"Maturity and Its Muse" exhibit - Artist Interviews Series One

By Roxanne Phillips

We are pleased to present to you a new series of interviews with artists whose works are featured in our new juried exhibit at Art Saint Louis, "Maturity and Its Muse: Celebrating Artistic Experience 2021." This exhibit presents works by 45 STL regional artists who are age 70+. The show is on view April 19-May 20, 2021 in our Gallery at 1223 Pine Street in downtown St. Louis, Missouri.

We are proud to introduce you to artists Sharon Matusiak, Kacey Cowdery, and Jerry Benner.
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SHARON MATUSIAK

Featured in Art Saint Louis’ “Maturity and Its Muse: Celebrating Artistic Experience 2021”: Sharon Matusiak, Marion, IL. “The Breath of Life.” 2020. Acrylic, Pencil, Charcoal on Canvas, 41”x31”. $1,200.
Artist’s statement: “This artwork is an expression of my concern for the environment. Mother Earth is both strong and fragile and we are but a part of this one living organism that gives life to all. This painting is made with acrylic paint on linen and includes charcoal and pencil, reflective of my love of drawing and the vitality that I feel is inherent in the combination of media.”

Roxanne Phillips: Why do you make art?
Sharon Matusiak: Making art is a necessity to me. Making art is what I do to cope with life… to maintain balance. It is how I process all of the tragedy. Until I was in my 60’s, I never realized just how impactful that was.

Sharon Matusiak. “Spirit of the Woods." Oil on Canvas, 42″x27″. $1,200.
This work will be featured in Art Saint Louis' upcoming "Dreamlife" virtual gallery exhibition (May 1-July 1, 2021).

RP: What is the biggest point of inspiration for your artwork?
SM: Nature and my life’s struggles.

Sharon Matusiak. “Three-Eyed Raven.” 2021. Pencil, Pastel, Prismacolor, 21”x21”. $450 unframed.

RP: Describe your artistic process/technique.
SM: I usually begin with sketches, which are prompted from a vision in a dream, a thought sparked by some other stimuli—TV, music, something in the woods where I live and work. If the initial sketch is intriguing to me, I’ll continue it in the form of a finished drawing and/or painting.

Sharon Matusiak. “The World Is Watching.” 2020. Charcoal, Pencil, Pastel & Conté Crayon on Strathmore Paper, 36”x48”. $1,800 unframed.

RM: What is it that you are most eager to convey through your art/ how do you want the viewer to receive or interpret or your art?
SM: At this stage of my life, consciously I am most eager to bring the viewer into an awareness of the environment and our relationship to it. However subconsciously, it always seems to refer back to my own life.

Artist Sharon Matusiak's Illinois studio.

RP: What do you find most challenging/rewarding about the creative process?
SM: The most challenging aspect of creating is the start of a new piece. There’s always that fear of failure. The most rewarding part comes just seeing the finished work when it holds up to my standards.

Sharon Matusiak. “Land of Hidden Dreams.” Acrylic and Oil on Canvas, 30”x40”. $1,200.

RP: What was your career path? How did you get from being an aspiring artist to doing it?
SM: Growing up I was involved in the performing arts—I studied piano, organ and ballet for years, always wanting to study dance in college. Unfortunately my dad wouldn’t fund my college education if I studied dance, saying I’d just move to New York and be broke. I didn’t have enough determination, so I caved and went off to the University of Illinois in 1968 to study pre-veterinary medicine. Two and a half years later I dropped out, knowing it wasn’t right for me. A couple of years later I took up drawing and painting. The passion was there immediately and I filled my free time with study.

With the birth of my 2 daughters, my practice was stymied a bit, but in 1979 I began classes at the McLean County Arts Center in Bloomington, IL and that was the beginning of my career. I took classes 2-3 times weekly, joined workshops and began exhibiting. I also spent those years delving into art history and learned much from that endeavor. Up to this time most of my work was figurative, though I also delved into floral landscapes, inspired by my love of gardening. These were up-close to the picture plane images, an homage to Georgia O’Keefe. In 1983 I returned to college and earned my BFA in painting and drawing.

