Daniel Fleming, Island; Garden; Oasis; Eden, 2024, Acrylic and water on rough canvas, 40x32”
ARTDOSE MAGAZINE
PUBLISHED
VOLUME 37 | SUMMER 2024
PUBLISHER’S NOTE
Since its beginning, Artdose has always navigated organically. Every pivot brings new perspectives and ideas. We understand that growth must remain flexible and sometimes change happens. I am excited to announce that Alison Kleiman joins our team as our newest graphic designer.
In this issue, we introduce you to Iowa-based artist Mary Jones. Jones’s work is a combination of drawings, collages, and handwritten text that take you on a narrated journey. Rachel Hausmann Schall interviews Amy Cannestra, owner of Task Creative. This 700-square foot multi-purpose space offers the creative community a place to exhibit, document, and experiment with ideas in Cudahy, Wisconsin. Linda Marcus interviews Lauren Iacopini, founder of the Purple Window Gallery Collective in Chicago, Illinois. This artist-run collective addresses a need to exhibit works from trained and self-taught artists. April Behnke took a workshop at Switch Grass Paper led by founding members, Megan Diddie and Aya Nakamura. Ultimately, writing about this innovative take on an ancient medium as her contribution. Gary John Gresl provides us with insights and a brief history of an exhibition titled, “Against All the Odds," curated by the Portrait Society Gallery from Milwaukee, Wisconsin. Its focus is exclusively on art made by incarcerated men and women in the Wisconsin Prison System. In addition to these articles, midway is a directory of local and regional artists working in various mediums.
As a bi-annual regional art magazine, we offer an art newsletter, Artdose Magazine Weekly, that shares weekly updates on what is happening in the visual arts across Illinois, Iowa, Michigan, Minnesota, and Wisconsin. Subscribe today by visiting artdosemagazine.com.
We hope every issue introduces you to new places to visit and artists to connect with on social media.
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Frank Juárez Publisher Linktr.ee/frankjuarez
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Cover image: Mary Jones, Carmen Years, Acrylic and collage on panel. 10 x 8 inches. Courtesy of the artist.
Mary Jones: Navigating a Place of Being Through Memory and Imagination
Frank Juárez
Art Shelter unveiling. Project of DART and the Avenues of Ingersoll & Grand. Photo: Amee Ellis.
One of the joys of experiencing art is connecting the dots. My first introduction to Mary Jones’s work was in a group exhibition at Tory Folliard Gallery in the Historic Third Ward in Milwaukee, Wisconsin. Her use of color, composition, mark-making, and handwritten text drew me in. The small scale of these mixed media works provided an intimate space to explore and wonder. Earlier this Spring, I reconnected with her work through an online database, Iowa Artist Directory. Most recently, I returned to the gallery on one of my Saturday art jaunts. As I walked into the gallery, I spotted it immediately and found myself looking at it from a different perspective.
Becca Sidman, Director of Sales, shares, “Mary’s work has a nostalgic quality that guides the viewer into her paintings. The more time spent with it, the more it stimulates memory by connecting to certain elements. As her use of color lures you into the composition, the text and collage work begin to emerge. Her playfulness provides something that we can all connect with. Her work appeals to people who are attracted to figurative work, abstraction, and collage. Her work embodies her experience, presence, and voice behind each work she creates.”
Jones makes maps of the wilderness of social space. The raw materials come from rambling walks punctuated by stops to draw, write, and take photos. She chooses spaces to move through both familiar and strange. The resulting works layer physical geography with memories and random images that
Turning Point, Acrylic and collage on panel, 12 x 16 inches. Courtesy of Tory Folliard Gallery.
come to mind while walking. The maps are populated with personas combining what she has seen with what she has imagined about encounters with people, places, and things. Details get piled on in the way that life is lived– in steps, notes, beats, breaths, and marks.
“Mary’s work has a nostalgic quality that guides the viewer into her paintings. The more time spent with it, the more it stimulates memory..."
Mapping embodies the particularities of perspective–visual, cultural, and emotional. Traditional maps tell us where we are in space. The mapping methodology she uses, deep mapping, aims to capture a sense of place, personal impressions, or the shared experience of a group of people. In other words, mapping is a way of knowing not only where we are but also who we are in a particular space. In mapping where we are, the space becomes a place.
Visit maryjonesart.com to learn more and connect on Instagram at @maryjonesart.
Image: Standing Still: Studio Portraits from the Upper Peninsula, Courtesy Jack Deo
Saturday, August 10, 2024 10:00 AM–5:00 PM
Purple Window Gallery Collective
Linda Marcus
Don’t be surprised if when you visit Purple Window Gallery inside Mana Contemporary in Chicago, Illinois, you won’t find the color purple and there’s no window. The name functions now more as a metaphor for what the artist run collective does. Purple Window provides, a window or possibility for artists to be seen, any artist trained or self-taught. The Purple Window Gallery is the innovation created by Lauren Iacopini, director of exhibitions at Columbia College, artist, curator, educator, and community organizer. She came up with the idea in 2019 after seeing similar organizations pop up in Chicago. She aimed to open Purple Window in 2020, with a site picked out and a Kickstarter campaign. But then covid hit, the former T-Mobile store in Avondale which was purple and had a window suddenly wasn’t an option for the collective as everything began to close. “I think we were all sad because we wanted to show work and we wanted to all see work and we couldn’t”, said Iacopini. But the artist run collective learned to pivot. As a way of combating isolation during the lockdown the collective began the idea of “Hello Neighbor.” Artists, not just gallery members, would use purple painter’s tape and create a rectilinear shape in their window and display a work of art. That way, through a purple looking
window, the artwork was visible to those outside while still adhering to the lockdown protocols. It took off spread throughout the state and even outside the US. She says the Hello Neighbor initiative showed her how the studio practice of an artist is all part of a much larger community.
Once restrictions began to loosen and in person exhibitions were safe to return to, in 2022, Purple Window managed to get a space inside Mana Contemporary in Chicago and remains there today. The space, as mentioned earlier has no window and isn’t purple but the metaphors the name suggests are still evident in the programming of the space. Purple Window has maintained its openness and willingness to include members which may have formerly been overlooked. Iacopini says, “We’re looking for artists who don’t necessarily already have a degree. They didn’t study it; they are in a sense outsider artist and are pursuing it out of a passion”. Spaces like Purple Window provide opportunities to those whose goals may be different than a traditionally trained artist. “These sorts of traditional spaces don’t always afford opportunities to those types of people who are talented and who are thinking in a kind of unique off brand way, because they are sort of doing some self-
Fuzz, 2023 Installation: Works by 54 fiber and textile artists. Documentation by Amy Shelton. Curated by Lauren Iacoponi and Naomi Elson.
discovery”, says Iacopini. Rebecca Griffith is the gallery’s manager and project coordinator. Griffith and Iacopini met in grad school at Northern Illinois University and have been friends and supporters of each other’s work ever since. In grad school, according to Griffith, a cohort was formed, and friendships develop which lasted long after school. For a nontraditional artist who didn’t necessarily go to school, the ability to be part of an art community and cohort is difficult to find. Griffith says Purple Window fills a need. “For the artist this fills that longing and that sense of belonging”.
