Tiger Lily Cross

^{Tiger Lily is a self taught artist who works with a variety of  mediums including watercolor, oil, acrylics, pastels, graphite, colored pencils, paper, cardboard boxes and wood.    She also enjoys plein air painting.     Her artwork has been exhibited in galleries in Chicago, Oak Park, Skokie,  Blue Island, Illinois,  and also in LaGrange, Texas and Oahu, Hawaii.}

Fletcher P. Hayes

Not Everyone Witnessed It       Limited Edition Giclee Print        20.75" x 23.25" 

Fletcher Hayes grew up in a house chock-full of oil paintings by his mother's brother Douglas Reynolds. He first learned to draw from encouragement from his talented sister Susilee, followed by junior high and high school teachers Nina Ross Gessler and Gary Kerr. His father Charles, a professor of architectural and engineering drawing, taught him how to draw with three-point perspective.  Hayes received his Bachelor of Fine Arts and Master of Arts degrees from the University of Alabama at Tuscaloosa. There he studied painting with Alvin Sella, design with Richard Brough, sculpture with Art Oakes, printmaking with Richard Zoellner, ceramics with Dr. Richard Engle, photography with Thomas Barnes, art history with Dr. Joseph Bolt and drawing with Edith Frohock who would stop him in the midst of a drawing saying, "Don't make another mark – it's finished," followed by, "Put it aside and start a new drawing."

As part of his masters degree, Hayes attended the Blossom Kent Art Program at Kent State University. Guest instructors included sculptor Richard Hunt, printmaker Nathan Olivera and other nationally recognized artists.  He later studied lithography in adult education classes at the School of the Art Institute of Chicago with Ellie Specht, and oil painting with Ginny Sykes.   A member of the Chicago Alliance of Visual Artists and the Elmhurst Artists' Guild, Hayes is frequently invited to jury art exhibitions in the region.

Hayes' artwork has been exhibited at institutions including the Museum of Contemporary Art, the Merchandise Mart, the Beverly Art Center, Old Town Art Center and Irish American Heritage Center, and galleries such as Ann Nathan, Mars Gallery and Jackson Junge Gallery, and many others.  In addition to solo and group exhibitions, Hayes’ collaborations with artist Kim Laurel have produced two-artist shows and installations. As curators the pair has organized and brought to life several theme-specific group exhibitions of up to 50 artist-participants in cooperation with art galleries across the region.   Hayes makes his living as a visual artist after a career of art direction and graphic design at local and international advertising agencies.

Artist’s Statement

An important story lives on as myth after all the witnesses have departed. My artistic goal is to bring to life a marvelous moment in time. But what time and what place? My images explore the dark corners of my off-kilter daydreams.

Kim Laurel

Runt and Stillborn (Litter-mates) Mixed media 14" x 9" x 1/4" each (set of two) $475

“My work is symbolic commentary on sociological and environmental issues in a complex and alienating society. The themes are inadequacies in society posed as allegory. Primal experiences, nature and personal identity for example, so basic to our understanding of existence, are symbolized in this allegorical world. Contemporary cultural icons and words are used to enhance or countermand the associations of the figurative images and symbols, emphasizing the dichotomy between physical self survival and spiritual isolation. Utilizing printmaking and collage as an extension of drawing and painting, I have found that in the realm of two dimensional expression that mixed media collage is the most authentic and subjective tool to express my voice. For me Art is about persistence, a life study and discipline. It is part of my life. If you pursue it a lot or a little at any one time makes no difference...just return to it again and again. Let the presence of touch back into your life and embrace the new with reference to all that you have learned." ________________

Kim Laurel is a Chicago based mixed media artist, illustrator and graphic designer and has exhibited in the United States, Canada and England since 1977. She studied at Oberlin College, the Cleveland Institute of Art, Cleveland State University and Illinois State University. Her works of art are part of various public and corporate collections. Laurel's recent curatorial work includes: Her Way With Print, Fletcher Hayes & Kim Laurel Collaborations: Black/White/Gray, Element Flux, Ethereal Fauna: The Artistʼs Muse, Tool Box Flower Box, Integrant Element Lab, Redux Loop, Wild Things and Beyond. She is a long standing member of Woman Made Gallery, the Mid America Print Council, the Chicago Printmakers Collaborative and the Chicago Artistʼs Coalition. Kim's art is exhibited in many Chicago galleries and institutions and is represented by the Workshop Print Gallery - Chicago Printmakers Collaborative, Chicago, Il. She teaches private and public classes at the Chicago Printmakers Collaborative. Her work is included in the recent 2015 exhibitions and publications: "Convergence: The Poetic Dialogue Project" at the Ukrainian Institute of Modern Art and "City Creatures" at the Peggy Notebaert Nature Museum and the publication "City Creatures" by the Center for Humans and Nature, University of Chicago Press. In 2016 her works are featured in the group exhibition "Serial and Sequential: A Printmaker's Performance" at Argonne National Laboratory.

