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 | | Marvin Hill |  | Watercolors |
| Daniel Grych |  | Dan is DeKalb Gallery's owner. The Gallery has been operational since July of 2000. 1974 Bachelor of Fine Arts degree in Painting & Drawing from Northern Illinois University. 1972 Associate f Arts graduate from Morton College, Cicero, Illinois. Grew up in on the north side of Lyons near the DesPlaines River. An independent artist and noted for his screen prints, pen and ink renderings of architecture, pencil drawings and traditional black & white photography. Images of DeKalb has been the primary subject matter of his work. |
| Louis F. Mustari |  | A 1957 graduate of drawing and sculpture from the School of the Chicago Art Institute and earned a PhD in medieval and Renaissance art history at the University of Iowa, Iowa City in 1975. Studied at the University of Florence. Privileged to teach at Iowa State University, Lake Forest College, Northern Illinois Univeristy, Salzburg-Austria and at the Center for Macedonian Studies in Thessaloniki, Greece; and led study groups to various countries in Europe. Over the years he has been awarded with honors. Retired from formal teaching since 1994 and resumed being an artist full time. This is an exhibit of figure drawings inspired by live models. (Not shown: all of the drawings are mounted on acid free foam core with an archival linen tape, matted with 4-ply white museum boards with standard 3" T&S and 3-1/2" B measures.) |
| Nancy McManus Olson |  | Nancy McManus Olson is a textile artist who has lived and taught in the Northern Illinois area for the past thirty years. A lifelong love of textiles has led to an advanced degree in fiber arts and ten years teaching textiles at Rockford College. After an exploration into tapestry weaving, spinning and dyeing, surface design and collage, she is currently working on a series of ART QUILTS. The imagery portrayed in each art quilt reflects her appreciation for the beauty, dignity, and inspiration found in the natural world. Each wall piece is an original design carefully executed in fabrics from around the world. The images shown are examples of her style and technique. Contact DeKalb Gallery and commission a wall piece for your home or office. |
| Eileen Bosic |  | Eileen is originally from Cleveland, Ohio where her passion for art began as a child. She would take two buses to reach the Cleveland Institute of Art during the summer months to study. Her passion for art continued after moving away from Cleveland and she has studied at Kishwaukee College and Northern Illinois University. She currently is a student at the Fine Line Art Center in St. Charles.
She began painting with oil paint and transitioned to acrylic paint. For the past four years, she has used oil pastels and finds it a very exciting and challenging medium. It allows her a freedom and creative spirit which she has never experienced before. Additionally, she finds them very forgiving while honing her craft.
Most of Eileen’s paintings are her interpretation of landscapes, still life and barns in and around DeKalb. She finds her inspiration from the colors and compositions of the scenery around DeKalb and keeps it in mind while creating a piece. She doesn’t approach a painting by taking a photo of the subject or by painting on site. Scraping, adding colors or simplifying techniques contribute to the creation of her final pieces.
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| George Turner |  | I have painted for over thirty years, of which over twenty-five have been spent managing a central Illinois farm. There I have observed the land in its essentials, seeing air, light and water blend with the soil in a continuous dance. I have seen a quiet power there, and I try to paint the land and sky as the wonders they are, without recognizable signs of man. There is no “view”, but rather a less visible, less contained landscape where natural processes function without interruption: tangible, beautiful and potent. Interacting with the changing weather and seasons, the natural landscape is more convincingly the order of things than is the brittle structure of our human scheme.
Seeing the quiet power of the soil, land and sky without “view”, I would like to let them have back their primalness and give the landscape a rest from imposed responsibilities. Juxtaposing nature’s elements with the artist’s rectangle is rationalization for mixing up a marketable metaphor. A conflicted concept of ownership and naturalness emerges.
The ground is soil, a dry fluid more potent than gold and less understood. Air and water beg to dance with it, move it blend with it. The weather releases its odors, folds its details and works the shape of the horizon. Ownership and development put land into convenient shapes and put recognizable things on those shapes. Architecture and the market are slapped onto a landscape left rarely to its own devices. So I try to paint a liberated, unshackled version of nature; elemental landscapes where one does not surrender to control.
