Rejoicing in Our Differences with “Oak Park Halloween”

By Jan S. Gephardt

“Rejoicing in our Differences” is a new series of larger-scale paintings by my friend (and frequent XK9-painter) Lucy A. Synk. The theme also could be an unofficial motto for Weird Sisters Publishing. Yes, Lucy, G., and I are all white women of a certain age. You might not look at us and instantly think “diversity!” But all three of us are creative types who both value, and seek to nurture and celebrate, diversity.

Privileged in some ways? Certainly. It comes with the skin, whether we like it or not. Had it easy? Well, we’re all women. We’ve spent decades bumping into patriarchy, in male-dominated creative fields (name one that isn’t), and earning lower wages than men. Make of that what you will. But diversity isn’t a contest. And this isn’t a story about who’s more “oppressed.”

It’s an invitation to celebrate, to ally with others, and to spend a little time rejoicing in our differences. In the spirit of the season, please spend a little time looking at Oak Park Halloween.

The full painting Oak Park Halloween, 2019, by Lucy A. Synk.

Every Painting is a Journey

Lucy’s journey to creating this painting took her through job changes, moves from state to state, and a bout of homesickness for a beloved place she’d had to leave. For a while she had an illustration job in Chicago, and she settled happily into the suburb of Oak Park, Illinois. There she found friends, a compatible faith community, and a place of architectural and natural beauty.

Even after she had to relocate, the fond memories lingered. And they fed an idea for a painting. No, a series of paintings. In 2018, before SARS-CoV-2 had even hinted at darkening our horizon, she began to build on her ideas for a series of paintings that explored the many ways in which the United States has ample reason to rejoice in our differences.

As she says in her artist’s statement, “Even more importantly than providing entertainment or decoration, art should also inspire, teach, and encourage people to think, wonder and grow. My work often has symbolic or fantasy elements without fitting any single category but reflects my search for unity in the diversity not only of my own interests, but in the plurality of American culture.”

A Sharp Break with Disunity and Hatred

Oak Park Halloween draws on Lucy’s memories, but it’s not meant to be taken as history. The painting was specifically inspired by one particular Halloween in her diverse, family-friendly neighborhood in Oak Park, IL. But the painting does not portray any specific street or group of people. She was hoping to evoke a feeling of Halloween fun that many can relate to and enjoy.

In today’s political climate, that almost makes it a radical protest painting. “Rejoicing in our Differences,” as a message, cuts sharply counter to the majority of things we see in the media these days.

As I write this, they’re doing jury selection in Georgia, for the trial of three men who are using a fugitive slave law from 1863 as their defense for killing Black jogger Ahmaud Arbery. White supremacists are going on trial in Charlottesville, VA, for civil rights violations stemming from a the 2017 “Unite the Right” rally that led to the death of counter-protester Heather Heyer. And hate crimes are at a shocking high.

But just because Americans don’t seem to be rejoicing in our differences right now, that doesn’t mean the message isn’t important. Some (me, for instance!) might say it’s more important now than ever. That said, let’s walk through Oak Park Halloween.

You might notice a bunch of changes to details through these varied steps in the development of the painting. The black-and-white tonal study at lower right was done to check contrast and value range. (Images are © 2018-2019 by Lucy A. Synk).

How do you Paint a Crowd Scene?

Of all the things in the world that there are to draw, people are by far the hardest, especially for untrained artists. Even trained ones can have difficulty. We come pre-loaded with a lot of ideas that have nothing to do with how humans (or other things) look in objective reality. Which is why the proportions in kids’ drawings are so frequently distorted.

And if you think one human is hard, just wait till you tackle a crowd scene!

Take another look at Lucy’s painting above. Yes, it is a tour de force. But how does an artist manage a crowd scene? It’s kinda like eating the proverbial elephant “one bite at a time.” Except, in this case it’s drawing (and then painting) one small group at a time.

The brother and sister in front portray Marvel’s Black Panther and one of his elite Dora Milaje, the Wakandan royal guards. We have a Vulcan Starfleet Science Officer from the Star Trek Universe to the front girl’s left. The child in the red hoodie portrays Coco, from the movie of the same name, and the girl in the purple witch costume might be portraying Hermione Granger. Since masks tend to obstruct kids’ ability to see, in this pre-Covid painting, these children wear face paint, rather than masks. (Image © 2019 by Lucy A. Synk).

The Porch Kids

In the front-center of the composition, a group of five kids appear larger than the others, many of them staring directly at the viewer. They’re there to both center and focus the painting, and to invite you into it. The idea is that they’re standing on the viewer’s porch, awaiting your interaction and generosity.

