Wonder

On display in the Betty and Art Robins Group Gallery

July 29 - September 4, 2025

Reception: August 8, 6 - 8 pm

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

We believe an artist’s job is to mediate beauty to the world. Though we may never truly replicate the perfection of the natural world, what is born from our attempts is the true and honest work of encapsulating the world’s wonders. Leaving us gobsmacked, stopped dead in our tracks, wonder is a visceral emotion we all experience in our lifetime. We challenge artists to show us the moment when they felt wonder. 

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

Artists in Their Own Words: Barb Markway

We know that the job of an artist is, at times, a difficult one. To mediate the world through the stroke of a brush or the snap of a camera is no small feat. We believe in giving artists their flowers, which is why we love to highlight them through an Artist Q&A! We dive into their process and how they created their current piece in the gallery! Please keep reading to learn more about artist Barb Markway and her artwork, Fields of Forever.

What was the inspiration behind this piece?

Barb: “Fields of Forever was inspired by a dear friend's deep love of sunflowers and bloomed from a place of quiet strength and hope. Her husband is in a cancer treatment clinical trial, and through it all, sunflowers have become a symbol of resilience and light. Sunflowers turn to face the sun--always reaching, always believing. To me, they speak of hope, no matter the storm.”

How long did it take you to make this piece?

Barb: “This painting took me 63 years! It carries the weight of my life story, the stories of people I've met along the way. It includes countless hours of painting practice and instruction, hours of layering, editing, and reworking, playing, making mistakes, and finally, trusting the process.”

Describe your creative process.

Barb: “I am a recently retired clinical psychologist, and I've found that my creative process as an abstract artist parallels the therapy process. Both require intuition, spontaneity, and honest expression. The process unfolds step by step, guided by openness rather than precision.

I build up the canvas slowly, with early layers being raw and unrefined. Some of those layers get covered up, while others peek through in the finished piece. Each layer invites contemplation, and you'll often see me sitting and studying the piece at points along the way, asking myself what the piece wants from me. There is always a push and pull between embracing uncertainty in the piece and then making decisions about composition, color choices, and so on. In the end, all the layers, even the messy ones, are important to the finished painting.”

If you could give yourself one piece of advice when starting your journey as an artist, what would that be?

Barb: “I have a rebellious spirit, so I tend not to listen to advice! That said, I do have quotes posted up around my studio, and this one I'm finding particularly valuable right now: "The day you plant the seed is not the day you eat the fruit." -Fabienne Fredrickson. I need to remember that the work I do in the studio today may not result in a great painting. I may mess up a painting that was going great! Keep planting, keep watering, keep growing.”

The Intern's Turn: Members' Summer Exhibition

Hi! Intern Kellie here again to talk about the 2025 Members’ Summer Exhibition in the Betty & Art Robins Gallery here at CAL. This is one of two members-only shows this year. The Columbia Art League was founded 66 years ago, and ever since, our members have been an essential pillar in creating and sustaining the CAL community. CAL is grateful to every one of its members and their continuous support!

This year's summer exhibition has no overarching theme, allowing a truly eclectic collection of artworks that showcase the vast range of talent within our membership pool. Stepping into the gallery, you’ll find an incredible variety of mediums and styles – from ceramic fish swimming on pedestals to oil paintings and intricate jewelry pieces. With each piece different from the next, everyone is sure to find one that resonates with them.

As an intern here at CAL, I have the wonderful opportunity to spend time with the artworks, for which I am very grateful. Being at CAL is like being at a crossroads of creativity and inspiration! I get to take a peek behind the curtain into the art world, where I learn more about the people in it and what part of the art world I'd like to be a part of.  

The first piece I want to showcase is “Midnight Floral” by Curtis Hendricks. This piece is a captivating collection of vibrant blocks of color and flower motifs. They seem to flourish and expand from the wall in a movement that shifts between geometric and organic shapes. 

Another piece that caught my eye is “All in a Row” by Diane Epstein. This is a piece that perfectly encapsulates the summer season in a rainbow of 3D ice cream cones. Just looking at them, I can practically hear the distant jingle of an ice cream truck making its way down the street. “All in a Row”  evokes in me a sense of childhood nostalgia.

