We
are pleased to present our first in a series of interviews
with artists whose works are featured in our new virtual gallery
exhibit--exclusively online--presented by Art Saint Louis, "Dreamlife" (May 1-July 1, 2021). You can view all the virtual exhibit as well as all 45 featured artworks on our website here and in our Facebook album here.
We proudly introduce you to featured artists Byron Sletten and Beth Goyer.
____________________________
BYRON SLETTEN
 |
| Featured in Art Saint Louis’ virtual gallery exhibit, “Dreamlife” (May 1-July 1, 2021): Byron Sletten, St. Louis, MO. “Awake at 3 a.m.” 2019. Digital Print on Archival Paper, 32”x27”. $400 unframed. Artist’s statement: “I often use the beauty and simplicity of familiar, functional objects and their power as metaphors, incorporating objects that are lifted out of everyday experience – a glass jar, a fan, or a simple chair on a porch. Specifically, this image suggests a lucid dream state and the beauty of those fragmentary experiences. The work is created using computer graphics software & archival printing technology.” |
Roxanne Phllips: How/when do you know your piece you're working on is good enough to call done?
Byron Sletten: I generally ask myself, is the work solid and true to the intention? If I do more to the piece, is it advancing the idea or simply adding some gratuitous elements? Is the work getting stronger or weaker? Sometimes I put it away for a while and come back. From a purely visual standpoint, I look at it at a small scale – a thumbnail, or how it works in black and white? These are things quickly done in computer work. The great benefit of computers is also the ability to try some ideas and then undo them.
Sometimes I just toss it out and move on. I should do that more.
Interestingly enough, these were some of the processes we did for clients in the graphic design field when we developed logos.
 |
| Byron Sletten. “Fan In the Window.” 2019. Digital Print on Archival Paper, 32"x27". $400 unframed. |
RP: What is the most challenging technique you have mastered (or wish to master?
BS: Some techniques you never master, you keep learning. One is 3D modeling, animation, and rendering software. These are great programs with a fairly steep learning curve. Lately, the one I'm working on is Realflow, a fluid simulation software program.
I also would love to be better at my acoustic bass.
 |
| Byron Sletten. “At the Cancer Clinic.” 2019. Digital Print on Archival Paper, 32"x27". $400 unframed. |
RP: Why do you think that artists stop making pieces, and have you ever come close to that point?
BS: It's about sustaining ourselves. First, let's not kid ourselves. The prospect of actually making a living off the fine art business is nearly zero. Some do, working the art fair circuit or chasing the bizarre world of dealer/collector/critic ethos, but I got into advertising. So, I stopped doing art for quite a long time, working as a creative hired gun for clients helping them to sell more stuff. It paid well, and I told myself it was still kinda "art." But about ten years ago, I started making my work again, a little on the side. The nice part was not giving a flying flute about making a dime off the work. I realize now that creatively sustaining ourselves is different, and people figure that out in different ways – not just artists, but all of us as people.
 |
| Byron Sletten. “Song of the Ironing Board.” 2019. Digital Print on Archival Paper, 32"x27". $400 unframed. |
RP: What is it people don't understand about your artwork?
BS: I hope my work has some essential accessibility. The visual juxtapositions could be odd or curious, but I hope, on some level, it is relatable. Challenging maybe, but relatable.
But the way the artwork is done is generally the source of mystery for people. It is somewhat technical. To some, just knowing it was done on a computer is enough. For others, especially young students, they want to know about the process – and how can I get into this? As a former teacher, I like that too.
 |
| Byron Sletten. “Ladder.” 2019. Digital Print on Archival Paper, 32"x27". $400 unframed. |
RP: How much time should it take to make a piece (in your mind), and how much time does it really take?
BS: The answer depends on the work. Some of my work is previsualized; some require going for a ride. The question of time in the creative process is often non-linear. For example, can you always say a dream has a beginning, middle, and end, or is it often just a "dream state"?
 |
| Byron Sletten. Work-in-progress on the computer desktop. |
There are other examples of actions that can't be qualified or quantified in terms of time. How long does it take to hit a home run in baseball? How long would it take to learn the violin? Can you assign an hourly rate to the design of the Vietnam Veterans Memorial chronologically, listing the names of 58,318 Americans who gave their lives in service to their country – just a simple idea, right?
 |
| Byron Sletten. Work-in-progress on the computer desktop. |
Time and the value of "work put in" were always a point of contention in the marketing and advertising world. It's kind of like charging for brilliant copywriting by the word. But I think this is part of our culture and work ethic.
 |
| Byron Sletten. Work-in-progress on the computer desktop. |
 |
| Byron Sletten. “This Too.” 2019. Digital Print on Archival Paper, 32"x27". $400 unframed |
RP: Do you prefer to make one specific piece or a series of pieces?