As the most prominent group, they also are the most diverse, in keeping with the overarching theme of rejoicing in our differences. Since kids normally trick-or-treat in friend groups, how might these kids have met and formed friendships? I bet you’re already imagining a story for them—exactly as the artist hoped you would.

Lucy did a lot of research to create each group in the painting. Many of the costumes are based on DIY (do-it-yourself) outfits she found online, or combinations of them. She also took some important (pre-Covid) safety concepts into consideration. For example, since masks tend to obstruct kids’ ability to see, these children wear face paint, rather than masks.

These are just some of the developmental sketches and studies Lucy worked through for the “Porch Kids” group. (All images © 2018-2019 by Lucy A. Synk).

Fantasy and Science Fiction Elements

Lucy and I met at a science fiction convention. A deep, abiding interest in these genres continues to be an important part of our lives, even outside of the field. Oak Park Halloween isn’t meant to be a “fantasy genre” painting in the way that some of Lucy’s work has been. But with fantastical elements dominating popular culture, of course she made sure there was broad representation for many beloved stories.

Thus, you’ll find Star Trek, Star Wars, the Marvel Universe, the DC Universe, Dr. Who, and others among the more traditional witches, vampires, fairy princesses, and caped heroes. Lucy also came down rather heavily on the side of DIY costumes. Not only did she want to avoid infringing copyrights, she wanted to celebrate parental ingenuity while “rejoicing in our differences.”

From left to right, (1) The Jedi Knight and his little sister (on the Tauntaun) portray characters from the Star Wars Universe. The child with the pink bag is meant to be a vampire. However, her tiny fangs do not show, since her whole body is only 7” high. (2) A little astronaut, in the actual painting about 3½” tall, wears an orange, NASA-style jumpsuit. The artist is inspired by all the little girls who yearn for such future careers. (3) The child dressed up as the T.A.R.D.I.S. is based on a popular DIY costume concept that proves particularly confusing to her observer—a nod to Dr. Who, as portrayed by “Tenth Doctor” David Tennant. (4) A toddler enjoys a first Halloween, guided by Dad. The DIY costume uses glow sticks to create a light-up “stick man” from a black, hooded onesie. (5) Wonder Woman and her parents Hippolyta and Zeus are based on the artist’s great-niece and her parents, for whom themed family costumes are a tradition. (All images © 2019 by Lucy A. Synk).

Getting the Details Right

Having been an “inside observer” of the two-year development process from early sketches to finished painting, I can tell you a lot of thought went into those houses across the street. Based on architecture in Oak Park IL they might be, but none of them is an exact portrait of an existing house. As with the kids they host, they are “of the general type.” But each one tells its own story.

You might be surprised at the care given to small details, such as placement, size, and color of the moon. The exact moment of twilight, and how to paint it, inspired another spate of thinking and second-guessing.

For an artist, the light has to be just right. If it’s off, or if a shadow falls wrong, the illusion fails. We often hear about the “willing suspension of disbelief” that’s necessary for a reader to self-immerse into a story. But to appreciate a painting we also need to willingly suspend our disbelief that this collection of light and dark color splotches “is” the frozen moment in time it purports to be. One wrong shadow or highlight can ruin it.

Sketches and color studies offer a glimpse of Lucy’s decision-making, and the thorny question of how big and where to position the moon. (All images © 2018-2019 by Lucy A. Synk).

Homes that Harbor no Hate

As I noted above, each of the houses “across the street” tells its own story. I like to think of them as the “Hate Has No Home” House, the “Welcome to All” House, and the “Teal Pumpkin” House. Each embodies a sub-thread of the overall “rejoicing in our differences” theme.

The yellow house at upper left in the painting is haunted by a fairly traditional group. We have several princesses, ghosts and a pumpkin-head. Some might recognize the sign in the window as a “Hate Has No Home Here” sign, shown at right. (House image © 2019 by Lucy A. Synk. Sign by Hate Has No Home Here).

We have Batman, the Cowardly Lion, another witch, and assorted other traditional costumes at the middle house. The host couple in the doorway are a mixed-race pair, typical of a growing number of American families. The group on the sidewalk to the right portray an assortment of Pirates of the Caribbean. The quote is from Lucy’s Artist’s Statement about her “Rejoicing in our Differences” series. (Image © 2019, and words © 2021 by Lucy A. Synk).

