Here//Now 2023 Exhibition Catalog

HERE // NOW 2023

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EXHIBITION STATEMENT Here//Now is an intimate look at what kind of work is being produced in this place at this moment in time. Rather than being joined by any thematic concept, media parameters, or (perhaps most importantly) professional ambitions, this exhibition asks what happens when work is brought together by physical proximity, by place, by being made next to one another, as neighbors, here and now. Artists who make and think and create in all the kinds of ways that contribute to the larger ecosystem of creative practices can find themselves segmented and segregated into the various niche markets and worlds deemed “high or low”. Curators become tastemakers and doorkeepers tempted by notoriety and exclusivity that is so often the foundation of the artworld and our capitalist culture. But what does success really mean? What does “making-it” as an artist really look like? What are the multiplicity of ways that art exists in the world? Can I value and appreciate artwork that 2

does not resonate with me because of the beauty it holds for you? A true diversity of artists and their audiences perhaps rarely find themselves occupying the same spaces at the same times. The artists collected here all create their work within the 63118 zipcode. This is a diverse collection of artists, but their work is bound together in thematic tapestries that explore domesticity and nature, magic and mundanity, joy found in markmaking, identity, social constructs, and the gaze.

This exhibition asks how it might be possible to cultivate a more expansive appreciation for what is beautiful. This exhibition asks what sorts of learnings and encouragement can come from a moment where we intentionally set down our own notions of value, and we open, look, listen, and exist simultaneously in this cultural, community moment, here and now.

Co-Curator Sarah Bernhardt 3

MAKE YOUR MARK BARRY COLEMAN ° LINNEA RYSHKE ° ALEXIS KURTZMAN

This trio of artists is a microcosm of the larger exhibition themes as they all harness the foundational artistic impulse of mark-making. Barry Coleman, a middle school student in Intersect’s afterschool program is a dedicated draftsman navigating his evolving world through pencil and paper as he builds expressive and creative skills. Linnea Ryshke presents 4

us with an abstract painting that corners and captivates us with its dynamic marks, textures, tones, and scale. The piece is a collaboration of sorts, that recreates energetic marks made in mud by a captive wild boar under duress. The composition could rival the most revered abstract expressionist, while this tender yet startling painting honors the expansive expressive capacity of mark making beyond just human authorship. Ryshke’s work so poignantly brings us into the presence of another being’s emotional experience in the world, she considers our relationship to wildlife, and questions our approach to management practices. Alexis Kurtzman invites you to participate in leaving your own mark in the gallery, right here, right now. While referencing the mass produced disposability of a scratch off ticket, she reorients the act of “scratching off” on these hand-made screen prints as an artistic and collaborative opportunity for expression.

Co-Curator Sarah Bernhardt 5

BARRY COLEMAN ARTIST STATEMENT: Ray Williams is an anime inspired character of Coleman’s imaginings who survived a fire as a child and has a scar on the right side of her face from this incident. Her chest is depicted in fiery colors, an articulation of how she carries that experience with her, facing emotional turbulence as a result. Her left arm is decorated with forest imagery tattoos recalling time she spent living in the woods after the fire, and on her right arm a fish referencing her love for living by the water. Her face remains uncolored, a reflection of her inability to express her emotions outwardly, even though they burn and shine within her.

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Ray Williams

MAKE YOUR MARK

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ARTIST STATEMENT: Gayle is a futuristic shape shifter, with small freckle-like sensors that allow him to read his surroundings both natural and cultural and adapt easily.

Gayle’s identity is half concealed/shifting as we see into an image of his memory and imagination. His home planet Ooqui, pictured in orange with a yellow ring, was destroyed after unresolved conflict and disregard for the planet’s health.

He escaped on a spaceship and found his way as a refugee to Planet X, a place not unlike earth, where he is both excited and nervous to evolve with his new surroundings.

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Far from Home

MAKE YOUR MARK

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LINNEA RYSHKE A Gesture Made In The Act of Applying A Material On A Surface As An Emotional Response or Assertion of Place in the World

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Before a sedative not meant for humans Entered her blood stream through the Dart, before she was marked— numbered tags stapled To both ears, collar secured around her neck —The second the door of the trap banged shut, she Lunged at it, leapt at the sides, smeared Her snout along the wood panels.

In mud, on our walls She left her own marks.

....

They pluck dark bristles from her abdomen for cortisol analysis.

Each bristle, like an ice-core, holds petrified memory, Of surges in stress.

When brushes used by oil painters are made from bristles of pigs & boar, can we really say the marks— the emphatic gestures against canvas —really human alone? ....

from pressure

To my photographs of her marks on the wall, he replies, “That’s almost a kind of sad animal art, isn’t it?”

Hers, Mine, Ours MAKE YOUR MARK

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ALEXIS KURTZMAN ARTIST STATEMENT: You are invited to participate in this artwork by using a tool below to make your own drawings on these handmade prints! If you can play a scratch off, you can draw! Discover what is below the surface, enjoy the marks your hand makes no matter your level of finesse, revel in the opportunity to make an artwork in the gallery in real time!

As you draw, you may have discovered that your scratch off ticket, and I, Alexis, have intentionally deceived you. If you have tried to use your ticket in the traditional capacity, as one does with a standard scratch off, your “scratch and reveal” removal area reveals…nothing. A blank space. This is my personal interpretation of the concept of “fools gold”. On a surface 12

level of observation, you haven’t “won” or “lost” anything, monetarily speaking.

“Scratch and Reveal” searches for a relationship between authorship, ownership, participatory art and both metaphorical and physical elements of chance operations through printed ephemera as the uniting, most significant factors at play. Subjects are asked to interact Scratch and Reveal (front) MAKE YOUR MARK

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with and handle the tickets not as throwaway objects (which is typical of a single use purchase of a scratch-off), but as objects of fine art masquerading as throw away objects which have more inherent, intimate value.

By participating in this community installation, you are helping to create a piece of art with your own marks, whatever those may be. Whether you choose to interact with it or not is entirely up to you. This is where an important transition within “Scratch and Reveal” takes place. There is an aspect of chance embedded in playing a scratch-off ticket that offers you the chance to win something. When this inherent function of a scratch-off ticket is removed, and the ticket is reframed under a different context as an art object left to the choices of its owner, the element of chance is you.

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Scratch and Reveal (back) MAKE YOUR MARK

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ARTIST STATEMENT: My bodies of work emphasize the contradictory or conflicting nature between the relative stagnancy of formal end products versus the active, temporal and intuitive behavior of the maker executing action-mark making strategies. Each series is comprised of self or externally-devised, routinely practiced freeassociative action mark-making strategies. Each time-based procedure explores various degrees of chance operations and seeks to explore intuition, intention, interpretation, translation, temporality, contingency and human participation. A hybrid of fixed method with variables of the unknown explores and investigates performative mark-making methodologies, in-person and internet collaboration, construction, deconstruction, reflection, control and working under prefixed intervals. Alongside chance, time-based procedures and recording/ documentation strategies are concurrently determined to achieve work on paper of various formats whose marks are not initially foreseen. These systems and corresponding end products emphasize the passage of time as seen through both product and documentation of previous actions.

