art

Sculpture Works in Wood

“Sculpture Works in Wood,” a solo exhibition by local artist M. Justin Hale, is on display in our Bramlage and Willcoxon Foundation Gallery, our display cases, and in the Post Reading Room inside Joplin Public Library now through September 30, 2019.

Hale sees anatomical references whenever he carves. Most of his professional life has been spent working in prosthetics. Leaving the prosthetics field in 1999, he now devotes his life to his artwork.

His work is inspired by the bent and twisting forms found in remnants of trees from a long and well lived life. Finding and releasing the stored energy of the wood into a new life as sculpture is a great experience.

For more information, contact Jill Sullivan at 417-623-7953 x1041 or jhsullivan@postartlibrary.org.

Library exhibitions and displays are curated by Post Art Library. Their mission is to enrich the community of Joplin by perpetuating Dr. Winfred L. and Elizabeth C. Post’s love of art, architecture, history, and history preservation through public access to arts-related library resources and services, educational programming, events, and exhibits. Visit www.postartlibrary.org for more information.

MSSU Senior Sneak Peek

MSSU Senior Sneak Peek, an art show comprised of artworks by recent or soon-to-be recent graduates of Missouri Southern State University’s Art Department, is on display in our Local History, Genealogy, and Post Reading Room gallery. A preview of the artists’ senior shows, Sneak Peek features art by Jocelyn Lechuga, Lydia Humphreys, McKenzie Wesley, Sydney Buffington, and Jacklyn Kidd.

Welcome to the Game: Human Trafficking in America

“Welcome to the Game: Human Trafficking in America” by Neosho artist Sarah Serio is on display now through March 2019 in our Bramlage and Wilcoxon Foundation Gallery.

Serio is a printmaker creating in traditional methods of hand-carved, hand-inked, and hand-pulled works. Her work focuses on and raises awareness about the millions of people world-wide who are victims of human trafficking.

“Welcome to the Game: Human Trafficking in America” is comprised of 12 reduction block prints, each layered with ink that builds a foundation upon which a narrative of those suffering from this violent and demeaning trade is told.

“I find that often the visual imagery used to bring awareness to the sex-slave industry is sanitized, such as showing a girl with a barcode and ropes around her wrist. My work strives to bring the harsh reality of this world to light,” said Serio.

Serio is a nationally exhibiting printmaker who received degrees in Fine Art and Graphic Communication from Missouri Southern State University. Her work has been exhibited in galleries in New York, Los Angeles, Chicago, Miami, and in Southwest Missouri.

A brief artist’s talk and reception will be held in the gallery on Thursday, February 21st, from 6:00pm-7:30pm.

 

Book Review: PATTERNALIA

What are you wearing? Plaid (tartan)? Paisley? How about stripes or polka dots? Perhaps a fleur-de-lis pin graces your lapel? Regardless, these motifs and patterns and more have fascinating associations and histories as told by Jude Stewart in his book Patternalia: An Unconventional History of Polka Dots, Stripes, Plaid, Camouflage, and Other Graphic Patterns.

In addition to content, the book itself is somewhat unconventional by design, both physically and stylistically. Titles found in the adult nonfiction collection tend to be large and heavy, whereas Patternalia is small and lightweight. Stylistically, Patternalia defies the typical beginning, middle, end formula for telling such stories. The text is dotted with cross-references so readers may develop an alternate storyline. It’s also embellished with quotes and bold graphics throughout.

Stewart starts us on our journey with a crash course in patterns and pattern lingo as well as an explanation of how our brains perceive “symmetry, orderliness, and simplicity”–basically, a pattern–and how we define and process this into what we see. He discusses ‘pareidolia,’ “the process of seeing imaginary forms, especially faces, in random stimuli,” such as outlets, and ‘apophenia,’ which is the perception of pattern where there is none, which may be either visual or conceptual. A conceptual example of apophenia is that of “gambler’s fallacy.”

Before we delve into particular patterns proper, we learn a bit about the history of patterns and the textile industry. The gist is that as production became increasingly industrialized, patterned textiles became cheaper, easily portable, and shareable across cultures. As patterns and patterned textiles crossed national borders, their meanings could change or evolve, such as with popular “African print” textiles. (Why? Read the book!)

