Their art is in a St. Louis gallery. The artists are in prison

This is St. Louis on the air from St. Louis Public Radio. I'm Elaine Cha. For the last 13 years, Charles Everett has kept a routine in his prison dorm at the Crossroads Correctional Center in Cameron, Missouri. He sits at a table in the common room and draws, creating large illustrations full of bold lines, bright, bold colors, and tiny details. As times gone by, other men he's incarcerated with at the maximum security prison have begun joining him, and the group's artwork is now being showcased in a St. Louis art gallery. Inside Expressions is on display now through August 22nd at the Gretchen Brigham Gallery at Union Avenue Christian Church. We'll hear from the former public defender who organized the exhibition in just a bit. But first, let's hear from Charles. I had the opportunity to speak with him last month, and our conversation began with a question about what first sparked his interest in art. I've been drawn since before I can remember. My mom told me when I was the toddler that I was the easiest kid to watch because as long as I had paper and something to mark on it with, I would just sit there happy as can be content to just create, I guess. And my father was a pretty good artist, so I would ask him to draw Batman and Moose Turtle cartoons for me when I was little. He'd be amazed by the nod, the elbow cartoons he'd whip up. So I guess he was probably a big reason why I started. And once you were incarcerated, I mean, was there a particular point at which you began making art there? I guess as soon as I was incarcerated, I started making artwork because it's just something I've always done. What kinds of materials do you use and are you able to access there? I use pencils, color pencils, markers. ink pens, gel pens, and I think that's pretty much it. Is there a piece that you're currently working on? Currently, I am finishing a book that actually goes with a lot of the artwork, well, some of the artwork that you guys have with you today. So once I'm finished writing it, or finish with the final draft, I have 50 chapter illustrations to do. to go with the full page panels like the ones you have. Yeah. We'll definitely talk a little bit more about the book later on. What do you typically like to draw? Are there certain kinds of scenes or dynamics that you like to capture? Yeah. I like to create really colorful scenes of dramatic over-the-top action with characters that... embody the best and I guess the worst of humanity as a struggle to find purpose and find peace and to reach a greater potential existence. And I also really love drawing satirical commentaries featuring anthropomorphic animals with tons of vibrant color.

Charles, at one point, did you realize that what you were doing was capturing the attention of others you were incarcerated with? Was it those themes and those pictures that you've described that was really the thing that got them? Yeah, I mean, people in prison tell me all the time that I guess I'm the best artists that they've seen in person. you know, that watching me draw everything out of my head from start to finish without looking at, you know, in reference material, amazes behind and stuff. So that, I think, it kind of resonates with, I don't know if resonates with everyone on the outside, but a lot of the stuff I draw certainly resonates with, you know, some of the people in here. I don't know. I guess people are impressed by my anatomy and my geometric understanding of, you know, spaces and my ability to create the illusion of some sort of scene right out of my head. When you received those kinds of reactions from fellow inmates, you know, how did that make you feel? What did it make you think? Uh, I mean, I guess I'm not the best at taking compliments, but I mean, uh, it was really flattering and I was just kind of, uh, I don't know, uh, humble, I suppose because to me, uh, I'm not, I don't know, it's just hard to look at myself as if I'm a real artist. Uh, I've always aspired to be an artist and to cross over that line where people are like, man, you're a great artist and you're just kind of like, whoa, really? Like, oh, wow. And as I understand, you know, you are now leading a group and teaching others how to illustrate. How do you approach that? Well, we get together every day at 3.30 and, you know, check their previous homework. And we have exercises that I've been through during our hour of class and then I give them more homework. And, you know, just teaching the basic principles of, you know, of art, of shading, of light sources, and anatomy. We're really kind of in the beginning stages right now because, you know, to really get a grasp on something and have a in-depth, you know, knowledge of it, you have to practice it over and over and really, it has to become a part of you. So we're just working on anatomy right now and getting their shading technique in line and going from there. We're talking today with Charles Everett. He's an artist featured in the Inside Expressions exhibition. He is incarcerated at the Crossroads Correctional Center, and he's been doing his artist's work there for about 13 years now. So part of the reason we're talking with you, Charles, is that your work is part of this exhibition. Now, when Sharon Turlington brought up the topic, of showing your work outside the prison and at an art gallery. What went through your mind? This is a big question to me. To have my work on exhibit in a gallery,

