The Chicago Art Scene

Sample Works

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Heather Becker - Consonance, 1997



"I am investigating the figure and its power to communicate psychological states of modernity. A spontaneous and simplistic image is developed using movement, tension and emotion."



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Geoffrey Bent - Three Grins, One Grimace, 1997



"I've always been attracted to the anecdotal side of an image—to its capacity for visual metaphor. The 'what' of a painting is usually its weakest element, even among many great artists, yet the 'what' in art, as in life, is inescapable."



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Mary Burke - Grey Horse, 1996



"My interest lies in playing with formal elements of design. In some of the paintings, a grid-like composition forms the underlying basis for relationships between color, pattern, texture, line and form. In other works, these elements are free floating."



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Rimas Ciurlionis - Balance of Forms, 1997




"In my art, I consciously try to concentrate the mind and emotion -- in form, texture, color and line, which together form a symbol that can touch the mystery of existence."

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Peter Anthony Colon - Drink Slowly, 1996


"By definition, my work itself is very introspective yet communal. It focuses more on the human condition than on anything else. Somewhat dark in nature, it seems to concentrate on the harsher realities of life."

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Sharon DeLaCruz - Buddha Quilt, 1998




"These fiber graphic quilts are original artwork created in mixed media (ink, watercolor, and marbling). The original art is printed onto 100% cotton fabrics and sewn into quilts."



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Judith Roston Freilich - Untitled II, 1997



"From plant life and a few unrelated organisms, a continuing story develops in my mind that I can see very clearly. They are stories of a fanciful world of infinite space and time, which are cyclical in nature, not unlike the story of all living things. The world in each of these stories is full of contradictions. It bursts with energy and swells with tranquility—slow transitions and frenetic, chaotic interruptions."



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Walter Fydryck - Group Reaction, 1997



"I have established an approach to drawing that examines the related emotional response amongst a grouping of people. This is further emphasized by subtle details."


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Mary Gingrich - Backgammon, 1997


"While painting portraits, I share an intimacy with the subject that helps depict the subject's spiritual as well as physical qualities. Women and children are my favorite subjects. Their dignity, often ignored by painters of previous centuries, dominates each work."

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J. Allen Hyde - See No, 1994


"I want to examine the tension between the natural, man-made, and often satirical reactions to new age or pop culture. It carries you beyond the system, beyond the commonplace and surpasses all expectations. Nevertheless, my art has an element of familiarity."

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Margaret Derwent Ketcham - Roof View IX (Finestra), 1996





"I am an architect who has retired from the business of architecture to pursue a more artistic life."



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Jill King - Dance of Dreams, 1996

"My art is a spiritual quest into a universe of infinite possibilities, emerging from the fusion of drawing, painting, constructing, and revealing. They are paintings that give form to the intangibles: love, hope, promise, and being."

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Deborah Lader - Reflex, 1996


"This image is part of a series that deals with the theme of healing. They are about my son, Daniel, who was diagnosed with mild autism. The hands in these works belong to the masseuse and embody the attempts we make at fixing, shaping, changing, and touching."

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Min-Ja Oh Lah - With Sunsets, 1997





"Through my art, I hope to tell you that life is both simple and complex, and we may not understand what we see in life, but we can still step back, look and appreciate."



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Itala Langmar - Meditation on Knowledge I, 1998

"The poem reads as follows:
THE VEIL OF KNOWLEDGE
To search for the veil,
The veil of blue and purple,
the veil of scarlet.
The veil:
a golden shadow of ecstatic enjoyment,
unlimited in space,
infinite in duration.
The veil:
the veil of knowledge,
a pomegranate
upon the hem of one's robe."

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James Mesple - Jonah Inside Out, 1996

"My personal interest in mythology is in part due to the focus of most myths upon the never-ending battle of good and evil—the balance of the Cosmos. I feel that these myths speak to us, through the millennia, about the human condition: our weaknesses and strengths, both of body and spirit."