BS: I like to work on a series of pieces.
Dealers and collectors look for artists that have a recognized style. In the marketing world, we referred to that as a brand identity. But for me, it is less about a style and more about developing a "breeder idea" For example, people may be familiar with Ernest Trova's Falling Man series. It was a great visual idea that could "breed" lots of good work (and happily, also have a solid brand identity).
Working on series of works also helps keep the creative inertia going and organizing thoughts.
 |
| Byron Sletten. “Yellow Rope.” 2019. Digital Print on Archival Paper, 32"x27”. $400 unframed. |
RP: Describe your artistic process/technique.
BS: The images are created using 3D modeling and animation software and then printed using archival paper and ink.
Sometimes the idea starts with an object that I'm interested in. For instance, an old iron I purchased in a resale shop. So step one is to build a CGI model.
The software lets us do some interesting things with these 3D models, like (or unlike) the things that happen in the real world. Surface qualities like wood grain, rusty texture, color, and reflectivity are all assigned along with the lighting. It is replicating in the computer the physics of light in the real world. The images are rendered at high resolution for printing on archival paper. Some renders can take up to a week to generate.
 |
| St. Louis artist Byron Sletten. |
Learn more about Byron Sletten: http://byronsletten.com/
____________________________
BETH GOYER
 |
| Featured in Art Saint Louis’ “Dreamlife” exhibit: Beth Goyer, St. Louis, MO. “Father’s Visit.” 2021. Digital Photograph on Semi-Gloss Injket Paper, 15”x18”. $100 unframed. Artist’s statement: “I dream that my father visits me sometimes during this time of the Coronavirus pandemic." |
Roxanne Phillips: Why do you make art?
Beth Goyer: Making art is like breathing. I have to do to survive. Even when I had Shingles in my right ear canal in 2011 and I had a hard time concentrating on moving the mouse around on the computer, I had to do it. It helped save my sanity and helped with my tactile recovery. Even though I lost my balance and concentration and I couldn't drive for 3 months because I was impaired, I could sit at my computer and process and create with Photoshop.
 |
| Beth Goyer. “Taos, NM in 2 Inches of Snow.” 2019. Digital Photograph on Lustre Photo Print Paper, 18"x9". $300. |
RP: When do your best ideas come to you?
BG: Most of my ideas come late at night after most people are asleep and have turned off their electronics. It seems that all the static is cleared out and ideas can come to me.
 |
| Beth Goyer. “Sagrada Familia, Barcelona.” 2017. Digital Photograph on Lustre Photo Print , 18"x12". $300. |
 |
| Beth Goyer. “Railroad Bridge-Valley Park.” 2013. Digital Photograph on Lustre Photo Print Paper, 18"x13". $300. |
RP: What is the most challenging technique you have mastered (or wish to master?
BG: I always had some kind of drawing implement in my hands since I was a toddler. A lot of work was put into perfecting my hand-eye coordination. Once that was mastered, the rest seemed pretty easy. Then I was found Photoshop. It took a long time to learn the ins and outs of Photoshop and what processes to use in my workflow and which to use in a secondary manner. The wizards at Adobe keep improving Photoshop so there's always something new to learn and assimilate. Photoshop is just another brush in my "paintbox".
 |
| Beth Goyer. “Night Blooming Cereus.” 2013. Digital Photograph on Lustre Photo Print Paper, 18"x12". $300. |
RP: How often do you have to explain what an Artist does, or do people understand what’s involved?
