First Look: Mentor Me

An interview with Education Manager Eva Heinermann

Can you tell us a little bit about what Mentor Me is all about? 

Mentor Me is all about recognizing students and teachers together. Normally our children’s gallery shows are focused only on the kids, but this is an opportunity to highlight both the children and their teacher’s work as well. It recognizes the teacher’s efforts to educate their students about the arts, and recognizes the student’s imagination and creativity. 


How long has the Foundry been doing Mentor Me to complement the Mosaics Fine Art Festival and how do you see the two events working together? 

The Mosaics Festival and Mentor Me have been connected since their start 25 years ago. The two events work well together because both are involving the community with the arts. Mosaics brings a variety of media to people with painting, ceramics, fiber art, sculpture, things like that. Mentor Me gets educators and students to work together in the creative process of making an art piece and getting it ready for showing. Both events are reaching out to adults and children to get them involved in the arts, which is important.

How many schools are participating this year? What about individual students? 

There are 16 schools participating this year, with 42 kids total. Students range from kindergarten all the way through high school. 

What do you think is the most important part of the show?

I think the most important part is the opportunity this show gives the teachers and students. For some students this may be the first time they get to exhibit their work, and I’m sure as a kid it’s even more exciting when your teacher’s work is hanging right next to yours.



Marina Kuchinski

How did you first become involved with art?

I was born in Latvia and at the age of 4 moved to Israel with my parents. I have memories from Latvia of my father telling stories and drawing them for me at the same time. This was my very first exposure and fascination with art. I have always loved making art ever since. My father was not an artist but could draw very well. My mother was a maker, artist, designer, and a very creative person. My parents cultivated my love for art and encouraged me to pursue art classes as a child. I had a wonderful sculpture teacher when I was 10 years old whose influence resides with me to this day. I went to a fine arts high school, then pursued my BFA and MFA in ceramics.


Do you have an academic training or art education?

I completed my BFA in ceramics at the Bezalel Academy of Art and Design in Jerusalem. After that, I moved to the US and completed my MFA in ceramics at Penn State University.

What inspires your artwork?

I have always been an observer. Everything around me intrigues me visually: humans, animals, buildings, rocks, trees and the view of the street from my window. Making art is the natural way for me to reflect on what I see and experience.

Conceptually, I am interested in relationships between people and relationships between humans and animals. This helps me investigate the human experience, the animal experience, and the way animals have been perceived in both historical and contemporary contexts. I am using animal subjects to open up human understanding of animal experiences and attempt to think from an animal “other” point of view. Postcolonial research and animal studies theories provide sources and references for my work.

In “Acceptable Breed Colors” for example, I was interested in genetic modifications that produced the infinity of dog breeds that humans developed from the wolf. Everything can be controlled, even a dog’s eye color.


Your award winning piece depicts dogs. Do you always use animals to communicate artistically?

I usually make animal forms. Some of the times I combine animal with human forms and other times I create human forms only. When making animal forms, most of my work evolves around domesticated animals such as dogs and cats.

I am interested in animal representations that explore animality through our relationship with animals, and more broadly, our relationship with the “other”. I am hoping that my desire to discover what is animal can also lead to a greater understanding of what it means to be human. I focus on the boundaries between the two to investigate the various ways humans have been able to alter an animal’s behavior. Pets are humanized animals, and in many cases, the closest contact we have with the wild. A contradiction that may be characterized by both intimacy and exploitation is a departure point for many of the pieces I make.

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Describe your process and materials. Include pictures!

In most of my works, I use the solid clay construction method. I handbuild with solid clay; this allows me to easily add and subtract when creating the form. When the pieces are larger or more complex, I also use armature to prevent them from collapsing. When the form is complete, I hollow the piece out to form an approximately ¼” – ½” wall. I then fire the work, usually with minimal glazing or color.

Other times I slip cast or press mold my pieces. I have a general cat head mold for example, that I press mold to create multiple cat heads, and then change specific features, such as the ears and eyes in each cat.

What are you currently working on in your studio?

I have been recently experimenting with marbling and inlaying clays when creating my handbuilt forms.


Artist Spotlight: Sharon Charmley and Benjamin Parks I Figurative Works II Award Winners

Sharon Charmley

How did you first become involved with art?

I have always been interested in art, and I can recall that even in elementary school, I was the kid pouring over the school book sales looking for “how to draw” books. I found art as a natural outlet for my introverted personality, and it helped me find some confidence in school since I wasn’t the strongest student in the class. I found out later in life that I am dyslexic, which accounts for the school struggles, but also contributes to the creativity. I completed my undergraduate degree in Fine Arts at Kent State University, then worked in several social services positions before becoming a stay at home mom. The stress of child rearing propelled me back into producing art as way of supporting my mental health.

