Adekunle Ogunleke: Gestures, Figures, Placards, and Defiguration

On display in the South Gallery at the Columbia Art League

April 1 - April 12, 2025

Artist Statement

My abstract paintings examine the representation and coverage of protests and civil unrest in mainstream media, shedding light on events that often go unnoticed or receive minimal attention. My work seeks to spark conversations and curiosity surrounding these overlooked protests, amplifying the voices of the demonstrators and their demands. I use abstraction to offer anonymity to the protesters and distance viewers from the often traumatic realities being protested. I blur faces, bodies, and individuals into gestural marks and vibrant color fields, creating a visual language that transcends direct representation. The geometric extrusion of the shapes in this painting is a demonstration of order and statehood. On the other hand, the gestural marks are representations of chaos and disruption.

Artist Bio

Adekunle Ogunleke is a second year MFA student at the University of Missouri. His studio practice is concentrated on drawing and painting. His abstract paintings examine the representation and coverage of protests and civil unrest in mainstream media.

The Intern's Turn: Stuck!

Hello! Intern Kellie here, to talk about what’s going on currently at CAL. Stuck!, a delightful show of collages made with stickers by Desireé Moore, is in the South Gallery until March 29. Every collage is bursting with colors, the reflective stickers literally making them shine in all their holographic rainbow glory.

Personally, the piece I am most drawn to is Octopus, where Moore has meticulously depicted an octopus with its limbs shifting between different vibrant color gradients. Comet also resonates with me. I especially enjoy how Moore cleverly uses celestial-shaped stickers to fit the subject matter’s theme. I can only imagine how tedious the placement of all these stickers must have been, but no one can deny that the result is absolutely mesmerizing!

With all this talk of stickers I became curious about how stickers came to be. As it turns out the concept of stickers is very old, tracing back to the ancient Egyptians who used an early version of them to mark good prices (Label Tech). The more modern version of stickers came with the use of stamps in the 1830s before stickers eventually came to be the symbols of personal expression we know today.

Experiencing Stuck! is like walking through playful childhood memories. While viewing each collage I was reminded of the I SPY books I used to look at, discovering little scenes I had missed before. This series also brought to mind my own relationship to stickers, my earliest memories being a sticker fiend as I stuck some to my grandmother’s washing machine all the way to how I use them today to decorate my laptop. Moore beautifully encapsulates how stickers are and can be used for self expression.

The Interns' Turn: Tiny Things

Brooke

https://www.bradshawfoundation.com/sculpture/willendorf.php

Hello! I'm Brooke, an intern here at CAL! One of my favorite tasks is writing about the art that speaks to me. The current main gallery show, Tiny Things, is a goldmine for writing topics. Today, I want to talk about trinkets, knick-knacks, and whatnots. I love small, portable objects that you can carry with you. Do you feel drawn to portable art the way I do?

When I think of portable art, I think of the Venus of Willendorf. This Paleolithic trinket is a perfect example of the importance of what we choose to carry with us. The statue is small enough to fit in the palm of your hand and is one of the first examples of sculptural art in human history. I imagine the person who carved this token, carefully choosing each detail, then squeezing the cool stone tightly in their hand when it was complete.

In the Tiny Things show, each artist gives us a glimpse into what they choose to carry with them. For example, Mallory Bartels uses soapstone in Baby Named Chachki to convey the delicate intimacy of sculpture. The piece is just slightly smaller than the Venus of Willendorf. Like the Venus, features of Bartels’ figure are exaggerated—the eyes, the ears, and the body, curled up as if trying to make itself smaller. The almost translucent quality of the stone makes this statue feel ethereal, like a charm or a special object. Something to be held on to, something to be touched.

Another piece that highlights the quiet intimacy of small objects is Mom’s Button Tin, a gouache painting by Sarah Hackman. This quirky painting captures the colorful, eclectic nature of any button collection. The heavy ink contrasts with the organic feel of the paint, emphasizing the haphazard nature of collecting trinkets. After all, what is more collectible than buttons?

The last piece I want to examine is an acrylic painting by Vivian Ferral. This grayscale piece is a deeply emotional dissection of closeness and the human form. Two infants are pressed so close together that there is no negative space between them. Their skin overlaps in a way that makes it unclear where one figure starts and the other ends. No other piece in the gallery invokes such a physical reaction from me. It’s both comforting and jarring, intimate and clinical. This raw expression pulls a thread that connects many of the works in the Tiny Things show.