BG: When I was teaching Jr. High/Middle School art, I had to explain what an Artist does to not only my students but a lot of the other teachers, administrators, and parents. Not everyone was lucky enough to grow up in an environment that understood and encouraged art. So, I've had to explain it a lot over the years. Recently the husband of a dear friend of mine was dismissing my photography, implying that it wasn't art and why wasn't I doing paintings? I use to mostly paint but by the time I found Photoshop I was ready for the control and magic of creating with that medium. I have found a certain snobbery with the wet media of some painters. We artists that use Photoshop still start with an image that we developed in our mind (pre-seeing it) and we still use Principles and Theories of art. We still study and admire the art (including photographers) that came before us and use what was discovered and developed before.
 |
| Beth Goyer. “Josie's Sitting Room.” 2015. Digital Photograph on Lustre Photo Print Paper, 18"x12". $300. |
RP: Is making art more like coming up with a recipe for dinner or actually cooking dinner?
BG: I believe that making my art started with the recipe but I have taken it way beyond that initial concept. I don't have to walk through all the steps and have to write down in my mind. It's like learning a dance routine. Once you have it in your mind, you don't have to think about it, your body just goes with it.
 |
| Beth Goyer. “Artist's Studio.” 2021. Digital Photograph on Lustre Photo Print Paper, 18"x12". NFS. |
RP: How much time should it take to make a piece (in your mind) and how much time does it really take?
BG: Sometimes creating art gushes out like a swollen stream and sometimes it's a trickle. It's much like home improvements - it takes twice as long and twice the expense. There can't be a time limit on creativity. Like when asked when he was going to be finished with the Sistine Chapel ceiling, Michelangelo said, "When I'm done."
 |
| Beth Goyer. “Blue Gate in the Fog.” 2008. Digital Photograph on Lustre Photo Print Paper, 18"x12". $300. |
RP: When did you begin to know what your art is about?
BG: I knew as a child what my art was about. It came in growth spurts just like my little self. My fellow classmates were amazed in grade school at what I could draw both from real life and from my imagination. They were always asking me to draw something for them and I was happy to do it. When you get positive reinforcement, it makes you feel good about what you're doing and about your self-worth. I suppose I was good enough that I usually got positive criticism which encouraged me to do more. I explored a lot of fine arts and fine crafts over the years to see if it would be a right fit. I believe I have found the right fit.
 |
| Beth Goyer. “Faust Park Barn.” 2012. Digital Photograph on Lustre Photo Print Paper, 26"x8". $300. |
RP: What was it that first prompted your career/activity as an artist?
BG: My dad's mother was a very gifted artist. As a little girl, she was always drawing and painting. Her parents took her out of 6th grade and sent her to art school where she excelled. By the time she was 14 years old, she was teaching married ladies to draw and paint in her own studio. Most of her work was china painting. She had many customers that ordered her work so she was making a living at an early age, buying her own car in the early 1910's. Some of her china painted pieces were on display at the 1904 St. Louis World's Fair. She was living with my parents when I was born so I was exposed to fine art at a very early age. She always encouraged me to do art and explore different kinds of art, mostly painting. I had my first "official" art lesson with her when I was 12, I did an oil painting of a horse. Like a lot of little girls, I loved horses. After that first official lesson I would go to her studio in her apartment and paint every Saturday, learning about drawing and painting, helping her with her china painting orders, and learning about her life's triumphs and defeats. She encouraged me to learn as much art as I could and decide which kind of art I wanted to pursue. She was pleased that I went into teaching art. I learned more and more art and techniques while teaching school. I figured if I was unenthusiastic about something, I knew the kids would be bored which isn't a good idea in Middle School. I've always had a camera, taking many, many photos from the age of 10. After I retired from teaching school, I bumped into a teacher from St. Louis Community College Meramec at a gallery. He suggested that I take an introductory class to Photoshop. That class started this whole evolution of my art and I always am grateful to him.
 |
| Beth Goyer. “Cairo.” 2007. Digital Photograph on Lustre Photo Print , 18"x12". $300. |
RP: 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?
BG: I believe that the world is a crazy and sometimes angry, ugly place. I like making my art to look serene in an ethereal atmosphere.
 |
| Beth Goyer. “Havana.” 2015. Digital Photograph on Lustre Photo Print Paper, 18"x12". $300. |
RP: What motivates you to continue making art?
BG: Self-drive and self-worth. Some positive reinforcement helps a lot be it a nice comment from fellow artists or patrons, winning a prize, or getting a sale. A little money comes in handy to pay for materials I need to create and display my work.
 |
| Beth Goyer. “Picture of the Artist.” 2011. Digital Photograph on Lustre Photo Print Paper, 18"x12". NFS. |
Learn more about Beth Goyer: www.facebook.com/BethGoyerPhotography/.
____________________________
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