As pattern and textile technology continued to advance, patterns were able to be printed directly onto textiles, which led to disposable fashions. Think Paper Caper dresses and such. Imagine wearing your clothes a few times and throwing them into the trash can rather than the laundry basket. These sorts of disposable fashions didn’t fall out of fashion until the rise of environmental consciousness. (Thank goodness for environmental consciousness!)  

But what about the patterns? I dare say we take them for granted, no doubt due to their ubiquitousness–they’re everywhere! Patterns hold histories and connotations, whether we realize it or not. Take polka dots, for example. According to Stewart, dots and spots–polka dots–gained popularity “from an extended craze for polka music” that overtook Europe in the mid-1800s. But in Medieval Europe, polka dots were reminiscent of disease and death. Specifically, syphilis, bubonic plague, measles, and more. Yet we enjoy polka dot patterns on an array of items, from notebooks to scrapbooking paper, t-shirts to bathing suits, bedding to curtains, and so on, without considering their history. Not to mention the parallel Stewart draws between dot art and activism–bravo!

Overall, Stewart’s Patternalia is as charming as it is interesting. My only criticism is that it ends rather abruptly, not unlike this review. As for the other patterns–plaid, paisley, stripes, fleur-de-lis, checkered, houndstooth, etc.–you’ll have to check it out for yourself. I leave you with this anonymous quote: “Even a small dot can stop a big sentence, but a few more dots can give a continuity…”

As always, happy reading.

Lydia Humphreys’ New Portrait Series

A few weeks ago, local artist Lydia Humphreys popped into PAL and asked if she could take a photo of me to paint my portrait for a series that she’s currently working on. Between blushing and laughing as she snapped the photo, I managed to ask her a couple of questions about the series, which she’s been releasing via social media. Perhaps what intrigues me most is that she paints each portrait in the color that she sees the person. Not their auras, necessarily, but the colors that she associates with that person. Last week, I had the fortune of meeting with Lydia to further discuss her art and this portrait series in particular.

Jill: Could you tell me a little about your background? Are you from Joplin? How long have you been involved in Joplin Arts?
Lydia: I’m from Joplin, but I’ve been involved in Joplin Arts for about two years, since I started college at MSSU. Although I’ve always drawn, painted, and taken lots of art classes, I didn’t want to do art. I wanted to become a physical therapist and work with kids with disabilities.

What changed that?
I did an internship in St. Louis and art was all around. Living in a bigger city you catch on to trends more, see the arts more, and art is everywhere. Being there helped me realize that art was a possibility, that I could do it my own way, that it was something that was attainable. I started making art in St. Louis.

Why do you do what you do? Why art?
My brain works better with art. It’s easier for me to communicate through art. I can express things that I don’t know how to verbalize.

What if what you’re trying to communicate is viewed differently by the viewer?
If the person doesn’t see what I’m going for, then I’m either not communicating it right or they aren’t the right person for it.

How do you work? Meaning do you have rituals or routine?
I always have headphones on to tune everything else out because I work mostly at school. I work alone, mostly, but sometimes with one friend.

What are some of your favorite mediums?
Mixed media, installations, everything. I’m intrigued by big installations. I did one and it was exhaustingly fun.

In addition to making art, you’ve curated exhibits. What appeals to you about curating the art of others?
I like making a space pristine with art. Something about walking into an area to see the art and not being there for anything else.

What generally inspires your work?
Right now, it’s varied. …I’m upset with issues that are interpreted wrong, like the emotions and actions of others. So I want to destigmatize. For example, I did a series about depression and anxiety.

I’d like to talk about this portrait series that you’re working on. Why depictions of people?
People make up the community. It all feels like family and I love community. It’s another way to support the community. And the act of making the art breaks the ice, helps me to get to know the individual better. I’m inspired by spending so much time with the faces, getting to know a certain type of beauty that’s often initially dismissed.

You’re painting these faces in the color that you see the person. You said not their auras, but the color that you associate with them. Could you discuss this a little more?
I assign certain colors and patterns to things so that I remember them. It’s the same for people. I’ll remember a face and a color that I’ve assigned to that face better than a name. But none of the colors have particular meanings to me. I don’t know why certain colors, it’s just what happens. It’s not always personality based. Sometimes I see the same color for someone who I like and for someone who I dislike.

Does the color come to you more easily for some people than others?
Yes. Sometimes I start one color and change to another color. I might assume a certain color, but when I go to mix it I realize it’s a different shade, hue, or value. Or more than one color. Sometimes the background is another color I associate with that person.