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My work continuously pursues a deceptively simple problem posed as a fundamental question: what is relevant portion of the work? The realized end product or the formulas which created them? The work attempts to unite partially choreographed actions of activity with conventional modes of art production. Does this work exist solely in its documentation as a way of staking its claim in the world ?

This Three Shall Pass MAKE YOUR MARK

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The chance operations in the work consist of, but are not limited to: the rolling of dice, chance objects associated with gambling, the blind spinning of dials, weather, books, scratch-off tickets, deterioration, the selection from a deck of cards, and solicited

Four Seasons in Twelve Days 18

participation of people in person and from social media. Through drawing, printmaking and mixed media, the works possess a strong reference to their materiality and the passage of time as seen through change, evolution or degradation.

MAKE YOUR MARK

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A WAY ABOUT HER

HEATHER BENNETT ° TAYLOR YOCOM ° PHIL PADILLA MACAYLI HAUSMANN ° HALEIGH GIVENS ° ADRIA NICOLE HAYVEYAH MCGOWAN ° TIFFANY SUTTON ° SIMIYA SUDDUTH

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For as long as humans have been making art, we have been rendering and representing the human form. With ever increasing agency, women have been reconciling and reshaping the constructs of femininity and its representation. In this grouping, women artists in particular are author’s of their own representation, empowered agents that are both viewed and peering out as viewers. They choose when to reveal and when to conceal, using the body to discuss sweeping social commentary as well as make personal inquiry that celebrates our corporeal existence.

Heather Bennett winks at the masquerade of the photographic art object, gift wrapping us questions about desire and the continued pervasive objectification of women as commodities of capitalism.

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Taylor Yocom’s pastel party mess complete with heirloom doilies, flouncy tableware, and perfect paisley patterns, celebrates a party of female self deprecation with exclamations of “whoops”, and “sorry”, and “I’m the worst” in chincy stickers and fine needle point. The saccharine color palette is the metaphorical inheritance of proto-feminist ideals.

These delightfully repulsive still lifes, while absurd, are an unraveling tug at the strings of our self-awareness that is still so saturated with the expectations of “good etiquette”.

Christine Spell employs a similar aesthetic of “kawaii-gore” (Japanese cuteness culture plus gore) that plays in between the spaces of high and low, asking questions about the commodification and fetishization of identity, while owning the very production of both repulsion and desire 22

with boldness. You can pin-on pretty in pink all day, but you can’t ignore the teeth that go with it.

Macayli Hausmann transitions us with wry photographs that read part editorial, part diary of an uncanny, surreal existence. Feeling both out of time, and so completely immediate, Hausmann speaks of her photographic practice as a “metabolization of lived experience.” She turns both away and towards the lens in an enchanting, if unsettling, dance between actor and author, between fact and fiction. A tension which is perhaps the deepest truth of the lived experience after all.

Tiff Sutton and Haleigh Givens both play with composite images that create a dreamlike out-of-body experience while also centering the body 23

as the very instrument through which the world is interpreted. Time passes in these static images as the figures undulate from one gesture to another reconciling their relationships to both psychological and physical landscapes.

Similarly, Adria Nicole and Hayveyah McGowan use figurative painting and collage to center the image of black bodies in a daily reality of marginalization. Both artists explore maternal heritage with gestures and symbols of tenderness, protection, beauty, and vibrant vitality.

Two images from the collection of Simiya Sudduth’s Confluence Tarot centers Black women, as they take the place of traditional tarot characters. Justice confronts us with the ongoing question of reparations, 24

and the Empress asks us to consider the ways that this country has been nurtured and birthed by the labors of Black women.

Finally, Phil Padilla engages this exhibition with a performance piece that posits the act of photography, particularly that of the portrait, as a gift. You as viewer, become, in-part, both subject and author in this project. With his Instamatic camera he teases the immediate gratification of consumerism and our own mortality, countered by the pure joy of relational exchange and instantaneous magic from a moment of here and now that is suspended, preserved for then and there.

Co-curator Sarah Bernhardt

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HEATHER BENNETT ARTIST STATEMENT: Photographic images have traditionally depicted space, revealing people and objects, they are the stuff of illusion. They are also things. At the intersection of these identities is a kind of gooey vacillation as we look at and through a photographic image in contemporary culture. This work seems to depict exactly what the series title, Photos of Gifts, describes, however, objects are often wrapped with magazine images complicating illusionistic space, as well as, obscuring object identities. Women acting as objects for magazine advertisements are subtly transformed here to the focused subjects of the images only to then be flattened, inextricable from the object portrait, as they are wrapped around that object and tied with a bow. The subject/object reversal of the female form gets a sea sickening treatment. The small act of wrapping a gift becomes a potent metaphor, exploding within its supposedly quiet, often assumed to be feminine place.

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BFG for Marc et-al

The Loved One for JLM A WAY ABOUT HER

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TAYLOR YOCOM ARTIST STATEMENT: In my art practice spanning filmmaking, fiber arts, collage, and photography, I look at how decoration, floral iconography, and femininity are linked. In this series, “whoops!!” I created over-the-top still-life photographs. I made disgusting jello recipes and spilled them over the table in my studio. I pored through illustrations from mid-century periodicals and created wallpaper based on the floral patterns I encountered. Drawing upon cutesy self-deprecating phrases, I use these photos to tug at the connection between proto-femininity and innocence.

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sorry!!!!!

A WAY ABOUT HER

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whooooooops, i’m the worst!!, and oops 30

A WAY ABOUT HER

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PHILIP PADILLA ARTIST STATEMENT: Memento Mori is about our understanding of time and the human tendency to seek meaning. We live in a modern world with a digital footprint for seemingly everything we do. Our traditional notions of here and now and understanding of how and when things happen has expanded to encompass events around the globe thanks to the magic of technology. Our “here and now” cannot only be experienced by someone not here, it can also be accessed at a time not now.

It is an intentional choice to use instant photography for its immediate allegorical association with the moment. Memento Mori seeks to remind us that each moment is an ephemeral existence. This project commemorates that idea with the documentation of an exposed frame before it fully develops. An irreversible artifact serves as evidence that this moment is unique and shall never happen again.

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Momento Mori May 9th, 2023 Live Participatory Performance Piece A WAY ABOUT HER

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MACAYLI HAUSMANN ARTIST STATEMENT: I make photographs as a way to orient myself in time and space, both physically and mentally. The work that comes from this is a metabolization of my lived experience.

Untitled Alameda, CA 2021, Abbie in the Living Room St. Louis, MO 2022, and Thai in Oakland, CA 2020 34

A WAY ABOUT HER

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HALEIGH GIVENS ARTIST STATEMENT: My work examines personal experiences with high anxiety, panic disorder, and severe dissociation: using the creative process as a way of understanding and working through moments and events, my art attempts to build a bridge between the perceived world and the ethereal. With pieces just out of touch from reality and often floating in the spaces between the two, the work reaches an understanding within itself— it seeks meaning where there may be none, it seeks answers where none may be found, it seeks a grounded understanding of oneself in relation to one’s surroundings and past. Always searching.

“The troubles of compromising with a loose tooth.”, was created during the ending of a relationship. This piece, specifically, helped navigate the complicated emotions that occurred surrounding that end of that partnership.