The children at the house with the orange gables in the painting’s upper right include a portrayal of Princess Leia. Note the Teal Pumpkin on the porch, which indicates that this house gives prizes suitable for children with food allergies. Rejoicing in our differences includes making a happy, accepting place for everyone, even if they face special challenges. (House image © 2019 by Lucy A. Synk. The “Teal Pumpkin Treats” graphic is courtesy of University of Utah Health Care, via Pinterest).

Rejoicing in Our Differences

Lucy certainly recognizes that her “Rejoicing in our Differences” theme asserts an aspirational goal. But then, she’s lived a life of diverse inputs and challenges. She started with a BFA in Drawing, Painting, and Photography from a small college, then pursued an art career that included a stint at Hallmark Cards, freelancing as a fantasy artist, and work as a natural history illustrator and muralist.

“My work has always been very diverse, spanning multiple mediums and subject matters,” she says. As both natural and human history has shown, diversity makes a system stronger, even if not everyone is comfortable embracing differences. The most vibrant, creative, and innovative times and places have come at a crossroads of cultures, when diverse ideas and viewpoints make new ideas possible.

As Lucy wrote in her artist’s statement, “In these dark times, there has been so much negativity.” Perhaps you’ll agree that we’d do better to meditate on what Lucy calls America’s “wonderful diversity.” Based on that, “Rejoicing in Our Differences” may be exactly the medicine we need.

IMAGE CREDITS

Oak Park Halloween, the painting, the studies, the sketches, and the detail images, all are © 2018-2019 by Lucy A. Synk, and are used here with her permission. All rights reserved. The “Hate Has No Home Here” poster design is courtesy of Hate Has No Home Here. The “Teal Pumpkin Treats” graphic is courtesy of University of Utah Health Care, via Pinterest. Many thanks to all!

Authors of Archon 44

 By Jan S. Gephardt

Last week I wrote about the artists. Now it’s time to write about the authors of Archon 44. Followers of this blog know that I recently attended Archon 44. As the “44” at the end indicates, this is a science fiction convention with a long history in the St. Louis metropolitan area. Their most recent venue is the Gateway Convention Center in Collinsville, IL.

My focus at conventions is mostly split between artists and authors. I had a shiny new book to promote, of course, with A Bone to Pick. Stranger to realize: because of Covid, The Other Side of Fear was also “new” at Archon 44. I’m happy to say I sold several of each!

Jan’s XK9 books in story-chronology order, L-R: The Other Side of Fear, cover ©2020 by Lucy A. Synk; What’s Bred in the Bone, cover ©2019 by Jody A. Lee; and A Bone to Pick, cover ©2020 by Jody A. Lee. (Weird Sisters Publishing LLC).

As an old-school, fan-run regional science fiction convention, the Archon folks offer a full range of “phannish” diversions. There were a vigorous gaming presence, plus many filkers (sf/fantasy music composers and performers), filmmakers, podcasters, and others, along with the artists and authors of Archon 44. The hall costumes came out in force, as usual (See my 2018 and 2019 posts about them).

Panel Discussions with the Authors of Archon 44

Making sure I’m ready for my own scheduled panels (as well as the Art Show) is my top priority at any convention I attend. As I see it, panels are part of the reason people come. That means we panelists are an important part of the “entertainment”—an important element in the convention’s overall success. That’s why many sf cons comp the memberships of attending creatives who agree to be on panels.

But at most conventions there’s also some “downtime” between panel appearances. That’s go-to-the-Art-Show and Dealer’s Room time. It’s wander-the-convention-and-take-pictures time. And it’s go-to-other-people’s-panels time. But Programming kept me really busy this year. I asked for it, so I’m not complaining! I also had my usual stuff to carry, plus a cane (a reluctant but helpful concession). It made the logistics of photography harder.

Here I am, complete with mask, signs, and S.W.A.G.: just one of the authors of Archon 44. (Tyrell E. Gephardt).

Developing Your Creative Brand

I had a couple of panels with other authors of Archon 44 on Friday, in addition to the art-oriented panel I wrote about last week. The first one, “Developing Your Creative Brand,” certainly could just as well have included artists, as well as filkers, podcasters, costumers, and more. But as it turned out, it was just two other writers and me—as well as a small but engaged audience. The other two writers, Cole Gibsen and Brian Katcher, each occupy a somewhat different YA niche.

Cole's Experience

Cole, who was our moderator for this panel, has written YA and Romance, but her most recent book, Risen, published in 2018. It is the first and so far only one in Blood Eternal vampire series—but there’s a reason for that. She’s a dog trainer as well as a writer, and the vast majority of her time these days is taken up with her nonprofit, Got Your Six PTSD Support Dogs. That seems to be her greatest passion these days, and it’s where she’s invested most of her brand-building efforts.

