I could insert here some trite romanticism about the "beauty of capturing the world" and whatnot, but that's not at all what I'm about
What I am about is the trifecta of composition, color, and lighting; all three being how I express myself in my works. I also value the reaction of those viewing, sometimes going for shock, and other times for awe; sometimes both. While being offensive or shocking for its own sake is great, I don't solely intend for that to be what's intended- instead going for the 'art for its own sake' approach, and making what I believe to be aesthetically pleasing, even when it's inherently grimy and disgusting
I do custom work, have been censored, and have contributed to several zines. If you'd like work done for you in any capacity [including more traditional work- assuming you allow some creative influence in!] please visit my site and give me a call or text at my number (951) 973-9390.
I could insert here some trite romanticism about the "beauty of capturing the world" and whatnot, but that's not at all what I'm about
A while back I was driving across Missouri and passed by what use to be a very nice old farm house. It was over grown with weeds and cedar trees and it's roof was about to fall in. On down the road I passed through a small town whose main street was on the highway. It consisted of six store fronts of which five were no longer open and were in dis-repair. The only one remaining was a gas station consisting of a steel structure that looked completly out of place.
Over the following couple of mounths I began to think about these old buildings, homes and barns and how they contained a story conjured up by my own memories along with a little bit of imagination, The families that lived and worked in them? Their hopes and dreams, their triumphs and their failures.
It was then that I desided to focus my some 40 years of experience in an attempt to preserve, through my photography, some of these homes, barns, motels, hotels and businesses from a "Bye-gone-era."
I hope my photography stirs some of those memories in you. Who knows, you may even recognize some of the them.
I sincerely hope you enjoy viewing my work as much as I enjoy creating it.
Thanking you so much for your interest, Bob
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.
Winsome Glimpse Photography
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.
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.
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.
Deni Cary Phillips
‘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.
Kate Verna Photography
Karen Marshall has been a resident of Columbia since 2003, graduating in 2007 from Mizzou with an interdisciplinary degree in Women’s Studies and Photography.
She has had a lifelong love of photography and began taking photos in grade school. Her work covers a wide range of subject matter, although she particularly enjoys taking pictures of animals, interesting textures, and places that are seemingly lost in time such as long forgotten ruins on Route 66.
Karen’s other passion is travel. She has been to every continent except Africa and Antarctica, and hopes to one day take an extended around the world trip and document it in photos. Karen always has her camera with her on trips and has an extensive body of work from her travels.
Black and white and sepia photography also interest Karen. She experiments with making some street photography and landscape photos black and white or sepia evoking a timelessness.
Why Kate Verna?
The name Kate Verna came from combining a nickname with her grandmother's maiden name as a tribute to her. Karen’s photos of Italy were taken during a trip to visit the Verna side of the family.
- 2012 - Honorable mention in the Columbia, Missouri, Visions Photography competition.
- 2013 - Photo selected to be in a juried show, the Visions Pho-Rest, at Art in the Park in Columbia.
- 2014 & 2015- Two cat photos selected to appear in the Baker Taylor Publishing cat calendar, one in 2014 and one in 2015.
- 2015 - Missouri State Fair honorable mention in the open photography competition for a photo of Westphalia, Missouri.
Jennifer L. Market
As a photographer, I have found the natural beauty contained within Missouri and beyond to be my inspiration. I have been toting a camera along as part of my everyday life and my travels for over 20 years and strive to take that extra time to capture what others may miss in a hectic busy world. As one who was trained originally to shoot images onto film and has now transitioned to digital equipment, I still strive to perfect the image before pressing the shutter and not embellishing afterwards in the darkroom or via computer. I keep those methods in my photographic toolbox, but I try to frame and edit an image onsite naturally, using available light and shadow, and let the compositions speak for themselves.
In some ways photography has become an integral part of all of our lives, whether it is a way to remember a special moment like a child’s birthday or to capture a trip and keep the images in a scrapbook to share with others who weren’t there. Some also consider these moments to be art and frame the images to be mounted on walls to enhance their everyday life. I hope that what I showcase here now, and in the future, leaves you inspired to take the time to find and appreciate the hidden magic in your everyday life.
Around 1991, I met an artist in Steamboat Springs, Colorado, at an arts fair. Turned out this artist, Edie Dismuke, lived just a few blocks from me in northwest Denver. She made postage stamp jewelry and cards. One day when I was visiting her home studio, I suggested she add Churchill quotations (a passion of mine at the time) to her Churchill stamp cards. She declined but said something like "Be my guest." Thus Post-a-Quote was born. In two years time, I left a successful business partnership and moved with my wife Lynnette and two children to Columbia, Missouri, to pursue Post-a-Quote fulltime. I've been at it ever since.
