Steven Wilson

My work is the therapeutic expression of my pathology and soul. It is the interpretation of the world and its dimensions; both real and those I have created.

http://stevenwilsonart.weebly.com/

 


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Jiang Tao

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I am an Associate professor in the Department of Art at the South China Agricultural University, in Guangzhou, China. I received my Masters in Arts in 2002 and have taught drawing, painting and art history for fourteen years. I am currently a Visiting Scholar in the Art Department at the University of Missouri. My work involves combining Chinese traditional techniques with contemporary painting concepts, and painting historic sites in China using techniques I have learned in America. I enjoy painting and art.

OTHER ACADEMIC ACTIVITIES:
•  East-West Dialogues Ⅲ---Artworks by Chinese Visiting Scholars & Their Hosting Professors, Craft Studio Gallery, University of Missouri-Columbia, USA,8/2016.
•  Examination Judge, Guangdong University Entrance Examination - Fine Arts Division, Guangdong Higher Education Bureau, Guangzhou, China, 2016, 2015, 2014, 2013, & 2012.
•  Art Research Delegation Member, Delegation visited Los Angeles, Chicago, New York, and Washington DC, USA, 2012 (Organized by Los Angeles Art Association and Central Academy of Fine Arts in Beijing, China)

PUBLISHED TEXTBOOKS:
•  Liu, Yuan. Editor and Jiang, Tao. Associate Editor. “Color Study from a Design Perspective.” China Agriculture Press, Beijing, China (10/2010; ISBN: 978-7-109-14945-8).
•  Jiang, Tao. Editor. “History of Modern Design.” Central South University Press, Changsha, Hunan, China (4/2010; ISBN: 978-7-81105-901-4).

PUBLISHED ARTWORKS:
•  Jiang, Tao. “Calligraphy: Qingzhao Li’s Poetry.” and “Calligraphy: Bo Wang’s Poetry.” Yihai. Hunan Art Institute, Changsha, Hunan, China (8/2011): 172 (A national core art magazine).
•  Jiang, Tao. “Calligraphy: Bo Wang’s Poetry.” “Ink Painting: Bamboo through a Studio Window.” “Ink Painting: Bamboo and Rocks.” and “Ink Painting: Peaceful Orchid.” Art China. Hunan Public Art Organization, Changsha, Hunan, China (6/2011): 140.


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Forest Tang

Forest Tang - self portrait.jpg

My research is in creating graphic shapes, which reference contemporary ink painting graphic styles such as those found in Japanese Zen meditation and Chinese Buddhism. I also look at the visual design of symbols, and how to represent them in a 3D space. The core of my research is the application of graphic shapes into multi-dimensional spaces, such as architecture, interior design, sculpture, industrial design.

INTENTION CREATION

The idea behind intention creation is not to design works randomly, but rather to accumulate a lot of visual elements and related concepts before the design work starts, and then to display those elements and concepts during the experimentation, creation and re-creation. It is the “intention” that offers various possibilities of design schemes for “creation” in the real world. For example, my finished works in the computer can be made into presswork and tangible objects for people to read and use. It can also be developed into traditional Chinese painting, oil painting, engraving, sculpture, artifact and other tangible works. Therefore, intention creation can be perceived as the source of thinking, and a kind of art creation that is able to be re-designed.

TWO THINGS ABOUT INTENTION CREATION

I want to emphasize two factors influencing intention creation, and the first one is “slowness”, since soft fire makes sweet malt. However, in today’s fast-paced society, many people lead a busy life which only strives for efficiency with- out thinking about whether it is right or wrong. Why not slow down for a while and make some adjustment in your mind? Only in a slow process, people can feel relaxed and released, then he will try to read something and get to know something, and his mind begins to change. Therefore, “slowness” is an important premise. It’s a psychological hint to tell yourself that you are not in a hurry and some things can only be done in a slow way, so you start from a small part and accumulate little by little, finally you will achieve the great goal. This psychological hint helps us to clearly position ourselves and realize that some things which seem to be in a slow manner are actually going fast.