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| Gene Westerberg |  | Gene Westerberg of Sandwich, Illinois (NIU 1956) is a professional woodcarver who retired after many years of teaching shop and art at Willowbrook High School in Villa Park, Illinois and later at Sandwich High School.
Gene specializes in realistic carving of song birds and raptors. He conducts bird carving classes in his home studio. His work has won many ribbons and prizes at various exhibits; including "Best of Show" at the DeKalb County Fair in Sandwich, for the last three years. |
| Jennifer Paolinelli |  | I am inspired by antiquity especially the Bronze Age cultures of Sumer, Egypt and Greece which dates to between 2,100-1,500 B.C.E. I began making my Cylinder Seals series in 1998 after I began collecting ancient Sumerian and Babylonian seals.
A seal is a making device, usually made of stone carved with a design in relief so that when it is impressed on a pliable surface it will leave an impression of the design in embossment. The seals were carved in the round during the 4th millennium so that they could be rolled in wet clay to authenticate a letter or to protect what was marked and thought to have amuletic protection for the owner as well.
During my years at Northern Illinois University I took a lot of art history classes from Professor Avra Liakos and as an artist was allowed to do art work instead of a paper for our final assignment of the semester. And whalaa!
The Cylinder Seal Series began and 50 seal designs later I am still creating.
A new seal piece is created by making a squeeze from one of my original Sumerian
or Babylonian Seals into warm wax and to make them more contemporary I add a geometric boarder. The finished works are cast in sterling silver and bronze and worn as amulets to keep away the evil eye. Some of the pieces are patined which is an oxidation to the surface with liver of sulfur. The seal scenes depict daily life in antiquity especially popular were the Royal scenes with the king seated on his throne and his visor behind him ready to serve and guarded by two mythical beasts. In antiquity the seals were buried with their owners and became very popular to the masses. The ancient seal brought about today’s modern postage stamp.
Paolinelli holds an MFA in Jewelry from Northern Illinois University 2002.
Paolinelli has taught jewelry at the College of DuPage, Grays Lake Community College, The Evanston Art Center, The Suburban Art Center of Highland Park and Kirkwood College in Des Moines, Iowa. Paolinelli is a member of the Illinois Artisans and has her work at the Thompson Center in Chicago, Ren Lake, and Springfield and shows her work at fine art shows in Illinois and Iowa.
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| Peter Van Ael |  | Peter van Ael is a printmaker and has focused his studio practice on the reduction woodcut. He finds its sculptural physicality in combination with its working immediacy very appealing. He builds his images layer upon layer, using loosely abstracted geometric patterns that are sensuous in color and rich in warm textures. Interestingly the reduction woodcut requires a gradual destruction of the woodblock during the creation of the work of art. The print is born out of a creative one-way voyage of constant challenges requiring total commitment to decision making every step of the way, and does not tolerate detours or returns. Consequently, the finished reduction woodcut print is always unique, fresh, direct, powerful, and an honest expression of the artist's creative intent. |
| Gingie Noe |  | Gingie Noe holds a BA degree with an emphasis in painting from Northern Illinois University where she also has taken additional graduate courses. She presently works in watercolors and acrylics at her home studio. Her colorful paintings celebrate nature with floral still lifes, and garden and prairie scenes. Her fantasy series—Butterflies in Space—was well received at a recent show at DeKalb Gallery.
Gingie’s most recently was in “Prairie Roots”, a two-woman exhibition at Ellwood House in DeKalb. Her works have appeared in regional shows, including Geneva, Aurora, Milwaukee, Rockford, Elgin and Chicago. They are in private collections in 10 states. Heaven Migration appeared in three juried shows in 2006—the Franciscan Art Exhibition in Chicago, Art Infusion in Elgin, and “Symbolism, Myth and Ritual” at Oakton Community College. Additional works by Noe are available at Burress Amish Furniture, 663 Villa Street, Elgin, IL (info@burressoak.com).