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The troubles of compromising with a loose tooth A WAY ABOUT HER

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ADRIA NICOLE ARTIST STATEMENT:

ADRIA NICO

“Black Butterfly” uses original portrait and floral photography as a meditation on the question of where Black people can be free. Free to simply exist. To breathe. To be.

The butterfly is a symbol of transformation, rebirth, and freedom. The winged subjects aim to convey the broader collective experience of urban BlackARTIST culture,STATEMENT: systemically separated from Nature’s healing influence. The small square canvas

acts as a window into a surreal environment that references Nature but “Black is Butterfly” uses original portrait ultimately manufactured, challenging perception even further. on the question of where Black people breathe. To be.

Moreover, “Black Butterfly” celebrates the beauty and resilience of Black

Moreover, “Black Butterfly” celebrate people. Too often, we are seen as vict as confident and free.

people. Too often, we are seen as victims or villains. My intention is to show us The butterfly is a symbol of transform as confident and free. subjects aim to convey the broader co systemically separated from Nature’s h acts as a window into a surreal environ ultimately manufactured, challenging

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Black Butterfly: Pacia & Heaven

Black Butterfly: Pacia & Heaven

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A WAY ABOUT HER

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HAYVEYAH MCGOWAN ARTIST STATEMENT: These pieces are a love letter to my many mothers who are the umbilical of my work. In this moment, I exist to navigate the maze of my self exploration and with this opportunity I bare a version of myself that has incubated through the many generations of women in my lineage. We (Black women) don’t often have the privilege of being centered within the worldview or within the view of ourselves. These works are that moment when we become the principal force.

Sex and Other Sacred Things 40

A WAY ABOUT HER

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TIFF J SUTTON ARTIST STATEMENT: Photographer Tiffany Sutton’s body of work is rooted in narrative portraiture, family vernacular, and candid documentary photography. In her most recent body of work, Black Ice, she seeks to examine identity and self-reflection by creating a personal landscape in the setting of a dramatic physical landscape.

Sutton’s earliest photographic projects examined the meaning of centering the Black family in American culture. Her signature style emerged in 2001 through a series of self-portraits with the double-exposed image The Twin I Always Wanted 2001 manifesting the possibility of multiple meanings, dual perceptions, and the limitlessness of the seemingly binary. A compelling characteristic of these double-exposed images is their creation by mechanical means within the

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physical camera and not in post-production. Sutton uses a variety of camera formats, including film, digital, and Polaroid, but image creation always happens within the camera. Exploiting the multiple-exposure capacity of these cameras reframes this phenomenon as not a “mistake” but an intentional use of the camera to capture multiple identities within one subject. These abstract selfportraits with a limited palette of blues, grays, and greens, focus on the mood of the images. Looking ahead, Sutton is excited to continue to explore how personal genealogy, ancestry, and mental health history information and can be reflected in self-portraiture.

A WAY ABOUT HER

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In The Weeds II 44

The Crossing A WAY ABOUT HER

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SIMIYA SUDDUTH ARTIST STATEMENT: The Justice and Empress tarot cards are part of a larger, on-going project called The Confluence Tarot, a project that I have been engaged in since 2018. Within The Confluence Tarot, I explore the histories, cultures, systems, institutions, landscapes, and diverse living beings of the Mississippi River watershed: past, present, and future. This work is heavily inspired by the iconic/classic RiderWaite-Smith tarot card deck. This work, alongside the rest of my creative practice, serves as an offering to the Land, Ancestors, and Beings within the spaces of the great Mississippi River.

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The Empress

Justice

THE EMPRESS.

A WAY ABOUT HER

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A ROOM OF ONE’S OWN

APRIL PARVIZ ° KATHERINE GASTLER ° ARDEN STARLING ° SAGE DAWSON NEEKA ALLSUP ° STAN CHISHOLM ° KATHERINE HUELSING

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Step inside. Pause. Draw in, close.

Each artist in this section calls on abstracted visual language– color, shape, line– as a means to describe the intimacy of both physical spaces and personal interiority. Through their material choices, Sage Dawson with her weaving and prints, Katherine Huesling with her embroidery, and Katherine Gastler with her Ukrainian egg painting, all make reference to ornamentation in the domestic space– the subtle, but significant way in which geometry, repetition and color make up the aesthetic of objects in our every day. Dawson and Huesling both use the traditional domestic labor of weaving to create their textile

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works, which challenges the long held divide between craft and fine art.

Gastler, with her diaristic photographs of color grids of medications, and Stan Chrisholm, with his abstractions of interior drum hardware, suggest the potential for the elements & organizational principles of art to be embedded in objects that we might not acknowledge. The color palette and circular forms of the Gastler’s photographs, start to mirror the drawings of April Parviz, whose work cultivates a personal vocabulary of line, pattern and shape to express something inner and nonverbal. Her use of visual repetition and rhythm link to Neeka Allsup’s paintings and Arden Starling’s lyrical drawings of flowers. Allsup and Starling both use

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more representational forms in their paintings, suggestive of tendrils of coral or plants in Allsup’s painting, and the washy shapes of flowers in Starling’s painting. Collectively, they each cultivate a dream-like quality with their works, whose forms repeat and rhyme with one another.

This aesthetic language of geometry and pattern suggests the quiet, meditative, emotional function these works had for the artists who made them. No doubt in the wake of COVID, this potential for art-making and the art object to be reminders of feelings of stability, consistency, and quietude have become more relevant and vital for artists living in this zipcode, and beyond.

Co-Curator Linnea Ryshke 51

APRIL PARVIZ ARTIST STATEMENT: For about a year now, I’ve been reworking through a concept which I call Sleepers ‘Wake.

I completed the first iteration in 2015, after almost dying from diabetic ketoacidosis.

Through a slow progression of declining health, I reached a point where I actually wanted to die, and then almost did. My heart stopped for ten seconds. But then I didn’t die.

Within weeks I was thrust, like a cannonball, into a small chapter of my life, during which I suddenly loved myself, and others, more than ever in my life. I couldn’t contain my joy. I was so alive! At the end of this chapter, I entered back into a fairly regular lifestyle consisting of the typical ups and downs of being a human. Then in the fall of 2021, after being diagnosed with ADHD, I found myself experiencing the same phenomenon, a bright new chapter of extreme joy and love for others. I began looking deeper into myself and the visible + invisible world to uncover how I could live in a constant state of love for others and myself. At this point I believe the answer is to consistently read the bible and seek to know God as a real person - like taking Him out to coffee.

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There’s a lot more that I’ve written about where my brain has traveled, within this idea, and a current count of 50 Sleepers ‘Wakes at aprilparviz.art.

Sleepers ‘Wake I and Sleepers ‘Wake XVIII A ROOM OF ONE’S OWN

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KATHERINE GASTLER ARTIST STATEMENT: Pysanky (pronounced peh-sun-keh) is a traditional art practiced in Ukraine. This egg is based on the traditional 40 days of Lent egg division, celebrating the 40 days of penitence preceding Easter in the Christian calendar. However, those with sharp eyes will notice this design actually has forty-eight triangles! This egg is hollow and the design is made using a stylus called a kistka to draw with melted beeswax to protect the egg; pysanky is based on the Ukrainian word “to write.” Then the egg is dipped in dye, each time protecting the current color from the next dye. At the end of the process, the dye is melted off to reveal the finished design. My favorite of many traditions is the practice of meditating or praying for the person who will receive the egg as it is made. It’s a small comfort to think of all the pysanky artists spending hours writing eggs while sending thoughts of peace and protection for Ukraine during the war. Our pysanky classes here at Intersect have supported Wide Awake International, a home for disabled youth in Zhytomyr, Ukraine.

