Art is my mode of expression, the way I communicate my ideas and feelings to others. I am very conscious of my surroundings and know that each person experiences similar situations differently. I believe that anger and/or avoidance are often the way many try to deal with problematic situations. For society to evolve, we need a more honest approach. Calamities must be dealt with in a straightforward manner if improvement and healing are to take place.
My paintings are an expression of my ideas regarding problems that concern me. Guns emerging from the terrain as cacti, or rock formations, are used to transform a tranquil landscape into one riddled with threatening debris, and this raises questions concerning the legacies that we are leaving for posterity.
More recent paintings deal with integration and transitions. Landscapes are often altered and painted in bright colors. The intent is to give the observer a view of possible underling problems, but with the hope of expressing optimism and the need to adapt to the changes occurring worldwide.
Reliquaries - Positive Alternatives
I found myself inundated with pleas to improve the environment, recycle, go green, save energy, or help stop global warming. This was voiced in all parts of the country and by a multiplicity of groups ranging from the big businesses down to the many smaller groups calling for a cleaner and better planet. Plastic in all shapes and forms, discarded and scrapes of metal, paper of all colors, anything imaginable was now being used for recycled art.
When I was faced with putting all my works on cds I realized that my 3"x5" transparencies and 35mm slides were no longer of any use. How could these be used in art work? I went into my crawl space and found many pieces of wood and metal that I had been saving and collecting for over 30 years. I thought them beautiful then and still do.
This present body of work is a combination of these two "bodies of things". The wood and metal are the receptacles for the slides that have now survived and are memorials of something past.
In my first two works, Mirror & Sewing Machine, I left the slides as is: encased with all the markings left unchanged. For all the other works I removed the cases and just used the plastic slides combining them in relationship to the frame, color, size and content.
Light is important in displaying the work. Some are hung on the wall and back lit (Sewing Machine). Chair, Baby Crib and Organ Pipe Frame are hung using a daylight and spotlight combination depending on the time of day. The table is lit with a light from beneath. The pipes that are on wooden blocks from my grandfather’s workshop are lit from inside. In this manner one can view the beautiful pieces of old wood and metal showcasing. They, in turn are used to enclose and combine an array of different shapes of colors and forms with each object. All are to be viewed with some light, accentuating the transparency of the slides and the subtle integration of the materials.
|Galerija Likovnih; Gradec, Slovenia||Borg-Warner Corporation; Chicago, IL|
|Galleria Arte Moderna; Ferrar, Italy||St. Mary's College; Winona, MN|
|Tucson Musuem of Art; Tucson, AZ||Greyhound Exhibit Group|
|Indianapolis Museum of Art; Indianapolis, IN||State Savings Bank of Columbus; Columbus, OH|
|Rockford Art Museum; Rockford, IL||Sandoz Crop Protection; Des Plaines, IL|
|Midwest Museum of Art; Elkhart, IN||Schiff, Hardin and Waite; Chicago, IL|
|Chicago State University; Chicago, IL||Illinois State Museum; Springfield, IL|
|College of Dupage; Glen Ellyn, IL||First National Bank of Chicago; Chicago, IL|
|Kemper Group; Long Grove, IL||Household International; Prospect Heights, IL|
|Carson, Pirie, Scott and Co.; Chicago, IL||West Publishing Corporation; Eagen,MN|
|McDonald's Corporation; Oakbrook, IL|
|2010||"Natural Appeal: Chicago Artist Explores Whiskeytown," Redding Record, Redding, California|
|2009||"See it While You Can," Rockford Register Star, September|
|"Francis and Jane Speizer Collection," Chicago Artist Coalition News, September|
|2004||Article, Diversions, Pioneer Press, Ellen Pritsker, May|
Article, Chronicle of Higher Education, Al Benson, February
|Highlighting Chicago Artists, Newsweek .com, February 28|
|Diversions, Pioneer Press , J.J.Hanley & Myrna Petlicki, March 4|
|Arts, TIMES (Munster, IN), Katherine Whipple, July 25|
|Article, Chicago Sun-Times , Gary Wisby, August 7|
|1998||The Chicago Art Scene, Ivy Sundell, Crow Woods Publishing|
|1997||Benefits, Aution Against AIDS, Pioneer Press, December|
|1996||Article, Living with Art, Garrett Holz, Art News, October|
|Calendar Feature, Reader, May|
|Calendar Feature, Mary Daniels, Chicago Tribune , May|
|Cover,Valerie Staats (editor), Sistersong (Women Across Cultures), Spring|
|Article, Art Center Makes 'Much Ado About Art', Pioneer Press, May|
|Review, Chicago Art Imported for WMU Exhibitions, Tom Chimielewski, Kalamazoo Gazette, September|
|Review, Jacqueline Moses' Paintings at WMU, Kalamazoo Gazette, November|
|1995||Featured Artist, Hyphen Magazine|
|1994||Review, Jacqueline Moses at Kay Garvey Gallery, Michael Muster, The New Art Examiner, May|
|1992||Review, Artist Moses Explores a Surreal Desert, Kim Wagner, Chicago Sun-Times, April|
|1991||Review, Museum Showcases Regional Art, Jeanne Derbeck, South Bend Tribune, September|
|1990||Review, "Death", Michael Bonesteel, Pioneer Press, October|
|Cover, Art Calendar , October|
|Review, Artists Smile in the Face of Grim Reaper, Ginny Holbert, Chicago Sun-Times , April|
|1989||Review, Pictures of Death, Pat Welch, Quad City Times , August|
|Review, Landscapes Grow on Earth, in Minds, Michael|
|Bonesteel, Pioneer Press , January|
|1986||Review, Corporations Open Windows with Art Work, Graeme Browning, Chicago Sun-Times , July|
|1985||Review, Moses in the Desert, Michael Bonesteel, Pioneer Press Cover, St. Paul Downtowner, April|
|1984||Review, Their Art is Their Reward, Laura Chase, Life Newspaper , May|