Purple Window is an artist-led, community-supported project space and gallery with ten members. It is jointly owned and democratically controlled by its members. Monthly dues range from 30-40 dollars a month. With an ambitious exhibition schedule of nearly once a month, each member can show work and create and curate unique shows and supplemental programing. “Each member brings a different skill set, so the storytelling is different with each show,” according to Griffith. Both Iacopini and Griffith say the shows are often deeply personal which in turn creates successful exhibitions. For all the artists, Purple Window feels more like a residency than a collective.
“It’s more creatively freeing to work together towards a project, that’s where to me it feels a bit more like a residency. You can check in with one another and share ideas. We often have virtual studio visits and talk about what we can do that we haven’t done yet”, according to Griffith. Moreover, both Iacopini and Griffith say beyond the exhibitions, Purple Window has also become an important component to their lives. “For me, I enjoy working with our members, the open calls and it’s become a key part of my social life”, says Iacopini.
Purple Window is part of over three dozen artist runs spaces in the Chicago area. Iacopini says her advice to artists looking for something similar, “Start your own or become familiar with your local art scene. Just be willing to play an active role if you are looking to join, it’s more than just an opportunity to showcase your art and pay monthly dues. It’s a responsibility as well.”
Visit www.purplewindowgallery.com to learn more and connect on Instagram at @purplewindowgallery
For Those Who Toil, 2023. Works by Michael Chambers and Millicent Kennedy. Documentation by Amy Shelton. Project Coordinator: Lauren Iacoponi.
Switch Grass Paper Offers Chicagoans an Innovative Take
on an Ancient Medium
April Behnke
During many long drives to and from Fresh Press Paper, the papermaking studio at University of Illinois at Champaign-Urbana, Chicago-based artists Megan Diddie and Aya Nakamura dreamed of a place to make paper closer to home. “There were no spaces for the public to access professional paper-making equipment in Chicago,” explained Diddie. “We talked about providing that access, not just for our own art practices, but bringing it to the whole community.”
“We thought, why isn’t anyone doing this? Why don’t we do it?” added Nakamura.
With financial support gained through grassroots fundraising and a grant from the city’s Department of Cultural Affairs and Special Events, the two launched Switch Grass Paper in early 2023, a mobile papermaking studio currently offering traveling workshops for all ages and levels in sites across the Chicago area. Thus far, they've hosted sessions in locations including Northwestern University and even in local city parks.
For Diddie and Nakamura, the practice of papermaking is ripe for creative expression. Each artist relies on handmade paper in their personal art practice, incorporating the material in customized ways.
Nakamura makes time-intensive abstract drawings on her own irregularly shaped and heavily textured paper, while Diddie incorporates unique materials into the paper she creates and uses for her figurative paintings, sculptures, zines, and books.
And their teaching takes a similarly unusual approach by relying upon the use of free, low-cost, and
sustainably sourced materials. They produce their paper pulp from plant fibers drawn from Illinois’ lush prairie landscape, like the rattlesnake master, a perennial herb in the parsley family, and even fabrics, such as second-hand denim, from local thrift stores.
“We design our workshops to help our students experiment and learn what paper is capable of,” explained Nakamura. “The way we teach requires them to reckon with materials in a way they wouldn’t if they bought them from a store. They learn that they can introduce so much visual and textural variety based on what they physically put into the paper.”
Though mass produced paper is ubiquitous, Diddie and Nakamura believe that handmade paper is worth the effort because it offers members of the creative community countless new avenues to explore. But, as with ceramics and woodworking, there are preconceptions about the process.
“Papermaking is often seen as craft. We want to show people that it can be part of a serious art-making practice,” said Diddie.
Nakamura is hopeful about its future. “I think papermaking is the next wave,” she added. “Given the response we’ve had so far and how excited people get about it, I can see it catching on as something that’s practiced seriously here.”
To learn more, visit switchgrasspaper.com, or find them on Instagram at @switchgrasspaper. To book a papermaking workshop, or to sign up to participate in one, email switchgrasspaper@gmail.com.
Aya Nakamura and Megan Diddie cooking kozo and mitsumata fibers. Courtesy of Switch Grass Paper.
Aya Nakamura and Megan Diddie doing some ‘chiri-tori’ or removing bark from Kozo fibers. Courtesy of Switch Grass Paper.
Art Against the Odds: Surmounting the Insurmountable
Gary John Gresl
The traveling exhibition titled “Art Against the Odds” is extraordinary in several ways. The roots of the exhibition began in 2021 and took 2 years to organize and plan. It exclusively includes art made by incarcerated men and women in the Wisconsin Prison System. It has art of varied nature; fascinating, unique, naïve, and sophisticated. The art has moved viewers to tears and elevated many a Human Spirit to better understand thousands of our incarcerated brothers and sisters, with whom we join in Humanity’s creativity. It is likely the most “meaningful” exhibit this state has seen in decades. It has won the 2023 Wisconsin Visual Art Achievement Exhibition Award.
This show was curated by the Portrait Society Gallery, Historic Third Ward, in Milwaukee, Wisconsin. At the heart of it are Debra Brehmer and Paul Salseider. Brehmer, a prominent part of Wisconsin’s art community for many decades, is the owner of PSG, a curator of exhibits in many professional venues, an originator of the publication, “Art Muscle”, and a national arts writer for Hyperallergic. Salseider, Manager, and co-curator of “Art Against the Odds”, plays a central role in the planning, installation and achievements of this significant show.
I cannot speak of the nature and importance of this exhibit any better than Brehmer who wrote the Preface to the catalog for the show. Because she speaks with perfection, I have asked permission to repeat her Preface:
“Art Against the Odds: Wisconsin Prison Art” defines art making as not only a creative pastime but a lifesaving tool of self-definition for those who are
removed from society. The work on view counters assumptions... This is not to deny the pain inflicted by crime, nor the lingering impact on victims, but to privilege redemption and the potential expansiveness of the human spirit. This provides space for hope. Without hope, there is no humanity.