The second factor is quietness, which seems easy to understand, but I want to interpret the deep meaning of “quietness”. As the antonym of “motion”, “quietness” means no motion, so we need to put down things at hand, and putting down is “giving up”. It is well-reasoned that only through giving up one thing you can gain another. We have to face so many things in this world, and it’s impossible to balance all aspects, so we have to make choices and give up something, which depends on the mind that is mentioned in the part of “slowness”, and in such a process, our heart is as peaceful as water. Moreover, quietness requires a good mentality: you believe things will be better. So it is actually the belief that matters, as the saying goes: As long as one keeps calm, one does not feel the heat too much. Good mentality will generate greater positive energy, and give power to many things.


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Tierney Baumstark

Tierney Baumstark

There are two quotes that I feel describe where I am as a young artist. 

Creativity takes courage.” - Henri Matisse

 Those who do not want to imitate anything, produce nothing.” - Salvador Dali

Art makes me happy.  It gives me an outlet to be creative and relax.  I enjoy drawing and painting mostly.  I also work with fiber and clay. 

I believe that being an artist and showing your creativity to others takes courage, which is why I chose a quote from artist Henri Matisse.   I also believe that as a young artist, still learning and growing, that it’s important to admire the works of other artists.   I try new techniques and develop my own abilities by learning about and emulating other artists.  My very first painting was inspired by the works of Salvador Dali. 

I am currently perfecting anime and manga-style illustrations by researching different types.  My current preference is Shoujo, which focuses on females as the lead characters.  I also admire Andy Price and Katie Cook who illustrate the My Little Pony comic book series.

 I hope you enjoy my art as much as I enjoy creating it. 

Tierney lives in Columbia, Missouri, with her parents, sister, 2 dogs and a cat.  She enjoys art, golf, music and spending time with her friends, grandparents and her extended family.  


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Vicki Winton

Vicki Winton

Hi, I’m Vicki. 10 years ago I wouldn’t even know which states to travel through to get to Missouri from my home state of Michigan. It’s okay, I got it now. During my 47 years in Michigan I was only a casual photographer; documenting the life of my family. A few years after cancer claimed the life of my first husband, I met and married Brian and moved to Columbia.

A couple of years ago he gifted me with a DSLR camera for Christmas and my life, gratefully, has not been the same since. I rediscovered my long lost joy of photography.

Now that the kids are grown [insert confetti here] I actually have time to exercise my skills, I spend much time exploring Mid-Missouri and capturing glimpses of life in our community.

I am delighted to be a member of the Columbia Art League.

Photographer/Owner
Winsome Glimpse Photography


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Richard and Sheila Wieman

Richard and Sheila Wieman:

Second Chance Art

Second Chance Art is the name of the company Richard and Sheila Wieman came up with for their artwork. They whimsically describe their metal creations as "sculpeture" (say "scul-pet-ture," the Wiemans' term that conveys some of the fun of their creations). Most of the pieces suggest some kind of creature, if only closely enough to say "bird" or "animal", while other pieces definitely favor something much more specific such as a crane or a giraffe.

Sheila is usually the designer, putting the individual pieces together into their final form, with Richard as the craftsman who does the welding. The approach to creation is different for each: Sheila must find pieces that when put together suggest a form; Richard decides on what the finished product will be, then looks for the pieces necessary.

The couple names each of their "sculpetures" because each seems to have such a personality that it seems only natural they would also have an identity.

contact:
W: www.secondchanceart.com
Tel: 573-874.2565


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Laura Kay Weatherspoon

Laura Kay Weatherspoon

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Dare to be different! Life is simply amazing and I love to share the way I see the world through my artwork. I feel so blessed that I get to wake up each day and do what I love to do.

I was raised in the small farming town of Troy, Illinois. Growing up, my grandmother and mom would tell me stories about how I would sit at the living room window for hours and draw the birds long before I was even in school. Although I did a lot of drawing when I was young, it was the day my dad took me to a local art store that I was bit by the bug. That day, my dad bought me my very first box of prismacolors. I would sit around and draw for hours on end with that first box, mainly of horses from my imagination. That following summer I received second place at the Madison County Fair in Illinois, for a mare and foal drawing I did with that first set of prismacolors. From that day on, my dad would always say, “You need to be a freelance artist when you grow up.”

And well, here I am. I graduated from William Woods University, Summa Cum Laude, with a major in Equestrian Science and a minor in Art Education. I now own a studio in Fulton, Missouri where I have two kilns, a pottery wheel and all my painting supplies.