It was after this that I began creating fantasy landscapes, inspired by my love of nature and my firm belief in the GAIA Theory that states that the entire planet is one living organism. Beginning in 1994 I began making mixed media on wood sculpture for the wall based on cosmic awareness and geometry. This series became my bread and butter, selling these creations at juried art fairs around the country. After a horrendous family crisis that shook me to the core, I returned to clay, handbuilt sculpture. They were headless torsos that looked maimed and broken. They were an expression of the pain and sorrow that I felt by family betrayal. I’ve since returned to my painting and drawing and haven’t looked back.

Marion, Illinois multi-media artist Sharon Matusiak's Illinois studio.

Sharon Matusiak at work in her Illinois studio.

RP: Do you have a sketchbook? What kinds of things do you put in it?
SM: Yes, sketches, notes, lists, virtually anything that might be important to my morgue.

Sharon Matusiak. “Climate Change 101.” 2020. Oil & Acrylic on Canvas, 36”x60”.  $3,800.

RP: What would you like to be asked about your work?
SM: I’m well aware that consistency in style is considered a hallmark of a serious artist. It is easier to categorize and market a consistent look. My work is a direct response to what is going on in my life or what I observe around me. This often requires a different approach to capture the emotion that I feel or the message I'm sending. Therefore I'm less inclined to paint in a manner consistent with the most recently completed work. I'm constantly challenging myself. Guess I'm a bit of a rebel after all. I'm a late bloomer!

Sharon Matusiak. “Wondering.” Oil on Linen, 36″x48″. $2,500.

RP: What advice would you give your younger artist self?
SM: Never set aside my painting and drawing to earn a living making something that I have less passion for.

Sharon Matusiak. “Bird, Woman, Birth.” 2021. Pencil, Charcoal, Pastel, Conté Crayon, 17”x17”. $450 unframed.

RP: What are you currently working on?
SM: Mostly my Dreamscapes which are fantasy landscapes, and also my memoir which tells the story of how making art has saved me from child abuse, the death of a teenage daughter in a boating accident, the fear that my other daughter’s heart condition will take her, the betrayal of a sister and the murder of my Mom.

RP: What motivates you to continue making art?
SM: See above answer.

Artist Sharon Matusiak.

Learn more about Sharon Matusiak: https://wolfcreekstudio.com/ and www.Facebook.com/sharonmatusiak and www.instagram.com/sharonmatusiak
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KACEY COWDERY

Featured in Art Saint Louis’ “Maturity and Its Muse: Celebrating Artistic Experience 2021” exhibit: Kacey Cowdery, Webster Groves, MO. “Traffic.” 2020. Fiber, 30”x15”. $300.
Artist’s statement: “Inner cities are empty, decayed. To blame are greed for land in the burbs and highways to reach single family homes. Public transportation is miniscule. We are forced to  drive, belching toxins in our wake. Revitalize inner cities, learn to love high rise living and develop public transportation!”

Roxanne Phillips: What was it that first prompted your career/activity as an artist?
Kacey Cowdery: When I was working full time, I did not have the time to make my own clothes. Also I did not have the skills to make clothes that fit my less than perfect figure, and to make them at a price equal or less than could be purchased retail.

My evening activities often had something to do with fiber. That is what I know and what I love. Fiber art was on my radar, but only on the periphery. As I dabbled, cut and sewed, embroidered and crocheted, it became clearer. Then when I retired and more time was my friend, “What else would I do? It was a natural progression for me.”

Kacey Cowdery. (detail view) “87%.” Fiber: Poly Sheer, Stitching, Embroidery, Floss, diptych: 96”x42”. $700. Photograph by Carl Valle.
This work is inspired by trawler nets that scour and damage the ocean floor and pollute the ocean.

RP: Why do you make art?
KC: Idle hands… When I retired, we were in the midst of rehabbing our house. Days were filled with those activities. But evening relaxation was not complete without something to do and accomplish – something fun – fun for me anyway. In my mind nothing must be accomplished quickly – unless there is a deadline. We all know that feeling!

The rehab has long since been completed – YAY! So days can be filled with art activities, volunteering at SLAM, seeing exhibits – and lots of making.