The third artwork I want to highlight is “Jurassic Flight (Archaeopteryx)” by Michelle Marcum. This piece makes me feel like an archaeologist on the brink of an incredible discovery at a dig site. The artwork itself shows a bird-like dinosaur fossil with mushrooms and leaves surrounding it. Looking at it fills me with a morbid curiosity, prompting me to imagine what the magnificent creature Marcum depicts might have looked like when it was alive.

The last piece I want to mention is “Jar” by Peg Craig, a truly lovely little ceramic. This little jar is adorned with blue lines, much like a ball of yarn. I keep similar, small, decorative containers at home as places to store cherished keepsakes. Craig’s piece instantly sparked my imagination with what someone else may choose to put inside this piece. It makes me wonder what precious memories or tiny treasures might find their special place there in the future.

I hope you'll make plans to visit soon to experience the 2025 Members’ Summer Exhibition for yourself. Come and discover your favorite pieces, and celebrate the members who bring so much to the CAL community!

Mentorship Program Exhibition 2025

On display in the South Gallery at the Columbia Art League

July 8 - August 2, 2025

⁠Featuring artwork from local high school students who participated in this year's Mentorship Program, this gallery show is always a celebration of their hard work and dedication in creating a body of work that represents their growth as young artists!⁠
⁠
Join us for the reception Thursday evening, July 10, 5:30-7 pm! ⁠
⁠
For those unfamiliar with CAL's Mentorship Program, the program is designed to cultivate meaningful engagement with the arts among high school students in Columbia communities. Each student accepted into the program is paired with a professional artist working in their desired media category. Over six months, they work together with their mentor to build a portfolio representative of a concept or theme, plus they attend professional development workshops to strengthen their art practice!⁠

Please keep scrolling to see each piece in the show + read about each artist in the program!

Ace Murrell, ADHD - Carved foam & needle felting - NFS

Ace Murrell - Battle High School

Mentor - Marina Cano

Artist Statement 

Most of my art circles around identity, mental health, queerness, and the like. I have spent my entire life deeply aware of mental disorders. Anxiety, depression, and ADHD all run deep in my family and in my own mind. This was never hidden from me; my family was very supportive of me being able to understand the inner workings of my head. Beyond the teachings of the outside world, I spent much of my own time contemplating who and what I was. My identity, my life, my mind, I have spent hundreds of hours analyzing it all. 

For all of the difficulty these various mental conditions have caused in my life, I have never seen them as malicious. I see much of the world through the lens of animals, and as I learned about mental disorders, I saw them as odd little beasts, with my mind as their home. All of them were just trying to survive, doing the best they could to help and keep their home safe. The Personified Series gives these little beasts room to play. I wanted them to be alive and soft. Each one was carved from foam to act as their skeleton, before being wrapped in wool, giving them definition and texture. Raw roving is malleable, soft, colorful, and fluid. It allows for expressive, fantastical, and gentle pieces. I combined felt with foam for structure, and accentuated with resin and wire for emphasis on movement. Each detail is carefully and intentionally designed to show the personality and nature of the creatures.

Artist Bio 

Raised in Columbia, Missouri, Ace Murrell is a multimedia artist who has worked with digital drawing, painting, ceramics, and primarily fiber arts. Drawn to fantastical, colorful, and expressive visuals, Ace makes works often inspired by youth, nature, mental health, and identity. Eir work has been displayed in the Partners in Education virtual gallery, Art in the Park with the Columbia Art League, and the CoMo Spinners and Weavers Guild fiber art show. Ey are currently pursuing their dreams of being a freelance artist, and in eir free time enjoy playing games, birdwatching, and baking. 

Ace Murrell, OCD - Carved foam and needle felting - NFS

Ace Murrell, Autism - Carved foam and needle felting - NFS

Ashlynn Stocks, Quilt #1 - Textile - NFS

Ashlynn Stocks - Kirksville High School

Mentor - Jennifer Wiggs

Artist Statement

I enjoy exploring a variety of media, but regularly work in painting, drawing, and fiber arts. Making art for me is often about channeling the things that intrigue me into something physical.  Often, my pieces start as rough concepts that bounce around in my mind until they gain enough momentum to be released into something physical. 