As you visit the gallery, you can’t help but lean in, squint, or put on your glasses to better see the delicate offerings the artists have created. As you walk through Tiny Things, think about what you might carry with you out of the show. Just as the Paleolithic person carried the Venus of Willendorf, you might leave CAL carrying love, grief, passion, anger, or peace. I invite you to explore what the trinkets of the world might offer you. I think you'll find there's a lot to discover

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Amanda

Hi! I’m Amanda, one of CAL’s current interns! I recently got to assist with the show change for the Tiny Things exhibition and it was amazing getting to look at each artwork up close and appreciate the work that went into their creation. The use of color and application of paint in Dandelions by Kira Rinehart instantly caught my attention with its impressionistic feel and certain softness. It reminds me of my childhood Summers spent looking for a good patch of grass to plant myself in, drawing me into the artwork even more.

Another piece that I keep coming back to is Flower Basket by Janet Elmore. This ceramic work is beautiful in its use of purples and floral elements, with the form keeping the eye circling repeatedly. The shine and texture of the form are also a great contrast to the natural elements it stores. This is a piece I would love to have in my own home and fill with flowers year-round. 

The last piece I constantly visit is Timeless Petals by Shradha Birchmier. The fine-tip pen she used in this ink drawing helps add dimension through detailed linework, truly encapsulating the essence of “Tiny Things”. Her precision and delicacy in this piece remind me of timeless beauty and appreciating the small things in life.

Desireé Moore

Stuck!

On display in the South Gallery of the Columbia Art League

March 4 - March 29, 2025

Reception: Thursday, March 6, 2025 5:30-7 pm

Artist Statement

Stickers are little bits of rebellion and identity, a unique form of communication that shape our world in all their vibrant, sticky glory. From covering binders in school to plastering our laptops and cars today, they’ve always been a way to express who we are in a world that’s mass-produced and ever-changing. In Stuck!, I draw from my own collection of stickers to create playful collages that embrace color, texture, and nostalgia.

Artist Bio

Desireé Moore is a collector, artist, and collaborator. Her work is fueled by a deep curiosity about the world and her fascination with the things we choose to collect and preserve.

Moore’s sticker collages debuted in New Orleans in the Summer of 2023 at the Aquarium Gallery. Her films have been shown across the world. Moore collaborates with Anna Elliott and Robin Schwartzman on their traveling project Barter Boat which has been programmed around the U.S. 

Currently based in Columbia, MO, she is an educator at the University of Missouri-Columbia. 

Celebrating Black Artists

Kansas City Art Institute Graduate and Artist: Jada Patterson

Jada Patterson recently received her Bachelors of Fine Arts and Art History at the Kansas City Art Institute in Missouri where she worked primarily in ceramic arts. She creates her works using different mediums to represent African tradition and her own cultural identity. “Working primarily in clay, beeswax and assemblage Jada explores beauty, adornment, girlhood and material culture as it relates to the human condition”

Statement and Material

“The intersections of race, gender, history, and the environment are the basis of my work. I am deeply interested in traditions surrounding African rituals, especially those related to hair and body adornment, which survived slavery and still exist today.” - Jada Patterson

Using primarily natural, inherited, and household items, Her pieces are representational of adornment of the hair and body in African culture and tradition, specifically with an insight into girl and womanhood. Her work also gives insight into the uses of everyday items such as brooms and household materials to advocate for the power in the everyday

Visit the Artist’ Website!

https://www.jadapatterson.com/

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Influential Artist: Mickalene Thomas

Mickalene Thomas is a contemporary African-American artist most known for her work in collage. Thomas attended and received her Bachelors in Fine Arts from Pratt University in 2000, as well as her Masters in Fine Arts from Yale University in 2002. She studied as an Artist in Residence for multiple universities and currently resides in Brooklyn, New York.

Body of Work

Her collages primarily comprise acrylic and enamel, rhinestones, and paint. Her work focuses on depicting other black women in positions of mentorship and heroic nature. Some of her most well-known works are believed to be the Mickalene Thomas: Femmes Noires installation and gallery. Like her other work, these collages focus on the African-American woman in pop culture through imitation of previous famous works.

“I am proud to be able to exhibit my work and inspire young people. Especially young black women so they know that they are beautiful, that they don't have to hold onto any negative stereotypes.” -Mickalene Thomas

See more of Mickalene Thomas’s work on her website! Mickalene Thomas

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American Artist: Kehinde Wiley

Kehinde Wiley is a contemporary artist currently working out of New York City. Wiley uses multiple mediums such as painting, sculpture, and video but is most widely known for his painted depictions of African Americans in the traditional setting of old master paintings.