Kacey Cowdery. “Four Hundred Million Tons.” Fiber, Salvaged Sheets, Poly Sheer Fabric, Floss Embroidery, 10’x50’x10-16’ (variable). $3,200. Photograph by Carl Valle. Installation pictured as presented at St. Louis Artists' Guild. This installation piece is a comment on plastic pollution in our oceans.

RP: Describe Your artistic process/technique.
KC: Seldom do I stray from Fiber Art. Even when a piece is not “primarily fiber”, which is the definition of Fiber Art, I still include some thread, yarn or bits of fabric. My stash is made up mostly of fibers, and my skills have been built with textiles and their methods.

Kacey Cowdery. “Life is Good.” Fiber: Ice-Dyed Salvaged Sheet Fabric Quilt, Poly Batting, Stitching, Quilting, Mylar, diptych: 90”x28”. $1,400. Photograph by Carl Valle.

RP: How has your art evolved through the years and describe the different stages of creating?
KC: At nine years old Mom took me to a 4-H meeting at my school. It was then in a rural part of St. Louis County. She became our 4-H sewing leader. Until about 1995, I made garments, sewing fabrics, knitting and crochet with yarn and thread.

A very long and very narrow strip of red poplin was left over from a project. One evening after work, and after dinner, when there was time to relax, that red fabric needed to be embroidered with white yarn. Leaf shapes have been a draw to me. Simple leaf shapes, free hand, with a running stitch are on a single layer of the fabric. My goal was to make the piece “finished” on both sides. A wrapping technique gathered the ends of the yarn to make a stem like bundle.

Since my time was heavily occupied with work and life, very little more fiber art was done for about two years, although my hands were busy with knitting, crochet and bead work. I searched for inspiration, a theme that was important to me. The Jeffersonian Grid was mentioned, only mentioned in passing. Research taught me it was the method used to subdivide land in the United States for cities, towns and farmers. My mom had been raised on a farm in Ohio. The Jeffersonian Grid was a part of my heritage.

With each new piece, it seems I must invent a method to accomplish the result that I have imagined. There is plenty in my repertoire to build upon, but often I do not make it easy on myself.

Kacey Cowdery. “Swimming with Trash”: “Micro Bead Spice in Your Tuna Salad…Yum!?,”  “Heed the Science,” “Fish Gotta’ Swim,” Fiber: Artist-Made Fabric, Embroidery, Poly Sheer, Stitching, Floss, triptych: 18”x18”, 24”x18”, 24”x12” $250 each/$750 all 3. Photograph by Carl Valle.

RP: What is the biggest point of inspiration for your work?
KC: As like many artists, I often work in a series. They do not emerge in a straight line, and then they are done. New pieces are inspired by work that may have been done many years ago. The Jeffersonian Grid, Board Games, Dolls and Wearable Art are four of my series.

Pollution has become a new inspiration, a new series. Many artists are moved by the degradation of our earth.

Kacey Cowdery. “Detritus.” Fiber: Poly Sheer, Sewing, 30”x 21. $185. Photograph by Carl Valle.

RP: What is the best thing about St. Louis for your art practice?
KC: St. Louis is underrated. We have a World Class art museum, and at least four excellent arts organizations that challenge me with juried exhibits.

St. Louis artist Kacey Cowdery. Photograph by Carl Valle.

Learn more about Kacey Cowdery: http://kaceycowdery.com/ and www.facebook.com/kacey.cowdery and www.instagram.com/cowderykacey
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JERRY BENNER

Featured in Art Saint Louis’ “Maturity and Its Muse: Celebrating Artistic Experience 2021” exhibit: Jerry Benner, Ferguson, MO. “Havana Boxing Class #5.” 2017. Photograph on Paper, 18”x25”. $225.

Roxanne Phillips: What was your career path? How did you get from being an aspiring artist to doing it?
Jerry Benner: I have taught photography in middle school, high school and on the university level since 1973. During those years of teaching students my focus was on teaching the skills and aesthetics of photography and raising a family. It was a time to play with my role in the art, but time did not really permit focusing on “my art”. I retired from teaching in 2000 - at that point, while teaching part-time, I was able to begin focusing on what I wanted to do. By 2012, I was completely retired and can focus on “my art”. Selling my art in an established gallery - being able to share space with a variety of other artists and meeting the public by talking about art to customers - this is the finishing touch on many years of photography.