I love hiking, biking, running, camping, sailing and riding my horse. I also enjoy traveling or any activity that gets me outside in the fresh air where nature can inspire me. My camera usually accompanies me everywhere I go, as I am always looking for the next great photo opportunity for something I can take back to my studio to paint or sculpt.

My passion lies mainly with clay and ceramics. I use water based clays for throwing on the wheel, as well as hand building and sculptures. I use oil based clays in preparation for bronze sculptures. However, my passion for art goes far beyond the limits of cay. I enjoy doing palette knife paintings with my oil and acrylic paints. Another favorite is painting with my watercolors. The transparency of watercolors captured my imagination the first time I used them and I have loved them ever since. Stippling is another form of art I enjoy, and I find the end resulting immensely rewarding considering the hours spent in one project.

I want people to feel inspired by my work. God has blessed me with a talent and I want to use that talent to make other people smile. There is nothing more rewarding than seeing a vision of mine come to life on canvas or in my hands with clay and have people look at it and smile.

Contact me about commission work.

contact:
E: Laura Kay Weatherspoon


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Colleen Wagner

Colleen Wagner

Colleen Wagner has created art since a child. She earned a Bachelor of Fine Arts from Kansas State University and a Doctorate in Institutional Management from Pepperdine University. She taught art at the secondary level and has won numerous awards both nationally and regionally for her art work. Currently, her emphasis is on mixed-media abstracts, and she has worked in oils, watercolor, charcoal, and pencil. Colleen is a juried member of “The Best of Missouri Hands” in the area of Mixed-media. She serves as a member of the Kirksville Art Association Board and is currently the president and charter member of The MOSI Art Guild.

Her goal in her art is to create the feeling that life is a puzzle that we are constantly trying to solve. Sometimes the pieces fit and art as life is very clear. Other times there is a sense of discord which hopefully resonates with the viewer. She uses abstraction which blends into a semblance of realism.

Colleen has created several abstract series that have been displayed at a solo show at the Kirksville Arts Center. The Chinese Zodiac animals, the Seven Virtues and Vices, and Missouri wildlife have all been a focus of her work. Presently, she is working on a series of mythical beings, also in abstract form.

contact:
E: Colleen Wagner
Tel: 660-988-2694


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Margaret Leslie Utterback

Margaret Leslie Utterback

"There are moments in our lives,
there are moments in a day, when
we seem to see beyond the usual.
Such are the moments of our greatest happiness.
Such are the moments of our greatest wisdom.
If one could but recall his vision by some
sort of sign. It was in this hope
that the arts were invented.
Sign-posts on the way to what may be.
Sign-posts toward greater knowledge."
Robert Henri; The Art Spirit

Today the sky is absolutely cobalt above, fading to pale rose madder at the horizon. I yearn for a stick of pastel with the same sense of blue, a sense of endless atmosphere. And one that would tell of the warmth or coolness of the breeze as it moves around me. And a stick of pastel that would generate the radiating sunlight, at dawn, at noon, or dusk. Today the objects in front of me are composed of a silent history. And again, I yearn for a stick of pastel that would tell it's tale, complicated with it's "self" and mine and another and another. The reality is that no single stick of color can replicate the beauty of nature or the complexities of a relationship. To copy is impossible; the attempt to copy is mundane. A painting is an image; a combination of the reality, the painter, and the viewer. And the reality is fleeting, instants of impressions, transmitted from the eye to the brain and translated in minute portions of time. The translated image of the painting only carries the "sign" of the artists visual "language," in hopes of a non-verbal communication and a connection with a reality.

contact:
E: Leslie Utterback
Tel: 573-445-2189
W: www.ottercreekstudio.com


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Terry Sutton

Terry Sutton

I am the youngest of twelve children and as it often is with large families things get recycled. My toys and some of my clothes were well broken in by the time I came along. My mother said this made them extra special because of all the stories they could tell me if I knew how to listen to what they were saying. My imagination would take over as I thought about what she said about things being extra special. I would find a pen or a pencil and draw small winding treasure maps that would eventually lead to what I considered a personal treasure; an old hot wheels car, or some nuts, bolts and washers from one of the Junk drawers.

I mention these things to try to explain the thought process behind what I draw. It is a collection of things I treasure. I experiment with different media. Water colors, pencil, pen and ink are my favorites.