About

Wiley received his Bachelor’s of Fine Arts from the San Fransico Art Institute as well as his Masters of Fine Arts from Yale University. His work is featured in exhibitions around the globe as well as a part of over 50 displays at public institutions. Wiley was the first African American Artist to be selected to paint an official Presidential portrait selected by Barack Obama.

Artwork

Wiley’s work aims to combine Art History with contemporary culture through the representation of race in traditional master paintings. All the models in his work are people the artist has physically it and looks up to as a role model in a position of power. These individuals are then depicted in large traditional old master painting backgrounds.

“Art is about changing what we see in our everyday lives and representing it in such a way that it gives us hope.” -Kehinde Wiley

View more of this artist at Kehinde Wiley Studio | Brooklyn, NY

Tiny Things 2025

On display in the Betty and Art Robins Group Gallery at the Columbia Art League

February 25 - April 4, 2025

Facebook Live Show Walkthrough (Ribbon winners to be announced during): Thursday, February 27, 11 am

Reception: Friday, March 7th, 6-8 pm

Congratulations to the ribbon winners!

1st Place: Kate Verna, Shadow

2nd Place: Matt Ballou, Friendship

3rd Place: Lina Forrester, Story of a Rainy Day

Honorable Mentions

Nancy Katzman, Awake at Night

Martha Daniels, The Favorite Cat

Colette Brumbaugh, Flying Horse of Gansu

Moon's Ray, It May Be Small, But You Can Have It All

Ashlyn Malone, Her Own Little World

Bo Bedilion, Ana

All artworks in this show are limited to 8” x 8”, including frame. Artists are challenged and inspired to create something tiny in physical size, but still powerful and touching in impact and emotion. Changing our perspective and viewpoint in one way can lead us to see our entire world in expansive ways. Size isn’t everything; so what is it really, and how does it impact the creation, vision, and enjoyment of art?

Tiny Things is a juried show open to all artists 16+ years old, all media welcome.

Pamela Gainor

On display in the hallway of Central Bank of Boone County IN downtown Columbia.

February 14th - March 25th, 2025

Artist Statement

Art explores personal landscapes and places in the world, physical, emotional, and political. The world is infinitely beautiful, frightfully fierce yet fragile. My place is at once very small but encompasses all I know and can imagine.  My place is color and form, real and imagined. 

My first memories of the mystery and glory of art are of visiting my grandfather’s studio which smelled of oil paints, linseed oil, and Camel cigarettes. My parents were both creative, my mother made most of her clothes and my father painted as a hobby. I have made art all my life first with acrylics and then fiber art. It was only as a sideline after jobs and raising children. Since my retirement from nursing, I have concentrated on oil paint and encaustic. Oil paints satisfy me by being very malleable. I get my hands on them, move them around, mix on the canvas and create whatever I can imagine. I still rarely use brushes and normally do not work from photographs or sketches. In fact, I typically don’t know what I’m going to paint until it gradually takes shape over time as I work. Many pieces are reworked over and over again until they become what they were meant to be. It’s a challenging process that I enjoy immensely. Encaustic provides a different sort of challenge yet similar. One does not fully control encaustic. I move paint around with fire, not my fingers. But it still has the element of surprise taking on its own life, revealing its own secrets. It also can be worked and reworked. Unfortunately, this process has at times meant the demise of what was good in the hopes of something better. Something that afflicts every artist I believe. The mystery of when a piece is finished remains a mystery.

Hope Martin & Pamela Sisson

B. I. R. D.

On display in the South Gallery of the Columbia Art League

January 28 - February 22

Reception: Wednesday, February 5, 5:30-7 pm

Artist's Statement

"B.I.R.D. (Bowers, Inns, Roofs & Dens)" is a collaborative showcase born from a relaxed ekphrastic exchange between ceramicist Pam Sisson and soft pastel artist Hope Martin. Pam's whimsical ceramic creations, accented with fanciful wirework, pair beautifully with Hope's vibrant pastel art. Together, their work playfully explores the idea of homes—whether bowers, inns, roofs, or dens—offering a delightful and inspiring tribute to the diverse habitats of the natural world.

Artist Bio: Hope Martin

Hope Martin is an artist based in Columbia, specializing in pet and animal portraits. Since 2014, she has been honing her skills in the mediums of soft pastels, charcoal and graphite, creating lifelike representations that capture the spirit and individuality of animals. Her journey into art began after stepping away from a career in graphic design to focus on her family, a decision that allowed her to rediscover her passion for creativity and the natural world.