The artwork presented here has emerged from the most inhospitable conditions, and yet the drive toward invention and creativity has won out over despair. The artists in Art Against the Odds share their work with pride. Lacking opportunities to be seen in a context beyond their criminal records, art affords a different visibility. It is a means to expressively render a self that is complex, often conflicted, and fully human.
As the world changes, art institutions, artists, and curators are called upon to expand perspectives, acting as agents to move across social divides and use their skills to explore the less examined underpinnings of our social construct. {This exhibit} steps into the vast carceral network – the prisons, the individuals and the effects of poverty and trauma – through the window of art. This project maintains that art, freedom, and justice go hand in hand. Art is a means of empathy. Art is a way forward. Art is a tool for structural change.”
Visit www.artagainsttheodds.com to learn more and connect on Instagram at @portraitsocietygallery.
DarRen Morris, Benny on the floor in set, 2016. Acrylic on panel, 18 x 24 inches.
Installation view. Photo by Daniel McCullough.
Cedarburg Art Museum
Located in the heart of Cedarburg in a stunning 1898 red brick Victorian home, the Cedarburg Art Museum champions historic and contemporary local arts through its collection, exhibitions, events, and museum shop. The museum is free and open to the public with rotating exhibitions of local, Wisconsin art and works from the permanent collection.
Thursday - Saturday, 10 am - 4 pm; Sunday, 12 - 4 pm W63N675 Washington Avenue, Cedarburg, WI 53012 262-377-6123 cedarburgartmuseum.org
Center for the Visual Arts
The Center for the Visual Arts (CVA), in Wausau, Wisconsin, is one of the leading cultural institutions in Central Wisconsin, with four gallery spaces, 18+ exhibits a year, a school of Art, and a gift shop featuring 30+ regional artists. The CVA displays a wide variety of exhibitions including competitive juried shows, solo and small group shows of contemporary Midwest artists, regional schools, and organizations. The CVA is located in downtown Wausau next door to The Grand Theater. The galleries are always free and open to the public!
Wednesday-Friday 11 am - 4 pm, Saturday 12 - 4 pm; 427 N 4th St. Wausau, WI 54403; 715.842.4545; cvawausau.org
James May Gallery
James May Gallery was founded in 2015 in Algoma, WI and later moved to Milwaukee, WI spring of 2023. The artist-run, woman-owned, gallery specializes in showing regional and national artists and craftspeople both emerging and established. They help clients grow or start their art collections in a friendly, knowledgeable atmosphere and also offer art consulting and art installation for your business or home.
Tuesday/Thursday/ Saturday: 10:30 am - 5:30 pm, Friday 11- 5:30 2201 N Farwell Ave, Milwaukee, WI 53202 262-753-3130 www.jamesmaygallery.com
James Watrous Gallery
The James Watrous Gallery is dedicated to amplifying Wisconsin artists. Located on the third floor of Overture Center for the Arts in downtown Madison, the Watrous focuses on solo and curated exhibitions that feature contemporary Wisconsin artists. As a program of the Wisconsin Academy of Sciences, Arts & Letters, the gallery aims to draw connections between art and other disciplines.
Thursday-Friday 12 - 6 pm, Saturday 11 am - 5 pm, Sunday 12-5 pm; 201 State St, Madison, WI 54703; 608.733.6633 x25; wisconsinacademy.org/gallery
Kim Storage Gallery
Located in the heart of Milwaukee, the Kim Storage Gallery is a vibrant space celebrating the creativity of Wisconsin and beyond. This gallery features a diverse mix of museum-quality artwork, ranging from innovative pieces by emerging local talents to esteemed works by established artists. It's a dynamic hub where art enthusiasts can explore the evolving landscape of contemporary art in an inviting and accessible environment.
Tuesday-Saturday 10 am - 5 pm, Viewings by Appointment; Milwaukee, WI 53202; 608.381.6905; kimstoragegallery.com
MARN ART + CULTURE HUB
The Milwaukee Artist Resource Network’s new and innovative ART + CULTURE HUB, is located in the heart of Milwaukee’s Historic Third Ward. Open to the public daily, the HUB is a destination for all who want to immerse themselves in amazing local art. In addition to our dynamic gallery, the HUB is also for those who want to meet while enjoying a cup of the best in local coffee or glass of curated wines from around the world. Please visit us in the HUB, where it’s Gallery Night every night!
Monday-Saturday 8 am - 8 pm, Sunday 8 am - 6 pm; 191 N. Broadway, Milwaukee, WI 53202; 414.485.0033; www.marnarts.org
newARTSpace
We are a non-commercial artist-driven initiative creating exhibition, event, and studio space in downtown De Pere, WI. Through enlivening an old storefront on North Broadway, newARTSpace expands opportunities for contemporary art discourse in Northeastern Wisconsin and beyond. Sign up on our website for the quarterly newsletter, and follow us on social media for up-to-date information on our hours, exhibitions and special events.
Hours change weekly, check website and social media for current information.; 124 N. Broadway, Ste.1, De Pere, WI 54115; newartspace124.com
Rountree Gallery
Rountree Gallery is an all-volunteer, non-profit art gallery and art hub in the Southwest region of Wisconsin. Rountree Gallery hosts dynamic local and regional art exhibits in a professional gallery space within a historic building on a vibrant Main Street. Follow Rountree Gallery on FB or IG to stay up to date on call for arts and upcoming shows.
Thursdays and Fridays: 4 - 7pm, Saturdays: 10 am - 2 pm; 120 West Main Street, Platteville, WI 53818 rountreegallery.org
Two Fish Gallery and Sculpture Garden
Our gallery is also our studio, home, classroom, and garden. We focus on fine craft, fine art, and fair trade works. The gallery and gardens are open year round with specific hours and events are listed on our website. Clay is our specialty with a wide range of functional, sculptural, and garden works.
Varies by season. Please check our website; 244 East Rhine Street, Elkhart Lake, WI 53020; 920.876.3192; twofishgallery.net
Task Creative: Helping Artists Find Solutions to the Need for Space
Rachel Hausmann Schall
Sara Sowell performing “Dada’s Daughter” for Tasks grand opening exhibition.