Artist Bio

Ashlynn Stocks is currently based in her hometown of Kirksville, Missouri. Ashlynn focuses on painting and drawing, as well as fiber arts. Coming from a rural community, a lot of things, people, and places she sees and experiences in her day-to-day life find their way into her work. Many of her pieces are inspired by her fascination with Americana and interest in cultural history. Ashlynn plans to continue her explorations of these interests in her future work.

Mario Gomez, Ojos Tristes - 35 mm film photography - NFS

Mario Gomez - Battle High School

Mentor - Brianna Thoenen

Artist Statement

Mario Gomez is a photographer who specializes in dreamy cinematic imagery, blending emotion, atmosphere, and storytelling into every frame. Inspired by the visual language of film and the soft edges of memory, their work transforms ordinary moments into scenes that feel timeless and poetic. They chose this style to explore the emotional depth of photography, capturing not just what is seen, but what is felt. Through careful use of light, color, and composition, Mario invites viewers into a world that blurs the line between reality and dream, evoking a sense of nostalgia, beauty, and quiet reflection.

Artist Bio

Mario Gomez is an eighteen-year-old, small-town photographer born and raised in the good old heart of Columbia, Missouri. He loves to make art out of things people find ordinary and makes them abstract. He also tends to have a special eye for this photography. Mario plans on taking a gap year before applying to his dream college, KCAI. Mario has played with digital and film cameras and hopes to continue exploring more with both. On top of the photography classes he took, he also decided to join his yearbook team as a photographer to explore the medium in a way he hadn’t before. Even though Mario has a soft spot for film photos, he also enjoys a good digital photo here and there!

Mario Gomez, Mis Sentidos - 35mm film photography - NFS

Mario Gomez, Wishbone - 35 mm film photography - NFS

Mario Gomez, Summer Forever - Digital photography - NFS

Mario Gomez, Dark Paradise - 35mm film photography - NFS

Vesper Chevalier, Vernum - Colored pencils - NFS

Vesper Chevalier - Rock Bridge High School

Mentor - Sarah Arriagada

Artist Statement

My motivation to make art is to ensure I have multiple ways to satisfy my deepest need as a human being- that is to feel understood. The most challenging thing for me to get people to understand using words is my religion: a slow-growing and deeply personal belief system that I have been nurturing and exploring for years. So instead of writing down the tenants, I am creating the visual artifacts that would exist in a time when such things have already been recorded. The works displayed here include scenes that I imagine would decorate the walls of a place of worship, and an altar that can be taken anywhere as a comforting and portable connection to faith. They are just three small pieces of a culture yet to be, one that understands me as well as I understand it. 

Artist Bio

Based in Columbia, Missouri, I utilize a variety of mediums, but especially colored pencils, sewing, and weaving. Taking inspiration from historical religious art and iconography, and the inner world of the human body and the outer world of nature, I use my art to explore my religion and place in the world. Someday, I hope my work will decorate the walls of my own commune. 

Vesper Chevalier, My Pocket Altar - Embroidery on fabric with found objects - NFS

Vesper Chevalier, Late One Spring - Mixed media - NFS

Ziqi Zhang - Rock Bridge High School

Mentor - Tyler Pierson

Artist Statement

I create art to give form to my thoughts and emotions, translating abstract ideas into something tangible. My work is intentionally unsettling, meant to evoke a sense of discomfort or reflection. Rooted in themes of the natural world, it is inspired by a combination of my personal experiences and love for the surreal. It conveys the descent into the wilderness, juxtaposing the wild nature of human beings and the meaning behind a well-kept garden. I was influenced by the Garden of Eden and the initial purity of Adam and Eve. Their nudity becomes an allegory of human vulnerability. Exposing the complex, often uncomfortable truths of who we are beneath our cultivated appearance.