Spending time outdoors with her children became a source of inspiration, reigniting her connection to nature and fueling her artistic pursuits. These experiences shaped her approach, blending her design background with a methodical and heartfelt artistic process.

Today, her work centers on the stories and connections shared between people and their pets, as well as the wild beauty of animals. Each stroke of pastel or charcoal is a tribute to the intricate details and vibrant personalities that make every animal unique. Hope’s work has been featured in local exhibitions and has become cherished by pet owners seeking heartfelt tributes to their companions. Her dedication to capturing the essence of animals has earned her a loyal following and numerous commissions, reflecting her ability to connect deeply with her subjects and their stories. Through her art, she aims to preserve cherished memories and celebrate the profound bonds shared with animal companions.

Artist Bio: Pamela Sisson

Pamela is a potter because one day, some years ago, she walked into the door of Squarepeg Art Studio. The many talents and muses of artists/owners Peg Craig and Nancy Gause and the many members of the studio sparked in her an unknown passion to work with clay.  Pamela has shown work in various places around Columbia, Missouri, been juried into Columbia Art League shows, earned recognition for pieces in the Boone County Art Shows and was awarded Missouri Top 50 at the 2017 Missouri State Fair Fine Arts Show.

Pamela’s body of work includes hand built ceramic bird houses, pitchers, sun/moon thematic pieces and more.  Lighthearted whimsy and escape are the driving forces in her art.  Inspired from youth by her dad who was a building contractor turned retired bird house maker, she is also greatly influenced by the people, cultures, music and art of the countries where she has lived and visited, and the world of nature.  Design and color are the unifying forces allowing her clay to become what it wants to be.  She combines clay, wire, metal, wood and more to complete her pieces. Naming each piece creates the thrill of adding literary art to her handiwork.

The Interns Turn: "Reality Reflection Photography"

Kellie

Hello! I’m Kellie, one of CAL’s new interns. Starting off this year in the South Gallery is an exciting array of mesmerizing photographs by David Kovacs. In Reality Reflection Photography each image is taken from natural materials like agate, jasper, and petrified wood which is reflected over and over to create these kaleidoscopes of color. Even after knowing how these photos were taken I am still amazed.

Some of my personal favorites are Kovacs’ photographs with the Marston Ranch Jasper. These photos have exceptionally rich, deep reds and beautifully contrasting greens and whites. Any cathedral’s stained glass windows would be jealous if they could see!

Everytime I look at this series of photographs I find new details and patterns to get lost in. I have no doubt any viewer will too!

Amanda

My name is Amanda, and I am an intern for the Columbia Art League. The current South Gallery exhibit titled “Reality Reflection Photography” created by David A. Kovacs immediately caught my eye. This exhibition focuses on the radial patterns that can be found in nature and encourages viewers to look deeper into what they see around them. Kovacs found his love for photography while working in the science field with an environmental protection agency, and turned his passion for the natural world into large interstellar designs and colors.

When I look at this body of work I feel drawn into the richness of the colors and the vivid display of details present within the prints. Many of the pieces evoke different emotions when viewed based on their composition elements. My personal favorite from this collection is “Crazy Lace Agate ll” which is a radial piece made up of spiky warm tones and a vibrating red background. This piece is exciting and dynamic to view and gives a great sense of energy and motivation.

David Kovacs, Crazy Lace Agate ll

My other favorite is “Petrified Wood ll” This work contrasts the first in many ways and gives a calming effect to viewers as opposed to high excitement. This piece is composed of smoother angles and cool tones including blue, gray, and gold values. When I look at this piece I feel relaxed and at peace. The variety of emotions Kovacs is able to invoke in viewers is astonishing and sought after by viewers like myself!

David Kovacs, Petrified Wood ll

Joanne Zucco Berneche on Exhibit

ON DISPLAY IN THE HALLWAY OF CENTRAL BANK OF BOONE COUNTY IN DOWNTOWN COLUMBIA, MISSOURI

JANUARY 7, 2025 - February 18, 2025

Joanne Zucco Berneche was a force of nature. She usually blew into a room clad in a vintage dress, fabulous costume jewelry, and her strong opinions. She was a Maximalist to beat all Maximalists, in her work, home, and personality.  

Joanne was born in 1938 and began creating at a young age. Her work was influenced by ancient sculptures, Renaissance masterpieces, and Modernist European artists. After marrying fellow artist Jerry Berneche in 1958, their work evolved side by side and created a beautiful visual conversation together. Though Joanne’s art materials tended to be limited in scope (acrylic, gouache, tempera, collage), her imaginative use of these media constructed fantastical spaces and eye-bending patterns. Her appropriated collaged images infused the work with comments on beauty, aging, temporality, and permanence.