Author and dog trainer Cole Gibsen has written several YA Romance books and started a vampire series called Blood Eternal (Book One is Risen). But her current passion seems mostly focused on her nonprofit, Got Your Six PTSD Support Dogs. (Goodreads; Cole’s Amazon Author Page; Got Your Six on Facebook).

Brian's Experience

Brian Katcher, similarly, has written a number of books, all in the YA field. He’s a librarian in his “day job,” and recently his kids began to age into his audience demographic. He’s been circling around the “contemporary YA” identity for a while. He tested the waters in YA science fiction with Everyone Dies in the End.

His most acclaim came for his book Almost Perfect, about a high school boy in a small Missouri town who falls in love with the new girl (who turns out to be transgender). It won a Stonewall Award for Children’s and Young Adult Literature in 2011, but it also caught some backlash later. Brian has written about his experience for this blog. Watch for it in November!

It’s Never Too Late: Becoming a Successful Writer After 50

This was originally conceived as a “solo” event, a talk by Author Guest of Honor Alma Katsu. She convinced the Programming folks to open it up to additional “mature” authors of Archon 44. They reached out to several of us, which is how I ended up as the moderator.

Alma was right. We had a “deep bench” when it came to writers who are achieving success after age 50. Our conversation explored the reasons why we delayed our assorted launches into writing. Most came down to needing to earn a living while learning the craft and rearing children, which is certainly my story.

This photo of Alma Katsu was used for her Archon 44 Guest of Honor photo. Her “Taker” Trilogy melded paranormal, historical, and romantic elements. Since then, she has focused mostly on historical fiction, with paranormal elements mixed in. (Goodreads; Amazon).

The Inevitable Question

We also had a chance to address the inevitable question, “if you were so talented and dedicated to your craft, why didn’t you start earlier?” I, for one, enjoyed calling out the entitlement and privilege that underlies the question. As if, of course, it’s that straightforward. As if, of course, everyone else in your life would be perfectly willing and able to support you until the literary world recognized your brilliance. And as if, of course, a true genius can only be devoted to one art.

So many fallacies! So little time! It was good to have a chance to stick pins in them. Not entirely surprisingly, all the panelists were women (imagine that), although men certainly can be subject to the same delays and issues.

Here’s a look at my other co-panelists. I’ve included a bit about their work in the cutlines.

I discovered that Deborah Millitello is somewhat elusive online, but I found an author photo and a fantasy duo, the "Baramayan Chronicles." (Word Posse, Amazon, and Amazon).

Author Lettie Prell is best known recently for her wonderful short fiction, much of which is available online, some for free. Her novella The Three Lives of Sonata James is available as an ebook. So is her only novel to date, Dragon Ring. (Amazon, Lettie’s website, and Amazon).

Originally a botanist, Rachel Neumeier now writes Young Adult fantasy novels, raises and shows dogs, and works as a tutor. She has written numerous books. Among the most recent are her three-book “Tuyo”(at left) and “Death’s Lady” (at right) series. (Amazon, Rachel’s website, and Amazon).

The Space Races

Saturday’s panels started with one I’d really been looking forward to. The introduction to “The Space Races” read: “Some stories have mankind becoming more and more homogenous until race is no longer an issue. Others have racial, religious and other groups all heading off to colonize their own 'home planet.' Which do we think is more likely, and are there positive aspects to both systems?”

Anyone who’s read my work knows I am pulling for a diverse future, based on the understanding that a diverse system (of any sort) is more resilient. In every age, the centers where different people from different backgrounds have been able to come together (ideally, mostly in peace) are the most vibrant, creative, and prosperous. I was all ready to pour cold water on the idea that “divide or homogenize” are our only choices.

Alternative Views

Unfortunately, I didn’t find much backing for my idea among other authors of Archon 44. Rachel Neumeier, one of our panelists, took an evolutionary genetics point of view. She wasn’t interested in cultures, so much as biology. We’ll either inevitably homogenize or break into multiple sub-species variants, was essentially her take.

The other two panelists, Grant Carrington and Adrian “A. J.” Matthews, pretty much fell in with the “we’ll self-segregate” philosophy. Their predictions seem based on the idea that most people prefer to be comfortable, and differences make us uncomfortable. Therefore, if we make it to space, we’ll settle in our own little separate places, our “segregated neighborhoods” and “gated communities.” I’d love to think we’ve learned better, but contemporary trends do seem to make my take look too optimistic.