Debra Nichols

Debra is a self-taught artist and curator.   Her artwork has been exhibited at the Devonshire Cultural Center and at the Emily Oaks Nature Center in Skokie, IL.   She is a resident of Skokie.

MEMORIAL BOX

Losing a loved one is never easy.   I create memorial boxes with momentos that remind me of a loved one who has passed on.    While it does not bring back my loved ones, I am comforted by the meaningful objects within these boxes.   These memorial boxes can then be passed on to the next generation.  

Debra's installation Who Do Your Remember? asks visitors to write the names of their loved ones on the board.

Debra has also made custom Memorial Boxes for clients.   If you would like for Debra to create a Memorial Box for your loved one (human or pet) using your own personal momentos, please contact anatomicallycorrect2022@gmail.com to set up a consultation.

Yvonne Pitts

Sugar Skull Green

Acrylic & Mixed Media on Canvas   12 x 12"

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$ 80

Jan Repa

Jan Repa was born in the area of Zakopane, Poland, home of traditional glass painting, weaving and wood carving.   He was inspired by his family to pursue art (his father was a wood carver and carpenter and his mother was weaving traditional highlander rugs and wall hangings).

Jan received a degree in Fine Arts from Antoni Kenar Art School in Zakopane, Poland.   He also studied oil painting at the American Academy of Art in Chicago, IL.

In addition to his paintings, Jan works as a freelance sculptor creating clay sculptures for casting in resin, concrete, plaster & bronze.  

He also works for Orlandi Statuary creating custom statues. His life-size Mastodon Statue can be seen in Phillips Park in Aurora, IL and his bronze statue of Abraham Lincoln can be found on the NE corner of Lincoln/Dixie Crossroads in the City of Chicago Heights, IL.  Another life size statue “Community” is installed outside of the Grand Avenue Community Center in Western Springs, IL.

$400

Sharp Gate Madonna   Oil on Glass   12 x 14"    $200

Tree Chapel    Oil on Glass     16 x 20"      $500

As an artist, born American in Puerto Rico and raised in Chicago, I’ve managed to preserve a cultural foothold in both places. This, of course, is facilitated be regularly visiting the island. In the reality of globalization, the challenge, at this time, becomes: How do you preserve the Puerto Rican culture and advance it for the succeeding generations, or, ANY other culture (Think about it) in the mosaic that Is America. My goal is to bring the traditional Vejigante mask into a 21st century expression of art. I make traditional and contemporary style Puerto Rican Vejigante carnival masks. Two ,and soon to be 3, of my masks are in the collection of the Museum of Anthropology at the University of British Columbia in Vancouver, Canada, as well as, in the local Chicago museums of the National Museum of Puerto Rican Arts and Culture, and, The Puerto Rican Arts Alliance. I strongly believe that the arts are important, and, mentoring, especially our children, is a way to preserve our various cultural and artistic traditions.

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Huracán María       Paper Mache, Mixed Media, Acrylic     21 x 17 x 18"     $850

As of 2011, there are at least 1 million MORE Puerto Ricans living “afuera”, or, “ outside of the island of Puerto Rico”, than are living in the island of Puerto Rico itself.

Christopher Schneberger

Christopher Schneberger is a photographer in Chicago. His work has been exhibited nationally and internationally. Recent exhibitions include: The Los Angeles Center for Digital Art and the Annenberg Space for Photography, both in Los Angeles; Dorsky Projects in New York City, Geocarto International in Hong Kong, and Printworks Gallery in Chicago where he is represented. He is two-time recipient of an Illinois Arts Council individual artist grant.

He is adjunct faculty at Columbia College and the College of DuPage where he was named the College-Wide Outstanding Adjunct Faculty Member for 2018. He is a founder and board member of Perspective Gallery in Evanston, IL.  He has curated several exhibitions of photography including Realms, This Particular Patch, and Re:Place. He has been a presenter at the Society for Photographic Education’s midwest regional conference, and a visiting artist at numerous colleges including: Kendall College of Art, Delta College, and Western Michigan University. He holds a BFA from the University of Florida and an MFA from Indiana University. 

 