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Pysanka - 40 Days of Lent A ROOM OF ONE’S OWN

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KATHERINE GASTLER ARTIST STATEMENT: With several chronic illnesses, I appreciate both the idealistic and sarcastic interpretation of the popularized marketing slogan “better living through chemistry.” It’s not an overstatement to say that the invention of my injectable medication in the last 25 years is a miracle. Without access to medications like it, my condition is the third leading cause of blindness worldwide. However, even with the very best employer-based insurance, accessing this medication in the US requires countless hours of ongoing phone calls and documentation. The “list price” is more than a luxury car yearly.

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While I’m very grateful for the benefits of medications, they also come with side effects. Often the changes in what I take monthly is mundane, but sometimes a seemingly simple change of drug manufacturer for the same medication causes me to miss work and seek medical care. The medicine I put in my body also represents countless consultations with doctors over years. As a result of having my symptoms invalidated, I have developed strong medical advocacy skills to help both myself and others. While I’m grateful for the ability to access prescription medications, I continually ponder and question the risk/benefit of all of these substances I’m putting into my body long term.

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Better living through chemistry

December 2022

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January 2023

February 2023

March 2023

April 2023 A ROOM OF ONE’S OWN

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ARDEN STARLING ARTIST STATEMENT: My process-driven art practice combines loose but traditional watercolor techniques with repetition and pattern. The artwork that results is often spontaneous, therapeutic, and meditative. Floral motifs allow me to create in a fluid, improvisational manner and inform the composition, enabling emotion to flow through the work. Through my paintings, I explore personal themes of my inner nature and creative instinct at the intersection of traditional and modern techniques.

I refine my work additively, starting with a wet-on-wet technique, then adding layers of color and detail, and finishing with ink. Through this process, I explore the therapeutic and meditative aspects of art-making, allowing my work to become a form of personal expression and reflection.

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Teeming With Life A ROOM OF ONE’S OWN

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Floral Helix 62

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SAGE DAWSON ARTIST STATEMENT: My work examines the politics of housing, labor, and conflict that is inherent to the American city. I’m interested in documenting histories and the built environment to share unknown narratives, and I am curious how urban planning affects my community. My recent projects address issues facing the region, including: the erasure of our vernacular architecture, visible and invisible borders, and acts of care as forms of protest. My work often embeds into the topography of the built environment as sculptural works, and I think of them as signals for an ever-changing and expanding politics of space within the city. I think about how my work is received within my community, and ask myself who the work is for and if I am acting with sensitivity and care. Within my studio, I’m drawn to laborious and analog approaches to making. I want my practice to explore the complexities and nuances of cities, power structures, human labor, and unrest.

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My recent work explores ways of making that typify domestic labor and are traditionally female: banner-making, needlepoint, open-work, patterning, quilting, and sewing. Engaging in these means of production serves to activate, realize, and archive their specific history. These site-sensitive, architecturally responsive works have been installed outdoors on building exteriors, and within interior spaces. Trained as a printmaker, I’m very interested in the democratic potential of print media and my ability to produce printing blocks, and therefore multiples, to create large-scale, multi-paneled and patterned works that use vibrant color.

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Distance Grows Near and Open Work 66

Open Work and Open Work A ROOM OF ONE’S OWN

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NEEKA ALLSUP ARTIST STATEMENT: Neeka was born in the back of a toy store to two rogue Scientologists. She received her BFA from the School of the Art Institute of Chicago. Currently residing in St. Louis, Neeka is an oil painter and muralist, working with psychological concepts involving secrets and repression, symbolism and selfanalysis; “after a vivid dream, I will look up what the symbols represent because I am interested in how the subconscious shows us metaphors about our life through symbolism.” My work is symbolic of things I think about, like a dream, they can be interpreted. My work is sensual, personal and subliminal.

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Wet River

Wetter River

The Secret Floating There

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STAN CHISHOLM ARTIST STATEMENT: What we have is a carefully curated collection of drum machines ranging from vintage pioneers - to contemporary experimental monsters. As a way to merge my interests in musical hardware, graffiti hand-styles, technology design, cartoon iconography, and dipping into pop art, I fell into this current series.

These are the original 4 of what’s certain to drift into deeper weirder territories.

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Drum Machines A ROOM OF ONE’S OWN

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KATHERINE HUELSING ARTIST STATEMENT: Turbulent Sky, Still Sea was conceived during the Covid pandemic. I initially intended for it to be a loose interpretation of a vacation photo I took years ago.

The original image provided visual relief from the sameness of my South City view during lockdown. The image also had symbolic meaning for me, as the approaching storm represented the world’s imminent threats, while the placid water symbolized the relative peace within my home. I found the constant stitching meditative and calming. As the pandemic wore on, the layers of thread multiplied, making the stitching process increasingly difficult. As a result, I believe the work began to reflect the stress and tedium of the time period.

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Turbulent Sky, Still Sea A ROOM OF ONE’S OWN

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MAGIC MUNDANE ALEXIS KURTZMAN ° SAM NELSON ° TERRI BUCKNER ° ASHLI ENGLAND SARAH BERNHARDT ° DAVE PFANSTEIL ° TOBIAS GREENE ° JAMES SPELL

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Step outside. Pause. Notice.

What is the relationship between what is overlooked and what inspires reverence? The artists in this section use diverse materials– from found objects to spontaneous happenings– with which to find places of intersection between everyday minutia and the slippery, indefinable nature of the divine. In Sam Nelson’s photograph, he hyper-focuses on a single flower, making vivid and surreal the moisture on the flower petals and the particularity of the intimate textures and subtle color shifts. The interplay between micro and macro relates closely to the work of Ashli England, whose circular format can suggest either a Petri dish or a globe. importance of earthly presences and powers. When seen together, these works challenge our perception of what matter “matters.”

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For Alex Kurtzman, she centers her works on material-based processes that involve some kind of interaction, or meeting, of material and surface.

Through mark-making strategies in her prints and rubbings, works communicate a quality of change over time and spontaneous interaction between elements– whether between the ground and graphite in her rubbings, or between humans and a malleable surface in the Scratch & Reveal interactive prints. In Sarah Bernhardt’s poetic animated video, she uses evolving line drawings to suggest the ephemeral way in which time erodes, shifts, and transforms matter. In the tracing and retracing of each subsequent layer, the drawings give form to the simultaneity of persisting and vanishing, repetition and improvisational becoming.

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The built external environment becomes part of this overlay between magic and mundane. James Spell’s paintings of sky, land and architectural structures, seen next to Tobias Greene’s atmospheric mixed media collages suggest the relationship between humanbuilt structures and the natural world. This is one that is a continually complex relationship; both in terms of an often overlooked dependency between “modern” human society and nonhuman processes, beings and materials, and the way in which the overvaluing of the former has led to the continual disrepair of the later. Working in pure abstraction, Dave Pfansteil adds to this conversation through his forceful, rhythmic gestures of paint on canvas, which seem to communicate a quality of human and natural powers that are always at play in our lives.

