Gale West

“Remembrance”

A three channel multi-media installation that explores relationships that transcend death. It looks at the difference between the relationship of a spouse, children, siblings, and friends and the role of memory–both actual and appropriated–in maintaining those connections.

APNA GHAR (Our Home)

“Reverberations: 3 Perspectives On The Violence In Our Lives,” a photographic narrative by Apna Ghar clients and staff that explores the effects of domestic violence in their lives

This exhibit is a collaboration between the Framing Safety Project developed by Dr. Lisa Frohmann at UIC and under the leadership of Kiran Siddiqui, Program Director at Apna Ghar, in conjunction with Apna Ghar’s art therapy program led by art therapist Jill Jeffrey. Photography is a powerful tool of expression, reflection and healing. Using photography and narrative Apna Ghar clients and staff explore independenlty and together the effects of violence in their lives. In the Framing Safety Project the clients of Apna Ghar used photo-narratives to explore the complexities of living in or with and leaving their abusive relationships, the inner strength required to rebuild their lives, the pain of being disenfranchised by their communities and cultures, and the legal obstacles that inhibit their ability to create a safe life for themselves and their children. This exhibit reveals the complex interplay between the women violated by abuse and those who work with them and on their behalf. These photo-narratives represent how violence reverberates from client to advocate and advocate to client — and radiates outward from there.

Richard A. Herzog

“Group Dynamics – An Installation.”

It is about the social phenomena of the group mentality and how an individual becomes secondary to the group. It will incorporate the viewer as much as it incorporates the object that I made.

Alisa Singer

“Around the House,” paintings

In this series of paintings you are encouraged to perceive commonplace and mundane objects with a fresh perspective. While we recognize these objects at a subliminal level, they rarely rise to the plane of our consciousness. By considering these items out of context, separate from their prosaic function and environment, we can clearly recognize their distinctive visual characteristics that go unnoticed on a day-to-day basis. Consider, for example; the graceful and arresting patterns of striped towels hanging in a row; the soft lines, texture and hues of a pile of laundry or a stack of folded blankets; the whimsical, near-human qualities of the head of a wooden mop; or the spectral silhouette of clothes hanging in a closet, free of their human form. You don’t need to leave the comfortable confines of your home to find images capable of quickening the imagination and stimulating the senses.

Elise Blue

“My Apocalyptic Playground,” paintings on canvas and panel

Narrative landscapes and documentary portraiture- a record of tumultous times.

 

Robert Magrisso

“Spacetime,” carvings, constructions & collages

My artwork has been motivated by the desire to express an ever-changing inner vision, a vision that is both psychological and spiritual, personal and universal. Highly symbolic, yet at the same time using actual objects and photographs of real objects, I am always trying in my work to get in touch with and express the mystery that is at the heart of reality. Death, grief, healing and joy are some of the themes towards which I find myself gravitating. These are themes I daily encounter in my professional life as a general internist physician. “Spacetime” refers to the physical world in which we live. It is a physics term that recognizes the interdependence of space and time. This physical, “Spacetime” world may be part of something much bigger and these art works are part of an ongoing meditation on that theme.

Sean Rausa-Griskenas

“Over the Edge: Painting Outside the Stretcher,” paintings

The artist shows new works that investigate and challenge the conventional idea of painting. Large scale canvases invite the viewer to walk in, around, and through the painting while smaller works afford the viewer the opportunity to see the inside and the outside of a painting in addition to things in between.

Shelia Finnigan

“Wall of Work From the New York Solo Show, “One-Stop POP!” mixed media

“Post-POP” paintings, drawings and found-object sculpture questioning Andy Warhol’s near-deification in the art world offer a partial view of Finnigan’s stunning first solo exhibit in New York City. Her “Wall of Work” is a veritable American Sampler, complete with tomato soup stitches.