Jerry Benner. “OkeefeStudio#8.” 2019. Digital Photography, Inkjet Print on Paper, 16”x20.” $200.

RP: Describe your artistic process/technique:
JB: I am a photographer for over 65 years. I work in both chemical and digital forms, currently preferring the digital format, but on occasion will visit the darkroom. I like to consider myself a “caught” photographer. If something in the real world attracts my interest, I try to “catch” the image with my camera. That, of course, will not be the final image. In the case of digital, there will be Lightroom and Photoshop work and finally print that image on the appropriate paper/surface. I do all my own printing using a Canon Pro-1000 printer generally using Hahnemuhle papers.

Jerry Benner. “Havana.” 2017. Digital Photography, Inkjet Print on Paper, 16”x20.” $200.

RP: What is the biggest point of inspiration for your artwork?
JB: Actually, there are several “biggest” points. The first is what I see in the real world and capture in the camera. The promise of a great image is at that point in the process. After reviewing all the day’s images, and after rejecting most of them, finding the one or two that have real potential - that is the second point. I would like the viewer to see what I saw at the initial moment of capture. That can require a lot of editing - straightening, cropping, enhancing, etc. When the image appears on the screen the way I envisioned it, that is the third “biggest” point. The really “BIG” point, however is seeing the final image in print, with a matte. To me, it is never really a photograph until I can hold in my hand the final print.

Jerry Benner. “Grove Umbrellas.” 2018. Digital Photography, Inkjet Print on Paper, 16”x20”. $200.

RP: What do you do to support your art and how does that impact your art practice?
JB: I am retired - what I do for a living is collect on the investments I have made over my working years. That is how I support my art. However, I, as a juried member of two galleries, also sell my art. To be honest, selling the art does not actually cover the expenses of equipment, consumables and time required to do the art - but it does help. Along with that, the idea that someone thinks enough of my images to put them in their home - that is an inspiration.

Jerry Benner. “NatchezTraceMt Locust.” 2016. Digital Photography, Inkjet Print on Paper, 16”x20.” $200.

RP: What is your preferred way to exhibit and sell your art?
JB: I don’t like to enter art in competitive exhibitions where the artwork will be ranked of graded. I don’t believe you can do that with art - art is in the eye of a beholder who either accepts or rejects your image. I realize that in most shows there is a ranking of sorts - the judge or judges doing the jurying has so many slots to fill and the image must meet the specifications of the show. Many shows will pick a “best in show” and that is fine. I do like exhibiting at Art St. Louis because it is a great space and my art is either accepted or rejected, not rated. I also like having my space in the gallery in which I sell. Seeing my work displayed among other artists is exciting. The only judge is the customer who does not rate or grade, but either buys or not.

Jerry Benner. “TruckInFieldHoCo.” 2014. Digital Photography, Inkjet Print on Paper, 16”x20.” $200.

RP: Do you have a sketchbook? What kind of things do you put in it?
JB: Technically, I do not have a sketchbook - my sketchbook is my collection of images I have taken over the years. Images which I have not yet processed or printed. I love to go back and take a second or third or fourth look at images I thought had promise but I did not see the promise at the time. Sometimes that can give me the nudge to go back and work on that site from different vantage points - or just finally pull an image and begin to work with it.

St. Louis photographic artist Jerry Benner.

RP: What are you currently working on?
JB: I have had two major projects in the past 10 years. The first was to photograph all 114 county courthouses in the State of Missouri (also St. Louis City). That took about 4-5 years to complete and concluded with an exhibition of all courthouse images in the Ashby-Hodge Gallery of Midwestern Art and a follow up in the Capitol rotunda and the Rozier Gallery in Jefferson City. The second major project followed a trip to Cuba. I produced about 75 images for a one-man show at the Ashby-Hodge in Fayette, Missouri. My current project is rather “up in the air”. Covid 19 has put quite a hold on travel, so I have been spending time looking through my “sketchbook” to see if I can come up with a theme on which to focus. Unlike my camera, there is no autofocus - so I’m still focusing.
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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.