Author Grant Carrington has been publishing short science fiction since at least 1971. Meanwhile, he pursued  a career as a computer programmer for Goddard Space Flight Center and other academic, corporate, and government entities. He also sings and plays guitar. His three books are widely available from Brief Candle Press. (Amazon).

The writer behind the 5-book Veronica Nash historical fiction murder mystery series. Adrian “A. J.” Matthews hails from Britain, but he currently lives in Ohio. (Amazon; Archon 43).

Sustainable Creativity

Once again, this topic could have been addressed by creatives in any field, but the folks on the panel were all (except for me) there solely as authors at Archon 44. Meg Elison and Christine Amsden rounded out the panel. The prompt for the panel said: “Maintaining a creative routine during life's interruptions, whether big or small.”

As the moderator, I had imagined we might talk about some of the issues involved in remaining creative during Covid lockdowns, but lockdown was a topic everyone else wanted to put in the rearview—and then floor it, looking straight ahead.

Christine, who is legally blind, talked about the digital tools she uses to deal with her disability. We discussed more timeless issues for remaining creative, too. How do we balance our time? How do we manage an outside job and writing? What about interruptions from kids and other family members, including companion animals? Our answers, as timeless as the questions, boiled down to setting reasonable boundaries, being flexible, and persevering, whatever comes.

Author Christine Amsden may be legally blind, but it doesn’t stop her from writing. She is probably best known for her 7-book Cassie Scot paranormal series. (Christine’s website; Amazon).

Science fiction writer and feminist essayist Meg Elison is a multiple award honoree and a prolific author who “writes like she’s running out of time.” (Amazon).

Virtual Pros and Cons

Even as the moderator, I wasn’t sure where this panel would go. The topic was efforts by sf conventions and individual creators to stay active and deliver content in the midst of a pandemic when everything went virtual.

As it turned out, I needn’t have worried. The small audience and one of the panelists, massage therapist and filker Jan DiMasi, all had deep experience as conrunners who’d had a baptism by fire over the past two years. They’d learned far more than they ever expected to, about the ins and outs of virtual conventions, and were eager to compare notes and “war stories.”

The other panelist besides me was another of the authors of Archon 44, Elizabeth Donald. She is founder and coordinator of The Literary Underworld, a journalist, and grad student pursuing dual masters degree programs at Southern Illinois University Edwardsville. As her bio says, “In her spare time, she has no spare time.”

She spoke about the challenges of producing journalism conventions online, and described a downturn in business for The Literary Underworld, when they were no longer able to travel to sf cons. This provided a contrast with Weird Sisters Publishing’s experience. Since we are currently introducing ourselves almost exclusively online, we’ve seen our sales grow during the pandemic.

Journalist and dark fiction author Elizabeth Donald has won several awards for her fiction and has written many books, including the “Nocturnal Urges” and “Blackfire” novel series. She is the founder and coordinator of The Literary Underworld authors’ group. (Elizabeth’s website; Amazon).

The One Reading I Did Go To!

As longtime readers of this blog know, one of my favorite things to do is go to other authors’ readings. I’ve blogged about readings at SoonerCon several times. Also at DemiCon, ConQuesT, FenCon, a Worldcon, and a NASFiC. But the only reading I attended at Archon 44 was my own. I’d asked that it be scheduled later in the weekend, so I’d have more time to promote it. Programming obliged, and scheduled it on Sunday of the convention. So, out of all the authors of Archon 44, I only got to listen to Van Allen Plexico and Kurt Pankau.

I came to the reading prepared to read any of several works. After all, both The Other Side of Fear and A Bone to Pick both were “debutantes” at Archon 44. A query revealed that some in the audience remembered how I’d read the first chapter of my then-newly-in-progress draft of A Bone to Pick at Archon in 2019. Did I happen to have something like that to share?

As it happened, I did have an early scene from my first draft of Bone of Contention. I call it Shady and the Not-So Diplomatic Appscaten. I read it, it was well-received, and I later turned it into a downloadable “extra” for subscribers to my monthly newsletter. If you’d like to read it, scroll down for a way to subscribe!

I made this banner for my newsletter subscribers, after I created a downloadable version of the selection I read at Archon 44. (portrait of Shady ©2020 by Lucy A. Synk; photos from 123rf).

What did the Others Read?

A current work-in-progress gave Van Allen Plexico his material. He read the opening for his upcoming work Solonis: Master of Space and Time, from his "The Above" series. Previous books in the series are (in order) Lucien: Dark God's Homecoming, Baranak: Storming the Gates, and Karilyne: Heart Cold as Ice. 