In this exhibit, the viewer is greeted by stunning works of collage, abstract landscape paintings, and geometric studies. Throughout the works, recurring threads of color and pattern invite viewers to explore and discover the simple shapes and icons that were central to Joanne’s creative process.

All sales of Joanne’s work will be handled through the Columbia Art League, where Joanne regularly exhibited her work until her death. Sales of Joanne's work will be split, with a portion going to her estate and the remaining portion as commission to CAL.

À La Carte

On display in the Betty and Art Robins Group Gallery at the Columbia Art League

Reception: Friday, January 17, 6-8 pm

Ribbons will be given out at the reception at 6:45 pm.

One of our favorite shows of the year is all about food, and this year’s theme (À la Carte) is inspired by those foods we order in addition to our meal, like that extra tamale that will absolutely make you unbutton your pants when you get to the car. Or if you’re looking for something to hold you over until your next meal and a piece of spanakopita sounds like the perfect stop-gap, the à la carte menu is a lifesaver. À la Carte coincides with our event, Let Them Eat Art! Local chefs get inspired to create a mouth-watering dish for guests to enjoy based on a specific artwork in this year’s show. 

À la Carte is a juried show open to all artists 16+ years old, all media welcome.

Congratulations to the ribbon winners!

First Place

Matt Ballou, Parking Garage Cheese (Hitt Street Garage, 2019-2023)

Artist Matt Ballou wrote a blog post about his piece. Check it out here!

Second Place

Jacob Lopez, Analogies

Third Place

Diane Epstein, Donut Extreme

Honorable Mention

Nate Halwel, Waiting for Lunch

Tootie Burns, Tootsie

Juror’s Statement

Serving as the juror for this year’s À la Carte exhibition is an honor. This collection of artworks showcases extensive use of mediums and styles that reflect the unique perspectives of those who live and create here in our community.

What stood out to me in reviewing the submissions was the obvious dedication each artist has to their craft. Whether through the use of traditional techniques or contemporary methods, the works on display offer a window into the world as seen through the eyes of our neighbors. 

While selecting pieces for recognition was no easy task, I had in mind a few key criteria: originality, technical skill, emotional resonance, and the ability to provoke thought. Ultimately, I sought work that demonstrated craftsmanship and captured the core of what makes this community so special—its creativity.

- Bo Bedilion

Art Professor, Columbia College

David Kovacs

Reality Reflection Photography

On display in the South Gallery of the Columbia Art League

January 2 - 25, 2025

Artist Statement

The images captured in these photographs are designed using a technique designed by Kiril Sinkel for Picture Window and Picture Window Pro. An object is photographed and transformed into a kaleidoscope-like image by taking a wedge-shaped sliver of the image, reflecting it, and repeating it over and over around a center, sometimes referred to as tessellating. Elements from nature make excellent subjects. Natural rock slabs and petrified wood are uniquely suited for this technique due to the complex composition and microscopic details that allow for endless design possibilities. Often the same rock slab will yield a myriad of different colors and shapes unseen by the naked eye.

Artist Bio

I am a scientist by training and profession. I have advanced degrees in the physical and biological sciences and enjoyed a long career with the Environmental Protection Agency. I have always been drawn to nature and natural elements, particularly the microscopic components frequently overlooked. My interest in photography began later when I traded my microscopic lens for a camera lens. I began by photographing my passion---nature. When a friend introduced me to rock slabs, I found the perfect medium for applying a specialized technique that intrigued me. Each design I create from a single slab yields an amazing array of colors, shapes, and, in some instances, mysterious creatures. The more closely you study a design, the more you see, and, as is the beauty of art, we all see it differently.

Shannon Soldner

Somewhere in the Middle

On display in the South Gallery of the Columbia Art League

December 3rd, 2024 - January 4th, 2025

Artist Statement

This series explores the intersection of experience and memory, inspired by my travels through Spain and other parts of Europe. It examines how we attempt to convey the essence of personal moments, even as memory evolves.

Through the use of bright, candy-colored glazes and hazy transparencies, I reflect on the fluid and often unreliable nature of memory. The interplay between fully rendered and sketch-like elements captures the inherent challenges of expressing the subtleties of lived experiences. As we share our recollections, some details are amplified, others fade, and some vanish altogether.

At its core, my work speaks to our desire to connect through shared experience, despite its inherent imperfections. By reinterpreting memories from my travels, I explore how they transform—not only in the act of recalling them but also in the way we attempt to communicate them to others. These paintings are both a meditation on the personal nature of memory and an acknowledgment of the universal need to bridge the divide between individual experience and collective understanding.