Co-Curator Linnea Ryshke 77

SAM NELSON ARTIST STATEMENT: Cloudy skies and cool soggy mornings. For many of us this makes us want to curl up and pull the covers back over our heads. For some though, it is a time to thrive. I was fortunate enough to capture this flower thriving. I hope to pass that feeling along.

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Thriving MAGIC MUNDANE

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ROSEMARIE

(TERRI BUCKNER)

ARTIST STATEMENT: Growing up writing on everything that wasn’t meant to be because I felt like it looked better in its rawest form. Feeling like writing on the thing that gave me the inspiration would make that creation come to life. Feeling like putting a pen to anything can bring anything to life.

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Light in the city In the deepest city, At the darkest of night, There shines a light that’s determined not to dim, It has no choice, Designed to glow at the deepest darkest hour, How do you glow like that?

I wish more would show themselves like that, Even when time is against you?

When it tells the world when to sleep, Rest, When to wake, Live, Just based off numeric figures, Too busy being stuck on the unanswered question, MAGIC MUNDANE

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“Why do I glow?”, Why me?, Why me?’

Stop, Deep breath in, Now exhale, Let their thinking go, This is not how you truly speak to yourself, Let it out, Maybe that’s why only a few can see you at their darkest hour, You are the light that they require, The glow that resonates with their soul, I say again, How do you glow like that?

I’m sure more would want to be just like that, Controlling what was meant to be controlled, 82

Darkness no more, Just an overflow of soul-glowing light, Where time is no longer against us but with us, Time no longer exists, Just life, But until that day I’ll just sit here in awe, And wave to you from afar.

Realizing that the person waving back to me, is me !!!!!

Lights in the City MAGIC MUNDANE

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ASHLI ENGLAND ARTIST STATEMENT: As an artist, I am dedicated to creating art that fosters an elevated and serene atmosphere, providing balance and restorative energy to the nervous system.

My latest series comprises 17-32” round glass encapsulated in customengineered frames. In my work, color is my focus, exploring the nature of color vibrational links and using tuning forks in vibrational alliance with each color. I believe that the silence of colors can change the course of our lives by bridging the gap between the subconscious and conscious mind. This idea inspires me, and it forms the foundation of my work. As someone who has relied on color to help navigate personal challenges throughout my life, I see my art as a personal development breakthrough that can benefit others. My works are like journal entries, conveying every emotional process that I have experienced with each individual color, and the silence in my eyes carries every experience along the way. Follow my journey with OVERTONE- Shattering Silence to discover the transformative power of color in your life.

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Overtone - Silver MAGIC MUNDANE

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SARAH BERNHARDT ARTIST STATEMENT: The structure of this video references the classical musical form of a fugue. A fugue starts with a single melodic line or phrase that is repeated high and low and layered and inverted and passed around and reinvented again and again.

Similarly here, each composition starts with a simple line drawing that then builds and layers and inverts and erases and builds again. While thinking about ancient religious traditions and the continuation of religious practices today over centuries of time, I kept pondering this act of tracing.

Rituals, either religious or secular, have a fundamental structure that is then repeated and retraced again and again and again over time. These animated drawings describe how that re-tracing is never exactly accurate. The line is slightly off or it gets slightly crooked or curved where it wasn’t before. It expands and expands and expands and then it retracts, and it erases, and we lose sight of the original line, then we might see it again, only to be covered 86

over again and again. Even as the images draw and undraw, trace and retrace themselves we never completely lose the shape of the overall and underlying composition. We might experience a sense of loss or even clarity and relief as it retracts or erases or un-draws.

The layers also shift dramatically from white to black and back again all the while the pencil line itself remains gray. Rituals become entrenched in how we think, who we believe ourselves to be, and how we organize the habits of our daily living. They may be so entrenching that we perhaps find our own selves seeing things in the proverbial black and white and feel polarized from the “other” when in fact the original lines and structure of our rituals are in this more delicate and nuanced shade of graphite gray that are both simultaneously buried and expanded.

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While making a drawing is often a time consuming practice, the finished product is a static object. This video animates and perpetuates time which creates this living form of a drawing that parallels the way that rituals may seem static, but in fact vibrate with vitality when practiced and reinvented and inverted and reacted and retraced over time.

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Fugue in Graphite MAGIC MUNDANE

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DAVE PFANSTIEL ARTIST STATEMENT: This body of work is a reflection of my fascination with color and texture. For years I’ve been drawn to color saturation and bold, bombastic colorscapes.

In combination with dramatic and elegant, rigid textures; the works take on an unorthodox mantle of colliding Nature and Neon. Two forces, both unique and purposeful. Are they working together? Or are they trying to tear away from each other?

Over time, carefully examining each piece, I hope to showcase these forces working to create a moment. Something worth remembering.

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Nature and Neon 1 MAGIC MUNDANE

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Nature and Neon 2 92

Nature and Neon MAGIC MUNDANE

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TOBIAS GREENE ARTIST STATEMENT: Listen.

I’m a listener and therefore a conduit for storytelling.

Humans and their stories are important...young, old, no matter what race, or time in history and I can see, hear and feel them as a listener. I attempt to accurately depict what their stories are and honor them in whatever fashion they arrive.

I lean towards older, aged materials and rougher textures to convey history and struggle and beauty within an imperfect surface and form. My inability to focus on a specific style and set of materials allows me the freedom to express unique ideas outside of myself, expressed by others without worrying about minor things like shine and polish. I find the gift of color and art something I owe, opposed to something I make or own. The images I create are stories for everyone and have very little to do with one single artist.

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Pretense I: Nightfall at Negro Bill Canyon

Exile I Sepulcher

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JAMES SPELL ARTIST STATEMENT: To me, art is an intuitive expression of nonverbal, visual communication. Perhaps it is the element of surprise inherent to the imprecise nature of contemporary and abstract expressionist work. Perhaps it is an opportunity to explore the active and the passive elements, somewhere between the concepts of form and formlessness. That moment is what I enjoy most, where each gesture, each moment, is a leap of faith. Abstraction is a noisy art whose goal is clarity, where the clearest notes peek through the cracks in the layers of composition, revealing the hidden elements and adding their voices to the final work.

I find myself drawn to minimalist landscapes, using simplified architectural forms to invoke the shared feelings of home, establishing a narrative context for the piece and a connection between the artist and the viewer. These exist somewhere between the loud and the quiet spaces of our lives, perhaps where we might find the contentment we all seek.

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All the Days of Summer

Balloons in the Park

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Allsup, Neeka The Secret Floating There : $1600 | 2022 | 30 x 42 inches | Oil on canvas in handmade frame

Wet River : $1500 | 2022 | 26 x 37 inches | Oil on upholstery fabric in handmade frame

Wetter River : $1300 | 2022 | 23 x 30 inches | Oil on wood in handmade frame Neeka was born in the back of a toy store to two rogue Scientologists. She received her BFA from the School of the Art Institute of Chicago. Currently residing in St. Louis, Neeka is an oil painter and muralist, working with psychological concepts involving secrets and repression, symbolism and self-analysis; “after a vivid dream, I will look up what the symbols represent because I am interested in how the subconscious shows us metaphors about our life through symbolism.” My work is symbolic of things I think about, like a dream, they can be interpreted. My work is sensual, personal and subliminal.