Built out of Amy Cannestra’s passion for satisfying the needs of artists, Task Creative in Cudahy, Wisconsin, functions as a DIY art studio. Hosting curated exhibitions proposed by artists, acting as a neutral space for documentation, and providing a library of equipment for time-based media artists only begins to scratch the surface of what Task offers. The 700 square foot space operates under a non-traditional model, unlike a standard, commercial gallery to make artwork sales, Task instead functions as a project space available to artists which can be utilized to realize their vision. Task is an affordable rental for as short as one day, and up to a full week (there are even raffle opportunities that provide artists the chance to win use of the space for free!). Cannestra welcomes artists of all backgrounds, abilities, and experience levels to propose an idea, which might include documenting large-scale sculpture, presenting an exhibition, or working in the space to develop a performance. At Task, anything is possible.
Cannestra works professionally as a graphic designer, but her fine art practice is grounded in digital media, performance, installation, and sculpture. Her interest in building a space for creatives to bring their projects to life was cultivated from her personal experience as an artist. Cannestra says, “The space I wanted to share with people was reflective of the space I felt I
needed, which wasn’t a standard or conventional studio space.” Understanding the challenges of working in these types of mediums, she opened Task Creative in September of 2022 as a solution for artists who need a physical space to process ideas and conceptualize their work. She says, “My practice has always traveled with me. It’s always where I am. My work moves with me, even if that means the kitchen table, which is one of my favorite places to work.” Although many artists do have a dedicated studio, it’s not always the case that those spaces are appropriate for documenting finished portfolio pieces. It can be difficult for artists working with large-scale sculptures or installations that include projection or digital media to photograph their work – and that’s where Task comes in.
“The space I wanted to share with people was reflective of the space I felt I needed, which wasn’t a standard or conventional studio space.”
Task Creative also functions as Cannestra’s home, getting its namesake from Task Graphics, a business
formerly owned by her father. Cannestra lives upstairs and has renovated the first into a white-walled space with two movable L-shaped walls where Task has hosted an array of artists since their grand opening. Task holds opening receptions for artists that propose exhibitions, which have been well received in the community because of its convenient location just 15 minutes south of downtown Milwaukee.
While Cannestra does not act or identify as a curator, she will offer a helping hand to Task artists. As a former professor, she knows how difficult it can be to find a community after graduation and receive feedback. By brainstorming, offering advice, and providing access to various tools and materials at Task, she assists artists in the process of realizing their vision. Artists have 24-hour access to the space for the duration of their rental, in addition to the backroom, which functions more as a working studio with cabinets of art supplies, as well as the backyard. Task artists must be dedicated to their practice and willing to put in the work – they should drive the project and see through their ideas.
Cannestra says, “Task is meeting a need in the community. You need good images of your work to get good opportunities. The art world can be hard and extra hard for people who make installations or multimedia work. Those are the people that I built Task for.
To experiment in the gallery is a lot of pressure – it takes a lot of courage, and it can sometimes be a total flop and when you discover that something may not have worked the way you wanted it to, it’s often too late. And traditional galleries are a space you want to feel super professional in. Artists can come to Task and make stuff, and nobody has to know about it. It’s a safe space for experimentation and figuring out ideas.”
"Artists can come to Task and make stuff, and nobody has to know about it. It’s a safe space for experimentation and figuring out ideas.”
While Task is just getting started, Cannestra knows that the future is bright. She plans to continue building a following and providing solutions for artists looking for space. Are you cooking up an exciting project? Task Creative might be just the right place for it to come to life.
Visit www.taskcreative.art to learn more and connect on Instagram at @taskcreative
Photo from the opening for “Sacral: Queer Divinity in the Modern Age” curated by Seth Ter Haar.
ARTIST DIRECTORY
The Artdose Artist Directory is a tool to explore the art of regional artists. It is a perfect resource for people looking to start their own art collection.
Featured Artists
Pamela Anderson
Neto Atkinson
Ann Baer
Pat Bishop
Deborah Brooks
Raine Dawn
Terri Field
Christine Buth Furness
Linda Glass
Marta Gwizdala
Kathy Halper
Kristine Hinrichs
Katie Hogan
Jayne Reid Jackson
Helen Klebesadel
Dale Knaak
Michael Knapstein
Ginny Krueger
Linda Marcus
Rachel Mosher
Lauren Marie Nitka
Denise Presnell
Cyndie Rauls
Fernando Rico
Katherine Steichen Rosing
Christine Style
Judy Tolley
To purchase their art, please contact the artist directly by visiting their website. Artists receive 100% of their sales.
Pamela Anderson
Pamela Anderson is an artist who creates artwork that conveys intellectual experiences. Her creative process involves using brushes, palette knives, and scraping tools to make subtle and bold marks on various surfaces. She approaches painting guided by instinct and the process within the layers of paint.
Pamela is intrigued by line, shape, color, and form, which brings her back to her deepest creative roots. Her bold artwork empowers her to express herself, and she strives to establish a unique style based on abstraction. Her art tells stories of her life experiences. When she was young, she was taught to be silent. Silence is a language unto itself. It gave her space to expand her imagination. Today, she uses art to find her voice and create a sanctuary for introspection.
Empty Chalice, 2023, Acrylic and mixed media on canvas, 50 x 50 inches, $3800.
Ernesto Atkinson
Neto (Ernesto) Atkinson is a Guatemalan-born, American painter, born on June 11, 1981. In 2007 Atkinson began his artistic training and received a BFA from North Dakota State University and a master’s degree from The School of the Art Institute of Chicago with an emphasis on Art Therapy in 2014.
Neto Atkinson professionally is known as Ernesto Atkinson in the Mental Health field of art therapy where he uses art to become a witness to his participant's personal growth by engaging them in an adaptive and creative path of self-exploration.
Neto’s passion for art and artmaking grew out of his desire to capture awe and wonder on his canvas at a very young age. He has demonstrated an extraordinary artistic talent as he explored his passion for art in his social construct, poetry, religion, politics, and the field of architecture. As he embarks on every new journey to different cultures. Explores his understanding of art and the human connection, which solidifies his belief that art is an active agent of change.
An exceptionally prolific painter whose creative achievements and revolutionary artistic accomplishments focus on the representation of the contemporary movement of his own existence and experience. His artistic representations are based on his daily life, and on his own philosophy. Neto is considered a colorful poet who leaves a message of peace, love, wonder, and awe with each color and stroke on a canvas.
Left Side: Collecting Thoughts of Water, $2,500; Right Top: Ella in my Mirage (detail). NFS; Right Bottom: The Iceberg of a Blink (detail), $2,000.
Ann Baer
Ann Baer’s artistic goal is to save the planet from climate change, one piece of trash at a time. Consequently, she is a collector of old, broken, and discarded materials. She dumpster dives, frequents Goodwill, scrounges from friends, and scours the streets on garbage days. She even has friends looking for materials and frequently finds a treasure on her front porch.