Mzeona Iagorashvili

On display in the hallway of Central Bank of Boone County in downtown Columbia.

November 26, 2024 - January 3, 2025

Brooke's Joy in the Members' Show

Why do you like art? Do you enjoy art that’s provocative and disturbing? Or maybe you prefer art that’s comforting and nostalgic? Over the few shows I’ve experienced at CAL, each one has surprised me with a unique reason to love art. They’ve all left an impression, but none more than this year’s members' show. I’d like to take a moment to talk about a few pieces that really appealed to me—pieces that spark joy.

Inessa Morelock, “Dodo, left! “ Mixed Sculpture, Link to Art

First up, we have Dodo, Left!, by Inessa Morelock. This piece may be extinct according to science, but Morelock brings the dodo bird back to life in a mixed-media sculpture that’s one of the funniest I’ve ever encountered—talk about sparking joy! The dodo is loud and expressive; it takes up space and demands attention. If this piece were a song, it’d definitely be Manic Monday, by the Bangles. When I look at this dodo, I see myself—my chaotic mornings, missing the alarm, and throwing on whatever I hope could pass for an outfit. I am the manic dodo. The sculpture’s wild green eyes and pursed red beak are a little intimidating, and its stance dares you to challenge it. This dodo isn’t here to make friends; it’s here to make enemies. Not enough art embraces the ridiculous—we often get bogged down in what’s peaceful and pretty (not that pretty art doesn’t have its place), but Morelock shows relentless expression without worrying about whether it’s tame or serene. This piece is one of my favorites because it’s unapologetic, hilarious, and weird—all my favorite things.

Eric Seat, “Exploration V”, oil on canvas, Link to art

Next is Exploration V, by Eric Seat. This painting is large and deeply emotional. When I look at it, I feel overwhelmed. The deep reds and oranges evoke a sense of carnage. My eyes trick me into seeing bones and limbs, like it’s the aftermath of a violent war. Yet when I peer into the canvas, I feel fear, but I also see growth. I see a phoenix cobbling itself together from disjointed parts. I see growth born from suffering. As you trace the diagonal lines and geometric elements, you uncover what I think is hope. Seat’s piece isn’t about simple joy or something superficial. From it, I find joy in the possibility of what might come from the chaos.

Matthew Ballou, “Awkward Balance”, oil on panel, Link to art

And lastly, I have to mention Awkward Balance, by Mathew Ballou. I think I might have a thing for weird birds, but this one is no exception. Ballou’s piece features two birds—one right side up, and the other hanging upside down. The piece is displayed at an angle, so it’s not immediately clear which bird is actually right side up. It’s up to the viewer to decide. Turning your head to view the birds the other way around only adds to the ambiguity. The colors and abstracted background let the birds take center stage, drawing you into their presence. This piece is playful and invites interaction. I find myself laughing at my own ridiculousness as I tilt my head around, giving these two silly birds my attention. After all, all they want is a moment of your time.

Please consider giving any of the pieces from our members' show a moment of your time. Each piece offers a unique experience, and I promise you’ll find plenty of joy as you face the incredible work in our gallery right now.

-Brooke the Intern

Give the Gift of Art: Members' Winter Exhibition 2024

On display in the Betty and Art Robins Group Gallery

11/12/24 - 1/2/25

Reception: Friday, November 15, 6-8 pm

This un-themed, Members-only show is always a holiday delight! We invite our artists to showcase the work they are most proud of, allowing you the opportunity to snatch it up as a holiday gift! This show will be judges, with ribbons to be given out at the reception.

Congratulations to the ribbon winners! And an extra special thanks to our judge, Lee Ann Garrison. See below for her Judge’s statement.

1st: Nate Halwel, Waiting for Chips

2nd: Mike Sleadd, Hand of An Aging Artist

3rd: Jadi Davis, Crystal Labeija from “For Those Who Dared” Series

Honorable Mentions

Kate Gray, Black and Gold Sunset

Eric Seat, Exploration V

Randall McDermit, Distinguishing Yourself

Tootie Burns, Antlers

Erin Potter, Temple Grandin

Norm Anderson, Pizza Station

Matt Ballou, Awkward Balance

Gennie Pfannenstiel, Dancing in the Rain

Judge’s Statement:

Columbia is a city that wholeheartedly embraces the arts, exemplified by its vibrant Arts District, the First Friday events, and the ongoing contributions of the Columbia Art League. I am honored to have been invited a second time to jury a members’ exhibition at the Columbia Art League. This exhibition showcases the remarkable diversity of artistic expression within our community, encompassing everything from fine arts to high-level crafts. Featured works include paintings, photographs, drawings, collages, ceramics, sculptures, fiber art, functional wooden objects, and captivating jewelry. It is always a pleasure to witness the extensive range of skills, techniques, and creative concepts that our local artists present. Spending time in the gallery today was truly a rewarding experience.