Website : NeekaAllsup.com | Instagram @Neekaz 98

Bennett, Heather BFG for Marc et-al : $7500 | 2016 | 65 x 44 inches | Digital print on platine rag The Loved One for JLM : $7500 | 2016 | 65 x 44 inches Digital print on platine rag Heather Bennett maintains a multimedia practice consisting of photography, video, drawing, text, sculpture, installation, and often collaborates with musicians and writers. Her work traces the female subject and its historic irrelevance, focusing on representation in contemporary culture. By disrupting assumptions, she attempts to realign and reframe, even recreate, the relegated, feminine tinged space.

Bennett’s work has been featured in numerous solo and group exhibitions, nationally and internationally and has been the subject of numerous reviews in varied publications, such as Artnet, Art Review Magazine, Art Press, ArtPapers, The New York Times, Time Out New York, The Village Voice, and Hyperallergic. Bennett earned a BA and BFA at Washington University in St. Louis, MO, and an MFA at Hunter College in 99

New York. Currently she is a senior lecturer at Washington University in St. Louis, MO, joining the faculty as the Louis D. Beaumont Visiting Artist Fellow in 2013.

Website : HeatherEBennett.com

Buckner, Terri : RoseMarie Lights in the City : $36 | 2023 | 10 x 20 inches each | Photography Hello world, I am Rosemarie. I never thought writing a bio about myself will be this challenging or tricky. I didn’t want to sound like a typical “I grew up the oldest of four to a single mom in 1987. Four months early on a cold March day” that will definitely be the truth but that’s the part that doesn’t seem relative to me. Maybe because that’s Terri Buckner. RoseMarie is different. I’ve been writing since I was a little child. Making up my own words because I wasn’t old enough to even understand what words meant, but I knew that I love them. Graduated into someone who loves the art of photography, so the world can see what I see and I’m able to express it for them to feel what I feel with or without acceptance. I want to introduce people into my world so I can walk into 100

their world for the ones that are like they live in their worlds alone.

Welcome, RoseMarie!

Instagram @MariireRose

Chisholm, Stan Drum Machines : $600 each or $2000 for al | 4 20 x 20 inch panels Acrylic on canvas South Saint Louis native Stan Chisholm works prolifically under the alias 18andCounting, building himself as an experimental music producer/DJ, a multidisciplinary visual artist and educator. Chisholm’s visual work takes an abstracted or socio-critical perspective using an ever-changing lexicon of character design, graphic abstraction, and text. Sonically, he produces hardware-driven tones of the electronic hip-hop with a low tolerance for pop tactics.

In 2009, he earned his Bachelors of Fine Arts from the School of the Art Institute of Chicago. He’s a first round recipient of the RAC’s Artists Count Fellowship (2013), an 101

RFT Mastermind (2010), the first DJ in residence at CAM STL (2018), the first artist awarded a home through the Art Place Initiative (2021) and was crowned Prom King of Eureka High School in 2005:) Website : 18andcounting.com/home.html

Coleman, Barry Ray Williams : $50 | 2023 | 8 x 11 inches | Pencil Far from Home : $50 | 2023 | 5 x 7 inches | Colored Pencil Barry Coleman is in 7th grade and attends Momentum Academy. Coleman is a dedicated draftsman and has an artistic flair. He loves making something out of nothing. He also appreciates video games and enjoys crab legs. He plans to become an artist and wants his artwork to inspire others to create.

Dawson, Sage Open Work : $1200 | 2022 | 14 x 11 inches | Linoleum cut, acrylic Open Work : $1200 | 2022 | 14 x 11 inches | Linoleum cut, acrylic 102

Open Work : $1200 | 2022 | 14 x 11 inches | Linoleum cut, acrylic Distance Grows Near : $2500 | 2019 | 68 x 45 inches | Woven cotton, rayon Sage Dawson is an artist and curator whose work examines the politics of housing and labor inherent to the American city. She teaches Printmaking at Washington University and is the Director of STNDRD–a public art project in Granite City. Sage completed an MFA + Museum Studies minor at the University of New Mexico, and a BFA at Missouri State University. Her work has appeared in Art in America, Elephant Magazine, From Here to There published by Princeton Architectural Press, New Art Examiner, Art in Print, Dwell Magazine, and Hyperallergic.

Website : SageDawson.com | Instagram @Sage_Dawson

England, Ashli Overtone - Silver : $1500 | 32 inch in circumference Hand mixed Multi Media As an artist, I am dedicated to creating art that fosters an elevated and serene atmosphere, providing balance and restorative energy to the nervous system. My latest 103

series comprises 17-32” round glass encapsulated in custom-engineered frames. In my work, color is my focus, exploring the nature of color vibrational links and using tuning forks in vibrational alliance with each color. I believe that the silence of colors can change the course of our lives by bridging the gap between the subconscious and conscious mind. This idea inspires me, and it forms the foundation of my work.

As someone who has relied on color to help navigate personal challenges throughout my life, I see my art as a personal development breakthrough that can benefit others.

My works are like journal entries, conveying every emotional process that I have experienced with each individual color, and the silence in my eyes carries every experience along the way. Follow my journey with OVERTONE- Shattering Silence to discover the transformative power of color in your life.

Website : Ashli.org | Instagram @AshliEngland

Gastler, Katherine Pysanka - 40 Days of Lent : $50 | 2022 | 2 x 2.5 inches | Aniline dye on eggshell Better Living Through Chemistry : $200 for the series | 2022-2023 104

17 x 120 inches | Archival pigment print Katherine Gastler has a B.A. from Concordia University Chicago in both art and graphic design. Learning to use a Mac for designs fostered a love of technology, so she pays for her health insurance with a career in software training. Katherine explores a variety of art practices including modern batik egg dyeing (pysanky), fiber art, digital photography, and video time lapse.

Instagram @KatherineGastler

Givens, Haleigh The troubles of compromising with a loose tooth : $700 | 2022 12 x 16 inches | Mixed media on paper My name is Haleigh Givens, an artist living and, sometimes, working in St. Louis, Missouri. Between searching out weird trees and taking photos of dead birds, I force my dog to hang out with me while I draw way too much.

Website : Haleighgivens.com | Instagram @HalesMcgales 105

Greene, Tobias Exile I Sepulcher : $5000 | 2023 | 33 x 48 inches Wood, acrylic, copper, and wire

Pretense I: Nightfall at Negro Bill Canyon : $7500 | 2023 32 x 48 inches | Wood, paper, acrylic, and wire Tobias Greene focuses his work on social issues from the American past as well as current themes that impact him directly. He produces art by acquiring old materials, such as discarded wood and found objects, and creating imagery based around the natural textures of those elements. Woodworking and building with various media are integral to drawing out the intended impression of his work, and as he does employ paint, it is often sanded down or applied freely to match the inherent character of these surfaces.

Born in St Louis, he moved to California in 2005 with the goal of developing his art in a place with natural and cultural diversity contrasting that of the midwest. This period spent on the west coast helped in understanding the facade of the American landscape and its people more comprehensively. Being a person of mixed race, but identifying 106

as the world sees him, a black man, has bolstered his obligation of translating his experiences into a visual form that aims to direct the viewer toward the reality of others instead of themselves.