How have those depicted reacted to the paintings? Has anyone been surprised or disappointed about their color?
Generally, people are excited to be painted. One person did think the color I chose was weird, but others agree.

Do you know how many portraits you will paint for this series?
I don’t have a certain number in mind. The project needs to evolve somehow. I like the idea of a large amount of portraits. I want to do a lot.

I have one more question. Do you have a certain color that you associate with yourself?
Pink. Vibrant pink.

At the time of this interview (2/2/2017), there were 14 portraits in Lydia’s series, four of which are shown here. You can follow Lydia and her artwork on Facebook (Lydia Humphreys) or Instagram (lydia_humphreys).

Words with Hiram Mesa

Throughout November, the Post Art Library is showing Hiram Mesa’s The Magic Mirror, which is comprised of mixed-media artworks, screen prints, jewelry, and wonderfully cut cabochons. Earlier today, I had the opportunity to ask Hiram some questions about his art.

Jill’s questions/comments are in bold,
whereas Hiram’s are not.

You’re making a name for yourself cutting stones. Could you tell me about what drew you to pursue lapidary work?
I was traveling with some friends through Colorado and New Mexico and we stopped at a rock shop. I noticed a nice piece of turquoise jewelry on display and I thought maybe I could do something like that. So I bought a rough, unfinished stone and I started buying Rock & Gem magazine and set about teaching myself lapidary work. Eventually I joined a gem and mineral club in Joplin and started borrowing some of their equipment and cutting stones. That was about 12 years ago.

Although you do buy some stones, you prefer digging for them. Where have you dug for stones?
Colorado, mostly. I’ve been to Canada, some places in Arkansas, and New Mexico.

What’s it like to dig for stones?
It’s the most amazing thing EVER!!! When you pull something out of the ground and it’s been there forever and no one has ever seen it and the light is shining on it—it’s very, very cool… I’d rather be digging for stones than doing just about anything else.

But tell me about the process. What types of tools do you use?
It’s actually a lot of work. It’s funny, I work harder on my vacations than when I’m working. I use shovels, pry bars, picks, chisels, brushes, things like that.

How do you know where to go?
This is a tricky question. I’ve read a lot of books and field guides so I have a pretty good understanding of how to read the geology. You have to know how to read the rock itself, the geology. There’s a host rock that most of the stones form in, so you have to know how to read the host rock and it will tell you where you need to be digging. But a lot of it is intuition and luck.

Some of your mixed-media art incorporates specular hematite. Could you tell me about specular hematite and why you like to use it?
Specular hematite forms in large masses. I take two of the stones and rub them together over a piece of paper and collect the flakes to use in my art. I love stones, so I feel the need to apply stones to my art. I like specular hematite because I like the way it feels.

You’ve mentioned that you’d rather be digging for stones than anything else. So how do you turn your attention away from that to your other art forms, such as metal work, jewelry fabrication, and mixed media?
The abstract images that I envision are more easily conveyed through paper and paint. Besides, I really enjoy painting.

What are some of your favorite mediums to use in your mixed-media pieces?
Markers, watercolors, fingernail polish, and acrylics.

Aside from the art that you make, what are some of your favorite forms of art and who are some of your favorite artists?
I like photography, poetry, music, watercolor, ceramics, and most all forms of art. In regards to my favorite artists, that’s tough. I like so many art forms and artists that if I answer this question I’ll just be thinking of the most famous and that’s not fair.

Thanks, Hiram, for answering questions about your art. Is there anything you’d like to add?
Thanks, Jill.

Left: “Seascape” by Hiram Mesa
Right: “Waterfalls from the Heavens” by Hiram Mesa

The Quirky Worker

This month’s exhibit in the Post Art Library features quilled art and watercolors by one Laura Horn. When I approached Laura about an interview, I asked her if she had a title or name for her exhibit: “Howard,” she said. …This self-proclaimed quirky worker was kind enough to share her time with me by answering the following questions.

(Jill’s comments/questions are in bold;
whereas Laura’s are not.)

Tell me about what inspires your art. This exhibit is comprised of watercolors and quilled pieces. I know that you also work with polymer clay, resin, fabric, yarn and other materials. When you’re of a mind to make a piece, how do you choose what to work with? Or do you choose a medium and see where it takes you?
It varies. Sometimes I get new supplies and just want to play and create with them. Sometimes I have a particular image that comes into my mind and I want to create it in a certain way. For example, I recently bought some new molds and now I am anxious to make something out of polymer clay that I think will be quite pretty. On the other hand, I went, the other day, to Firehouse Pottery because I wanted paint and I had a specific image in mind that I wanted to put onto a piece. I guess it is kind of circular whether the idea leads to the material or the material leads to the idea.