The studio is packed with wood bowls, chair legs, and miscellaneous things that were deemed useless clutter by their former owners. These interesting, sometimes unattractive objects and dismantled parts find new relevance in her hands. Sometimes she has a concept to begin with. Other times the work evolves from the nature of the material. All of the themes have meaning to her and relate to her experiences in life, ideals, beliefs, and philosophy. Since she originally started as a painter, she is deeply interested in the relationship between flat surfaced art and 3D work. Therefore, she does both and sometimes they are combined. The two mediums, sculpture and painting, inform and enhance each other.
In 50 years of making art, Baer has never had so much fun or been so inspired. It is a huge challenge, and the learning curve is steep. She has learned about weird adhesives and has gotten comfortable with a chop saw, a table saw, and a drill press. It’s all about mastery and each grouping of found items brings new problems to solve.
Honeycomb, Packaging material and acrylic paint, 36 x 36 inches.
"Mary Jones: Coddiwompling”, March 8 - April 13, 2019, at the Tory Folliard Gallery. Image courtesy of Tory Folliard Gallery.
Pat Bishop
Pat Bishop’s art reflects her goal to recreate times, places and things that have deep meaning for her. Textiles are her main form of expression, with strong tangents of added acrylic paint. Abstracting to a simpler form helps to focus on what is important to her. Too much realism and detail are avoided with the use of roughly cut fabrics.
Nature is often a focus. Bishop spends some time most days outside walking near the woods or spending time on or near the water, investigating plants, trees, birds and other animals. She works intuitively though usually has an idea in mind of the outcome, but rarely a true final vision. She strives to achieve representation in the simplest form possible.
Through her artwork she is trying to convey her feelings of the mystery, beauty and simplicity of nature and our need to value and care for it. Lately Bishop has been experimenting more with very abstract acrylic painting on cloth, completing with machine stitching.
Left: Helicopters, 2024, Textile, 33 x 26 inches; Top Right: Blue Foot #2, 2023, Textile, 16 x 20 inches. $325; Bottom Right: Black Skimmer and His Royal Entourage, 2022, Textile, 20 x 24 inches, $375.
Deborah Brooks
First Flash, 2024, Flasche on canvas, 18 x 14 inches, $500.
Deborah Brooks depicts fleeting moments in nature, facing the impermanence of life and the interplay between being fully engaged and simply observing. Beginning each piece with a specific intention and embracing spontaneity, she allows the paint to lead, layering colors and forms to reveal unexpected visual conversations.
Brooks approaches painting with an abstract mindset, synthesizing the boundaries between naturalism and invention. She organizes and relates patterns and spatial planes to explore space. By imbuing plant life with anthropomorphic qualities, she constructs fantastical realms where towering leaves soar and tendrils seek light, weaving allegories that contemplate the evolving natural realm in the wake of climate change.
Large and small scale work available.
Raine Dawn
Left: The Mother, 2024, Acrylic on canvas, 36 x48 inches, $1300; Top Right: Hope, 2020, Acrylic on canvas, 24 x 36 inches, $777; Bottom Right: The Three Sisters (detail), 2023, Acrylic on canvas, 36 x 36 inches, NFS.
Raine is an intuitive spiritual teacher and creative arts director who pulls from her Native American lineage to facilitate a space for all to connect with their higher selves. She sees art as a powerful tool, not just for the gratification of self-expression, but as a vehicle of personal and collective transformation. She believes art is prayer, a sacred and vital discovery of one’s special presence in the world. Through creation, Raine teaches that a person illuminates and illustrates their inner being while creating something that also stands separate from themselves. Through exploration and experimentation, Raine teaches how each of us shines a light on our inner world, allowing us to utilize expression as a means of healing and remembering we are all connected.
Raine moves acrylic over the canvas as she listens to her intuition. Through mark making, rotating the canvas, and sitting in contemplation with the work, the ancestors begin to share what stories shall be told in each painting. Each piece tells the stories of the indigenous people who have come before. The Mother represents matriarch feminine energy. Three Sisters is about supporting and uplifting one another, while Hope is based on the prophecy of White Buffalo Calf Woman which says that one day we will remember we are all connected.
Terri Field
Generation Gap, 2023, Oil on gallery wrapped canvas, 18 x 18 inches, $1250.
Terri Field's artistic journey is a testament to the intricate interplay between memory, nostalgia, and the timeless allure of storytelling through art. Within each brushstroke, she weaves a rich tapestry of human experience, inviting viewers to embark on a voyage through the corridors of time.
Her canvases are not mere paintings; they are windows into the soul of culture, family, and the bittersweet embrace of nostalgia. Deliberately simplistic yet profoundly evocative, her compositions beckon observers into a dialogue with their own past, each stroke whispering a tale that resonates uniquely with every individual.
But Field's vision extends beyond the confines of individual memory; it delves into the intricate tapestry of generational evolution. Inspired by the diverse array of people who have shaped her life, she revels in the exploration of what sets each generation apart and what binds them together. Her art becomes a mirror reflecting the complexities of human experience across time, inviting viewers to contemplate the echoes of the past reverberating through the present.
With a keen eye for detail and a profound appreciation for the subtleties of human connection, Field's creations serve as bridges between past and present. They offer glimpses into the shared heritage that unites us all while celebrating the rich tapestry of individuality that defines each generation. Through her art, she invites us to embark on a journey of discovery, where the lines between past, present, and future blur, and the timeless rhythms of human experience resonate in harmony across the ages.
Left: Blue Hill Over Laurentian, 2024, Transparent watercolor on archival paper, 30 x 22 inches, $1,150; Top Right: I Carry Two Landscapes with Me Wherever I Go, 2022, Pastel and colored pencil on museum board, 35 x 30 inches, $1,250; Bottom Right: April Pink Moon Guide My Way, 2022, Transparent watercolor on archival paper, 22 x 30 inches, $1,150.
Christine Buth Furness’s paintings and drawings are abstracted landscapes of places experienced, spaces navigated, and those imagined. Her imagery suggests a human presence in an environment or an absence of one and evokes an emotional response. Like visual poems, the paintings reflect her creative and critical thinking.
The study of nature is important as the sky, horizon line, water movements and paths, lead the viewer into the image. In her painting process, she layers water-based paints, one transparent layer on top of another on archival paper and this technique strengthens the intensity of the colors defines the forms and allows light as a subject to give meaning.