I really need everything to me because it's been my dream my whole life to be, you know, a real artist. I grew up walking to the local art museum at least once a week, you know, mostly for the art, but also partially for the air conditioning, you know. Sure. Every month, yeah, every month I'd go down to the local galleries and critique the pieces that were hung with the, you know, the know-it-it-all perspective of the kid. And when Sharon told me the curator at the Gretchen Brigham art gallery said my heart was good and that she'd like to show it, I was, I mean, I'll be honest, I was unexpectedly overcome with emotions, but I really didn't, you know, I didn't think it would happen, but I was just overcome, and I was elated and relieved and, I guess, proud. And, you know, at the risk of sounding kind of like a cissy, you know, I'll be honest, I definitely peered up. It was a huge moment. It was surreal. You know, after the tens of thousands of hours spent working on art, I was really, I was finally going to be seen in a gallery. It was amazing. Now, I understand, Charles, that you spoke briefly at the exhibition opening. What did you want people there to know or understand or, you know, for them to leave with? I mean, I guess the main thing is just that, you know, we're incarcerated in here. We're, you know, we're people. We still, you know, we have emotions. We have, you know, things that we want to express, observations that we can, you know, that we want to relay and articulate and share with others. And, you know, I mean, all of us in here are going through. uh, psychological, you know, uh, I don't know how to say it. Sorry. Um, it's just rough out here. It's, it's, it's every day is kind of a test, um, of will to not, you know, let your depression and things like that get you down. So we just, you know, the people out there that are looking at it, I really just want them to know how much we appreciate them for, taking their time and giving their attention and, you know, still, you know, just seeing us and seeing what we're creating and, you know, allowing us to an incredible opportunity to even have our stuff out there. And, yeah, I don't know if that's a good answer or not. It's a great answer. It is your answer. There's no such thing as a right answer in this situation. Charles, I heard that you're working on a graphic novel, even before you mentioned it earlier. What is its story? And how far have you gotten with your plans for it?

The story is basically set in, I mean, it's pretty complex. It's an epic about a futuristic dystopian world where basically there are these devices that were left by, you know, aliens way in the past that were getting to certain people so that they could shepherd humanity into a new age. and oversee, you know, the development of mankind. And it actually ended up going overboard and damaging the planet a lot because the aliens are from a different planet that don't really care about Earth. And Gaia has to manifest her powers by granting them to three avatars, and they, you know, on her behalf, rise up to the defendant planet. And there's more cut than that, but I don't want to get too long-winded, but the first draft of the book is completed. I'm going through, I'm almost done, going through and editing that draft, so the final draft is almost done. All the full-page panel artwork is completed, and I just have some chapter illustrations to finish, and that it's going to be sent out. That sounds fascinating. We'll have to have you back on when the book is complete. Oh, definitely. I'll go back. Charles, if you could get this book into the hands of any one person, who would that be? To be honest, I don't know, this might be a, I don't know, how the chance you to come across. I really kind of want my daughter to read it just because I wanted to know that, you know, I'm going to, you know, be dedicating the book to her. And I just want to know that I'm not in here, like, wasting my time away, playing cards and feeling, you know, fighting and doing stupid, you know, doing drugs and stuff like that. I'm in here really trying to do something that's worth her being proud of and, you know, that... is going to lead to me being able to still provide for her, even though I'm not there. That's beautiful. Charles, one of your other drawings in the Inside Expressions exhibition at the Gretchenburgum Gallery is New Arch City. And that one is a black and white piece that I describe as an urban retro futurist scene. And that one has sold, as well as another piece from the show titled Lotus. Both of these pieces have sold. Charles, what does that mean to you and what you're thinking about your future as a real artist? I mean, it's just, it's kind of, I think it's a huge team, right? It's recognition. It's acceptance into the, you know, art community and viewing community.