Artist Bio

I am based in Columbia, Missouri, working primarily with paint and mixed media. Inspired by the surreal and bizarre, I explore how it interacts with reality. I want to major in Art History and study how past works and themes are reflected in the present art scene. I plan to continue creating as much as I can and to explore new mediums and techniques. 

Whimsical Wonder Women

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

July 8 - August 19, 2025

Reception: Thursday, July 17, 5-6 pm at the Columbia Art League

The visual through line of this work by three different artists is all about geometry, shape, and structure. But each of these artists approach this subject with a whimsical sensibility through color and detailed line work. Through experimentation and persistence, Ruthie, Debbie, and Lana show us how connections are forged with open minds and great joy. 

The Columbia Art League is proud to support this kind of experimentation and collaboration to enhance our local artists and community arts programming.

Debbie Cahow

Artist Statement

Debbie Cahow creates through an intuitive sense of playfulness. She loves expressing herself through many creative mediums. In recent years, she has fallen in love with watercolors, especially abstract pieces. She allows her emotions to be channeled through her art. She creates for the well-being of body, mind, and heart.  Debbie loves sharing her art with others. These pieces were inspired by circles, triangles, and squares. 

Artist Bio

Debbie came to Columbia, MO, in 1977 with the plan to study art at MU. Her plans shifted, and she pursued a career in nursing. In 2016, she retired from nursing and rekindled her love of art. Debbie’s focus has been on watercolors. In the past 4 years, she has participated in community exhibits.

Lana Costanzo

Artist Statement
The internal core of my work centers on joy & optimism. As artists, I believe we collectively have the power to positively transform the world. My inspiration is fueled by passion: passionate experiences, passionate colors, and passionate people. Wraparound canvases are my absolute favorite. I enjoy creating a “unique surprise” on the edges of the wraparound that you don’t see when you look directly at the painting. It’s like a secret visual waiting to be discovered. I carry a celebratory spirit with me as my paintbrush seems to dance across the canvas, exploding in rich, vibrant colors. My motto is: “Happy Walls = Happy Thoughts!” Looking at a fun painting on your wall automatically gives you happy thoughts to carry with you throughout your day… Enjoy our show!

Artist Bio

I grew up in the teeny, tiny, magical town of St. Marys, Pennsylvania. We had musical celebrations every weekend where Uncle Bunker played the accordion and Uncle Vince wailed on his fiddle. We sang (off key) & danced wildly. So guess what? I’ve painted to loud rock music for many, many decades. The unbridled joy of painting with music blaring speaks to my expressive soul. A segment from my interview in International Artist Magazine sums up my thoughts: “I like to ignite a warm fire in your brain. Like chocolate, art makes our world a better place.” I’ve held international art exhibits in England and the Netherlands, as well as numerous shows in the United States, including California, Pennsylvania, Massachusetts, Idaho, and Missouri.

Ruthie Moccia

Artist Statement

Images for this exhibit were created around the concept of connection and how people do (or don’t) connect, the ways we pursue a connection with others, the difficult personal work of connection, and how it might feel to finally choose to connect. Connection can bring feelings of security and well-being that we need. Each 12"x12" painting is mounted on the outer side of the glass to emphasize the contrast between access vs limited availability for connecting. Each frame is assembled with a sheet of glass placed over a soft white drape to suggest connections can be much deeper than the visible surface might appear. As you view the images, what thoughts come to you about the way you connect with others? Is it inviting? Happenstance? Regimented? Interactive? En masse? Determine what you might want more of and keep that image with you.


Artist Bio

Ruthie Moccia works in oil, acrylic, pastels, and photography. Her photographs are sometimes embellished with oil paint. With her degree in art education, she taught art in the public school and at the Lawrence, KS Art Center. She performed the tedious task of color separation for Hallmark Cards before scanners took care of that. Her work has been exhibited in solo and group shows in Kansas and Missouri. She has received awards for her entries in the Five State Photography Exhibition (Hayes, KS), Riverbend Art Festival (Aitchison, KS), Visions Photography Show, Columbia Art League, Boone County Art Show, Art St. Louis, and St. Louis Women’s Caucus for Art. Her portfolio was accepted into the archives at the National Museum of Women in the Arts in the year 2000. 