Longtime and honored writer Van Allen Plexico has been writing short fiction for anthologies recently, but he’s probably best known for his 9-book series “The Sentinels,” illustrated by Chris Kohler. He also hosts the White Rocket podcast. (Amazon; Amazon).

Kurt Pankau read a selection from his science fiction western High Noon on Phobos. Yes, “science fiction westerns” are a thing. The selection he read was pretty campy, but the story was set on a megastructure in space that involved an agricultural component (elements I’ve thought about a lot). I looked into it later, and decided to give it a whirl.

In the long run, I found the justification for rangeland and livestock on a modified ringworld around the Martian moon Phobos to be far-fetched. But this book doesn’t take itself at all seriously. It’s played for laughs, and I did laugh. You can read my review on Goodreads.

Author Kurt Pankau is a computer engineer in St. Louis who most often writes short fiction, but he made an exception: his “silly space western,” which he originally published under a pseudonym. (Kurt’s website, photo by Kathy Schrenk; Amazon).

IMAGE CREDITS

I have seriously overdone it with the images on this one, and I undoubtedly could have broken this post into several. But I only have time to post once a week, and you’d still be reading about Archon 44 a month from now, at that rate. To make up for cramming them all into one post, I wanted to represent each author with their own small montage. To keep this section from being about a mile long on a post that’s already too long as it is, I’ve tried to make sure the credits are listed in each cutline.

Artists at Archon 44

By Jan S. Gephardt

If I may judge from my own experience, it was a pretty good weekend for artists at Archon 44. There was only a little space left over in the Art Show, but not much. And there was a nice variety of media and art styles represented.

The Artists’/Creators’ Alley looked full and busy to me, even though the overall crowd was definitely smaller this year. It seemed as if people had been cooped up for close to two years, saving their money to buy things. For me, the highlight of this part of the show was the chance to meet and talk with the gifted illustrator Jennifer Stolzer. Her wonderful artwork may find its way into a Weird Sisters publication someday!

And, as is normal at Archon, there was a pretty full track of Art Programming. The audiences were a little smaller, but I was delighted to find they were eager to engage. We had some great panels. Yes, on the whole it seemed to be a very good weekend for artists at Archon 44.

Here’s a glimpse of the Archon 44 Art Show being set up, plus a photo of Jan S. Gephardt’s Archon 44 paper sculpture display. (Jan S. Gephardt).

The Art Show

For many artists, especially those who don’t have a booth in the Artists’ Alley or Dealers’ Room, the Art Show is an important event. For quite a few years in the past, the late Michelle Zellich presided as Art Show Director, but the committee lost a beloved friend and an incredible resource when Michelle passed away in June.

Artist Anna Mulch took the helm this year, and really put in a good effort. I feel quite certain (having been a first-time Art Show Director myself, a decade ago) that she and her staff came out of the weekend exhausted and stressed. But from my perspective as a participating artist, the show went well and seemed smoothly-organized.

Although some conventions have an Artists’ Reception on Friday of the con (designed to lure people into the show), that hasn’t been a recent tradition at Archon. Instead, most experienced Archon attendees know to come in for the voting and the bidding.

At left, Craig Skaggs with his Artists’ Alley display. At right, Tai Taeoalii’s Artist Guest of Honor photo (Jan S. Gephardt/Archon 44).

Award-Winning Artists at Archon 44

This year’s Artist Guest of Honor was Tai Taeoalii, whom the convention’s organizers spotted at an art fair (once you’ve seen his work, it’s hard to forget).

He had several large works on display near the front. My favorite of his works on display (and also the winner of the Fans’ Choice Award) was An Epic Versus of Classics. His Alternate Labyrinth received the Art Show’s Best Concept Award.

But the Art Show Awards also recognized other accomplished artists at Archon 44. Disney and Lucasfilm artist Craig Skaggs also claimed a number of panels near the front for some of his large showpieces. One of them, Trooper, received the Best in Show Award. Cartoonist Mike Cole, not surprisingly, captured the award for Best Use of Humor, with They Had Cookies.

Gifted Non-Pros

The Best Non-Professional Art Award this year went to Mary Skywalker, creator of Mermaid Lamps. Unfortunately, I couldn’t find a link to her artwork.

Best Juvenile Art (Under 13) winner was Meara Ensminger, age 9, whose Universe impressed a lot of us. Since she’s the granddaughter of April Robinson (who shared panel space with her), we suspect we know where she gets her artistic bent.