It's just so flattering that people enjoy looking at what I create enough to actually, you know, say it has enough value that it's worth their money. I mean, incredible. Charles, thank you so much for joining us today. Thank you so much for having me. It was an absolute pleasure. That was my conversation with artist Charles Everett, whose work is on display now through August 22nd at the Gretchen Brigham Gallery at Union Avenue Christian Church. Charles is currently serving time at the Crossroads Correctional Center in Cameron, Missouri. We need to take a short break. When we come back, we'll hear from the former public defender who organized the exhibition. This is St. Louis on the air on St. Louis Public Radio. Support comes from Gemma, architects, planners and designers, seeking to bring joy to their clients and communities. The Tales at J-E-M-A-S-T-L.com. Welcome back. We're talking today about inside expressions, an exhibition that features the artwork of seven people incarcerated at a maximum security prison in Cameron, Missouri. That includes Charles Everett, whose work both as an artist and a mentor in prison, was the catalyst for the showcase. Charles's former attorney, then public defender, Sharon Turlington, organized the exhibition. I had the chance to speak with her about that last month, and I started by asking her how it came to be. Well, you know, I had known Charles for a long time because I'm a criminal defense attorney and I represented him on his case. And, you know, I knew he was a great artist and he was... my favorite client, as well as another person who worked on his case. You know, we've just kept in touch with him because he was just our favorite client. And we were also really involved in his case. And I had some artwork that he did in my house. It's actually hanging, you know, in my living room. And a friend of mine is a local artist. And she... came over and was like, oh, where did you get this piece? And I said, well, one of my clients made it. He's in prison. And she was just like blown away, especially because the one that's in my house, I don't think we have a picture of it here, but it's a picture of my cats as ninjas. And when you're in prison, before you get to... like general population, you can only have what's called the flex pen, which is, it's like the inside of a pen that, you know, that like just bendy. The bendy part. Yeah, right. And they're only about four inches long. And he drew the whole thing using flex pens. How big is the piece? You know, 8 by 10. Wow.

And so she was just like, this is incredible. And I said, well, I have some other stuff that he's done. And I showed her some other things. And she said, well, this person really deserves to have a gallery show because this is amazing what he is able to do, especially given the circumstances that he is in. And so it was really she has a lot of connections around town. And she said, let's contact. Carla Duncan, who's the gallerist at Gretchen Briggins, because I think this would be a great fit for him. And so we went and talked to Carla. And in the meantime, you know, he had been working on this book and started this drawing group. And so when I met with Carla at the gallery, she said, you know, I think it would be really great if we just featured the whole class. And so seven people's work is showcased. What can you tell us about the people who have done this art? So everybody that is participating in this class is in what's called the honor dorm. So that is the highest level of, you know, they all have extremely good behavior. So they have the highest level of privileges in the prison. They still have a lot of. rules and regulations and restrictions, but they have access to the most art supplies and they have the most freedom to like get together every day at 3.30. And also this group of people also is participating in the puppies for parole. program. So they are also dog trainers. Okay. So they're keeping, they're doing really well with using their time that they're in there. So all of them are, you know, from different backgrounds and they're in there for different lengths of time. One of the other people that participated in this had been doing a lot of artwork and he did some oil paintings. Another person had been doing some art, but the rest of the guys really just started out within the last year. Wow. Learning to draw. Have you seen them working together? I have not because it's not... It's very rare that someone outside is granted access to the interior of a prison unless you have a court order or something, so I have not. I would love to see that. Yeah. I mean, it's really the way that people would experience what they're doing is by seeing it outside. What were their feelings about the exhibition and what kinds of arrangements made it possible?

for them to participate at the opening. So in order to participate in the opening, it was kind of like what we did here. They all got together and Charlie called in at a specific designated time to my phone and we put them on speakerphone. And so they were all able to hear what was going on and to say a couple words at the opening just over speakerphone. Do you know whether they had some form of celebration together? They did. So I don't know if you are very knowledgeable about prison cooking. So they made prison cheesecake. Oh, okay. Which involves, you know, crushing up like Oreo cookies and cream cheese and, you know, various other strange ingredients and somehow setting them up. and making like a prison version of cheesecake. Right, a celebratory dessert. Now, even for the most experienced person, Sharon, an exhibition involving several artists that takes a lot of work to put together, how were the participants' families involved? So their families are located. They're scattered all over the place. So some people are out of state. There are some people in Missouri. There really was nobody local. So it basically worked that I had to go to the prison and pick up all of their artwork. So I was able to do that, bring it all back here, and then... I basically put together, you know, did the framing, made the little cards and printed it out, and all of that was pretty much I did that on my own. I did talk with all of their families, like all of their families were aware of what was happening. They were not able to attend because many of them don't have a lot of funds. You know, they can't travel because it would be quite expensive for them to do that. So we made videos of the entire gallery and some videos from the opening and sent the videos to the families of everyone who participated. And their families were thrilled. So that family involvement was really meaningful? Yes. It was very meaningful for the families as well. Everybody who participated from the people who are incarcerated to the families were thrilled. And some family members, it's actually...