She divides her time between two studios. The main studio is in southeastern Wisconsin near the shores of Lake Michigan and the other, inhabited during the winter months, is in northern California next to an oak forest in the Valley of the Moon. The observation of these two separate landscapes helps to create works that reflect peace and stillness.
She has exhibited regionally, nationally, and internationally throughout her career over 300 solo, juried, and group invitational shows in museums, art centers, commercial galleries and alternative spaces. The work is in numerous public and private collections. She is currently represented online with the Gallery of Wisconsin Art and Teravarna Gallery in L.A.
Left: Entwined, 2022, oil, cold wax, 12 x15 inches, $295; Top Right: Rings of Fire, 2022, oil, cold wax, 15 X 11 inches, $295; Bottom Right: Bursting with Happiness, 2023, oil, cold wax, 15 X 11 inches, $295.
Linda Glass is an active, exuberant artist based in Green Bay. She works in acrylic, oil, cold wax, and mixed media. Linda’s art career began as a corporate interior designer. As she grew in her design career, Linda became more imaginative and creative, engaging more in creating fine art.
Her goal is to create pieces that involve feelings rather than trying to copy realistic images. The mediums she works with accommodate this goal. Glass strives to create depth within her work that is apparent not only to artists but viewers as well. Combined with her keen eye for design, the elements come together to create harmony within her work. Her art is rooted in a love of color and charting new territories. It is further fueled by other activities she engages in music, dancing, travel, and athletics, both participating and appreciating. Each piece represents a culmination of appreciation for basic design elements coupled with a love to incorporate new methods and materials as they meld to create abstract images with feeling. Glass’ art invokes a spirit of ‘joi de vie’!
Glass’s mission is to create cutting-edge, high-quality art that brings forth feeling to the viewer. Her award-winning work has been shown in museums and galleries in Wisconsin and Northern Illinois.
Marta Gwizdala
Marta Gwizdala's paintings serve as nostalgic love letters to homes left behind, blending idealistic elements with childhood memories. They capture the enchanting essence of recalling distant homes, evoking a sense of wonder and longing. The playful titles of her artworks enhance their childlike nature, inviting viewers to rediscover innocence. Through her art, she aims to reintroduce beauty and happiness, offering comfort and healing to those who miss home and their dreams. Gwizdala’s work serves as an escape from the brutal world, illuminating the glitter in life and sparking joy in our souls and hearts. Her art reminds us to follow the sparkle, keeping our spirits warm, passionate, and filled with happiness.
Left: Marta Gwizdala’s studio in The Arts Mill, Grafton, Wisconsin; Top Right: Foggy Shoreline, 24 x 24 inches (diptych); Bottom Right: Gleaming Field of Ruby Poppies, 18 x 24 inches.
Kathy Halper
Fire, 2024, Oil on canvas, 48 x 48 inches, NFS.
In 2020, Kathy Halper was forced to stay home, and nothing had ever felt so right.
Her attachment to familiar spaces became the inspiration for a series of paintings and sculptures that focused on the rut of 30 years of marriage, dogs in personal space, and staring at screens. Tension exists along with comfort in these everyday scenes. Now, in 2024, heightened anxiety is informing her latest work.
Larger paintings express these emotions through imperfect lines, warped perspectives, and surreal elements. Mixed media paintings on panels use sculptured layers to accentuate the perspectives that allow her to play with reality, creating humor and vulnerability in these small tales.
Halper uses modest materials that reflect the scale of the narratives to create 3D pieces. Cardboard, glitter, embroidery thread, and craft clays are layered into the oil painting base, building up surfaces, making objects pop, often beyond the edge of the panel. She draws the viewer's eye through exaggeration, such as an enlarged foot.
Embellished bisque vases serve as companions to select paintings, further expressing emotional content. She is inspired by artists who work across mediums, such as Faith Ringgold who used humble tools to make bold statements, and Grayson Perry for his subversive humor. She also loves the painterly interiors of Bonnard and Munch. What has emerged is a skewed yet loving diary of her life.
Left: The Gaslight, 2023, pigment print on three silk panels, 17 x 25 x 5 inches, $550; Top Right: See Me, 2022, Archival pigment print, 16 x 20 inches, $250; Bottom Right: Women Walking, 2023, pigment print on three silk panels, 25 x 17 x 5 inches, $550.
Kristine Hinrichs is a Milwaukee-based photographer whose work focuses on the urban environment. Her work often makes use of reflections and shadows to highlight how elements of the urban environment affect and are affected by each other – much like a funhouse mirror, one element reverberating off of the other. She believes that these elements do not exist by themselves, but only in context. Many of her images are produced before dawn when the city streets are quiet and at the Milwaukee lakefront or in commercial districts. She has a long-term project to document essential workers moving within the city “Essential, Invisible” – generally before dawn while most people are still sleeping. She has also recently begun to print her images printed on silk –three silk panels hung in series providing a three-dimensional effect, hand quilted, and two images woven together.
Hinrichs shoots every day and has not missed a day in thirteen years. That provides for a level of continuity and allows her to notice and document subtle changes in the people and urban landscape. She believes that the images find her. Hinrichs’s award-winning work has been exhibited nationally and throughout Wisconsin and the Midwest.
Katie Hogan
Left: Vice Grip, 2023, Oil on wood panel, 24 x 36 inches, $5,000; Top Right: Steph (detail), 2024, Oil & acrylic on linen, 9 x 12 inches, $650; Bottom Right: Katie with the Blue Hair (detail), 2023, Oil on linen, 12.5 x 7.5 inches, $450.
Katie Hogan is a Madison-based, Virginia-born and raised oil painter exploring how to fit a human being within a flat square. Driven by a fascination with painting people and portraits of everyday Madisonians, she attempts to capture brave souls who allow the artist to stare at them for hours. What began as a technical endeavor to get the likeness ‘right’ has turned into capturing the moment, the emotion, their personality ‘right’.
She often works with atypical canvas sizes, dimensions you can’t find ready-made frames for easily, and composes her paintings from odd seats around the model stand, those where you can’t see the model’s face straight-on. This provides room for the model’s pose to speak to the painting and how it wants to exist. Working from a breathing, blinking, person requires decisiveness; sketching quickly in oil, wiping down and re-blocking if needed, working within the temporary setting and the energies of the model and artist on that given day. Is the artist’s energy large, chaotic? Is it quieter, more contemplative?
These subtle feelings influence and indicate the size of the canvas, and the approach: Large and broad, small and precise, soft and nuanced or bold and opaque. Hogan’s portraits and figure paintings invite you into a moment, whether that moment is a snapshot, hours in the studio, or the impact of months long experiences.