I went back to my art in earnest after the birth of my boys. I find parenting a challenging role and I have found painting to be an outlet for my personal health and well-being, but additionally it has become a place to work through issues that I find to be challenging or difficult in child rearing. I have always been easily influenced by the emotions of others. This empathy is a blessing and a curse at times.

Do you have any academic training or art education?

I took classes and workshops, as a rule I tried to take at least one workshop each year to continue my progress as an artist, and I attended open drawing or painting sessions that had a live model. Since moving to St. Louis a few years ago, I have had the opportunity to continue learning from the talented professors in the painting program at Fontbonne University, where I will earn an MFA next spring.


Who or what inspires you to create art?

The two things that inspire me most to keep creating are: first, the sense of fulfillment I get from the process of learning and practicing a skill, and second, the opportunity it gives me to work out issues or emotions I find difficult to deal with in my mind. A couple of examples of this later benefit are easier to see in two older pieces I have done: one for the 10th anniversary of 9/11 (2011), and the other, a nativity scene (2012).

These two paintings are examples of where I find inspiration. In fact I would say that I find it most clearly when I am honest about the struggles I am having. More recently, those struggles center around the raising of two boys that have been diagnosed by our current educational system as “twice-exceptional”. This means that they have been tested and found to have exceptional abilities in certain areas of learning, and also they have been diagnosed with learning disabilities in other areas of learning. For example one has been given the labels of: a genius level IQ and dyslexia, so the dyslexia prevents him from learning to the height of his intellectual ability. The challenge of raising two children with these academic labels, and trying to figure out how to best encourage them to be the best unique individuals that they were created to be, has been at the center of my personal struggles, and therefore also my artwork.

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Why are you a figurative artist?

As for the question of why I do figurative art, it really come down to a lifelong fascination with the non-verbal expressions that can be communicated through the human body and face. Since the viewers of art are human, there is a natural connection that happens when portraying emotions or messages using non-verbal expressions. I have been fascinated by the idea of how to use the portrait to convey more of the psychological interworking of the subject than a photograph can capture. In an age of selfies and digital social media, there is no shortage of portraits today, but do those endless photos really convey what makes that individual unique and special?

Tell us about your process and materials.


My process has changed over time, the materials will vary depending on the project, but there are a few things that remain constant. After I feel inspired by an idea, I will gather photographic references, and in some cases I will set up a photo shoot to get the references I envision; this was the case with my Nativity painting. Other times the photos that I take of people will inspire an idea, so I will use that as my starting point. I usually use Photoshop to work out my compositions before putting brush to canvas, this process helps me to make many compositional decisions before I start a painting. Recently I have been using my children’s drawings as the initial basis for a painting. When I do this, I will make a xerox copy of their drawings, then use a gel medium transfer process to put the drawings onto a birch wood panel. I chose wood panels because the gel medium transfer process works easier on a rigid surface, and I like the way the light warm tone of the wood panel looks against the cooler tones of the xerox copy transfer. After I have my background set, I will use that image as the backdrop and start composing in photoshop. Once I am ready to start the painting, I will project the image onto the canvas and trace a faint outline of the figure. I do this because the gel medium transfer would show every single correction of the drawing process, and I want to preserve the white background as much as possible so that the kids drawings are not covered up. After I have painted the figure in oils, then I play with the edges and background images to try to build up the interior dialogue that inspired me in the first place.

Benjamin Parks:

How did you first become involved with art?

Some of my first memories are making drawings and paper sculptures at 4 years old. In elementary school, I could be found drawing faces during class. I have continuously created and experimented with visual art and expression for as long as I can remember.  

Do you have any academic training or art education?

I have taken several art classes to learn technique and theory at institutions such as the Kansas City Art Institute. I spent over a decade studying books and techniques form Italian and American masters to develop my own style and technique.   

Who or what inspires you to create art?

For me, creating art is the deepest form of meditation practice I can do. This allows me to connect with myself and communicate with others on a spiritual level.

Where do you draw your influence?

I find my major influences are from American artist such as John Singer Sargent, Dean Mitchell, Andrew Wyeth and Chuck Close.

Why are you a figurative artist?

I have always felt a compulsion to create and communicate through the human form. In middle school, I read an article featuring the artist Dean Mitchell. He described how he left the illustration world to pursue his fine art figurative work. This was not for commissioned work, but for himself. This was an impactful moment that gave me permission to pursue what I knew to be an inner truth.

Tell us about your process and materials.

I paint in Acrylic or Oils, depending on the piece. Each piece starts with a ½-1-inch grid and topographical-like shapes are drawn within that grid. The first layers of paint are an Ultramarine blue and Titanium White underpainting that helps create depth in the skin tones. I then re-draw the grid multiple times as I apply dozens of thin layers of color over the top of the underpainting. The main focus of the painting is what I call the ‘face triangle’, which consists of the eyes, nose and mouth.