In your artist bio (for the exhibit), you wrote that your wish is for everyone to see the importance of art. This leads me to believe that perhaps you think art lacks importance in our culture. Outside of creating art, do you have any suggestions for how this could be remedied?
I don’t necessarily think art lacks importance in the culture…more that it lacks personal accessibility. People think of art and too many think only of famous artists long dead and gone rather than their own selves. Too many think of art as something only Artists (with a capital A) do. Too many say, “I wish I could…”
I think we need to continue to make art accessible and to make it clear that everyone can create in some way. Art needs to not just be a distant museum (though, don’t get me wrong, I love museums), but also something held by each and every person.
As a society, perhaps getting away from the grade school art class mentality: “You did this right, You did this wrong.” Or “I used to like playing with clay/colouring with crayons/using sidewalk chalk…” and now you think you’re too old to do so.

Why is art important to you? 
To me personally? I am compelled to create things. Big things. Little things. Whatever they are made out of, whatever they look like… I just like to take pieces and turn them into something new.

Does your perspective change, depending on whether you are the creator or the patron? If so, how?
I suppose I can’t help but look at my own stuff differently because when I see my own art, I see the time and the thoughts behind it. When I see someone else’s, I don’t know what they made. I only know what I see. Does that make sense? The art I see and the art you see are not the same thing.

How much time do you think you put into all of the quilling that’s included in this exhibit?
I can’t even begin to calculate the number of hours that I put into the quilling part of the exhibit. Hundreds, would be my guess. For example, if I have all of my supplies laid out and am uninterrupted while working (a rare thing indeed), it takes an hour or two to make a snowflake, depending on the complexity.

Do you have a favorite among the pieces that are included in the exhibit?
It seems that most people are drawn to the quilling portion of the exhibit. My favourite of those is “Be the Change” because that was a design that completely took shape in my own head. To me, anyone who wanted to put in the time could do quilling and, for those pieces that followed a pattern, could create a piece that was essentially the same to the eye.
So, my favourites are the paintings. It is a style I enjoy and find pleasing to look at. I would say “Chaos Theory” is my favourite. “We Are Family” is also special because those are the hands of the five people in my immediate family.

Do you have a favorite medium to work with?
My favourite is whatever one I am working with at the time. It will probably be a while before I do quilling again. *smile* I have been making quite a bit of soap and also doing a fair amount of knitting. As I mentioned earlier, I am thinking it might be time to pull out the polymer clay, but I also want to sew some new clothes for Spring.

Do you have a favorite style of art or a favorite artist?
I thought about this one for a while, and I really don’t. I know, when I look at something, whether I like it or not. Whether it is a painting, a sculpture, a garden, a building, a finely crafted meal or a tattoo. Whether it has a modern feel, Renaissance or ancient… There is just so much that, in my mind, qualifies as art that I can’t really peg any one thing as a favourite.
I also recognize the difference between liking a particular piece and appreciating the skill of it.

Have you any advice for aspiring artists?
Find your passion and don’t be afraid to go for it. Create in a way that is meaningful and enjoyable to you.

Final question: You’ve homeschooled/are homeschooling three children who are now in their teens; how did/do you find time for creativity?!
You find time for the things that are important to you and prioritize.
(My house is a mess!)

Quilled Art and Watercolors (or “Howard”) by Laura Horn is on display at the Post Art Library through March 2015–be sure to stop by and say Hi! To read more about The Quirky Worker, visit http://www.postlibrary.org/?cat=8.  

Interview: Clayton Shilling on his “Tour of India”

This month’s exhibit in the Post Art Library features Clayton Shilling’s photographic “Tour of India.” From the Golden Triangle to Auroville, Clayton spent six weeks traveling the country. I had the fortune of asking Clayton the following questions about his tour.

(Jill’s comments/questions are in bold,
whereas Clayton’s are not.)

How long have you been a photographer? Could you tell me a little about your camera set-up? That is, do you work primarily with digital? What are some of your techniques?
I became interested in photography about 8 or 9 years ago. I didn’t own a camera and had been wanting one so I asked for one for Christmas and the interest grew from that point forward. The majority of my experience behind a camera has been in digital although I took a film photography course during my undergrad studies and I have also worked with a Lomography camera which takes film as well.  Mostly, I shoot with a Nikon DLSR camera and I shoot most everything in manual mode which gives the photographer total, free-range control over both the aperture and the shudder speeds.