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Michle Maria Mitchell - The Call, 1994



"Unspoken words of passionate voice within me seek the medium to articulate life, seeing and its possibilities."


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Jacqueline Moses - Throes of Progress: Quiet Invasions, 1995

"My travel through Eastern Europe and the Ukraine resulted in a series of paintings entitled The Throes of Progress. I was forced to re-evaluate and further appreciate the concept of democracy. This group of paintings quietly reflects the ever present threat of war, and the concrete reminders present in each country that past wars have left their permanent marks, and universal peace is still not a reality."

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Kathleen Newman - Running the Line, 1998


"As a landscape painter, I am primarily interested in responding to the color and patterns of light. Around Chicago, our lakefront harbor settings, skies and reflective patterns of water constantly inspire me."

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Julia Oehmke - Blue Rain, 1995





This body of work "represents women of the world, and what they have contributed to society."



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James Ostlund - Garlic, 1996



"My interest lies in the arrangements encountered in our natural world. I aspire to create paintings that embody a sense of beauty and echo a common language that speaks within us all."

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Tracy Lynn Pristas - Soul Spiral Passage, 1995





"I have a strong fascination with boats because they can be seen as a metaphor for a spiritual journey—the whole idea of passage and distance."



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Tom Robinson - Jim, 1997



"I've always been attracted to the anecdotal side of an image—to its capacity for visual metaphor. The 'what' of a painting is usually its weakest element, even among many great artists, yet the 'what' in art, as in life, is inescapable."


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John Rush - Study of a Winged Figure, 1995




"My interest ssince childhood have always been in history and mythology. I am, above all, preoccupied with the human figure and determined to bring my figure painting up to the level of mastery that existed 150 or 200 years ago."



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Vera Scekic - Chromosomes & Sea, 1997







"My work stems from my fascination with science. This fascination lies with biological and astronomical phenomena that depend on technology such as microscopes, telescopes and scanning devices, for resolution. These mediated images ask us to rethink our conceptions of self, scale, and context."

 



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Amy Lee Segami - Mirage, 1997



"Water is very important to our lives, so is the art of imagination, and so is Painting on Water™, which stimulates our imagination."


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Charlie Thorne - Evening El, 1996

"My objective is to capture the moments of rough beauty in the urban environment as I see them: a darkening but still bright sky with thick shadows of twilight below; bits of calm surrounded by the din of the city. Everyday objects are made visually poetic through lighting and isolation ."

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Gabriel Villa - Angel En Su Racamara, 1997



"All of my paintings comes from deep emotion. The images are formed out of childhood experiences, domestic concerns, and curiosities."

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Doris Volpe - Another Room, 1997



"The Many Moons—Many Rooms series of paintings explore the new interior spacees of thinking that are unfolding as my life progresses—new rooms and experiences are ahead of me. ."

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Duncan Webb - Drawer and Three Books, 1997


"Intimate moments occur in the domestic space. Within the contained space of four walls, secrets are whispered, promises are made, arrivals and reconsiliations occur. The container of the room becomes a place of emptiness and fullness, presence and absence, or intimacy and alienation. The drawer contains a secret space."

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Nina Weiss - Summer Vision: Illinois, 1995


"The technique I use is one in which pastel color is not blended or smudged, but allowed to remain pure and brilliant. In producing these rich compositions, I feel tied to a strong history of drawing technique and landscape genre."

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Donna Jill Witty - Harbor Gems, 1997




"Although I paint various subject matter, I find my work to be about an expression of light and color. Sometimes with more emphasis of one over the other, there is always a dynamic push and pull that commands an emotional response from the viewer."

___________________________________________________________ COPYRIGHT NOTICE: All rights in each work of art represented on this page and throughout this site are retained by the individual artists. No image may be reproduced, downloaded, or electronically manipulated without the expressed written permission from the artists.




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