When I draw, I have no clue what the finished product might evolve into. I begin by mapping out the underlying design and then fill it in with detailed individual scenes that, when combined, form the finished piece. This approach allows me the freedom to be creative and not limited to one overall concept. I try to make each of the smaller scenes as detailed as possible with the intent that each section makes a statement as a stand-alone piece. I have the pleasure of just drawing what I feel at the time.

I am married with a two-and-a-half-year-old son and work a full-time job, so time is scarce for drawing. Drawing the smaller interior scenes allows me to finish one section at a time and still be able to break free to enjoy time with my family.

I tend to lean towards outdoor or nature themes. Often it’s as if I am going fishing and recording my journey to the pond. I might see a bird sitting in a tree or on an old stomp. I might notice a fern peaking from behind a tree or ants overwhelming a dead log foraging for food. Life is abundant in the woods even with all of death and decay scattered around. I try to capture the feeling of life’s everlasting circle, a sense of something greater, keeping in perspective how small we are in the scheme of things and how collectively our individual contributions help define the underlying design. 

contact:
T: 573-489-3113


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Josie Sullivan

Josie Sullivan

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In creating artwork, my intention is to capture the diversity of life in all of its strangeness. I love working with found objects, paint, metal, glass...you name it. I am a graduate of the University of Missouri. I left Columbia in 1986 and headed to Kansas City, where I taught art for the inner-city school district. This is where I learned more deeply about the healing power of art, which eventually led me to complete a master's degree in counseling and schooling in art therapy. I have since returned to Columbia Mo., and have joined the Orr Street Studios. My art can be seen around town at various venues including five panels on the lower level of the Youzeum.

As a member of the board of CAL, I am excited about the many changes that are happening at the Art League. The online artist's village is one of those changes! Thank you for stopping by to take a peek at my work!

contact:
E: Josie Sullivan
T: 573-442-9219
W: www.josiesullivan.com


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Cindy Smith

Cindy Smith

I grew up in Poplar Bluff, Missouri, and graduated from the University of Missouri. After living in Alabama and Mississippi for 26 years, I recently moved back to Columbia. It was in the south that I discovered my love of painting especially with an emphasis on bright colors.

It wasn't until I had raised my family and taught math for a number of years that I decided to develop my creative side. I have studied under several well-known artists in the south, each with different strengths and styles. Oil is my favorite medium and I especially like painting landscapes.

contact info:
T: 573-445-0897


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Barbara Martin Smith

Barbara Martin Smith

Rhythms of the process of creating are constant as well as ever changing. Omnipotence is present in these rhythms like a friend. When I retreat to my studio to paint, I carry this friend with me. Working with the fluidity of transparent watercolor on handmade paper parallels the seen and unseen, known and unknown, foreseen and recalled qualities of subject which emerge during the painting process. Each painting comes from within linking me with the past and the future. Each is a deliberate engagement with all that is mysterious and beautiful.

contact:
W: watercolorsmith.com
Tel: 314-961-6047
Mail: 980 North Berry Rd
Glendale, MO 6312


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Jennifer Slouha

Jennifer Slouha

I am a self-taught artist and primarily work in graphite, colored pencil and acrylic. I was born in Solon, Iowa, and have lived in many different places since I was young. My aunt was a big influence early on to my creativity; so were several great art teachers in high school. After high school I went on to work and to raise a family. About ten years ago I realized there was a market for my work, and I began taking commissions that included pet portraits, vehicles and painting the image of a hospital directly onto the original cornerstone of the hospital. I also sold my art in galleries in Tucson, Arizona.

The majority of my work tends to focus on details, specifically my graphite drawings, which I enjoy the most. My acrylic paintings depict bright, cheerful colors and are usually based on inspiration from nature. I also love working in colored pencil because of the detail and beautiful colors that can be achieved. As for the source of my inspiration, I cannot say there is any specific thing that evokes my creativity. I am inspired by all of my surroundings, what I see and experience. I strive to show these experiences in the work I create.

contact:
T: 573-397-3573
W:www.jenniferslouha.com


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Mike Seat

Mike Seat

Tour de Force:

Photographer's artful images whisk viewers away to the iconic beauty of Venice

Officially speaking, Columbia's sister cities are located in Kutaisi, Republic of Georgia; Suncheon City, South Korea; Hakusan City, Japan; Sibiu, Romania; and Qingdao, China. Were one to judge solely on this summer's artistic offerings, however, he or she might believe Columbia has entered into a familial relationship with several of Italy's most historic cities.