You may be wondering why haven’t posted images of some of these artworks. I’ve opted to instead embed hyperlinks to all of the artworks I specifically can find online. I did this for an important reason. Because of personal time and energy constraints, I couldn’t contact these artists far enough in advance to receive permission to share their images in this post. The issue of “fair use” is a much more fraught subject with visual artists than, say, sharing images of book covers. But please do follow the hyperlinks to see the artwork!

A Strong Showing by 3D Artists at Archon 44

Best Professional Art honors went to the marvelous sculptor Snail Scott, a “local,” but also widely-exhibited, professional. She also is an adjunct assistant professor who currently teaches at the University of Missouri-St. Louis.

Eddie Wilson (Whisperstudio-Broken Toys) also is a gifted 2D illustrator. But it was his original sculpture Wasteland Prophetesse that won the Best 3D Art Award. It was one of several original sculptures Wilson displayed at Archon 44.

And the ever-beloved potter Peri Charlifu of Aegean Goods received the Artists’ Choice Award for his Dragon Spoon Jar. Veteran readers of this blog may recall that Peri and his artwork have done star turns in my posts before.

In 2019 at FenCon XVI, Peri Charlifu allowed Jan S. Gephardt to photograph his Artist Guest of Honor Art Show display during Art show setup, for use on her blogs. (Art by Peri Charlifu/photo by Jan S. Gephardt).

Viewing the Show With a Friend

For me, the Art Show Award winners weren’t the only highlights. I happened to get a chance to view the show on Saturday before the Auction at the same time John E. Kauffmann was there.

As you might guess, science fiction conventions are a bit like a traveling community (art fairs and Renaissance Festivals are, too). John and I have been sf convention friends for several years. We’ve exhibited in many of the same shows and been co-panelists on art programming. Just as importantly, we like and respect each other’s art.

So, once we bumped into each other, we strolled through the rest of the show together, sharing thoughts and just generally having a pleasant visit. Gotta say, that’s one of my favorite memories from Archon 44 (not an experience it’s easy to replicate online!). Thanks, John!

At his Archon 44 “Artists’ Alley” display, John E. Kaufmann gave his permission and cooperation for this photo by Jan S. Gephardt.

Other Notable Artists at Archon 44

Another highlight of the show for me was a chance to see some new-to-me artwork by the wonderful Arden Ellen Nixon. I say “new-to-me” because although it may have been out for a while, I haven’t been, much, for two years—and I simply can’t spend all my time online. So I had the joy of discovering Arden’s heartstring-tugging Rainbow Bridge, and her utterly adorable What? (my personal choice for Best Use of Humor), for the first time at Archon 44.

Fellow Kansas City artists Allison Stein and Rachael Mayo also had lots of new things in the show, as well as old favorites. Longtime readers of this blog may recall that two years ago I featured Rachael’s work in a post about Archon 43.

I also had a chance to see new intaglio prints by the amazing Mark Roland, and wonderful work by forever-fan-favorites Sarah Clemens and Theresa Mather. I’m sure I’ve failed to mention someone (several someones) who deserve mention, so I apologize to all the artists I failed to note by name. It was a good show!

These works by Rachael Mayo were exhibited in the 2019 Archon 43 Art Show. They are, clockwise from left, Jazzdragon 13, Shadowgorge, and Deep Rising 11. Used with permission from the artist.

Panels for Artists at Archon 44

I participated in a total of ten scheduled panels and other events throughout the weekend, including an autograph opportunity and a reading (more on most of them next week). Yes, it was a lot. But I gave the Programming Department a green light to “keep me busy,” so if I was tired at the end, that’s on me.

Three of those panels (one each day, as it turned out) specifically dealt with visual art topics. The Gateway Center’s “Illini A” has been the “art panels“ room at Archon for the past couple of years. It makes sense to keep the art panels in one room. People can say, “Art panel: Got it!” and always know where to go. It’s one of the smaller rooms, but art panels rarely generate large crowds. Everyone can get close enough to see art demos. Also, they can leave the tables bare-topped (easier to clean or cover up afterward, if art media spill on them).

After my comments about the Art Show, I bet you’ll recognize most of my fellow panelists’ names.

Adding Depth in Two Dimensions

This was my Friday art panel. I moderated, working with panelists Eddie Wilson, Allison Stein, and Rachael Mayo and a small but extremely engaged audience of seven. I always come prepared with questions and reference sources, but at this panel I barely had to do anything but guide the first few topics and facilitate.

