Carol Fleming
Studio Terra Nova
Saint Louis, Missouri, United States
Sculpture
Explore the artistic vision and craftsmanship of Carol Fleming
About the Artist
CAROL AILEEN FLEMING
MISSION STATEMENT With life long joy in handling clay, I am driven to expand ceramic sculpture for personal reach, client delight and site impact.
SITE-SPECIFIC INSTALLATIONS
2014 City of Webster Groves, Gore/Kirkham park, 3 Eggs “Beginnings”
2014 Private Garden Portola Valley, CA, Rock-Inspired 7 Columns, 3 Acorns, 2 Eggs
2011 Spinnaker Saint Louis, 7th & Washington, St. Louis, MO Laurel 13’ Column
2011 Shaw Park Sensory Garden, Clayton, MO, Pet Egg
2010 City of Oakland, MO, 2 four-foot tall clay Acorns
2010 David Suttle’s Tile Wall in wine cellar in Ladue, MO, 8’by5’ 400 tiles
2009 Longview Museum of Fine Arts, Longview Texas, six Horsey Columns one year
now installed at Palestine Mall in Palestine Texas, 2010.
2009 North Central Michigan College, Petoskey, 3 Twist Boulder Columns & 2 Eggs
2008 Art in Transit, Metro Link Clayton Station, MO, 3 Grandfather Clock Columns
2005 Stephan Lake Park in Columbia, MO, 12 Rising Forms, Look Out Point
2002 River Port Commons, Magellan Heath Services, MO 12 Strata Columns & 9 Eggs
2001 Daum Museum of Contemporary Art, Sedalia, MO, 12 Columns in courtyard
2001 People’s Project with Enterprise Sponsorship, “Listening”
2001 BJC Children’s Hospital, St. Louis, MO, Child Life Tree for the playroom
2000 Creve Coeur Community Center, MO, 5 Columns, Competition
2000 Clayton’s first custom public bench, MO, Handling the Bench
1999 Olson’s Rooftop Garden for Children’s Hospital, MO, 4 Large Eggs
1999 Plaza Motors, Creve Coeur, MO, 6 Eggs and 3 Columns in parking lot
1998 Gallaudet University, Washington DC, 2 Columns in Collaboration with Students
1996 Alabama Institute for the Deaf and Blind, Talladega, AL, Outdoor Fountain
1996 Laumeier Sculpture Park, St. Louis, MO, 3 Arches
1994 Maritz Inc., Fenton, MO, 12 Columns in Founder’s Grove
1993 Missouri State Fair, Sponsored by MO Art Council &
Sedalia Area Council for the Arts, Sedalia, MO, Sundial and 4 clay chairs
1991 St. Elizabeth Ann Seton, St. Charles, MO, Stations of the Cross
SOLO AND TWO ARTIST EXHIBITIONS
2014 Center of Creative Arts, University City, Bridging Installation, 4 Pillars + Strings
2012 Bonsack Gallery, John Burroughs School, Ladue, MO Timeless in Nature
2009 Leopold Gallery, Kansas City, MO (with another artist)
2006 Union University, Art Gallery, Jackson, TN, Crucifixion Columns
2005 Udinotti Gallery, Scottsdale AZ (with another artist)
2003 New Harmony Gallery of Contemporary Art, Indiana, October, 12 Arches
2002 Thomas Jefferson School, St. Louis, MO, Architectural light sculptures
2000 The Arts Company, Nashville, TN (with another artist)
2001 The Sheldon Galleries, in the Lopata Sculpture Garden, St. Louis, MO
1998 Craft Alliance, University City, MO (with another artist)
1997 Lisa Steinmetz Gallery, Clayton, MO
1996 St. Louis Art Fair, Clayton, MO, 115 accepted out of 1200
1992 Elliot Smith Contemporary Arts, St. Louis, MO
1992 Bell Gallery, Seattle, WA (with another artist)
1988 Stoner Art Center, Shreveport, LA (with another artist)
1987 New Arts Gallery, St. Louis, MO
1986 Artists on the Corner, St. Louis, MO
GROUP EXHIBITIONS
2013 “Saint Louis University Invitational” Hen Column 2 Eggs
2011 Art St. Louis XXVII, juried, The Exhibition, Egg, Saint Louis, MO
2009 Friendly Fire, juried in Foundry Art Center, St. Charles, MO
2008 Private Eyes/Public Views, Spiva Center for the Arts, Joplin, MO
2006 Mythology, Art Center, National Technical Institute for the Deaf, Rochester NY
2004 Art and Faith, 7 artists at Eastminster Presbyterian Church, Evansville, IN
2004 Chesterfield Arts, 6 sculptures with six photographers, Chesterfield, MO
2004 Xen Gallery, 5 Arches, with two other artists, St. Louis, MO
2002 Sculpture Internationale, Atlanta, GA
2002 Mad Art Gallery, indoors and courtyard, St. Louis, MO
2002 “Sculptural Clay Invitational&
Artist Statement
CAROL A. FLEMING
Studio Terra Nova since 1998
24th Artist Statement
(Why am I an artist?)
I am a deaf artist, born into a life with few meaningful sounds. Yet my mother and my father, a fine architect, filled my days with visionary energy. From an early age, art—creating from clay—has been my fundamental mode of expression. It is a natural specialty. It is the way I transform my own vision into a concrete statement. Creating is the best and deepest part of me, the true voice of my inner, God-given, personality.
I opened my studio after completing graduate school at Ohio University. For a quarter of a century, I have fashioned columns with pliable clay, upwards of 250 pounds per column. The stoneware body is formulated for me according to my own recipe. I also mix all my own glazes. To date, I have done 335 firings in my gas kiln, a New York-made Bailey.
I gain great delight in shouldering my way through the clay with a heavy wood roller. The blank “canvas” will begin to speak for me as I muscle the primary slab forms, building and coiling the clay by hand. For final shaping, I pound the clay with a simple paddle; each column hums its own songs.
(What is my philosophy of art?)
The columns rise from my own story. Losing my father while I was in high school made me comprehend how truly precious life is. I realized it was important to make each day count. To that end, I aim to live fully, savoring individual moments, to trust in God, and to forgive completely. Living this way yields positive images and uplifting messages of beauty, which I aim by my art to create and share. When all is said and done, at the end of my days, I want the clay work to point to our Maker, the original Artist.
(What am I trying to convey?)
I am grateful to exhibit in Longview, Texas, this year. I have chosen six sparkling columns rising organically, with the thrilling grace and grandeur of horses, heads uplifted. The columns stand tall, solid, like sentinels, irregularly shaped to possess a bit of swagger. The firm, full lower section of each supports the expressive upper sections, making a common whole. Together, they are like strong horses, herd animals, banding into a circular line of fellowship and defense. One column alone cannot communicate such a powerful message.
It takes years of handling clay to master it. Building sections up from the base, I am piercing wide open space. I love the vertical bridging of earth to the glory above and beyond us. Let your eyes follow the columns as they stretch safely skyward. In their communal vigor, they speak as I live, confident of overcoming troubles and obstacles.
September 16, 2009