Woody Allen's latest wistful travelogue, "To Rome with Love," recently wrapped a residency at Ragtag Cinema. And, starting tomorrow, the MSA/GPC Craft Studio Gallery, located at the University of Missouri, plays host to a collection of gorgeous images from that grand city of canals, Venice. The scenes were first conceived and composed in the mind's eye of Mike Seat, a local artist whose work has been visible at the Columbia Art League, among a number of venues. These are no mere vacation photos but instead function as a testament to the city's glory while also capturing the quiet gravity and simplicity that upholds it.

Relative Values

Art has been a Seat family value for generations. Growing up in suburban St. Louis, Seat watched intently as his father, who was in advertising, engaged creativity both for professional pursuits and personal pleasure. His father drew and painted, applied his hand to creating very detailed lettering on model train cars and, in an age before digital devices, completed graphic design projects by hand as well.

But witnessing his father's efforts in the darkroom was most magical and memorable. Seat recalled the delight and awe with which he watched his father execute each step in the process of creating a photograph, a wonder that culminated with the image revealing itself, as if by magic. "That just held so much fascination for me, to see that image appear on paper," he said. "I guess it was profound for me, really."

Seat spent the majority of his career in darkrooms of a different sort, analyzing radar screens as an air traffic controller. From time to time, he found ways to blend his passion for photography and his working environs, preserving the majesty of the more unique planes that landed at Dulles International Airport in the nation's capital.

Despite pouring his energy into other matters, Seat and his wife, Sarah, who studied art education in college, continued to place a premium on creativity in their home, leaving the chain from Seat's father to his own son unbroken. Eric Seat, also a Columbia resident, is a highly skilled artist and illustrator, whose work has been exhibited in a number of contexts and was selected to grace the city of Columbia's commemorative poster in 2010. Mike Seat said any artistic emphasis the couple bequeathed was subconscious and simply natural, but the results are difficult to dispute. "We always encouraged him," Seat said. "I think he perceived that we respected art a lot and we placed a value on it."

Mike Seat and Eric Seat enjoyed the opportunity to collaborate in 2010 when CAL held an exhibit titled "Relative Values," bringing together culture-makers from the same family. The Seats created something of a mini-series or multifaceted work, juxtaposing Eric's painting and Mike's burgeoning work in another medium, pottery. In speaking about their work with the Tribune, Eric Seat traced the tangible partnership back to the intangible ways in which his family's creative energy had worked itself out in his acts and art-making.

"Even though my father and I are working in very different mediums, I think our submissions show that the Seats have an urge to create through visual art," he said. "… The piece we did in conjunction for the 'Relative Values' show, 'Seat Plate,' is the first work of art that we've done in this fashion, and I think it exemplifies the quirky and humorous spirit of our family name. The piece also shows how our mediums can work together in an unusual way.

"My parents have been the absolute greatest at nurturing my artistic abilities over the years," he added. "They have always encouraged me to pursue my illustration and painting endeavors, and I am very grateful to them for that."

A Creative Community

The Seats quickly made themselves at home in Columbia, moving here in 2008 when Mike Seat retired. Knowing that the community was a creative one largely informed their decision, and Seat has certainly availed himself of avenues to grow artfully where he is now planted. He is no stranger to venues such as Access Arts, the Craft Studio and, of course, CAL, where he has exhibited and volunteers weekly.

"He's passionate in his enthusiasm for what the gallery does on a week-by-week basis and also for what CAL represents to the community," CAL Executive Director Diana Moxon said in an email. "He is an eternally cheerful and engaged member of the CAL family and a great sounding board for me if I need some advice."

Indeed, Seat's eyes lit up as he described interacting with other artists, saying he feels "part of something, part of a creative movement." As he revolves through various artistic groups, the creative energy he's exposed to has helped his own work evolve. This can be seen not only in the development of his photography but as he ventures into mediums such as pottery, which he had not tried before moving to town.

"It was so exciting to see him start his journey with clay, and I was amazed at how fast he developed his own voice and an impressive level of workmanship," Moxon said.