Eddie came prepared with his own whiteboard and markers, ready and able to do quick demos of basic linear perspective and chiaroscuro techniques, while Rachael and Allison used pieces of their own art to demonstrate ways to use value and color to create visual depth through contrast, color schemes, and aerial perspective.

After the panel, I sent a short list of URLs to audience members who asked. It offered more guidance on the background and history of linear perspective and chiaroscuro, and gave detailed guidance on one-point, two-point, and three-point perspective.

Jan’s fellow panelists on the “Adding Depth in Two Dimensions” panel, L-R: Allison Stein, Rachael “I AM smiling” Mayo, and Eddie Wilson. (Noble Fusion/Jan S. Gephardt/Eddie Wilson via Facebook).

Commercial Vs. Fine Art

My fellow panelists on this Saturday panel were two well-known artists at Archon 44, Craig Skaggs and John E. Kaufmann. We had a small but extremely engaged audience, while we walked through relevant questions.

How long have people recognized a division between “commercial” and “fine art”? Was Michelangelo a “commercial” artist? Was da Vinci? Can illustration also be fine art, or is it always commercial art? If you sell the artwork to someone, does that make it “commercial”? How much of the need to distinguish between them is driven by collectors, art dealers, and art directors? How much is driven by ego?

As you might imagine, the conversation got lively. And along the way we heard stories about boring work done only because someone was paying to have it done, the perils of commission work, and the joy of actually getting paid to make art.

Photos (L-R) of Craig Skaggs and John E. Kaufmann at their respective Archon 44 “Artists’ Alley” displays. Photos taken with their permission and cooperation by Jan S. Gephardt.

Putting Your Money Where Your Art Is

This panel was geared toward fielding questions from art collectors and offering information about the resale value of sf and fantasy artwork. Snail Scott moderated. She’s a fine artist with deep knowledge and strong opinions on the subject, not to mention being a university professor. She could have handled the whole panel solo. Longtime Kansas City art collector Tom Meserole and I also added our occasional 2-cents’ worth.

This panel addressed an important issue for sf and fantasy art. There was a “resale” section in the Art Show. That’s a feature we never used to see. In the earliest years of my career many artists looked upon resales as unwanted competition. Not anymore. Now more and more artists have come to realize that the resale value of their work helps them justify their original asking prices.

Where’s the “Resale Art” Coming From?

Baby Boomers, as a generation, came into sf fandom more willing and able to buy artwork at science fiction art shows than previous generations. Artists responded by bringing larger, better-quality, and many more original artworks to shows, in addition to their smaller, more affordable pieces.

Works that publishers used to throw away (after they’d made color separations for printing) suddenly had value. Collectors (including my co-panelist Tom) have sometimes paid hundreds or even thousands of dollars for fantasy or sf originals they love. They made a whole, additional market available for illustrators whose work graced the covers of sf and fantasy books.

Today, questions of “exactly how much is Grandpa and Grandma’s collection of dragon paintings really worth?” have gained a lot of relevancy. For a panel scheduled in the very last programming time slot before Closing Ceremonies, on the day everyone has to get out of their hotel room, we had a big crowd in that little art room.

I hope that, like Archon 44, more conventions see the need for a resale option, and help educate their attendees about the ins and outs of this issue.

All in all, a Good Weekend for Artists at Archon 44

I hope you’ve enjoyed my overview of the “Art Part” of Archon 44. It was a pleasure (though exhausting) to be back among “my people” for a weekend. If you were at Archon 44, or if you want to comment on any part of this post, please use the comments section below!

IMAGE CREDITS:

The photos in this post that were taken during Archon 44 are all by Jan S. Gephardt. I took them with permission from their subjects to use them for publication. See photo credits in the cutlines. Re-post or re-blog with attribution and a link back to this post, please. The photo of Tai Taeolii is courtesy of the Archon 44 website. I appreciate it!

The photos of Peri Charlifu’s Artist Guest of Honor pottery display at FenCon XVI were taken with his permission, on the understanding that they would be used for blog posts, with attribution and a link back. Many thanks, Peri!

The artwork by Rachael Mayo also is used with permission (from an earlier blog post). Please go to her site on DeviantArt to see her most recent work! And, thanks again, Rachael!

The photo montage of my “Depth in Two Dimensions” co-panelists features publicly-shared images of Eddie Wilson from Facebook, and Allison Stein, (thanks!). Rachael Mayo’s photo with her Peers’ Choice Nucleon Award from SoonerCon 27 in 2018 is by Jan S. Gephardt, taken for publication with Rachael’s permission and active cooperation. Many thanks to all!