Artist Sheppard Morose with the dye sublimation prints she created for the JCCA of Kansas City and Omaha.
PAST, PRESENT AND FUTURE
An interview with artist Sheppard Morose who reflects on the multi-generational significance of creating and appreciating art. Written by Bridget Williams Sheppard Morose strongly believes that art is much more than just pleasing to the eye. “Great art lasts lifetimes, and I'm challenged to create art that meets that standard,” she said. Read on to see how the St. Louis-based artist has created a unique niche creating bespoke pieces for clients in both the public and private sector. SL: Tell us about your background. SM: I came to fine art through the back door of an advertising and graphic design career. Not only was I was able to learn the fundamentals of design from the working professors at the University of Illinois and the School of the Art Institute of Chicago, but I was also able to experience a glimpse of how the corporate world works. My Mom was a fine art major, and my Dad is a civil engineer, so we always had plenty of art supplies and examples of beautiful, functional design all around us growing up. I remember conversations with my Mom in our garden where she described the colors and textures of the plants, sky, and landscape in fascinating detail. She was coaching me to have an "artist's eye" at a very young age and I'm grateful for that. Modern masters like Alexander Calder, Ellsworth Kelly, Henri Matisse, Mies Van der Rohe, Pablo Picasso and Helen Frankenthaler help inform me of complex color combinations and composition. 40 slmag.net
Frankenthaler pioneered what came to be called "color field painting," a style of abstractionism emergent in New York City midway through the 20th century, and she's been a key influence. SL: How would you define your style, and has it evolved over the years? Do you have any unique methods that you employ when creating art? SM: I think I'm known for my bright, bold abstract work that's showing up in corporate collections across the country and my nature-inspired original paintings for healthcare spaces and homes. It's usually the color that moves my audience. I often put contrasting colors right next to each other to pack an extra punch. I use soothing muted colors for spas or hospitals, often green or "nature's neutral" that serve as a backdrop for healing. It's a privilege to participate in a profession that serves others. My strength lies in working directly with CEOs, architects, and interior designers to help create interiors that uplift and engage. Some of my installations stretch three stories high as my digital files can be enlarged and printed, keeping their crisp resolution. I use two main processes to create my work. In the first, acrylic paint is applied layer after layer as tints or sold colors. As the layers build, texture is often created. I use traditional paintbrushes and what I call "kinetic" paintbrushes, which are