Moxon amplified her appreciation for Seat and his family, mentioning the ways they've contributed not only to the cultural community but the city at large by advocating for better public transport and more sustainable policy-making. "The day the Seats chose to move to Columbia was really our lucky day," she said.

Water and Light

Seat's forthcoming exhibit captures a journey he and Sarah Seat took this spring, in observance of their 33rd anniversary and both of them turning 60.

"It's just a magical place," Seat said of Venice, before joking, "You can't take a bad photo in Venice. … the hardest part, of course, is there's a tourist in every shot."

What makes the Italian city among the planet's most photogenic is a singular "combination of romance and history and art and architecture," he said. Two of the city's predominant features — water and light — act as main characters in Seat's work, moving through the canon of images like actors in a play, changing countenance and affecting the demeanor of everything and everyone around them in singular ways depending on the scene and setup. "The water in Venice looks different in almost every image," he said. "The light can have such an amazing effect, changing the colors and reflections."

Seat's work certainly captures the exotic allure of Venice: stately bridges, winding waterways, striking colors and ebullient street performers show up, adding to and reflecting the city's inherent charisma and romanticism, much in the same ways water and light interact. Seat also labored to find moments of stillness and sleepiness, times when the city was in a state of repose rather than revelry. Among his favorite images are that captured on the water which flowed through smaller, more out-of-the-way canals.

"Those are scenes you can't get to unless you're on a boat," he said. "… You felt like you were seeing the real intimate side of the city. And, also, you felt more like it was yours because you didn't have so many people around."

While the amplified dynamics that sound through Venice receive most of the attention, Seat also found ways to portray the quietude, drawing out something of the city's normalcy, reminding viewers that real people live and work in Venice — it is not just a historic playground for tourists and art lovers. Among the scenes that add variety to Seat's collection, and remind us of the variety of life, is that of a solitary woman sitting at a vaporetto stop, waiting for a public transport to carry her across the water home. A full day's labor is written across her face, the scene like simple but profound poetry.

Sharing the Experience

Naturally, Seat said one of the greatest joys of the journey was sharing it with his wife. In his exhibit, they bend that common experience outward to the viewer. Initially, he was reluctant even to post his images on Facebook, not wanting to flaunt the excursion. But, after doing so, and receiving a warm outpouring of delight and encouragement, he pressed the matter further, pursuing an exhibit of his own.

Ultimately, he hopes viewers encounter the meaning in a term he has heard used to describe Venice: "elegant decay." Even amid the city's brilliant, enduring history, a tragic and temporal feeling exists as concerns abound as to whether the water that has so beautifully weathered the city could be its eventual undoing. A 2008 CNN article detailed worries about flooding, reporting that UNESCO had warned local officials that rising sea levels could lead to perpetual flooding and dramatic changes in water stages within the next century.

"You get the feeling it is this very fragile, beautiful thing that may not be there forever," Seat said.

In Seat's work, all the art and awe he enjoyed with his eyes are transmitted to the viewer. Whether Venice can remain a siren city, calling travelers to its waterways, the documents he and others provide ensure its spirit and soul remain a part of our common consciousness.

by Aarik Danielsen, Columbia Daily Tribune, July 29, 2012
reposted with permission. Original article.

contact info:
W: www.mikeseat.com


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Eric Seat

Eric Seat

by Lindsey Howald
with permission of the Columbia Daily Tribune

Eric Seat is a different kind of illustrator.

In a career field increasingly populated by graphic designers toting Macbooks, he works with traditional media - acrylics, oils, board. He holds texture and stylistic exaggerations to be as important and inspiring as the meaning of the text his work is meant to highlight.

And while the great illustrator Norman Rockwell created warm and fuzzy family scenes, Seat's portraits are delightfully eerie.

"I would like to think of it as more of a fine art," Seat said of his work.

The 27-year-old earned his bachelor's degree in communication arts and design from Virginia Commonwealth University. After attending the Illustration Academy, a workshop that features, among others, Kansas City's Mark English, Seat came away inspired by illustrators who had moved the genre from magazine pages to art gallery walls.

That's why, when Seat moved to Columbia from Leesburg, Va., he landed in an art gallery. This is his fourth month in the city, and he recently joined Columbia Art League and staffs the gallery once a week.