I read that your tour of India took six weeks. It’s my understanding that when you took this tour, you were five months post-craniotomy. How do you think this experience impacted your outlook as a photographer/traveler?
The initial idea of going to India came to me the days after I had surgery. I was in ICU and in between moments on consciousness I remember laying there planning out my life over the next 4-6 months and a little voice told me to go to India. My original plan was to move to Denver, where I am now but since I didn’t have to be here at any specific time, I set a few “gap months” aside to do this. Obviously I had to clear it with my Dr. and she didn’t have a problem with it. Planning something this big during that time was the perfect distraction. The physical and emotional recovery after something like brain surgery can be so overwhelming and the idea that I had to get better and pull through this so I could go to India was far more appealing than getting better and pulling through this so I could go back to punching the clock and paying bills. It was exciting and motivating and kept my mind in focus.

This exhibit includes 13 photographs. Have you an idea of how many you took from which you selected these 13?
I took around 6,000 photos total but a lot of them were several shots of the same subject taken at different camera settings. I still consider myself to be a novice at photography so I like to take as many shots of something as possible in case I goof up.

Of the photographs in this exhibit, most depict people. What about people appeals to your photographic sensibility?
A lot of what I shoot depends on the country I’m in. Typically I’m more drawn to architecture and landscape photography. During my year abroad in Germany I had a mild obsession with taking photos of people’s homes, historical buildings, and cityscapes all over Europe. Life in poorer countries doesn’t always present the most photogenic settings therefore as a photographer it’s on you to find the expression elsewhere. In India, it was people and daily life. I chose the man in Delhi: Day 1, and the 2 girls with the baby in The Residents of Tamil Nadu because they were all so eager to have their photo taken. That’s one of the things I love most about India. They have no reservations about being photographed.

Interestingly, all of these photographs are close-up. What weighs in your decision to photograph close rather than depict a scene at large?
As I sorted through my photos when I returned I did a lot of cropping and zooming and found there was so much more detail in some of these photos than what I had even noticed while shooting so I guess subconsciously I wanted to include all the vivid detail. Plus, my camera lens has its limits and I find that it shoots better shots when things are a little closer.

Generally, these photographs are very colorful, vivid. ‘Waiting for the Parade’ is the exception. What’s the significance of this photograph being in black and white?
What can I say? Sometimes a photo just looks better with no color at all. It seemed to show better when I turned it black and white. Although I chose 13 different shots, I tried to think of all 13 pieces as one whole piece with a variety of sizes, colors, subjects, etc. and I wanted to include some quiet, small shots to help balance the bigger presentations.

Did you set-out to India with photography/an exhibit in mind or is this something that came later?
I set out on two missions: to backpack and cover as much territory as possible, and to eventually end up in Auroville, an international eco-community in the SE region of India just outside the city of Pondicherry. I had stumbled across this township during my undergrad studies and as an International Studies major, I chose Auroville to write my senior thesis about. I had spent an entire semester researching this interesting little community and felt it was only appropriate to visit after all that work. I packed my camera, naturally, but had not planned to turn it into an exhibit. I spent hours upon hours riding trains, commuting between cities and during that time I would read The Complete Idiot’s Guide to DSLR Cameras and would take the time to practice when I stopped in a new area.

Do you have a favorite among these particular photographs?
The Best Kept Secret is one that is very dear to me. But if I told you why, it wouldn’t be a secret. 🙂

Do you have a memorable moment not depicted in these photographs that you would like to share about your tour of India?
I set aside several times throughout my trip to put my camera down and just enjoy the moment. Often times when you travel somewhere and have photography in mind you can get stuck behind the camera and forget to take in your surroundings and just be in the moment. I would have to say that some of the best memories were those moments when I got a little off the grid and away from the touristy areas. There’s enough going on in India that anyone can find something interesting depending on their taste. If you like the big city environment and the hustle and bustle of city life, India is the place to go. If you’re a history geek and enjoy monuments and museums, they’ve certainly got those too. I took the time to enjoy all those things but renting a small hut a half mile off a small country road and laying and swaying in a hammock all day proved to be the perfect fit for me.

clayton-india
Worn Hard and Hung Wet to Dry

“Tour of India” is on display in the Post Art Library through February 2015–be sure to stop by! To read more about “Tour of India,” visit http://www.postlibrary.org/?cat=8. 