Post-a-Quote was named before there was a worldwide web like today's. The name was a pun. On a blank greeting card I would handwrite a quotation to match an image on a postage stamp. The buyer of the card would then, in the British manner, “post” it to friends or family.
I have continued for the last 22 years to handwrite the quotations on each and every card. I'm often asked why, and I always say I do it because it further connects me to the words. I came to Post-a-Quote as a reader and collector of quotations, not as an artist. In that regard, I am self-taught. That's not to say that in addition to Ms. Dismuke there have not been people along the way who have helped me better myself as an artist.
Though I began with postage stamps as the anchor for the quote, over the years I began using vintage illustrations, artwork by noted Oklahoma artist D.J. Lafon and photographs by my sister, Claudia Hunter. Eventually my photo bug of earlier years was reignited. I discovered I could be my own illustrator for all those quotes I loved and for which I couldn't find a matching image. It is my own photos that I use now almost exclusively.
A couple of years ago I became involved with the Columbia Art League and have exhibited my photographs in several shows. The themed nature of the exhibits has challenged me and, I believe, made me a better artist. The Interpretations show of August 2013, dreamed up by Diana Moxon, the executive director of CAL, challenged me further artistically than anything so far. I look forward to more challenges in that venue.
In addition to quote cards I also do photo cards. Both are available in Columbia or can be purchased online. You may email me to see if I have a retailer in your area.
I have never felt really comfortable calling myself a Photographer. I am more comfortable saying that "I gather images" - little bits of things that I see. And then I 'do things' to those images and sometimes what evolves turns into something totally different and I hope more pleasant to look at.
I first remember taking pictures when I was in eight grade. The first time that I can remember "seeing" a picture that I wanted to take was on a family trip from Wisconsin to North Carolina. We were going through the Appalachians and I don't know if it was Kentucky or what, but there was coal mines everywhere and wild roses growing on the coal shale piled up along the tracks. I saw this one huge, black, mountain of shale and there was this one beautiful rose growing on it. It was on the other side of the railroad tracks from the road and I begged Dad to stop the car so I could get closer for a picture. I still can't believe that he actually stopped to let me do it. I think he may have regretted it when a coal train came by and trapped me on the other side of the tracks. My siblings didn't stop reminding me for a long time that there had 330 cars of coal, it was moving slow, there was coal dust everywhere and it was hot in the car waiting for me (no car A/C in those days).
Many people have been patient with me over the years while I was gathering images in one way or another. I just hope that the images that I produce bring some joy to those who see them.
Jan L. Coffman
I love to walk in nature settings. That is where I find my paintings. I call my paintings contemporary realism as I paint my digital photographs with my digital bushes and sketching tools. As I paint, I relive the feelings I had at the time I was taking the picture. I hope you can enjoy the color, light, and breeze with me as you view my paintings.
My training has been in technology design and education. As a technology trainer and web designer, I developed my digital skills of sketching and watercolors in my web design work. In retirement, I am now able to devote more time to my passion of digital painting.
Let me describe some of the similarities and differences in digital painting and traditional painting. I paint layer upon layer as I am painting on the computer which is similar to a traditional painter; but if I wish, these layers can each be removed individually if I choose. My photographs can be hidden at the bottom of all of the layers so that they can be used as reference. With my digital brush, I may pick-up the color from the photograph or go to my digital pallet for a new color. I have an endless number of painting tools and an endless number of sizes for each tool. With the aid of my Wacom drawing tablet that is attached to my computer and my electronic painting/drawing tool, my brush can make narrow or wider strokes by the way I turn my hand. Lines can be drawn dark or light with the pressure I use with my hand. If I want to experiment with an idea, I can add a layer and delete it if it doesn’t work. When I’m finished with a picture, the layers can then be compressed into one painting.
I do my own printing and framing. I print my art using archival pigment-based inks and acid-free watercolor papers. I use quality mats that are pH Neutral and backing boards that are acid free. They are matted and framed 16x20 or 21x27 inches with black frames.
Photography is the only way I know how to be.
It is how I breathe, how I move, how I deal with the pain and joy of being alive in the world.
Photography is beauty is ugly is a truth among many, it is my salvation.