His portrait of Michael Moore, the filmmaker who made a name bashing President George W. Bush in films like Fahrenheit 9/11, also appeared in CAL's "Politically Speaking" exhibition. "It was a little portrait I did for my portfolio," he said. Asked if it lends some insight into his own political leanings, Seat stepped around a firm answer.

"I don't necessarily do portraits of people I like," he said. "I just thought I'd do it for my portfolio since he's in the public eye a lot. I was definitely interested in having political beliefs" portrayed in my artwork "a while ago, but not so much now."

While he might be hopeful about linking illustration with fine art, Seat depends on assignments from publications. Therefore his portfolio is ultimately designed to market his drawing talents. Inspired by the exaggerated caricatures of Philip Burke and grotesque figures of Lucian Freud, Seat's portfolio contains recognizable subjects such as Moore, Catherine Zeta-Jones and Kurt Vonnegut.

"For illustration work, it definitely needs to be an image that fits the needs for the publication," he said. He must be doing something right: His work has received awards from the Society of Illustrators, Communication Arts magazine and Print magazine.

He moved away from the busy sprawl of the Washington, D.C., bedroom community with his retired parents. Talented but shy, he's still struggling to find his footing.

"You know, finding work in illustration is certainly a slow progression for me," Seat said. In Virginia, he produced work for Military History magazine and taught occasional illustration workshops while working part time in a frame store. He's currently working on a series of illustrations for Read magazine, depicting George Orwell's Animal Farm for middle school-age readers.

Eric Seat selected for international
illustration competition
in New York City

(Feb. 2010)

contact:
W: www.ericseat.com
Tel: 703-727-5372


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Linda Schwermer

Linda Schwermer

Midoriworld Designs

Here you will find unique handmade jewelry. I am influenced by the simplicity of the Japanese style with an exotic twist. I try to recycle as much as possible and use mostly natural materials: waxed cotton cord, leather, rubber, carved bone and horn beads, antique hammered buttons as well as imported artifacts from Africa and China for interest. Each piece is handcrafted by me to be a unique and interesting piece of jewelry.

Descriptions:

#279 - African fish vertebra necklace. Fish vertebra, black glass beads, African trade beads with large black carved Asian disk.

#261 - Orange repurposed coral horizontal beads ladder stacked with black glass beads, black vinyl disks from Nigeria, brass Asian disks and hand bent brass rings also from Nigeria.

#340 - Hammered copper horizontal bar with strands of rough turquoise and copper beads for accent on copper chain.

#1008 - Wearable Art. Asymmetrical necklace. Rough amber beads, large brown African seed bead, carved bone Asian beads, on black rubber cord. Framed in black frame with handmade paper and torn recycled paper back ground. Necklace is easily removable to wear.


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Amy Schomaker

Amy Schomaker

Amy Schomaker’s love of texture and form are apparent in her diverse use of handmade paper, painted paper and low-relief dimensional collages and paintings. 

She completed a Bachelor of Fine Arts degree at the University of Missouri-Columbia in 1990 concentrating in oil painting and printmaking. A St. Louis native, she now considers Columbia Missouri her home. 

Amy is continuing to learn new techniques and applications in papermaking as a member of the Fiber Arts Study Group through the Columbia Weaver’s and Spinners Guild. Her work can be seen in a variety of locations throughout Columbia in the Art League’s Community Exhibit Program.


A medley of artwork lines both walls like playful sentinels. These are the colorfully manifest creations of Columbia artist Amy Schomaker, bringing life and light to the otherwise gray corridor of Boone County Regional Hospital. Bold acrylic paintings, silkscreen prints, delicate torn paper collages, and painted paper creations hang neatly, side by side. She holds no objections against exhibiting early work alongside her latest creations. “Art doesn’t have an expiration date like milk,” Schomaker contends. 

Schomaker pursued a Bachelor of Fine Arts degree in oil painting as well as printmaking at the University of Missouri in the late 1980s. Additional art making techniques were acquired throughout the four years Schomaker spent teaching art to middle school students and the influences she encountered as a member of the Columbia Weaver’s and Spinner’s guild. Schomaker attributes much of her artistic growth to Leandra Spangler, a mentor and friend, who set inspiration in her to continue developing as an artist.

Although Schomaker’s artwork has many influences, the most essential influence is her own: and it proves to be the single tie that binds the variety of art forms together. Each work embodies Schomaker’s veneration of nature and her playful dance with unconventionality and inventiveness.