Left: Beginnings II, 2023, Mezzotint, 9 x 6 inches image / 11 x 15 inches paper, $300; Top Right: Offerings, 2023, Mezzotint, 12 x 18 inches image / 20 x 24 inches paper, $500; Bottom Right: Pine Star, 2021, Mezzotint, 6 x 9 inches image / 11 x 14 inches paper, $250.
Jayne Reid Jackson is an artist/printmaker using intaglio techniques that require drawing and painting skills. Her interest in tone and value led her to mezzotint, a technique that is experiencing a rebirth among printmakers for its subtle tones and nontoxic process. Being self-taught in mezzotint, her work is known internationally through numerous national and international exhibitions, invitationals, and collections.
Her prints use primarily the still life as a vehicle to study how glass and simple objects can create mystery and visual poetry. By manipulating the shadows and reflections of the objects and their surroundings, she records her vision of what is special about everyday things.
Mezzotint is a manual process using no chemicals. Using a flat copper plate that she pits with a rocker until it prints entirely black, she creates her image by flattening out those pits to create white and grey areas, bringing the image “out of the dark”. Once the platework is complete, the plate is inked, hand wiped, and printed using a press. This is repeated as needed to create an edition. Mezzotint editions are smaller than typical intaglio/etchings as the image breaks down with repeated printing. Traditionally black and white images, Jayne creates color mezzotints by inking various portions of the one plate with different colors and carefully wiping and blending.
Helen Klebesadel is an artist, an educator, and an activist who maintains an art studio in Madison, Wisconsin. Born and raised in rural Wisconsin, she is best known for her environmental and womencentered watercolors. Her watercolors push the traditional boundaries of the medium in scale, content, and technique. Ranging in size from the intimate to the monumental, her paintings are transparent watercolors on paper and canvas. She starts with detailed drawings and develops the images with layer upon layer of color washes and dry brush techniques mixed with occasional areas of wet-into-wet spontaneity. Her painting High Summer Prairie III, watercolor on paper, 30x40, was painted in 2023. Her current artworks focus on the natural world and our relation to it. She sees her art as part of larger efforts to encourage the adoption of sustainable practices for the good of us all, understanding that what we do to the earth we do to ourselves.
High Summer Prairie III, 2023, Watercolor on paper, 30 x 22 inches.
Dale Knaak
Dale Knaak’s body of work consists of two basic principles of artmaking: drawing and painting. The intimate nature of drawing creates the foundation of each piece and is an essential element of the finished surface, merging the boundaries between drawing and painting. Commissions accepted.
dki920@yahoo.com | @knaakpaintings
Left: Orange Pop, Oil on paper, 16 x 24 inches, NFS.; Top Right: Fiddlehead Coffee, Oil on paper, 12 x 12 inches, NFS.; Bottom Right: Last-Op Motel, Oil on paper, 24 x 24 inches, NFS.
Michael Knapstein
After the Storm, 2018, Photograph, archival pigment prints in various edition sizes and prices.
Michael Knapstein is a fine art photographer who has earned international recognition for his insightful and nuanced visual exploration of the American Midwest. He now lives in Middleton, Wisconsin with his artist wife, Annette.
His photographs have been featured in more than 300 solo and group exhibitions in museums and galleries in 22 countries on five continents. In addition to being named a two-time winner of The Pollux Awards, he was counted among “14 Inspiring American Artists” by Skillshare and Feature Shoot.” The Barcelona Foto Biennale (Barcelona, Spain) named him the International Landscape Photographer of the Year. The Moscow International Foto Awards (Moscow, Russia) named him the International Portfolio Photographer of the Year. And Photolucida (Portland, Oregon) named him a Critical Mass Finalist four times.
His work is also included in dozens of public, private and corporate collections, including the George Eastman International Museum of Photography (Rochester, NY), Dubuque Museum of Art (Dubuque, IA), Racine Art Museum (Racine, WI), PNC Bank (Pittsburg, PA), American Girl (Middleton, WI), Hewlett Packard Enterprise (Chippewa Falls, WI), The Sierra Club (Madison, WI) and the U.S. Embassy Luxembourg (Luxembourg City, Grand Duchy of Luxembourg). His limited-edition prints are available directly as well as through online art portals including Artnet, Artsy, and ArtEndipity. In Europe, he is represented by FotoNostrum Gallery in Barcelona, Spain.
knapsteinphotography.com | @mknapstein
Ginny Krueger
Ptarmigan's Leaf, 2021, Encaustic and fabric on wood panels, 60 x 40 x 4 inches, $4400.
Ginny Krueger is a contemporary, multi-disciplinary, abstract artist whose works often reference the land.
The encaustic medium, composed of beeswax, resin, and pigment, has been her medium of choice for the past twenty-five years. Her most recent works are amalgams of fabric, glass, forest finds, eggshells, and encaustic. They are marked by materiality and physicality and are conceptually steeped in memory, personal history, and an abiding reverence for the natural world.
Krueger loves to travel and make art while in a month-long residence. Recent artist residencies have included stays in Iceland, Mexico, Greece, Canada, Scotland, and Spain. Her travels broaden her understanding of peoples, cultures, and environs, helping her forge new territory in her art practice.
From her observation and understanding, she offers a layered visual and tactile experience of richness, grit, and sublimity.
Linda Marcus is interested in the body and how it adapts and changes to its environment. She is also interested in systems that control the body or regulate how it moves. She is materially driven and often lets the materials tell her what shape they want to take. Marcus often works with fiber or applies fiber techniques to materials that are not associated with fiber techniques. In doing this, she creates a new visual language from which new experiences emerge.
Rachel Mosher paints images from the natural world, including seascapes, landscapes, flora, and fauna (wild and companion animals). Since resuming painting in 2020, she has used brushes to paint acrylic on canvas. She renders objects in a realistic style, delighting in the challenge of creating a variety of textures. Mosher aims for viewers to form a connection with an appreciation of, the natural world that she feels is often lacking in the present time. Her favorite pieces to create are portraits of companion animals, celebrating the strong bond between animals and their human caretakers. She aims for viewers to feel the personality and presence of the animals she paints, just as strongly as observers would feel from human portraits.
Reminiscence (detail), 2023, Acrylic on canvas, 36 x 36 inches; Top Right: Wheels, 2023, Acrylic on canvas, 16 x 20 inches; Bottom Right: Cape Town Beach, 2024, Acrylic on canvas, 36 x 48 inches.