Tobias has shown at various galleries in northern California and the Bay Area, including Google and Twitter. He currently resides in South St. Louis.

Instagram @TheLoniusg

Hausmann, Macayli Abbie in the Living Room St. Louis, MO 2022 : $300 | 2022 16 x 20 inches | Photography

Thai in Oakland, CA 2020 : $300 | 2020 | 16 x 20 inches | Photography Untitled Alameda, CA 2021 : $225 | 2021 | 11 x 14 inches | Photography Macayli Hausmann is an analog photographer based in both Oakland, CA and St. Louis, MO. She graduated with a Bachelors in Fine Art Photography from the San Francisco Art Institute in 2016.

Website : Macayli.com | Instagram @Macayli 107

Huelsing, Katherine Turbulent Sky, Still Sea : $1200 | 2023 | 38 x 28 inches Cotton thread on cotton canvas I live in South St. Louis with my wife and have two adult daughters. My original career was banking. While an undergraduate business major at Indiana University, I snuck as many art classes as possible into my course schedule. I continued taking art classes and making art while living in Chicago, Denver, and Memphis. Once I returned to my hometown of St. Louis, I obtained a Master of Arts in Teaching at Webster University and began my second career as a high school art teacher. After teaching design, drawing, painting, and sculpture for eight years, I chose to pursue art making full time.

3rd Period Studio’s name represents the third phase of my professional life with a nod to my love of playing ice hockey. Acrylic and watercolor painting were my primary focus, but after taking courses at the Kansas City Art Institute’s Educator ArtLab, Milwaukee College of Art and Design, and the Madeline Island School of Art, fiber art is now a large proportion of my work.

Website : 3rdperiodstudio.com | Instagram @3rdperiodstudio 108

Kurtzman, Alexis This Three Shall Pass : $1000 | 2017-2020 | 65 x 72 inches Tree rubbings on Japanese paper

Four Seasons in Twelve Days : Intaglio Individual prints: $40 Set of twelve: $500 | 2022 | 7 x 12 inches | Tree rubbings on Japanese paper Scratch and Reveal : edition of 60 Individual prints: $20 | 2022 5 x 9 inches | Screenprints Originally from Philadelphia, Pennsylvania, Kurtzman holds an MFA from the University of Arkansas School of Art and a BFA in printmaking from Tyler School of Art and Architecture, Temple University. Her work centers around free association action mark making, process art, drawing and printmaking. Kurtzman’s work has been exhibited in galleries across the US and abroad. She has most recently been a 2018 artist in residence at the Open Wabi artist residency in Fredericktown, Ohio and a 2017 artist in residence at the Scoula Internazionale di Grafica in Venice, Italy. She is an upcoming November 2020 artist in residence at the Draw to Perform residency in Brighton, United Kingdom. She lives and works in St. Louis, Missouri where she is currently an 109

instructor of studio art printmaking technician and Social Media Coordinator at St. Louis Community College and the St. Louis Artist Guild.

Website : AlexisKurtzmanArtist.com

McGowan, Hayveyah Sex & other Sacred Things : NFS | 2022 | 36 x 48 inches | Mixed media As a creative, I focus on making work that is experimental & dynamic. When approach projects – whether it’s data visualization, illustrations, or branding – I want the work to cause a visceral reaction within the viewer. I believe good design and intriguing artwork piques the interest of a viewer. The visual is what invites them in and the deeper meanings behind the work allow them to stay.

The work I center on in my studio practice investigates the visual and spiritual history of my maternal lineage and the ways in which black women create and maintain autonomy within the world. I use symbolism from nature, numbers, patterns and objects to create works that birth the qualities of receptivity, nurturing, and sensuality.

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Through this, I call attention to the unique ways that the black matriarchal figure creates safety but also the synchronicity and rooted need for safety that we share.

Website : HevCassoCreations.com | Instagram @HevCassoCreationsLlc

Nelson, Sam Thriving : NFS | 2022 | 22 x 18 inches | Digital photography I moved to St Louis about six years ago and have lived in the 63118 zip code. I have always been intrigued by the unseen details in common things. In 2022, I displayed Lepidoptera Lounge, an interactive citizen science project at Artica. I have also collaborated with the People’s Joy Parade building the dragonfly float as well as a tiny tow behind. In the past, I have worked with batik, fabric painting and digital photo manipulation. By trade, I work as a Software Engineer, currently working to protect software from hackers.

Website : id.sito.org/nes | Instagram @rkegg

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Nicole, Adria Black Butterfly: Pacia & Heaven : NFS | 2016 | 12 x 12 inches Photography & hand-cut paper collage Adria Nicole is a South St. Louis City resident, Community Arts Training Institute Fellow, and recipient of a St. Louis Regional Arts Commission Artists Support Grant Award. She is a multi-faceted maker of art, music, and magic, infusing her work with the love she is determined to share with the world.

As a singer/songwriter, Adria has performed both lead and background vocalist, spanning many genres of music. She began playing ukulele in 2011 and has since been teaching others to play. In 2012, she founded Uke Go Girl!, a 501c3 nonprofit providing free ukuleles and supplies, as well as instrumental, vocal, and songwriting instruction to girls.

Adria’s paintings and photography have been featured in publications such as UltraViolet Underground’s Purple Magazine and the Witchy Report. Her current mixed-media work (digital illustration & photography) focuses on fanciful human 112

representations in reimagined natural and man-made landscapes.

In addition to her artistic pursuits, this wife and mother of two, is currently studying for a career in clinical herbalism and organizing the ProudFlower Community Herbal Project. She also practises herbal alchemy and creates custom ritual oils and potions as BLK MGK WOMAN. Website : AdriaNicole.com | Instagram @ArtMusicMagic

Padilla, Philip Momento Mori : Live Participatory Performance Piece Philip Padilla lives in St. Louis, MO, where he collects interesting cameras, dreams about art heroes, and rollerskates as much as possible. He uses wearable art and functional objects to make interactive work about memory and connection because he believes in the importance of enhancing our human experience. Philip hopes his work inspires his audience to remember what makes us happy, to invest in our relationships with each other, and to feel empowered to express their truest selves to the world.

Instagram @Seen_No_Evil 113

Parviz, April Sleepers ‘Wake I : NFS | 2022 | 7.5 x 9.5 inches | Colored pencil Sleepers ‘Wake XVIII : NFS | 2022 | 7 x 10 inches | Colored pencil Hello there! My name is April Parviz. I come from studio 316 here at Intersect. I also work for Intersect and Holy Cross doing a number of various graphic design things. For example, I’m the one designing this catalog (hi)! I’m a mother to two sweet little girls and wife to Ben. He is currently working toward a doctorate in bioethics at SLU, so he brings home all kinds of interesting topics for us to think and talk about. I believe that his work has moved me forward in my work, to some degree. He thinks and talks about hope a lot, with regards to the medical world. This has allowed me to reflect more on my experience with despair in the year 2014 which brought me so close to death.

