Article by Sue Snively
Local Artists – June 2003 – Colorado Central Magazine
ON FIRST GLANCE, it was like looking into the unknown, perhaps into a scene far removed from the face of this place we call earth. The lighting and shadow in this photograph aroused trepidation — and curiosity. It was a stunning piece.
Steve Sonheim of Salida is the artist, and this photograph, as with most of Steve’s work, was not meant to be conceptual or symbolic, but to go past expressionism and into the world of abstraction.
Steve shoots most of his work as large format photography, using discarded things which he treats as precious or sacred objects. This particular piece actually featured an old Philco refrigerator to which the artist had added a few objects; then he photographed the ensemble, using lighting and shadow to enhance the overall effect.
Steve is fascinated by what can be revealed in terms of texture, color, and form by using composition and lighting. His intent is not to create a puzzle or demonstrate a method, but rather to have his viewers respond to the beauty of the work. On the matter of technique, Steve refers to a quote from Vincent Van Gogh (from Art in the 20th Century, 2002): “Let us try to plumb the mysteries of technique so deeply that people will crowd around and swear to heaven that we have no technique.”
In the Sonheim home, there’s another form of art, worlds away from the abstract photos that Steve creates. It’s the work of his wife, Carla, and it’s simply faces, either painted in watercolor with pastel and ink enhancement, or sculpted in clay. To find a single face, one may have to look among many. A few may look like cartoons, some will seem familiar, and many viewers will go on to find themselves, or the face of a loved one in Carla’s work. That single face will portray simplicity through line, but with a boldness of facial expression that brings out the personality of the character.
WHEN DISPLAYED on a wall of the Steam Plant Theater in Salida, the thousand faces, presented only color and mass when viewed as a whole. Carla says, “Some people never got beyond the mass, but those who did saw faces of people familiar to them. It was as if they had found their friends or loved ones in a crowd while walking the streets of Chicago or New York.”
In spite of the simplicity of her technique, Carla feels that each piece conveys a unique personality. Each face comes from within; she doesn’t use models or photographs. As she manipulates the clay or defines the work on canvas, Carla hopes it will stir emotions in those who see it.
“When people view my work, different things happen at different viewing distances. When the many faces are viewed from afar, there is an abstract rippling of color that makes it difficult to note anything recognizable. When viewed up close, the faces become so recognizable that it’s hard to shake their identity. This reflects my belief that community among individuals is partly dependent on looking close until we recognize something familiar and meaningful — and therefore valuable.”
Steve’s work reflects some of that same philosophy. He feels that creative work must come from within the person who is creating it. In his opinion, much of fine art photography today is merely reproduction of what has already been done. In his own work, he attempts to use composition and lighting to capture the elements of form, color and texture in a radically different way.
STEVE ISN’T AFRAID to explore the possibilities in depth. He works with materials until he feels he’s getting what he wants, which he hopes will stir emotion in the minds of those who view his work. One untitled photograph certainly accomplished that for me: the dramatic lighting colluded with the free flowing composition of the objects to give me a feeling of freedom and abandonment, as if I were floating or flying above the art.
It’s interesting to contrast how the work of the two artists influences the viewer. Carla’s faces seem to ask that the viewer recall someone who resembles a particular drawing. But Steve’s abstract photographs work best if the viewer savors his first impression without thinking too much about what the objects are. Asking oneself “What is that object, and that one over there?” misses the point. Whether it is a heat exchanger tube or part of a household appliance or something else entirely is interesting, but not important; the enjoyment lies in relishing the sense of mystery and wonder that his photographs evoke.
Steve, who has a B.A. in Literature and a B.S. in Commercial Photography, spent 15 years as a commercial photographer. During that stage of his career, he really enjoyed doing magazine photo illustrations where he was required to create conceptual still lifes. This led to a natural transition of doing abstract pieces of his own.
CARLA GRADUATED from the University of California at Santa Barbara with a degree in history. She has worked as a free lance artist and illustrator, and spent 10 years as a graphic designer and art director. Several years ago, Carla took a life drawing course and has allowed herself to evolve as a self-taught artist ever since.
Carla’s artistic style has allowed her to fulfill her role of wife and mom, too. It was easy to sit down and do one or two or three pieces and add them to her overall collection to be joined by more faces as she found the time.
Steve, Carla and their two children moved to Salida from the Chicago area in 2001. Both artists feel that Salida has given them incredible opportunities. The lifestyle in our rural area — unlike Chicago’s — has provided them with space and time to create.
In 2002, Steve entered his first large format photograph in the Chaffee County Council on the Arts Open Awards Show in Buena Vista, and it was chosen as Best of the Show. This opened doors for him. He has since had a solo show at the Steam Plant Gallery; Maggie’s House (a private home) showed his work during the summer 2002 Art Walk; and Fay Golson, one of the owners of the Articulation Gallery in Salida, asked him to display his work there after seeing it at the Steam Plant.
Steve’s work will be part of “Photography & Glass,” with an opening reception from 5 p.m. to 8 p.m. on Friday, May 23 at the Articulation Gallery, 131 E. First St. The other part of the showing, the “Glass,” will come from Richard Mole.
Steve will also have a show at Bongo Billy’s Salida Café in 2003, and he recently sold a piece in Chicago and hopes to get more of his work in large city galleries.
Carla’s exhibition at the Salida Steam Plant Gallery was called “Faces I’ve Seen — 1000 3-inch paintings.” Meredith Nelson, curator at the Steam Plant Gallery, helped Carla get this solo show. (Readers of Colorado Central may have noticed some of Carla’s faces when they appeared in the Sparrows advertisement on the rear cover of the February, 2003 issue.)
Carla’s work has also been exhibited at Amicas Restaurant in Salida and the Sangre de Cristo Arts Center in Pueblo. Geraldine Alexander from the cultureclash gallery was instrumental in getting Carla’s work in the Pueblo show, and after viewing several of Carla’s paintings, Merry Cox, owner of the Broadminded Gallery, asked her to exhibit there, too.
With their contrasting approaches to the world of art, the Sonheims have brought two unique and individual styles to the Arkansas Valley. Besides the places mentioned above, their work can be viewed on their individual internet websites.
Carla’s is: www.carlasonheim.com
Steve’s is: www.sonheimphoto.com
Sue Snively is a retired teacher, and frequently writes about Arkansas Valley artists. Frank Snively is not a photographer, but can point a camera where he’s told. They reside in Buena Vista with two cats which rule their household.