Lauren Marie Nitka
Dwelling in the shadow of the Almighty centers Lauren Marie Nitka’s work. Through Him, her artistic process finds actualization. Working primarily in oil paint, Nitka utilizes a wide palette that explores the spectrum of color in direct light and shadow. The viewer cannot see the veil that casts the shadow, but rather they see its effect. The hand of God operates much like this in our lives. Because oil paint breathes as it dries, Nitka finds it most suitable to paint people, who each have their own breath of life.
Nitka has begun documenting the testimonies of Christians of various backgrounds through portrait painting and videography. These are stories of people who have encountered Jesus and no longer conform to the patterns of this world. Each testimony has been carefully edited to preserve the thoughts and ideas of each participant.
She hopes to get these portraits in front of viewers who do not know Jesus. Nitka wants viewers to examine spiritual questions they have, to question truths they hold, and ultimately to hear the Good News.
Left: Aseel, 2024, Oil on wood panel, 16 x 20 inches, $1,400; Top Right: Theresa (detail), 2024, Oil on wood panel, 16 x 20 inches, $1,400; Bottom Right: Maria (detail), 2024, Oil on wood panel, 16 x 20 inches, $1,400.
Denise Presnell
Organized Chaos, Oil and cold wax on panel, 42 x 42 inches.
Denise Presnell is a painter currently living and working in Sheboygan, Wisconsin. Her formal art training was attained through a BFA in Printmaking at the University of Nebraska and an MFA in Painting from Pennsylvania State University. Her main artistic influences are Pierre Bonnard, Joan Mitchel, Henri Matisse, and Mark Rothko.
Presnell’s oil and cold wax paintings are painted and carved into in just about equal measure. There is also a balance of randomness with control. Although there is no preconceived plan when beginning a painting, she has developed an approach that unifies a series. A part of this process involves painting older works that already contain a built-up texture that can be intuitively responded to.
Her current series, "Fantastic Pec” is a statement of opposites. Very dark areas set off vivid areas and marks of bright color. Her current palette is inspired by a combination of ‘Matisse-Moroccan’ spicey warm reds, cool blues, greens, teals, and violets. The imagery involves otherworldly biomorphic forms. The series is a personal, unique, and intuitive visual expression of Denise’s inner artist.
ddpresnell55@gmail.com
Cyndie Rauls
“Too Much and Not Enough"
Having emerged from a place of isolation, Cyndie Rauls’s work becomes an invitation… a call to recognize the shared threads of human experience that transcend time and social barriers. By using evocative symbolism, she tells the story of navigating childhood in the 1970s. Her sculptures artfully document emotional memory; they extend a bridge of connection and foster a sense of belonging.
In “Too Much and Not Enough,” Rauls employs vintage objects and assembles them in repetition, representing the poignant but rocky navigation of childhood. In multiples, the objects become textural, almost overwhelming, to draw the viewer into the rawness of emotion. Through texture, form, and the inherent narratives embedded within each object, she asks the viewer to engage with the memory on a personal level. Her work evokes a spectrum of emotion as complex and multifaceted as childhood itself. Her sculptures, a testament to the enduring power of objects and their ability to hold stories, connect us to the deeply human navigation that is childhood.
Left: Beautifully Damaged (detail), 2024, 47 x 19 x 4 inches; Top Right: Portrait of the Artist at 7, 1972; Bottom Right: Once Upon a Time, 2024, 70 x 28 x 16 inches.
Fernando Rico
Left: Carnival, 2024, Acrylics and oil sticks, 48 X 38 inches; Top Right: Agualagrima, 2022, Acrylic and oil sticks, 25.5 x 23.5 inches; Bottom Right: Homesick Leaves, 2022, Acrylic and oil sticks, 25.5 x 23.5 inches.
Fernando Rico is a Latin American artist residing in Madison, Wisconsin. A recent trip to his hometown Medellín, Colombia, has become an inspiration to his work capturing the green color of the exuberant Colombian nature into his paintings. Although Rico’s background is in graphic design, he approaches his studio practice in a deliberately anarchic way. He has always been passionate about images and color. He primarily paints, alternating between oil and acrylic, placing special emphasis on chance as a guiding element in his work.
Katherine Steichen Rosing
Left: The Source of All Things, (detail), 2023, acrylic on birch panel, 28 x 48 inches; Top Right: Entanglements, 2023, crushed voile, sisal twine, vessels containing water from local rivers, painted lace, 120 x 120 x 120 inches. Bottom Right: Beneath a Darkening Tempest, 2024, acrylic on panel, 24 x 24 inches.
Katherine Steichen Rosing explores invisible natural forces in northern forests and watersheds through richly hued paintings and immersive installations. Her work is permeated by experiences in the wilderness, experimentation in the studio, and scientific readings about environmental issues.
Forests are a lens to climate, invasive species, and ecological cycles, themes explored in Rosing’s large-scale installations. Her tree-scale suspended sculptures provide an experiential space to contemplate deforestation and climate-related processes like photosynthesis and the carbon and water cycles.
Painting abstractly, Rosing envisions intricate relationships in natural environments, particularly connections between forests and water. Lines and inscriptions drawn into wet paint refer to root systems, invisible processes, and life forms. She works in many layers of paint, often obscuring the original marks while creating a rich surface. Her paintings range in scale from quietly intimate to engulfing.
Left: Birdgirl Contemplates Nature, 2021, woodcut with chine collê, 49 x 30 inches; Right: Princess Poppy Ponders Potted Plants, 2023, woodcut with chine collê on pre-stained paper, 49 x 30 inches.
Christine Style is Professor Emerita from the University of Wisconsin-Green Bay after teaching printmaking for 32 years. She has her MFA in printmaking from UW-Milwaukee and her BS in Art from UW-Madison. Her work for the last 20 years has focused on visual storytelling using the relief printmaking process. Since 2014, Style has participated in all five of the Really Big Prints steamroller print events. Style’s studio is next to her home in Green Bay, WI.
Judy Tolley
Left: Watching and Waiting, 2016, Mixed media on canvas, 16 x 20 inches, price upon request: Top Right: To Meditation (detail), 2023, Mixed media on canvas, 12 x 12 inches, price upon request; Bottom Right: Muse (detail), 2023, Acrylic paint on board, 12 x 12 inches, price upon request.
Judy Tolley is a self-taught visual artist based in Milwaukee, Wisconsin. She has always been passionate about art, often experimenting with many mediums. She eventually discovered the technique of creating collage and, most recently, acrylic abstract painting. She explores various layers of textures and shapes to achieve a desired aesthetic. Tolley draws inspiration from found images and her imagination. Her creative process is ever-changing, and she leaves her work open to interpretation.