Life is wonderful. I have an odd case of late-onset type-1 diabetes (diagnosed at 24) which spiraled me into a place of despair, believing my life wasn’t worth living. But it is. At that time, I could not have envisioned my wonderful life now. I have the most amazing job that is so incredible, it would have been impossible for me to imagine. I have a sweet little house, with a garden where my little girls run and dance and sing, 114

and my husband loves me very much and is constantly offering me encouragement and support in my chronic illness. So if you or someone you know is in a state of despair, know that God loves you and even though you might not understand the plan right now, He is working for your good.

Also, if you need someone to talk to about it, feel free to reach out. I love encouraging people and offering support. I know all about the darkness.

Website : AprilParviz.art | Instagram @AprilParviz

Pfanstiel, Dave Nature and Neon 6 : $830 | 2023 | 60 x 48 inches | Mixed media Nature and Neon 1 : $650 | 2023 | 48 x 36 inches | Mixed media Nature and Neon 2 : $500 | 2023 | 36 x 36 inches | Mixed media Dave has been pursuing abstract expression though color and texture for nearly 6 years now. The dynamic and creative nature in which texture and color mingle has become a consistent statement in Dave’s work. He believes in the impact of the work itself and the importance of gathering people to engage in “common experience”. Since 2016, 115

he has produced hundreds of captivating works that have found homes all over the world. With every piece, whether as a body of work or as a commissioned piece for a specific client, Dave is always striving to showcase the ability for art to become both “focal and ethereal”.

Dave also draws significant purpose in engaging the public while he paints. His ultimate goal is to let community interaction be the undertone in the work, symbolizing that community is contributing to the headspace and heartbeat of the piece.

Dave’s work is a reflection of inner being mixing with community interaction. The everyday of life interpreted through a flawed human. Always seeking truth and reflecting the potential of healthy community.

Instagram @DavePfanstiel | Facebook @DavoPaintings

Spell, James All the Days of Summer : $1550 | 2021 | 36 x 36 inches | Acrylic on canvas Balloons in the Park : $3300 | 2021 | 48 x 60 inches | Acrylic on canvas James Spell has been an artist for 25 years, with an Art History degree from the University of Missouri - St. Louis, and half of an Architecture and Urban Design 116

graduate degree from Washington University. James works remotely, slaving away in the photoshop mines, and lives in the Benton Park neighborhood of Saint Louis with his partners, two dogs, one living cat, and one ghost cat named Schroedinger who may or may not exist.

Website : JSpell.net | Instagram @JimSpell

Starling, Arden Teeming With Life : $1500 | 2023 | 18 x 38 inches | Watercolor and ink Floral Helix : $1200 | 2022 | 8 x 38 inches | Watercolor and ink Arden Starling is a moniker for St. Louis-based artist and multi-disciplinary designer, Stephanie Richardson. After completing her B.F.A. from Fontbonne University in 2004, she spent many years, professionally, in art direction and product development roles.

She revived her fine arts practice in 2020 and has been refining her skills and artistic voice ever since. Stephanie’s intuitive process draws from myth, storytelling, and reflective observations of her inner and outer worlds.

Website : ArdenStarling.com | Instagram @Arden.Starling | Tiktok @ArdenStarling 117

Sudduth, Simiya Justice : $500 | 2022 | 24 x 36 inches | Digital illustration The Empress : $500 | 2022 | 24 x 36 inches | Digital illustration Simiya is a mother, multidisciplinary artist, and art educator who maintains a fluid creative practice that explores the intersections of healing, ecology, social justice, and spirituality. Their expansive practice serves as a provocation for collective healing, and expansion in addition to serving as a vessel to explore their personal mental and emotional healing as well as being a space to journey through the realms of spirituality.

Simiya’s practice is a practice of integration: a way to explore and connect multifaceted interests and influences.

Website : Spiritscapes.life | Instagram @Spiritscapesss

Sutton, Tiff J In The Weeds II : $675 | 2022 | 24 x 24 inches | Color photograph The Crossing : $675 | 2022 | 24 x 24 inches | Color photograph 118

Tiff J Sutton is a portrait photographer. Her work is characterized by the Black gaze, dual perceptions, and unique landscape; by placing Black femininity at the forefront; through complex, layered images, and introspective portraits. She has attended community colleges and Washington University in St. Louis. Sutton has been featured in NPR and Humble Arts Foundation. Sutton has won the Black Women Photographers + Nikon Grant and was a resident at the Gullkisten Center for Creativity in Laugartvn, Iceland in June 2022. She draws upon Black feminist thought to create abstract portraits of Black women. She is based in St. Louis, Missouri.

Website : TiffJTiffSutton.com | Instagram @TiffanyJoy1955

Yocom, Taylor sorry!!!!! : $500 | 2022 | 16 x 20 inches | Digital inkjet print oops : $500 | 2022 | 16 x 20 inches | Digital inkjet print i’m the worst!! : $500 | 2022 | 16 x 20 inches | Digital inkjet print whooooooops : $500 | 2022 | 16 x 20 inches | Digital inkjet print 119

Taylor Yocom (b. 1992, Des Moines) holds a BFA in Photography from the University of Iowa and an MFA in Visual Art from Washington University in St. Louis’s Sam Fox School of Design & Visual Arts. Her lens-based and collage practice explores the social construction and performance of femininity. Her work has been exhibited and screened in venues across North America such as Indie Memphis, FilmDiaryNYC, The Kansas Union Gallery, and the Montreal Feminist Film Festival. Her artist books and zines are in collections across the country including Rutgers University, Washington University in St. Louis, and the MOMA Library. She has been in residence at Cite Internationale des Arts in Paris and ArtFarm Nebraska. Recently, her installation “My mom said to always have flowers around,” was on display at the Lambert International Airport.

Website : TaylorYo.com | Instagram @TaylorYocom

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CURATORS Bernhardt, Sarah Fugue in Graphite : NFS | 2020 | 7:00 minutes | Drawing animation Sarah Bernhardt is a St. Louis based artist, educator, and administrator exploring photography, video, installation, and social practice. She received her MFA from Washington University in St. Louis and taught at University of Missouri St. Louis, and St. Louis University. In 2013 Bernhardt founded Intersect Arts Center, an arts space focused on nurturing accessibility to the arts and relationship building across diverse communities. Bernhardt continues to direct the space, developing exhibition and education programs, maker spaces, artist studio spaces, as well as community events and projects, including this one!

Website : SrBernhardt.art | Instagram @SrBernhardt

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Ryshke, Linnea Hers, Mine, Ours : NFS | 2022 | 48 x 24 & 48 x 32 inches Graphite & Acrylic on Wood Panel Linnea Ryshke (American, born in Los Angeles, CA) creates paintings, drawings, artist books, installations and poetry that seek to restore the value of nonhuman animals as kindred beings worthy of our adoration, respect and empathy. She received her B.F.A. in Painting from Pratt Institute and M.F.A. in Visual Art from Washington University in St. Louis. Her work has been exhibited nationally, and she released her first book, Kindling, with Lantern Publishing and Media in the fall of 2021. She founded the artist collective, More than Human, and is currently working on a project based on multispecies ethnographic research in 2022. She is currently based in St. Louis, MO. Website : ReembodimentProject.com | Instagram @Linnea_Ryshke

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This book was lovingling handbound, for you, by local artist : ___________________________________

573.575.6485 | intersectstl@gmail.com | www.IntersectSTL.org/herenow-23 3636 Texas Ave, St. Louis, MO 63118 124

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