by Allison Carnell
We present to you our second in a series of interviews with artists whose works are featured in our new juried exhibit at Art Saint Louis, "Art St. Louis XXXVII, The Exhibition." Our 37th annual exhibit presents works by 56 St. Louis regional artists from
Missouri and Illinois and is on view November 6 through December 16, 2021 at Art Saint Louis, 1223 Pine
Street in downtown St. Louis, Missouri.
We are pleased to introduce you to featured artists Janet Moore, Michael Bruner, and Lisa Hilton.
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JANET MOORE
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| Featured in Art Saint Louis' in-Gallery exhibit, “Art St. Louis XXXVII, The Exhibition” (November 6-December 16, 2021): Janet Moore, Bel Nor, MO. “Portrait of a Plane Leaf in Autumn.” 2021. Handwoven Tapestry, Wool Weft on Cotton Warp, 24”x17”. $750. |
Allison Carnell: When did you begin to know what your art is about?
Janet Moore: I began to think of myself as a maker when I realized I was continually studying objects in the local museum and wanted to experience making such things. At first I thought this meant I wanted to be an anthropologist, and then realized it was the objects themselves that fascinated me, and through them, the people that made them. I began to make things, and have never stopped. This exploration eventually led me to the fiber arts, and weaving. More specifically, tapestry weaving. I found that the simple weave of tapestry could express many deep ideas, and demand as much of me as an artist as painting does of the painter.
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| Janet Moore. “Flyover Country.” Handwoven Tapestry, 41"x27”. |
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| Janet Moore. “Tapestry for Waterline” international collaborative project. |
AC: Describe your artistic process/technique.
JM: Handwoven tapestry begins with an idea, and a drawing of what I want the tapestry to look like. This might involve creating several drawings, choosing one, and revising it to be accessible to the tapestry technique. If I want to change the size, I must scale up the drawing so that I have a full scale, full color plan for my tapestry. Then the weaving begins! I warp my loom, choose my colorful yarns to match, hang the drawing (cartoon) behind the warp, and begin to weave to my drawing. (See" Waterline" image for a look at my latest tapestry in its beginning stages.)
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| Janet Moore. “The Green Man.” Handwoven Tapestry, 36"x36”. |
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| Janet Moore. “Fly Over Autumn.” Handwoven Tapestry, 41"x37”. |
AC: What is the biggest point of inspiration for your artwork?
JM: I like to work in a series, as this allows me some freedom to follow ideas to their conclusion, and also to seek fresh sources of inspiration. I can respond to changes in my life, my environment, the seasons, etc. I sometimes include other mediums, such as silk painting and jewelry, in my studio practice. As I mentioned, I like to make things, and some ideas seem best executed in a particular medium.
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| St. Louis-based textile artist Janet Moore silk painting in studio. |
AC: Do you have a studio routine?
JM: I am fortunate to have time every day to work in my studio. I am retired from teaching art in programs for adults and I commonly spend about 4 hours a day in my studio. I'm inspired by my surroundings, by people, by the community of artists I have had the good fortune to know over the years. I like to listen to music as I work, and I like to play music as well. I hope to do a series of tapestries inspired by favorite songs. If you would like to see more of my work, or perhaps learn to weave tapestry, visit my website and contact me!
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| Janet Moore. “Autumn Scarf.” Hand Painted Silk Scarfk 36"x36”. |
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| Janet Moore with her work “What Fair Land Is This?” Handwoven Tapestry, 41"x37”. |
Learn more about Janet Moore: www.janetmooretapestry.com and
www.instagram.com/apricotjan
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MICHAEL BRUNER
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| Featured in “Art St. Louis XXXVII, The Exhibition” (November 6-December 16, 2021): Michael Bruner, Mascoutah, IL. “Julia.” 2021. Pencil, Powdered Graphite on Arches Paper, 17”x14”. $900. Artist’s statement: “Julia is very different from my past work - the composition is much simpler. I focused on delivering as much emotion as possible by emphasizing the subtle aspects of the hands, stripping away layers, creating a visual story of the life of my Grandmother.” |
Allison Carnell: When did you begin to know what your art is about?
Michael Bruner: I’m still determining that. I believe that once you 'know' what your art is about, you stop growing and experimenting. I keep surprising myself with my work and that includes the unfortunate surprises that end up never seeing the the light of day.
But I do know when I decided to become an artist. When I was in 13 years old we moved back to Indiana - in my first day as an 8th grader I walked into the from doors of Woodrow Wilson Middle School and was stunned by two massive murals flanking a flight of limestone steps. (Done by Gilbert Brown, who studied with Diego Rivera) I didn’t really understand what I was seeing, but I knew at that moment that someday I wanted to be an artist.
AC: What motivates you to continue making art?
MB: My initial response would be, “I don’t know if I have a choice. Its always been a part of my life. “ I actually have never thought of what motivates me, but diving into introspection, I have to say it fulfills me. During long absences from the studio (and there have been a few), there is a void in my soul. I believe there are important, or at least interesting, images yet to be created and I am anxious to create a few.