It's very difficult for family members when someone that's close to them is incarcerated. And it's been really hard. Like one of these guys, his mom has just really struggled since he was incarcerated at 18. And she's just been really depressed. And I talked to her a few times. And she was just so thankful that he got to do this and was really proud of him. It was... Just a really great moment for her because she has just been so impacted by his incarceration. Sharon, you spent decades working as a public defender on capital cases. What effect did putting this exhibit together have on the way that you think about our justice system? I would say just putting aside the justice system. I was really thankful that... everybody at the Gretchen Brigham Gallery was so nice and that you guys are being so nice and seeing that everyone in prison is a human being and that even if people did something bad or made mistakes and not everyone in prison is guilty, not everyone in prison is guilty of what they were charged with. And to see that they can have something positive to contribute that people can change was just really great. because that is something that our justice system does not have a lot of room for change or forgiveness or, you know, really anything positive. It's extremely punitive. A lot of it is just designed to dehumanize the people that are in prison. You know, they're all given numbers and are referred to by their number. Like any time you have to officially deal with the prison, you need to have their number. So it was really nice to do something where they were seen as... people as human beings as artists who have people who love them and family members and that they can do something positive both for themselves and for people that they're connected to on the outside. That gives additional meaning to maybe the signatures they have on the Scott Bottoms of these. These pieces, reflecting on the reasons you wanted to put this exhibition together, was there anything that you saw or heard at the opening or afterward that aligned with those goals, you know, or was any part of it a good surprise? So this was a surprise that was very, I was not expecting this. I did not know this was going to happen. That was really great.

A young woman I know from my yoga class came to the opening and brought her friend. And she's known this young woman, her friend, that she brought with her since they went to high school together here in St. Louis. And her friend's father is incarcerated on a homicide case in Illinois. And that has severely impacted her friend's life. And now her friend is thinking of becoming a criminal defense attorney, you know, because of what has happened with her father. And, you know, she was just really excited to go and see. something positive happening for other people who are incarcerated because, you know, this young woman has lived that in her life and how much, you know, that dehumanization affects not just the people in prison, but their families. And, you know, to be in a space where everyone was supportive and, you know, celebrating what these guys had accomplished was super meaningful for her. And I did not even know that, you know, my... my friend from yoga knew this person. So it was really great to see that. And then we were able to, there was a lot of criminal defense attorneys there because I know a lot of criminal defense attorneys. The young woman whose father's incarcerated was able to hook up with one of my friends so she could go in like shadow her for a day and see what it's like to work in the juvenile court system in St. Louis County. And hopefully she is accepted to law school. advances her career in criminal defense. Is there any one piece of advice you would give to people before they enter that space and take in the art that's there? I would just say keep an open mind about any preconceived ideas you have about what people in prison are like, what prison is like. what interacting with people in prison is like because I think there's a really strong sort of culture of assuming that people in prison are violent, uneducated, engaging in bad activities even while in prison, which are not necessarily true. Sharon, thank you so much for joining us today. Well, thank you so much for having me and for featuring this. It really means a lot to me, to Charlie, and to really everyone who participated in this and to the greater world of criminal defense and justice.

That was Sharon Turlington, a former St. Louis Public Defender who organized an exhibition that features the artwork of seven men incarcerated at the Crossroads Correctional Center in Cameron, Missouri. Inside Expressions is on display now through August 22nd at the Gretchen Brigham Gallery at Union Avenue Christian Church. Today's episode was produced and edited by Emily Woodbury. Audio engineering and podcast design by Aaron Doer. Our executive producer is Alex Hoyer. St. Louis on the air is a production of St. Louis Public Radio. Understanding starts here. Do you find yourself regularly listening to episodes of St. Louis on the air? Suggest us to a friend you think might enjoy our conversations. And leave us a review and rating on Apple Podcasts on the App Store. It's the simplest way to help people discover our show. Thanks. St. Louis Public Radio is a member-supported service of the University of Missouri, St. Louis.