Art Scene, Chicago 2000

Sample Works

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Alex Abajian - Three Levels Down, 1998







"My inspiration comes from moments of solitude and day to day living."




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Christopher T. Buoscio - Corner Street at Night, 1997


"I have an interest in capturing the feeling of night. I am also interested in the approach of darkness and the changes that occur psychologically while viewing the onset of night. At times, I feel a strong sense of history. My view is not solely about perceptions but recollections. I sense I am retracing my previous footprints and the path of others."

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Pamela Callahan - Man at Peace, 1998





"My paintings are studies in human nature, and speak of my fascination with it, with all of our tendencies and struggles, and also with our attempts at peace."

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Steven Carrelli - Untitled (Wheat Stalk #2), 1997





"I focus on minutely perceived small forms from nature. Attention is lavished on the individual components of a landscape -- a single leaf, a seed, a cluster of berries."

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Rimas Ciurlionis - Table, 1998





"In my work, I express the interaction and relationship of color, tone, line and form...It only elicits or awakens in us an emotion, a mood, an idea, a memory. It can be an impulse, which starts a wave that reaches out and touches our existence"

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Andrew Conklin - Venetian Ball, 1999



"My subject is human figure, depicted most often in pleasure-seeking activities...I want to show others that this traditional art form can lift the spirit with its silent explication of the beauty, dignity and grace of the human being."


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Dick Detzner - St. Snugglebear, 1998



"...I've concentrated on the role played by corporate icons as tools for modern advertising. Many people may not realize that these advertising symbols affect more viscerally and with more immediacy than traditional religious stories. Advertising and religion are only two areas of culture that inspires devotion, but there are many others, such as sports, politics, music, art, literature, and fashion. For many, including myself, this is an unconcious process--something people soak up through the culture they live in. I merely make it more conscious."

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Donna June Katz - Orcas Island, 1997


"I use the imagery of nature, places, landscape, and maps in order to portray journeys and searches that are emotional as well as physical. The restless artist's preoccupation with travel, navigation, and mapping is an attempt to reconcile, resolve, find meaning in serenity--at least temporarily. These works are statements about my belief in its and art's restorative power. "

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Jill King - Above Center, 1999




"It is important to me that my art convey realms of light and darkness, time and timelessness, space and void. I am captivated by the nature and mystery of the human experience and continue to explore the phenomenon, so that I might share a glimpse into the substance of the universe."

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Kathleen King - Memory Matrix Links, 1999




"I am interested in exploring the life of the mind, the poetic, musical, and picturesque as opposed to just the socio-political. The tone of this work is fanciful, sometimes quite baroque and romantic, mixed with dark undercurrents. Infusing images of dreams and fantasy with a feeling of tangibility has always been an objective of mine."

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Gosia Koscielak - Light Instrument, 1997



"In my paintings, collages, and reliefs, I use elements including wooden wheels, stones, earth, small video monitors, cut-up phone books, and holograms. For me, they represent our personal search for identity in a multicultural and multimedia world. My compositions are very abstract, but the components and details are realistic."

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Roland Kulla - City Stop, 1998


"[This painting is] inspired by my environment on the south side of Chicago. I've lived in Hyde Park for thirty years [at the time of the painting], and scenes from the neighborhood, my apartment, the park, and the lake offer continual sources of inspiration."

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Deborah Maris Lader - Pronation Splint/Clamp from the Tools series, 1999



"The images in the Tools series explore and expand upon the idea of tools as a metaphor for how we personally function in a social environment, which seems inclined to categorize, label, and discriminate according to our abilities, non-abilities, and differences."

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Riva Lehrer - Circle Story #6—Tekki Lomnicki, 1999



"The paintings that make up Circle Stories are portraits of well-established artists in a variety of fields, including theater, dance, writing and visual arts. Each artist has a significant physical disability and an interest in exploring body issues in his or her work. Tekki Lomnicki is a performing artist and writer. Her work uses her costumes to explore, parody and manipulate the ways that small stature is perceived."

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Carol Luc - A Good Day, 1999



"My work deals with the urban environment devoid of human figures, and the objects that I use are chosen for their familiarity and ordinariness. I want to evoke a certain range of emotions—peace, melancholy, nostalgia, regret—as opposed to the grand passions."

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Irene Ryan Maloney - Seattle Pool I, 1997




"I find [the subject of Night Pools] to be the perfect visual metaphor for describing internalized thoughts and emotions."

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Bert Menco - Manipulation, 1996




"Analyzing my own art is difficult, but I think that the dreamlike images tend to deal with confined spaces, which contain certain characters that reach out to one another, yet do not quite succeed in meeting. Most of the figures are somewhat lost in space. All of this probably reflects my life quests."

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James McNeill Mesple - Blue Oboe (Apollo Changing Bamboo into Oboe Reeds), 1999



"This body of paintings derives its inspiration from The Metamorphoses of Ovid. Both the dialogue and the action in those stories conjured up images in my mind that were dense and full of colors, two components with which I especially like to work."