Members' Summer Exhibition 2025

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

June 17 - July 24, 2025

Reception: Thursday, June 19, 6 - 8 pm

Members’ shows are not juried, and awards will be given out at the reception.

Congratulations to the ribbon winners!

1st place: Cheryl Hardy, Hung Out to Dry

2nd place: Brooke Cameron, Galapagos Composite

3rd place: Hope Martin, Moody Woods #2

Honorable Mentions:

Steven Ryan, Basket

Jenn Wiggs, Landscape Fragment

Nate Halwel, Uprise Hydration

CAL is proud to be a local non-profit that’s been a part of the mid-Missouri art scene since 1959. Our Members’ Shows are exciting opportunities for CAL Members to display their art, and for our community to get to know our vibrant artist members. There is no theme; instead, this is an opportunity to show our community what we’ve been working on recently.

The Members’ Show is open to all CAL members, all media welcome. 

The Interns' Turn: Inheritance

Hi, it’s Brooke again! This is likely my last blog post for CAL, as I’m graduating from high school. So, one last time, I’d like to share my thoughts on our current show, Inheritance.

More than most 18-year-olds, I’m very aware of my ancestors. I probably know more about my family’s history than most people my age. That’s why I love Inheritance—it allows me to see how my experience connects with those in my community. Even if our specific histories are different, the way we engage with our pasts can unite us.

The first piece that stood out to me was Lisa Bartlett’s Long Voyage. It’s a large mixed media canvas that incorporates collage, photography, text, and paint. At its center are two prominent figures—a man and a woman—though many other faces appear within the photographs. Dressed in coats and hats, the main figures clearly appear to be on the move—travelers, without a doubt. An abstracted American flag in the upper left corner suggests they may be immigrants, with the “long voyage” symbolizing the journey of leaving home behind. The collage is at times messy, and the figures look tired, like they’ve been standing for hours. It makes me think of the physically and emotionally exhausting process of migration. I appreciate the rawness of this piece; I can almost imagine the figures breathing heavily, longing for rest. In many ways, our inheritance is the hard work and sacrifices of our ancestors—the long days they endured so that we could live even longer ones.

If one piece reminds me most of my heritage, it would have to be Grandma in Armchair by Hannah Reeves. Though my grandma rarely sits in an armchair, the colors, delicacy, and subtlety of this piece resonate deeply with me. When you first see it in person, especially from a distance, it doesn’t seem to depict anything specific. But the closer you get, the more you begin to notice the quiet presence of the grandmother. To me, this is a perfect exploration of inheritance. Often, our history hums quietly in the background while we focus on other things. To truly appreciate the intricacy and sentiment of our ancestors, we have to walk a little closer—maybe even lean in—to examine what’s really there. Grandma in Armchair rewards viewers for their attention, much like genealogy can do for those who take the time to explore it. The muted orange and burgundy set against the saturated yellow evoke the fading feeling of things that now live only in memory. The blurry composition stirs all the murky emotions that still cling to old memories—complex, tender, and hard to define.

The most emotional piece in the gallery—at least for me—was the work by Gennie Pfannenstiel, specifically Prairie Origins and My Daimon. It’s hard to separate the two; her work feels like one cohesive mixed-media experience—an experience I felt lucky to have. The installation includes two 2-D pieces, a 3-D sculpture, and an accompanying audio component. I’ll admit I put on the headphones with a bit of skepticism, but after giving her work my time and full attention, I was completely devastated by the time the recording ended. I found myself wishing it could play just a little longer. I don’t want to give too much away (no spoilers, of course), but I will say this: the nuance and care Pfannenstiel pours into her art is extraordinary. I felt fully immersed in her stories—the moments she recalled, the emotions she shared—all of it felt incredibly real and present. Her vulnerability was unlike anything I’ve encountered in months. It was raw, intimate, and deeply human.

