Artist Q & A [issue 3]: Veronica Carr
[ISSUE 3]: Veronica Carr
interview and photos by Mark N.
UPDATE: since publication of this interview in our August 2021 issue, Veronica won 2nd place in Spiva Center for the Arts’ 74th membership show in the 2D category. Congrats to the artist!
Veronica, who are you in a nutshell?
If it's a small nutshell, then I guess a little claustrophobic.
Who I am is still evolving. Currently I'm a mom-wife-Jesus follower-gardener-fine artist-granola bar making, paper marbling, freelance-creative hippie. Who knows what I'll be doing in another decade, but it will be creative.
You’ve talked before about having Aspergers syndrome (mental) and Ehlers-Danlos syndrom (physical) How have autism and physical health issues affected your work?
Being on the Autism Spectrum has given me a unique perspective and intense curiosity. Though it's considered a "disorder", it's really an integral part of who I am, like part of my personality. It gives me a fascination for details and patterns of the world. I enjoy discovering the extraordinary within the ordinary and I'm frequently "off in my own world" thinking of new ideas.
My body has a lot of genetic issues, and I’m frequently in pain caused by the connective tissue disorder Ehlers-Danlos. It can cause hand spasms and cramping while I'm trying to work, as well as making it difficult to handle the larger pieces I like to create. I've had multiple surgeries and there are more repairs that need done. Chronic fatigue makes for short painting sessions and frequent breaks. This makes it difficult to maintain creative momentum, but I appreciate the perspective I get frequently stepping away from my work.
Another challenge is my ever-increasing myopia, which since childhood has made it necessary for me to get right in front of something to see it clearly. I'm concerned about slowly losing my distance vision. My close-up vision is especially sharp, a useful thing for getting fine details into a piece.
These things that limit my daily life give depth to my work, and my work gives me a healing outlet for my health struggles. It makes what I do get finished, that much more meaningful because I put so much of my limited energy into it.
You came from an artistic background, raised with an artist family... tell us about your parents and how that influenced you in the long run?
It's hard to imagine myself as anything other than an artist, even if I weren't raised in a family of artists, but my unconventional upbringing was definitely an influence on my career path. We were a tight-knit family living on our property in the woods, doing our own thing so to speak. My parents encouraged whatever creative pursuits my siblings and I took up and provided whatever materials we needed. My dad, Robert Neuenschwander, was a world-reknowned artist of his time. His love for technical excellence in art and his knowledge of the outdoors was inspiring to me. My mom, his wife and creative partner, has been an example to me with her zest for life, business acumen and resilience. I still count on her for feedback when I'm stuck. Their example of independence and perseverance laid the groundwork for my art career.
wooden doll, carved by Veronica’s father Robert.
You've landed on pastels as your top medium of choice. What are the challenges that come with that, and why did you choose pastels?
I could go on for days about oil pastels as an art medium. In short, it’s like oil paint in a crayon, or even lipstick. It has intense colors and a smooth but sculptural texture. I discovered them as a child and fell in love with their bright colors and blending ability. Oil pastels are a relative newcomer to the art world and there is no medium quite like them--it's hard to even find books on how to use them. I guess I enjoy the challenge of trying to master such a unique medium, and they are so versatile as well. Go and try them, you'll enjoy it.
Your work of late has shifted to nature. Why is that?
I think it's natural for creatives to shift focus more than once as they develop their style, discover new things they're passionate about, or simply get bored with their current focus. I started out in science-fiction/fantasy, found an interest in macro nature work, and ultimately may end up somewhere between the two. Currently, I'm in a sort of long-running series highlighting the unsung beauties of the rural Ozarks region.
I like working in series that help me really flesh out every angle of a specific concept and give me a lot of practice working in my chosen medium.
However, I don't like to be "pigeonholed" into a specific expectation of what my work should look like. When I get burnt-out in the middle of nature portraits, I step out of theme to create a stand-alone piece that lets me indulge my weirder side, like a sci-fi or concept piece. It keeps things interesting and I can return to my series work refreshed. I am by no means "married" to this current focus, but nature artwork will always have place in my life.
-are the subjects of your nature work all species local to this area of Missouri?
Yes, almost all of my portraits are of flora and fauna common to the Southwest MO/Ozarks area. They are macro "glamour portraits" of little things we're used to seeing, but not used to seeing up so close and bright. I want the viewer to have the chance to take in every marvelous detail of something they may normally have overlooked or not had a chance to observe closely.
Veronica in her backyard garden
-What's next for you in your artistic journey?
My plans and what God has planned for me might be two different things. Right now, I'm making art, learning art, showing art. If it sells, cool. If it doesn't, I still enjoy making it. It's a win-win.
Mark N.
Mark N is a herder of cats. A defyer of curmudgeons. A slayer of convention. And an instigator of creation, collaboration, and community. He also takes photographs for a living, fathers some miniature humans, and husbands an intoxicating potter and editor.
@marknphoto