Jurying an exhibition is always difficult because there are so many great choices. As with any jury, artists know selections are just the juror’s opinion and a different juror would surely select other works.

I was drawn to Nate Halwel’s portrait by the quality of the paint, especially the edges where the hair meets the background on the right. The pensive gaze of the quiet woman captures a moment of stillness and thought. The frame also intrigued me. It becomes part of the painting. The soft blue line of the frame on the left dissolves into white along the bottom and right side while blending with the background color across the top. The strong vertical of the blue echoes the verticals of the thicker light brown on the right with is set off by the whitish blue frame and the dark green verticals that border it. To me, the painting showed more than the title, Waiting for Chips, implied.

Mike Sleadd’s Hands of the Aging Artist, intrigued me with its intricate pen and ink lines and marks in the central image set off by the dark background. A viewer could spend a long time moving through the image following the intricate pathways created by the chiaroscuro light and shadow of the strange collection that loosely resembles a hand.

Jadi Davis’s Crystal Labeija from “For Those Who Dared” Series brought a moment of joy when I turned to that wall. The felted portrait of a woman created in monochromatic grays and blacks against the patterned blue woven background pushed out of the black mat in the white frame, then pushed even closer to the viewer with the furry black and white collar or scarf that extends over the frame and invades the viewer’s space.

I know I selected a large number of Honorable Mentions, but any one of them could easily have been in the top three. And many more could have been added. I enjoyed each and every piece in this exhibit.

Tootie Burns

Birds and Beads

On display in the South Gallery at the Columbia Art League

October 29 - November 23, 2024

Artist Statement

I’m so pleased to have the opportunity to show work in the CAL South Gallery. The pieces in this show allowed me to continue exploring mixed media and collage in a more in-depth body of work. 

Artist Bio

Tootie Burns is a graduate of the University of Missouri with a degree in Financial Planning. Burns works as a mixed media artist and has maintained studio space at Orr St. Studios since 2008.  Burns is active in the local arts community and works to promote community artists and arts programming. 

5th Annual Patrons' Party!

The 5th Annual Patrons’ Party is part “art auction,” part raffle, all fun, and with a twist. Here’s how it works: our talented community of artists will donate original artworks worth $150 or more. There will be one ticket available for each work of art. On the evening of the Patrons’ Preview Party, ticket holders will have the chance to scout their favorites and make their Top 10 Most Wanted lists. On the night of the event, Patrons will enjoy music and refreshments in the Missouri Theatre lobby.

Here’s how it works:

Artists donated artworks valued at $150+.

Artwork on display at CAL from October 22 - November 1

Preview Art Party: Wednesday, October 23rd 6-8 PM - live music, food + wine, desserts

Select your artwork via Zoom: November 2nd or 3rd during your time slot.

The twist: you will be assigned a randomly generated number and you will select your artwork in order of the number you receive.

This fun event celebrates the creativity and generosity of our talented local artists and the enthusiastic patrons who support the arts in Columbia. This is an exciting and important FUNdraiser for CAL!

Ticket prices:

$150 - includes the Preview Art Party + an original one-of-a-kind Artwork!

$175 - includes the Preview Art Party with an original one-of-a-kind Artwork AND a guest can join you at the party!

$25 - includes the Preview Art Party, but does NOT include an artwork

John Fennell

PAINTINGS IN PAINTINGS

Rhymes, Memories, Mysteries

On display in the South Gallery at the Columbia Art League

October 1 - October 26, 2024

Artist Statement

Landscapes and abstractions share a kind of visual poetry in painting. In landscapes we see the outside world interpreted through the mind of the artist. Similarly, I like to think of abstractions as landscapes of the mind. Through line, shape, color, and rhythm, we see not the outside world, but the inner, unknown realms. What happens when you marry these approaches? In fusing abstract paintings with landscapes or still life, I’m searching for conceptual and visual rhymes, relationships, or contradictions. In my explorations, memory sometimes comes into play, yet as often mystery results from such pairings. It’s as if the harmony or dissonance of merging the known and unknown creates a different visual reality suggesting new meanings that beg as many questions as answers.