AC: Describe your artistic process/technique.
MB: I start with a pencil drawing - sometimes a dozen versions. I scan the final sketch and work through numerous iterations digitally. I transfer the image by grinding the digital image and the paper or canvas. I don’t get too detailed when I transfer the mage - just set a few points of reference. I want to keep some room for change and modification as I go along.
Currently I am only working with pencil and powdered graphite on arches paper--due to a lack of studio space--so I put some concepts on hold if I don’t feel that is the correct media for the idea. I always let the concept dictate the size and the media. I wet the paper first with water and a sponge and clamp it to a piece of plywood. It seems to stretch the paper and smooth the surface. It also flattens the paper if it was on a roll. To get the solid dark blacks, I grate 9B graphite pencils to a powder and apply it with a blending stump, cotton ball or a make-up blending sponge. I usually use as soft of lead as possible, find the edges I want to keep and define, block in the shadows, then the midtones, and using Tombow and kneaded erasers, define the highlights. From there its a process of deepening the the shadows and adding detail.
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| Michael Bruner. “Adam.” 2021. Pencil, Powdered Graphite on Arches Hot Press Paper, 13”x15”. $900. |
AC: What is the most challenging technique you’ve mastered or wish to master?
MB: Watercolors. I have no idea of how to use that media. I am building a new studio and in this new space I plan to make a mess with some watercolor efforts.
AC: What is the biggest point of inspiration for your artwork?
MB: Whatever makes me angry, happy, or confuses me. Basic emotions. Music is the primary external influence, particularly music by artists with strong, unique lyrics. Every thing from Pavarotti to Tom Waits. Music is always playing in my studio.
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| Michael Bruner. “The world is asleep except for dogs, drunks and me.” 2021. Pencil, Powdered Graphite on Arches Hot Press Paper, 15"x19”. $1,100. |
AC: What is the biggest challenge with being an artist and juggling all that life throws at you?
MB: Two quite different things. One, carving out studio time with the demands and obligations of family and work. Secondly, dealing with the art market as an un-represented artist. I participate in number of juried exhibitions, but even when I am doing moderately well with cash awards, it is a financial challenge.
AC: What qualities attract you to other artists’ work?
MB: Technique initially and then the subject matter. Even if the piece doesn’t speak to me I still want to know how it was executed.
AC: What are you currently working on?
MB: Another drawing, but diverging from the semi-hyper realism I have been working toward in the past year. Deconstructive realism?
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| Michael Bruner. “Searching for Barnes.” 2020. Pencil, Powdered Graphite on Arches Hot Press Paper, 17”x14”. $500. |
AC: When do your best ideas come to you?
MB: I wish I could figure that out! I can struggle with a concept for days and when I come back to it a few days later it’s “What the hell was I thinking of?” But then some of my better ideas just happen in a unguarded moment.
AC: When you're facing challenges during the creative process, what do you do?
MB: In the past when I was struggling creatively, I tended to avoid the studio. Just couldn’t deal with the frustration. So I made a deal with myself. Told my procrastinating, immature self that all I had to do was go into my studio, sit at the drawing table, open my sketchbook and make a mark. Any mark, write something, draw something, whatever comes to mind. Spend 5 minutes. I found that if I make this small effort, without any additional self imposed pressure, good things happen. This has been my daily routine now for years.
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| Michael Bruner. “15 Friends.” 2020. Pencil on Arches Hot Press Paper, 12”x15”. $600. |
AC: Do you prefer to make one specific piece or a series of works?
MB: I have always wanted to work a series of pieces, but I keep getting drawn away, anxious to find the next image and discover where that new idea leads me. One of my professors commented that the concept behind one of my paintings could occupy me for years if I would explore all of the permutations of the concept. But I never did follow his advice. Recently I viewed that painting I made for the first time in 30 years--it is part of the permanent collection of the Swope Art Gallery in Terre Haute, Indiana--and got excited about the idea all over again. So perhaps.
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| Michael Bruner. “Deep, dark mirror.” 2017. Pencil on Arches Hot Press Paper, 20.5”x13.5”. |
AC: How has your art evolved throughout the years? Describe the different stages of creating.
MB: Well, each of my works marks a period of my life. A period which is marked in my work. I attempt to show the line of my march and stick to it. My work reflects what is happening to me at the time. I have always approached my art in that I don’t owe anything to anyone in this one part of my life. I do what I want, how I want to do it. If others view it favorably - outstanding.
Years ago I wrote: “The process of creation can be more and more alienating from one period to another. There is always the caution that the work will turn into witnesses of a flight inwards which could be dangerous but which may also bring great joy. There is the thought that both repulsion and beauty are interwoven with fascination. That to delight sometimes you must deliver a blow, and sometimes a caress.“
AC: What work do you most enjoy doing?
MB: It really doesn’t matter, whether its drawing or painting, as long as it’s a tactile task. If I had to choose, I would have to say drawing.