I’m so grateful to have had the chance to look through the keyhole of art into someone else’s inheritance. What’s incredible about this show is that I can almost guarantee you’ll come away having learned something about the legacy of others, about resilience, about what’s passed down through generations. Each piece carries its weight: the good, the bad, the heavy, and the light. I’m deeply thankful to CAL for being such an important part of my life—this experience has become a new set of memories I’ll carry with me into the future. I hope many of you have been lucky enough to inherit some of the same energy and vibrancy that I’ve been so fortunate to receive.

So long for now!

-Brooke the Intern

Emily Koonse

The Dralas

On display in the South Gallery at the Columbia Art League

5.27 - 6.28

Artist Statement

In my photographic art practice, my bodies of work are produced from recurring explorations of intimate details from the natural world. Landscapes emerge from flower parts and disappear into curves of natural light. Horizons blur in abstraction. I reveal stillness, looking for meditation to answer back through a pinhole film camera or a raw digital file, without additional alteration or processing.

It is within this context that this ongoing series emerged, seeking impressions and collecting patient offerings from elements revealed all around me. These impressions can often be very personal and exist in a space that is not easily defined by words. The late Tibetan Buddhist master Chögyam Trungpa teaches of this as the "Drala Principle." He refers to it more specifically as the elemental presence of the world that is available to us through sense perceptions.  A fine example is outlined below.

"A friend of mine was once with her family in upstate New York. It was winter, and they had hiked into a forest. The landscape was one of cold and snow, whiteness and silence, birch trees. Astonished by the pristine beauty, my friend realized it was her duty, not just to notice this beauty, but to stop and linger with it. To let it penetrate her.”

-Introduction to The Drala Principle, by Bill Scheffel

Within this practice, I photograph to approach a moment or object, and allow the images to speak to me. Not in a grand way, but from the subtle and supple manner of tone and meaning that otherwise escapes. I am moved to print and hold the image in my hands to reveal the moment and share something naturally occurring.

The outcome is a library of images and moments that aim to preserve the Drala. Observe a more intimate view of the ebb and flow of life, its remarkable beauty, and share in the moments that open up when one takes more time to look closer at the world around.


Artist Bio

Emily Koonse is an award-winning artist working in film, video, and still photography. Her photography work started in a high school darkroom where she experimented with black & white 35mm still film developing and printing techniques. After receiving a BFA in Filmmaking from the University of North Carolina, she worked as a film editor on feature films and documentaries for twenty years. Emily continues to generate photo and film projects through self-imposed artist-in-residence experiences and collaborations to explore subjects including meditation, motherhood, and isolation during “the new familiar” of the global pandemic. Her narratives reveal truths about nature, place, and self. She works in abstracting imagery, experimenting with analog and digital art techniques to examine storytelling with an emphasis on exploring personal subject matter and the natural world.

Jeff Rogers

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

May 20 - July 8, 2025

Artist Statement

I’ve been drawing from the live model for over twenty years. Mostly, I’ve switched between various monochromatic media: charcoal, Conté crayon, pen, and ink. No color.

Except for two portraits created in the studio using photo references, all work in this collection, even the seemingly abstract pieces, originated from the life room. Drawings were taken to the studio as armatures to build upon. I would experiment with obliteration and overdrawing to create new shapes. Ultimately, the primary focus was exploring color possibilities.

Over the years, drawing the model has allowed me to develop different drawing modes. Techniques developed in the studio have informed my approach in the life room. In a single three-hour session, I may start with a loose sketch, follow up with a more detailed realistic drawing, and then switch into an abstract mode where I am looking for more general information in terms of shape and movement and laying it down on the page spontaneously, seeking expressive figures that surprise me.

Artist Bio

Jeff Rogers (b. 1965) was born in Kansas City, Kansas, but raised in St. Louis, Missouri. He is a graduate of the University of Missouri, having earned a B.A. in English. Rogers worked as a digital creator in the public sector for 21 years, earning Telly awards and sharing a regional Emmy award for graphic animation and video production.

The Interns' Turn: A Double Take on Ni Kang

Hello again! It’s Brooke the intern, back with another look at the South Gallery’s latest show. I love traditional Chinese calligraphy and ink painting, and Ni Kang is clearly a master of both the precision and expression of brush strokes.

