Resume

Sallie Naatz Bailey is a free lance artist and writer who was born in Syracuse, NY in 1931. She studied art at Syracuse University and has worked in many media including serigraphs, watercolor & original computer prints.Her work has been shown at the Roberson Arts Center, Binghamton, NY; the Legislative Office Building, Albany, NY; Selected Artists Gallery, Utica, NY; Limestone Gallery of Fayetteville; the Manlius Library Art Gallery, East Village Arts Gallery in E. Syracuse, NY and the Everson Museum Sales Gallery, Syracuse, NY. She is a past president and board member of both the Associated Artists of Syracuse and the Central New York Branch of the National League of American Pen Women.

Her work is in the permanent collections - via purchase prizes - of the Community Arts Center of Old Forge, NY plus those of "the banks formerly known as" KeyBank, Chase, Lincoln First, Fleet and Marine Midland. She is also represented in many corporate and private collections, has done illustrations for BLUELINE, a literary magazine, and has designed stencil  patterns for Saltbox Studios of Massachusetts and The Shade Tree of Manlius, NY.

Bailey authored numerous guest columns on the Art Page of the Syracuse Newspapers Sunday Stars section during the 70’s, was art reviewer for several years for the Eagle Bulletin, a prize winning weekly newspaper serving the eastern suburbs of Syracuse and has had articles in the Adirondack Echo, the magazine New York Alive and Lake Effect, a literary journal published in Oswego, NY. Her poems have been published in several small magazines, including the Comstock Review and Alura. She also authored the segment on the art history of the Central New region in the Encyclopedia of New York State, published by Syracuse University Press in 2005 and did the jacket illustration for a new novel - Swimming Toward The Light - to be published in January 2007 by Syracuse University Press.

 Artist's Statement

 About my recent work with computer graphics:  Some call them ‘digital prints’. I prefer the term ‘computer graphics’ because I have done traditional prints—linocuts, serigraphs and woodcuts—in the past. The word ‘print’ is often used interchangibly as a descriptive term for reproductions  of paintings or drawings that are produced by a mechanical printing press. My computer pieces are not reproductions. Creating original art on the computer  is a relatively new field—a new medium—and I suppose the terms will eventually ‘shake out’ into uniformity.  It is interesting that so many different people, in experimenting with the computer as an art medium, produce such widely diverging results—their own ‘style’ is as marked as that of artists working with traditional media.

My computer prints are the equivalent of traditional printmaking techniques—in that the original design is conceived & executed on the computer, just as linoleum and woodcuts are done on the wood or linoleum block; the serigraph is done on the silk screen; the lithograph is done on the stone; the etching is done on the metal plate.

People ask me how I do ‘this thing I do'. The answer is—in multi-layers. It starts with one of my own scenic photographs, old photos from family albums—or a photograph of one of my earlier works. I then ‘explore' it, sequentially using three or four of the photo editing programs that I have—but in no particular order. I manipulate shapes, colors, composition. Some photos work with relatively little manipulation because they were so tightly composed in the beginning—others involve so many stages that I would find the process hard to duplicate in the event of a computer crash. As the complexity increases—so does the level of excitement. I must state here that the computer does not make the print—it's a tool that I use much like a brush or pencil and I can ‘feel' it, just as when I'm using one of those more traditional tools. And— yes—it is as satisfying and stimulating as the use of those traditional tools.