The Strange Case of Dr. Addison and the Crosswell Twins

Transient Dr. Charles Addison disappeared In the spring of 1908. The noted botanist, amateur zoologist, and photographic portraitist, had been making a series of images of a young girl named Regina Crosswell. Regina’s twin sister, Lydia, had died in the winter, though the circumstances were unclear. Dr. Addison, however, became convinced that Lydia Crosswell had not entirely departed from our earthly plane. Addison first photographed the Crosswell twins the previous fall when their father brought them to Addison’s studio. Addison made head-and-shoulders portraits of the girls. When Lydia Crosswell died the following January, Dr. Addison was summoned to the Crosswell estate to make a memorial portrait of Lydia in repose. Several months later, Mr. Crosswell requested Addison make a portrait of the entire family. Apparently, Regina Crosswell had been unable to let go of her sister and claimed to still see her and play with her. Mr. Crosswell felt that if a new portrait was made it might help Regina to accept the family as it then existed, without her sister. The Crosswell family, including governess Katharine Rennick, came to Addison’s studio and had their portrait made. However, when developing the glass plate negative, Addison discovered one extra figure in the image. To his great disbelief the figure appeared to be that of Lydia Crosswell. When shown the image, Mr. Crosswell accused Dr. Addison of being a charlatan, and promptly threw him off the property. This served only to intrigue Addison who sought to investigate and either prove or disprove the phenomenon. He arranged several meetings with Regina Crosswell to photograph her further at several locations including the estate, his studio, and the cemetery where Lydia was buried. To his astonishment, each time Addison photographed young Regina Crosswell, the image of her sister appeared when the photographic plate was developed. Ever the scientist, Addison tried several technical means and experiments to discern the truth. One of those methods was stereo photography with gave a three-dimensional image. Addison reasoned that if the spirit was false, it would not have visual depth. After numerous images all showed Lydia’s image, Addison began to accept the presence of her spirit. He then began to question her demise. Addison kept an occasional diary of his investigation, and it reveals a curious man searching for clues, motives, and suspecting several different individuals of foul play. The diary ends abruptly with an entry that indicates Addison made a discovery. But what he discovered remains a mystery as Addison disappeared and was never seen again. We have re-created the studio of Dr. Charles Addison as it existed in 1908, based closely on the photographs we have uncovered. Hanging in this studio are all the known photographs Addison made of Regina Crosswell. The diary that Addison kept is displayed for those interested, as well as some of the actual furniture from the studio.

Playing at the Typewriter

photography, digital pigment print

framed 16 x 20"

$650

(from Dr. Addison and the Crosswell Twins)

At the Gate, Crosswell Estate Garden

Reflecting Pond

Lydia Comforts Regina

Glimmer: The Haunting of the Graham House

Transient John and Sarah Graham found me after seeing one of my exhibitions and wanted to ask me about the ghosts I had been researching. They seemed fixated on how the ghosts in my shows were visible in physical space. I asked why. “See,” Sarah said, “Our ghost lives in the mirrors.” Sarah explained to me that the apparition of a young woman appeared to the family, but only in reflections. I was very skeptical at first, as I hear ghost stories all the time. The truth is, I really didn’t believe in ghosts. After a lengthy conversation about my doubts and their privacy, John and Sarah trusted me, and invited me to photograph in their home. At first I didn’t see any girl. Was my skepticism founded? “She doesn’t know you yet,” John said, “Sometimes I wish she didn’t know me.” Sarah pleaded with me to come back a few times, and I did. After several visits I was about to write this off as another hoax, when one evening Sarah called from the bathroom. “She’s here!” I ran to the bathroom to find a young woman in the mirror, as if she were standing next to Sarah. I said to Sarah, “I’m moving in.” To my surprise, the Grahams agreed, and over the next two months they granted me unprecedented access to their house, and their lives. These are my photographs from that time. The Grahams bought their three story Victorian in 2002. There was nothing unusual until Kevin was seven and surprised Sarah with a question, “Mommy, who’s the girl in the mirror?” Soon all the Grahams could see the girl, and before long she became commonplace. She would silently walk into a room, only visible through a reflection. She was there, yet not there. I witnessed her numerous times while staying at the house. Any attempt to speak to her was unanswered. She would leave the room if I tried to touch her. She wasn’t transparent, as ghosts are sometimes pictured, but she seemed shimmery and slightly out of focus. The Grahams are private (their names have been changed) and have told only close family and trusted friends about their housemate. Kevin is a quiet, shy boy who keeps to himself. Ashley is a teenager however, and has had friends over. “We’ve asked her friends to not tell anybody,” From my observation, her friends couldn’t care less. Ashley asked me one night, “Can you make her go away?” One day I noticed that the girl whispered in Kevin’s ear. I asked him later if he could hear the girl speak. He said no, but blushed and looked away. Sarah seemed to be more at ease when the girl was around. John seemed less interested, even uncomfortable in her presence. He told me, “A lot of times I just ignore her, but sometimes you can’t.” The records at the historical society show the house was built in 1890, but there is no record of a girl her age living there in the early years. Epilogue After two months of photographing, I’d become quite fond of the girl, but felt my shooting had run its course, and I moved out. Sometime later Sarah phoned me to say they had decided to sell the house, and that she and John were divorcing. “I’d keep the house if I could, but I can’t.” Sarah said. I could hear her stifling tears over the phone. “The hardest part,” she said, “is that I can’t take her with me.” After the house sold, I called the new residents under the guise of being from their realtor’s agency. I asked them if everything was okay with the house. “The plumbing is a bit of a mess,” the man told me. “Well,” I said, “please call me if anything else shows up.”

Kevin's World

photography, digital pigment print

 30 x 40"

$1,800

(from Glimmer: The Haunting of the Graham House)

Ashley in her Bedroom with Friends

Ashley in her Bathroom

Kevin on the Landing

Sarah and John After Work

(from Glimmer: The Haunting of the Graham House)

The Grahams at Dinner

photography, digital pigment print

 21 x 28"

$1,200

(from Glimmer: The Haunting of the Graham House)