I find her interpretation of the world to be so generous. Sometimes it’s easy to view things through a cynical lens—especially these days. But when I look at The Amphitheater, I see the most beautiful city, full of promise: Columbia. Kang simplifies and stylizes the world and makes you want to live wherever she’s painting, which makes it even more exciting when you realize you already live there! The contrast between the sharp, small brush strokes and the wild, larger ones draws your eye to the intricacies of the stage and city. The trees appear lush and unruly, while the buildings in the background feel almost too buttoned-up.

Ni Kang, The Amphitheater

That same endearing tone is present in Doggy’s Mountain, a playful painting of an adorable dog in the style of a scenic landscape. The dog’s scruffy ear becomes the summit, while its rounded back forms the hills and valleys. Seeing such a cute and modern subject in this traditional format is intriguing because it subverts expectations. The dog’s expression is just one example of the humor and wit woven throughout Ni Kang’s show—her art is truly a hoot!

Ni Kang, Doggy Mountain

The charm and intimacy of these pieces are reflected throughout the rest of the show. Each work strikes a balance between the mundane and the regal. As you explore Ni Kang’s new exhibition, I hope you feel the same sense of simple peace that I did while spending time with her art.

View the rest of the exhibition here

Inheritance

On display in the Betty and Art Robins Group Gallery

May 13 - June 13, 2025

Reception: Friday, May 16, 6-8 pm

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

Consider the impact of legacy through history, family, and place. What has been passed on and how does it change and shift? Does it propel us forward or hold us back? Whether it’s celebratory or painful, we have the opportunity to acknowledge, pay homage, or call out what has happened before. We challenge artists to tap into lineage and how it has manifested in their everyday lives. 

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

Congratulations to the Inheritance ribbon winners!

First place: Lisa Bartlett, Long Voyage

Second place: Nicole Wells, Quiet Inheritance

Third place: Nate Halwell, Gut Feeling

Honorable Mentions

Callie Brinkman, Couple Walking

Janet Elmore, DNA Intertwined

Cynthia Evans, Family Roots

Brooke Cameron, This Year I Outlived My Father

Pam Gainor, County House Barn

Hannah Reeves, Grandma In Armchair

Gennie Pfannenstiel, Prairie Origins

Ni Kang

On display in the South Gallery of the Columbia Art League

April 29 - May 24, 2025

Artist Statement

The brush strokes I use in Chinese ink painting come from my long practice in calligraphy of ancient Chinese characters. These artworks convey the joy of a Chinese person coming to live in the United States of America through specific animals and plants. Three years of living here have taught me how to relax and be calm, to express my love for the environment in happiness. Every friend’s pet and park animal, every local landmark, brings me a new experience and a new way to create. Animals are a mirror, and I’m trying to see the world through their eyes. The mountains, vegetation, and water in the United States are different from where I’m used to living. They give me a new space to think about when trying to depict them.

Artist Bio

Ni Kang’s artistic journey began with traditional Chinese shuǐ mò huà (水墨画, “water and ink painting”), a discipline embraced since kindergarten. Born and raised in Wuhan, she furthered her studies at the Hubei Institute of Fine Arts, where she received her BFA in Chinese traditional painting. Before moving to the United States in 2022, Ni Kang’s understanding of the West was shaped by literature and cinema. The reality of America, with its profound diversity and natural beauty, far surpassed her expectations, offering a richer, more nuanced canvas than any book or film had hinted at. This revelation fueled a transformation in her work and worldview, driving her to capture the essence of her new surroundings through the lens of her Eastern heritage. Equipped with handmade wool brushes, Chinese rice paper, and mineral pigments derived from colored stone powder and glue. Ni Kang anchors her work in the profound depths of her cultural beginnings while interlacing it with her experiences in America. This creative synthesis gives rise to a dynamic visual narrative that masterfully blends the intricacies of Chinese traditional painting with the lively and varied essence of American reality.