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| Michael Bruner. “Mike do this, Mike do that, Mike don't do that.” 2021. Pencil, Powdered Graphite on Arches Hot Press Paper, 13”x14”. $1,000. |
AC: What themes do you pursue in your art?
MB: Both repulsion and beauty are interwoven with fascination and sometimes that is delivered with a blow, and sometimes a caress. In general, my work sometimes take as subject mental health and its metaphors, and attempts to consider the complexities of identity, subliminal emotions and thoughts of objects and of bodies that we consciously deny.
In composition, I’m influenced by images that evoke a momentary recognition in the viewer and a sense of familiarity but push reality, with a combination and exchange of the real and unreal.
AC: What do you like best about being an artist?
MB: I’m a solitary person. (My wife calls it anti-social). My art is something for which I am fully responsible. It belongs to me.
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| Michael Bruner. “Picture in a letter.” 2018. Pencil on Arches Hot Press Paper, 20”x16”. $900. |
AC: Do you use photo references when you work? Observe from life? From imagination?
MB: All of the above. It really depends on the idea.
AC: What’s your work day like? Are you a full-time artist? Do you have a part time job?
MB: Yes, still have a day job. I’m a digital design consultant with BJC HealthCare - designing and developing web sites.
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LISA HILTON
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| Featured in “Art St. Louis XXXVII, The Exhibition” (November 6-December 16, 2021): Lisa Hilton, Creve Coeur, MO. “On My Mind.” 2021. Clay, Slip, Oxide, Wash, 14”x11”x6”. $975. Artist’s statement: “I believe that the majority of our thoughts revolve around other people including family, friends, social groups, and community. Our lives are an ever changing and often-elusive quest to fulfill personal desires, hopes, dreams, and goals while loving, respecting and honoring other people with their own and diverse personal desires, hopes, dreams, and goals. Striving for a life lived in harmony with others while honoring our own agenda is a lifelong journey.” |
Allison Carnell: What is the biggest challenge with being an artist and juggling all that life throws at you?
Lisa Hilton: My biggest challenge is time. I would spend all day in the studio, but I have many other responsibilities and hobbies including part-time book keeper, aging parent care taker, traditional responsibilities for family and household, board member for several non-profit organizations, gardening, teaching ceramics in my studio and spending time with friends. I often wish I could be one of those people who thrive can thrive with 4-6 hours of sleep!
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| Lisa Hilton. “Stronger Together II.” 2021. Clay, Slip, Oxide, Wood, Paint, 27”x7”x7”. $925. |
AC: What qualities attract you to other artists’ work?
LH: I am attracted to other artist’s work for a variety of reasons. Because I enjoy creating gesture and texture, I am drawn to how other artists execute these elements in intriguing, unique or highly successful ways. I greatly admire technical skill and excellent craftsmanship. Also, I love seeing new or unusual techniques and a piece that astounds me with the medium usage.
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| Lisa Hilton. Artist demo at “Loop in Motion” event, August 2021. |
AC: When you're facing challenges during the creative process, what do you do?
LH: I have a variety of coping mechanisms for working through challenges. If I am not finding the form or proportions to my liking, I will photograph the work from multiple angles so I am able to see it in a different form. I will also leave the work covered for a week or two and then come back to it with fresh eyes. If I am still not sure of where or how to alter the piece, I will solicit a critique from an artist I respect. That feedback will often lead me in ways I wouldn’t have found on my own.
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| Lisa Hilton. “I Have Your Back.” 2021. Clay, Slip, Oxide, Wood, 7.5”x12.5”x6”. $575. |
AC: Do you prefer to make one specific piece or a series of works?
LH: I prefer to work in a series. My conceptual focus leads me to so many specific ideas and tangents it can be difficult to execute all of them.
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| Lisa Hilton. “Incremental Success.” 2019. Clay, Slip, Oxide, Wood, Paint. $925. |
AC: How has your art evolved throughout the years? Describe the different stages of creating.
LH: My work has definitely evolved and changed. When I first started sculpting the figure, I was more focused on facial features, fingers and toes. When viewers see a face, they often ask me who it is. I wanted the emotion and form to be more of a focus so I went to a more abstracted figure. My goal is to continue to push myself further into abstraction.
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| Lisa Hilton. “There’s Room.” 2021. Clay, Slip, Oxide, 13”x6.5”x4.5”. $575. |
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| Lisa Hilton. “Moment of Balance.” 2021. Clay, Slip, Oxide, 9”x5”x3.5”. $375. |
AC: What themes do you pursue in your art?
LH: My current work is based on relationships with self and others. Each of us must balance our needs with those of our partners, families, co-workers and communities to find a healthy, workable sense of equilibrium. Finding balance in life is an ever changing and often-elusive quest as we are filled with personal desires, hopes, dreams, and goals that may or may not be aligned with the people or events we experience. Striving for a life lived in harmony with others while honoring our own agenda is always a work in progress.
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Allison Carnell is the Fall 2021 Intern at Art Saint Louis and a senior at McKendree University, Lebanon, IL.
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