“You don’t have to color inside [the lines],” Schomaker insists. She allows this concept to trickle over into her paintings which are layered, folded, cut, burned, or torn to effect multi-dimensionality. Variations on these techniques encourage shadow play arising from the surrounding light situations to pass through the artwork, resulting in many transient impressions of the painting. 

Organic elements enter into Schomaker’s hand painted paper modeling and collages. She adds cooked down plant fibers to her handmade paper before “combing” distinctive textures onto each paper sheet. Her paper works are a continuation on the theme of mingling actual and applied perspectives and are what she describes as “low relief sculptures.” 

Schomaker regularly participates in quarterly community exhibit programs, Fiber Arts tours, and regional art exhibits. She has her sights set on expanding her audience and will undoubtedly continue developing and applying new techniques in her art forms as life itself unfolds alongside her.

by Lindsey Cole


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Marcia Rackley

Marcia Rackley

Marcia Rackley earned a BFA degree in Illustration from the University of Missouri where she received the “Outstanding BFA Student Award” (Jerry Berneche Award) and won 2nd place in the MU Chancellor’s Art Competition. Marcia likes working in clay, pen and ink, watercolor, oil, acrylic, pastel, charcoal and photography.

She is a native Missourian and a registered Cherokee who has worked as a freelance artist for many years. Her commissions include: 12 illustrations for the University of Missouri Savitar (1987); paintings, photographs and two almanac covers for Shelter Insurance; private commissions; medical illustrations for liver research and patient education (University Hospital); and a mural (painted at the age of 16) featured in the Missourian. In 2001, Marcia exhibited her polymer hand-sculpted art dolls in the 2001 International Toy Fair in New York City as a member of a professional doll maker’s guild. In 2014, Marcia won 1st place ribbons at the Missouri State Fair for two of her pastel paintings and later won an award for her pastel painting Peppers and Goblets at the Boone County Art Show in Columbia.

Marcia also enjoys digital photography. She has been exhibiting her nature photographs for the last three years at Runge Nature Center (Jefferson City) and Powder Valley Nature Center (Kirkwood). She has also exhibited in the J. Lottes Health Sciences Library at the University of Missouri Hospital. In 2014, her photograph of the American Painted butterfly was selected by the National Federation of Wildlife for inclusion in their 2015 card collection.

Marcia currently works at her alma mater, the MU Department of Art, where she is inspired and amazed every day by its art students and faculty. She is a member of the Columbia Art League and her most recent soft pastel paintings will be on display at the Central Bank of Boone County, 720 E. Broadway, Columbia, Missouri, beginning November 23, 2015 and continuing through the month of December 2015.


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Deni Cary Phillips

Deni Cary Phillips

DCPhillips Photographs

‘Photographs’ is an unusual word, both noun and verb—a thing and an action. The tool we use to take a photograph is also unique; the camera captures time.

Heraclitus, Greek philosopher (about 500 BCE), is attributed with the notion that, to paraphrase, “You can’t step in the same river twice.” I feel the same way about photographs. When air, light, or seasons change, so do the subjects. I feel privileged to see these changes through the lens, framing and shooting a moment, a memory.

Like so many others, I have spent the better part of my life taking pictures, learning to operate each new camera, moving from film to digital. Things change, and while I like the ‘old school’ results, the ‘new’ is such fun due to the immediate gratification!

With a camera in hand, I can’t constrict myself to one subject, so I shoot landscapes, seascapes, street scenes, the juxtaposition of old and new, still life, flowers, the generosity of a tree’s spreading branches, the sway of wheat in a field, beating wings, ancient architecture, history, pathways and byways, and the ever changing sky.

Bringing my photographs into galleries is the next step in my life as artist, which includes word art (writing!), media art (graphic and marketing design), and house design and decorating.

I have lived in Columbia Missouri since 1978, raised two children to adulthood and worked for a number of not-for-profits. The opportunity to travel has taken me to all but a few of the States and to Europe on several occasions, so you’re likely to see a few iconic landmarks among my collection. Many were taken on lonely back roads, in hidden lanes, or viewed from the sea.

Like all art, a photograph invites the viewer on a journey into imagination. Come with me on a journey that begins with a moment, but lasts a lifetime.


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