On the Road with the Best of Missouri Hands

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

April 22 - May 8, 2025

Congratulations to the ribbon winners (see carousel above, in order of appearance):

First place: Lisa Hilton, Living in My Heart

Second place: Veronica Brown, Goat of Many Colors

Third Place: Fred Schollmeyer, Daylight Again

Honorable Mentions:

Debbie Reed, Showing My True Colors

Angel Brame, Dial It In

The Best of Missouri Hands (BOMH) is a nonprofit organization dedicated to the development and recognition of Missouri’s artists and artisans. BOMH has curated a show of the highest level of quality and craftsmanship that Missouri artists have to offer. From 2-D to glasswork, jewelry, ceramics, and much more, this exhibition has something for everyone! We are happy and honored to host this annual show for 2025!

Ginny Putler

On display behind the desk at the columbia art league

April - May 2025

Artist Bio

Ginny Putler was a wonderfully talented artist and an equally remarkable person. She had an incredible passion for life, people, and her family. Known for her infectious laugh and sharp sense of humor, Ginny brought joy to those around her. 

She passed away on September 24th, 2024, at the age of 95. A lifelong artist originally from Philadelphia, Ginny later moved to Columbia with her family. Wherever she went, she brought her art with her—and proudly shared it. 

Her imaginative and creative work has been displayed at both the Columbia Art League and Congregation Beth Shalom. This exhibition features a selection of pieces from her collection, generously donated to the Columbia Art League by her family.

Curators Statement

As an intern here at CAL, I have been particularly lucky to get the privilege to work on projects I am uniquely interested in. While working with the art of Ginny Putler, I quickly developed a deep appreciation for her evolving style over the years. Her work spans a wide range of forms, subject matter, and mediums—shifting from moody and monochrome to playful and vibrant. Despite this variety, her art consistently features a few key themes. Most notably, Putler was a master of linework. With just a few brush strokes, she could bring a character to life, imbuing it with personality and inviting a silent dialogue with the viewer.

Nearly all of Putler’s work includes at least one human figure, occasionally  more. I chose this collection to highlight some of her most compelling portraits. These pieces seem to coexist beautifully, each offering a quiet sense of solitude. There’s always a single figure—each with a different level of engagement with the viewer—set within a scene that exudes a kind of domestic tranquility.

What excites me most about sharing this collection with the gallery is how each piece tells a unique story, yet they all speak to one another in a subtle, cohesive way.

—Brooke, the Intern

Kyra King

On display in the South Gallery of the Columbia Art League

April 15 - April 26, 2025

Artist's Statement

I approach oil painting as a visual journal. Currently, I am digging into what first sparked my obsession with art in order to center my art practice with a clear purpose. I’ve found that I need to make art that is not only personally important but also honestly reflects my experiences. I often begin with an image that correlates with a significant moment or observation. Painting representationally, I use color and abstraction to build an emotional experience. I incorporate processes and materials taken from printmaking and textile arts. Leaning into intuition and risk-taking, I sand, scrape, carve, or cut the surface. I may attach crochet strands or tight stitches. Equal to paint, I use the painting surface as a medium.

The repetitive hung units make up an installation work titled Weeping Willow. Materials include Mylar, acetate, tracing paper, spray paint, and fishing line. The process of creating these units is repetitive and holds a meditative quality. Willow-like limbs soften the room, inviting the viewer to step into the space and engage with the ideas within the work. Working from life, I discuss topics such as grief, disability, and injustice and all of the complicated interpersonal ways we experience these things. None of my experiences are disconnected or unique, and that is the point. I work so that the viewers feel seen, find expression for their own lives, and leave inspired to practice art as a useful tool of healing.

Artist Bio

     Kyra King is a multimedia oil painter, installation artist, and art educator. King grew up in Hallsville and Columbia, Missouri, and completed her BFA at Lubbock Christian University. Her solo exhibits include At the End of the Day shown at Lubbock Christian University, Space to Be with Charles Adam Studio Project, and Weeping Willow at Rocky Mountain College. 

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

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/

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

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

© Copyright 2002- Columbia Art League. All rights reserved.

Byler Media Logo