decorating metalwork objects, in recent centuries using enamel and in older periods inlays of cut stones and glass. The decoration is formed by first adding compartments (cloisons in French) to the metal object by soldering silver or gold wires. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors.
Cloisonne Transformed Using Modern Media
Step 1) Make a sketch and prepare the board. I use GAC 100 and Gesso on untempered masonite.
Step 2) Transfer sketch to board, shape the wire and glue wire to the board. I use 16 gauge, 20 gauge, 22 gauge brass wire; flush cut pliers to cut the wire; and various pliers to shape the wire. One of the more difficult tasks is to make the wire shape as flat as possible so that it can be glued to the surface board. Sometimes this requires clamps to keep the shape flat until the glue dries..
Step 3) Fill in the spaces with Acrylic mediums and collage. I prefer Light Modeling Paste. I also use a variety of gels for texture and soft gel matte to glue collage materials. I use everyday items such as lids, forks, straws, etc. to make textural shapes in the wet modeling paste..
Step 4) When the modeling paste is dry, I clean the wire using an X-Acto knife and a lighted magnifying glass. This ensures that the wire is again perfectly visible on the surface of the picture.
Step 5) Paint the picture using acrylic paints.
Step 6) Clean the wire a second time using an X-Acto knife and a lighted magnifying glass to ensure that the wire is visible.
Step 7) Apply finishing coats. The first 2-3 coats is Golden Archival Varnish which keeps the wire from tarnishing. Then I apply 2-3 coats of Golden Polymer Varnish with UVLS.
 |
| Barbara Holmes. “Still Life.” 2019. Oil on Canvas. 12”x12”. $450. |
RP: What do you find most challenging/rewarding about the creative process?
BH: I think the most challenging aspect of my creative process is taking the first step towards a new picture. The idea for a picture begins in my mind: I experience it as something floating around, changing form and shape and I become uncomfortable and anxious. The first step is to make choices about shapes, arrangements and colors. This process of making choices takes the form of a series of small sketches which then invite me into a more careful rendering of the object.
 |
| Barbara Holmes. “Hospitality.” 2013. Acrylic, Wire, Collage on Voard. 24”x19”. $600. |
Once the image has become more concrete in my mind’s eye, I feel an amazing sense of excitement, focus, and the thrill of colors. The moments and hours of execution take me into incredible spaces of peace. The final product is very recognizable to me even though the actualization typically includes interesting adjustments and chance happenings.
 |
| Barbara Holmes. “Hold Our Tears in Your Bottle.” 2020. Acrylic, Wire, Collage on Voard. 40”x24”. $600. |
RP: What is the biggest challenge with being an artist and juggling all life throws at you?
BH: Even now that I am retired, I am challenged by the pull of “doing things”, i.e., baking, cleaning, washing clothes, and my volunteer tutoring. For most of my adult life I think that all of my daily tasks must get done before I can focus on my art work. This issue has been my shadow for a long time. Periodically I overcome it, and doing art is a primary focus.
 |
| St. Louis artist Barbara Holmes in her studio. |
RP: Do you have a sketchbook? What kinds of things do you put in it?
BH: Yes, I have accumulated several sketchbooks over many years. I do quick sketches of ideas I have for pictures. I draw ordinary objects just because I like the shape of something, or the memory that it evokes. I paste pictures of works of art by some of my favorite artists. I write down quotes that intrigue me. I like to turn the pages of my sketch books and remember the situations that prompted the various entries. Sometimes a sketch that I initially rejected looks pretty good to me as time passes and I give it a second look.
 |
| Barbara Holmes. “Warholed Warhol.” 2012. Acrylic, Wire on Board. 12”x12”. $500 |
RP: What motivates you to continue making art?
BH: I think drawing and painting pictures helps me know what I think is really important - what I care about. It is my way of finding my voice. I do creative work so that I can live.
 |
| St. Louis artist Barbara Holmes. |
Learn more about Barbara Holmes: www.barbholmesart.com
____________________________
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.
Comments