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Herbert Murrie - La Facce Della Tempesta (Faces of the Storm), 1999




"When I started painting Italian landscapes, I never realized that part of my fascination with Italy and the Italian people had to do with the fact that they truly know they are going to die. We, on the other hand, give lip service to this fact. We really don't believe it. My landscapes began to look lonely, and indeed I have always felt lonely."

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Julia DelNagro Oehmke - Blue Blockers, 1997




"Portraiture is demanding on your senses. It forces you to be aware of not only the likeness but of the soul."

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Helen Oh - Spring Still Life, 1998



"I paint on copper panels using a meticulous oil technique developed by 16th century Flemish artists. I paint with this high degree of reality to create a disorienting pleasure in the viewer's mind: is it painted or is it real?"

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Chris Peldo - Coke Head, 1998


"So, that's what my paintings are about. These symbols. These icons. How they impact absolutely every aspect of our lives. I'm fascinated by the way these symbols are packaged with guilt and fear. Scope makes us feel guilty about our breath; Charlie the Tuna helps keep our mind off dead dolphins. By altering these symbols and layering them one on top of another, the viewer is forced to see them in a new way."

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Gay Griffin Riseborough - Doll House II, 1999



"Sometimes life events are so powerful that it is years before we can appropriately process them. This painting series is, and will continue to be, my attempt to come to terms with certain dark events in my life."

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E. Charles Rolwing III - Man with Conscience, 1999




"The figures in my pantings are at once self-portraits, and at the same time, portraits of anyone. I believe that there is a place between thought and physical action where an element of chaos or accident occurs. It is through an investigation of this accident in conjunction with intellectual processes that new possibilities of meaning or understanding may be found."

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Sallie Gilmore Roniss - Music of Madras, 1999


"My work is a process of juxtaposing ancient cultural embodiment within today's social structure. By traveling to exotic countries, I try to develop an understanding of the poetic sensibilities found in ancient myths. Through my painting, I try to express how emphatic these beliefs are embedded in various societies."

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Eric Semelroth - Imitation A La King, 1998



"I make uncommissioned pastel portraits on paper. Some of my subjects appear in costume. The costumes are part of identities that these people have assumed on their own. These images are meant to oscillate between the individual character of the sitter and his assumed persona. I feel a connection to these subjects because they too are creators of artifice."

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Eleanor Spiess-Ferris - Spring Composing Summer, 1999





"My work uses nature as metaphor for the human condition."

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Bruno Surdo - Still in Motion, 1999


"The artistic form I have created are images that communicate a personal commentary on an issue or question in my mind. These shapes are then arranged in a pictorial space using the human form as the main vehicle for my expression. I use iconic and metaphoric symbolism, which echo the narrative expressed by the use of space and the human form."

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Charlie Thorne - Break in the Storm, 1999




"I happen upon scenes of idiosyncratic beauty often during evening walks in the city around me, and from them find inspiration for my art. Haven't we all looked out ona moment of calm in what we know is an ongoing storm and received an emotional charge from the sight?"

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Phillip J. Turner - Helmets and Crowns, 1997


"This body of mixed media work contains self-portraits, incorporated with found objects that literally and symbolically balance on the figure's head like 'Helmets and Crowns'. These symbolic helmets and crowns began from an observation of women's hairstyles and other culture's use of objects for head adornment and symbols of one's status in society. It is my intention for the viewer to become at once disconcerted by the balance of objects on one's head and re-examine the discarded objects used for the collages."

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Annette Turow - Puffed Sleeve I from Circa 1900 Series, 1999

"My mother was an expert seamstress, and my grandmother had sewn patch quilts that are on the beds of the entire extended family. The images from these paintings came from the renewed sense of connection. The ideas for fabrics, beads, buttons, and brooches has just poured forth as though I really knew what she might have worn."

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Maureen Warren - Six Fledgling Crows, 1999




"I enjoy exploring the strange or unusual in the commonplace, and combining the real and the imaginary. Birds have flown in and out of my paintings over the years, and seem to be important residents in my work."

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Shyvette Williams - Moyl, 1998




"The images are born out of my life experiences and a deep spiritual understanding. Through the process, I've come many times face to face with other aspects of myself."

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Laurie Wohl - Refiner's Fire, 1999





"The Unweavings® process I have developed is a unique method of working with canvas, evoking a spirit of mystery and celebration in the oldest tradition of intensely handcrafted textiles. The beads form a rhythmic counterpoint to the unraveled strands, and are prayers and marking points."

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Izumi Yoshitani - Mind of Her Own, 1991

"The frequent use of a grid comes from shoji, Japanese sliding screens made of paper pasted on a wooden grid frame. One of my fond memories of growing up in Japan was waking up and seeing the soft sunlight coming through the white paper against the dark grid pattern. I felt comfortable and protected inside shoji. But I realized later that it could also be a barrier or restriction. By placing my trees against a grid, I hope to convey the contradictory feelings of
                                                             tranquility and frustration."

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