Artist Bio

Chicago native John Fennell has been a painter for more than 40 years and works out of Orr Street Studios in Columbia. After graduating from Northern Illinois University, he attended the American Academy of Art in Chicago and then studied privately with a number of well-known artists. He later earned a master's degree in painting and drawing from the University of Wisconsin-Milwaukee. He has exhibited in Chicago, Milwaukee, and Hong Kong, as well as Kansas City, St. Louis, and other cities throughout Missouri. His work is in many private collections. He is a Missouri School of Journalism emeritus professor where he taught magazine writing, design, and publishing. Before teaching, he was a journalist and magazine editor.

www.johnfennellart.com

Brooke’s Myths & Monsters Field Guide

Hey everyone! I’m Brooke, CAL’s intern. In our current show, Myths and Monsters, you might be surprised by the diverse range of creatures we showcase (from Bigfoot to Baba Yaga!) With so many myths, it’s natural that not everyone will recognize them all, and that’s where I come in. I’d like to share brief explanations of some of the unique beings we have on display.

First, I want to highlight the Night Hag, featured in Cassandra Stokes’ piece, Modern Nightmare: Night Hag. The Night Hag is a name for a common hallucination experienced during sleep paralysis. When someone has sleep paralysis, they feel immobilized and often sense an evil presence sitting on their chest or nearby. Often thought of as demons, the Night Hag is one term for these experiences. In Stokes' digital artwork, we see a looming figure over the paralyzed subject, who is immobilized not by a demon but by a phone, adding a modern twist to the fear of paralysis.

Cassandra Stokes, Modern Nightmare: Night Hag

The second marvelous creature I want to highlight is the Japanese myth of the Oni, depicted in Amanda Bradley's piece, Broken Oni. According to Japanese folklore, powerful demons known as Onis inhabit deep caves and oceans. They are characterized by superstrength, the ability to wield lightning and thunder, and a penchant for murder and cannibalism. In Bradley's piece, we see a beautiful girl beneath the crumbling mask of an Oni, accompanied by a sign that reads, “I am not dangerous.” This raises the question of whether the Oni is truly harmless or if the girl's appearance is merely a deceptive facade. We must consider whether this demon is as evil as we might assume.

Amanda Bradley, Broken Oni

Next is the local myth of the Miniwashitu, or the Missouri River Monster. In Colette Brumbaugh's serene painting, Watching for Miniwashitu/Missouri River Monster, we wait patiently on the shore for this elusive creature. The Miniwashitu has one eye and a large horn like a rhino. Supposedly 8 feet tall and furry like Bigfoot, this bison-elk-human hybrid can bring spring by breaking up the remaining ice in the river as temperatures rise. Originating from North Dakota’s Indigenous Mandan tribe, the Miniwashitu has recently gained a following among those captivated by this lovable cyclops-unicorn creature.

Colette Brumbaugh, Watching for Miniwashitu/Missouri River Monster

By far the most awe-inspiring creature in this field guide is the Shuryō Tatsu, marvelously depicted in Adrian Paladi’s triptych. In Japanese, Shuryō Tatsu translates to “Guardian Dragon,” symbolizing strength and benevolence. These dragons are believed to ward off evil and ensure good fortune, often displayed outside religious spaces and playing a significant role in Japanese mythology. In Paladi’s painting, the viewer can appreciate the reverence and grandeur of this powerful being. The piece is truly mesmerizing.

Adrian Paladi, Shuryō Tatsu

I believe that a culture's monsters reflect its societal fears and worries. A powerful example is the myth of Fear Gorta from Irish folklore. Bill Carney’s drawing hauntingly depicts “the Hungry Man,” or Fear Gorta, embodying Ireland’s fear and reality of famine. This solitary, gaunt monster is said to roam the streets as the spirit of a man who starved to death. When sacred places were desecrated or immoral acts committed, Fear Gorta would rise from the earth and wander the land, haunting the village.

Bill Carney, Fear Gorta

Lastly, to end on a cheerful note, our final myth is the quirky Mrs. Whatsit from A Wrinkle in Time. This character holds a special place in my heart—Ruthie Moccia’s depiction of her in Mrs. Whatsit with Louise the Larger closely matches how I imagine her. Mrs. Whatsit is a fictional character from Madeleine L'Engle's novel. Bubbly and whimsical, she guides the child protagonists on their journey through time. Her companion, Louise the Larger, is a telepathic snake found in the children’s garden. Together they embody delightful whimsy.

Ruthie Moccia, Mrs. Whatsit with Louise the Larger

Stay Spooky!

-Brooke