Virtual Gallery Summer 2021
My artwork takes a broad look at humanity and how we relate to each other and our place in the universe. I suppose focusing on one specific aspect of this concept is less important to me than pursuing it in a broad sense. As Carl Sagan, Neil deGrasse Tyson, Brian Cox, and other scientists are influencing my thought process more intensely in the recent past, I notice my work has become celestial and abstract. I thoroughly enjoy experimentation, not only with subject matter, but how I utilize the medium of choice, mostly acrylic.
Recently, I've become more interested in the idea of quantum entanglement, and have tried to represent that, at least in some sense, in my paintings.
My creative work includes acrylic paint, grey glass tile, paper mache and 3-Dimensional materials. The main focus is an asian woman in a kimono. She is in the center of the art piece with her mouth covered by a folding hand fan. The color scheme consist of contrasting colors of orange, blue and warm complimentary colors.
My paintings provide new perspectives to everyday spaces through the act of flipping, turning, shifting, and rearranging personal surroundings. In the face of a global pandemic where we are advised to keep a six-foot-distance from people in our communities, we face a reality where we are continually considering the space between ourselves and others. Within the in-between space from others lies room for exploration of the objects, creatures, and structures which make up our realities. My paintings contain images that are more than everyday spaces; these are emotionally and personally charged places that I have selected to paint. These are remembered spaces from my past that I have questioned, altered, revisited, and tried to see in a new way.
I seek to confuse our spatial understanding on the canvas as an attempt to dismantle my own preconceived expectations surrounding the human/space hierarchy found in painting. What lies at the root of each of these images is how our we simultaneously alter ourselves to our environment and how these spaces are altered by our presence. Through a continual dialogue between humans and that which exists around us we can foster a mutually beneficial and respectful interaction to promote a healthy ecology throughout all spaces.
Originally from the Pacific Northwest, I received my Bachelor of Fine Art at the School of the Art Institute of Chicago in 2019 and my Master of Fine Art from Washington State University in May of 2021.
The pieces here are part of a larger body of work titled, "The Width of a Circle". All the pieces include at least one circle. I love the shape of a circle, and what it can represent. Beginnings, endings, coming full circle, starting again, potential, wholeness, separateness, protection, and even joy.
I am currently working on a series of paintings that are inspired by petroglyphs & cave drawings.
Painting is how I try to form a picture that is impressive. I do strive for realism, but try to let the painting as a whole dictate how rendered the subject needs to be. The subject is rarely impressive. Sometimes the objects in the still life are dull but I find that it is a vehicle for good painting anyway and deep in myself I have to paint it, though I am repelled by it.
Calumet Park, Illinois
Latia Jackson is a Chicago-based artist who works in oil paints and creates writings and poems. She holds a Bachelor's degree in Fine Arts and a minor certificate in Creative Writing. A constant theme in her work consist of African Americans; whether it be political or comical. She expresses both of those elements through her art and finds that portraits and writings are a perfect reflection to get her point across. Previously, Afro Picasso's work has been described as "deep" and "amusing yet informal".
My current series of artworks are digital photomontages meant to mimic the intertwined nature of memory and the biological structures of neural networks. Presenting documentation and related typography of my daily consumption as a form of a diary, I intend to highlight how entangled our culture is with the artificial nature of consumerism. In the context of a time when artificial intelligence and neural implants are on the verge of becoming possible, scientists are broadcasting that they are inching closer to discovering the mathematics of our reality, and the merger of life and technology is already the norm, this is the beginning of a body of work that asks viewers to consider the normalization of societal growth tangent from nature.
Custom designed, crafted grapevine wreaths to celebrate special occasions, seasonal decor or holidays
I am a recovering accountant who indulges my creative impulse imagining, designing and crafting custom made grapevine wreaths with decorative bows and other materials.
Orland Park, Illinois
I began painting in 2001 while I was recovering from a mountain biking accident that left me in a coma. I am a self-taught artist and I learn from trial and error, books, and shows on PBS. I entered my first competition in 2020.
I work mostly in oils, with an emphasis on landscapes - both real and imagined - but I have a broad array of subjects in my work.
Shaqui Reed's work examines areas of imperfections expressed by irregularity, incompleteness, rawness, and simplicity. Her designs typically involve deconstructing, distressing, layering, and piecing together what is left behind. Her textile works speak of the color and texture of her fears. Her fears are represented through the roughness of the denim and the different shades of blues. Her work uses repetition of pattern, line, shape, stitch work, and surface manipulation to narrate the juxtaposition of complexity and simplicity. Her love for denim translates to exploring different shades of denim, textiles, lines, hand stitching, and patchwork. Transcending the conventions of learned experience as a fashion designer,
Shaqui Reed explores new adventures within the definition of herself. Her current body of work explores cultural intersections as a source of her identity crisis as her work explores themes of belonging within two cultural backgrounds. Her other works focuses on grooming process, routine, adorning and celebrating black pride through memories and shared experiences, the adornment and embellishment of hair culture within the black community and the importance and impact of preserving that. All of the surface treatment, patterns, ways of looking at repeats, design, prepping, conditioning and setting is all part of the hair culture. She use hair, hair product, and hair ornaments, applications, and the building of structures to come to a place of understanding self.
I strive to explore, redefine and externalize femininity and “femaleness”. With highly detailed and intricate techniques, I endeavor to show the complicated tableaux with aggressiveness, gentleness, fragility, softness, toughness, struggles, emotions and pain within femininity and female gender in delicate and cryptic looks as I dig into the neglected, unorthodox, forgotten and hidden parts in “Yin” out of love, desire and fear.
I stay loyal to the creed that art should be an organic combination abundant with personal metaphors and symbols; art is about experience rather than conversation. If there is a story with an open ending, there should be art totally open to interpretations and feelings.