Post Mail Art Projekt Workshop

Greetings! You’re invited to participate in the Post Mail Art Projekt’s Mail Art Workshop, which shall take place on Saturday, November 15th at 2:00pm in the Post Memorial Art Reference Library, located at 300 S Main Street, Joplin, Missouri. This workshop is FREE and open to adults 18 and older. Space is limited, so registration is preferred. To register, call the Post Memorial Art Reference Library at 417-782-7678 or email Jill at ladyvonhalbach@gmail.com. Please include “MA Workshop” in the subject line and your name in the email proper.

The aim of this workshop is to provide the basic how-to of creating mail art (thus postage will not be provided). Items on hand include: typewriter, cutting mat, rotary cutter, paper cutter, glue sticks galore, tape, colored pencils, sharpies, pens, pencils, markers, crayons, various papers and card stock, select rubber stamps, magazines and other material for collages, memo pads, name badge stickers, receipt books and other bits and pieces. You’re welcome to bring along any other materials that you would like to work with, such as ticket stubs, particular paper, collage material, rubber stamps and so on.

Let us (create) mail art: Saturday, November 15th, 2:00pm, Post Memorial Art Reference Library

 

 

Cher’s Fairyland

Once upon a time…. Cher Jiang is an artist from China, where she grew up in the countryside. As such, she didn’t have many friends. “Art was something I could play with. So I made art,” said Cher. Indeed Cher and art have become very good friends over the years. In China, she is known as one of the most popular illustrators for children’s books and her technique is referred to as “Cher’s Style.” Here in Missouri, she’s becoming increasingly known for her imaginative drawings and paintings. Residing in Carthage, Missouri, Cher continues to publish illustrations in China, as well as for Precious Moments. She also makes custom illustrations. Last week, I had the opportunity to meet with Cher to discuss her art, some of which is currently on exhibit through June at the Post Memorial Art Reference Library.

My comments/questions are in bold,
whereas Cher’s are not.

You’ve been illustrating for over ten years. What did you do before you became an illustrator?
I was a computer video game designer. I designed characters and made 3-D models on the computer and painted it. I like illustration better. I wish to be an international illustrator.

I see that you like to take photos and recreate the scene using animals. Why do you illustrate the people as animals?
Animals make it more beautiful and happy. I like to use the cute, nice animals.

You’ve created Cher’s Fairyland. Why do you like the fairytale style?
I like fairytale style because I want people to be happy. I turn life into a fairytale.

Could you tell me about your creative process?
I make the drawings and scan them on the computer to add color. Computer drawing is very popular in China. I wanted my unique style. I always draw in pencil first.

Where do you draw?
Everywhere! I’m uncomfortable when I’m not drawing. My husband drives, I draw in the car. I draw at dinner, on vacations. Once it’s done, I move on to the next one. I enjoy the process, but when I’m done I’m thinking of new things I can draw.

How do you add the color to the illustrations?
I use Photoshop to add color.

Why do you prefer to add color on a computer?
I like to do it on the computer because the colors are more vivid. Sometimes when you scan a painting the colors do not turn out.

But you also paint. Could you tell me about the paintings in this exhibit?
These are mixed media of acrylic, oil and Chinese watercolor.

Your art often brings together Eastern and Western elements.
Yes, my characters are more Western looking because I like [the diversity of] Western style. But my technique is more Eastern. I have one of the Phelps House [a local historically significant home] with water lilies. The water lilies are very Chinese.

The Phelps House is but one of many local/historical structures in your art. What are some others?
Fantastic Caverns, Silver Dollar City, the Neosho Fish Hatchery, Red Oak II and the Carthage Courthouse.

Most of your illustrations are published in China as magazine covers. And you’ve illustrated a Chinese children’s book. Have you illustrated any books in English?
I have illustrated one, but it’s not published yet.

How is your art viewed in China compared to here? Are the same pieces popular?
I think it’s viewed about the same. The tree house is the most popular.

Which is your favorite piece?
My favorite always is my next one!

Why art?
It’s a way to show others how I see the world.

To see the world from Cher’s enchanted perspective or to learn more about her Art Services, visit Cher’s Fairyland at www.chersfairyland.com & like her on Facebook at www.facebook.com/faityland.cher