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| DE KALB GALLERY ARTISTS |  | Renie Adams, Steve Anderson, Christian Arrecis, Anita Baenish-Juda, Dina Baker, Gil Beamsley, Richard Beard, Greg Beise, Dorothea Bilder, Robert Bornhuetter, Lucio Bortolin, Eileen Bosic, Vernon Brejcha, Carl Cline, Cathlene DeCraene, Gerard Erley, Neil Estrick, Jessica Gondek, Daniel Grych, Cindy Guilboard, Bill Haendel, Cody Happ, McCauley Hart, Lori Hartenhoff, Jim Henry, Marvin Hill, Aubrieta Hope, Doug Jeppesen, Diane Johns, Allison Johnson, Heath Johnson, Frank Kozlowski, Yen-Hua Lee, Ben Mahmoud, Sean Murray, Louie Mustari, Gingie Noe, Ruth Nunley, Nancy McManus Olson, Peter Olson, B. Otto, Jennifer Paolinelli, Linda Peterson, Kerrie Pierce, Christa Pisto, Aparna Rae, Hendrica Regez, Courtney Rice, Joan Robertson, Dale Sinderson, Margaret Socher, Julie Sorensen, Alfred Stark, Jane Swanson, Barbara Thomas, Vincent Tolpo, Andrew Toth, Ron Toth, George Turner, Alyce Van Acker OP, Peter Van Ael, David Vercamme, Anne Von Ehr, Kim Vorel, Gene Westerberg, Bruce White and Casey Wise. |
| Alyce Van Acker |  | I have been painting for many, many years, and I am always excited by the prospect of beginning a new painting.
The poured paintings in this exhibit began in September, 1999 when I participated in a workshop with Bette Ridgeway in Santa Fe. The flow, the mixing of colors, the transparencies are mesmerizing. Using the margins or edges of cropped poured paintings provide me with some of the materials for my collages.
I acquired a Bachelor of Fine Arts from Siena Heights University in Michigan and a Master of Arts in paining from Northern Illinois University. For twenty some years I have been involved in teaching at the Fine line Creative Arts Center. It is a wonderful haven of camaraderie and spirit.
We all have talents and a specific role to lay on this earth. I believe that my responsibility as an artist is to alleviate the enormous amount of suffering and despair prevalent in society. “New ways of seeing mean new ways of feeling…I do believe that painting can change the world.”_ David Hockney.
Color captivates me. I am continually learning more about it because each pining is a journey of discovery. Often a phrase from Scripture will startle creative musings and inspire me to begin a painting. Sometimes, there is NO inspiration until the pours of pulsating, vibrant color come together in an unanticipated expressive abstract.
I love to experiment!
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| Gil Beamsley |  | Mr. Beamsley, a Sycamore Illinois resident, has been painting rural DeKalb County since 1971. When he commuted into Chicago to work at Montgomery Wards he noticed how the rural landscape was changing dramatically with the decline of family farms and the growth of urban sprawl. He photogaphed the local rural countryside, and is still working from these images even though many of the farm buildings no longer exists, except in peoples' memories. His unique painting method with acrylic paints is applied onto canvas or paper in very thin layers exposing, at times, the gessoed surface beneath to achieve a cerain atmospheric glow and realism in his subject matter, a breath of life of a farming community yielding the richest farmland in the world. These images are worth remembering, an important way of life not so very long ago. Mr. Beamsley usually shows his work in Chicago restaurants and recently at the University of Wisconsin-Madison Medical Center. |
| Joan E. Robertson |  | ”Flowers within still-lifes are my main subject. The flowers are selected first, depending on the season and my mood, then the still-life is built around them. Many times I refer to the whole cycle of life with buds, flowers in full bloom, dying or dead remnants: life’s passages. The choice of open, voluptuous flowers shows exuberance and joy, while the addition of still-life elements are memories of life’s adventures, including my early love of the Dutch Little Master painters. Textural contrasts and intense color seem to be created by painting, while in reality they are built up with a complex series of small pencil lines, often with areas of checkerboard-squares (my trademark for backgrounds and shadows). The drawings seem precisely realistic, but are actually free-flowing interpretative drawings based on close observation of potted plants, freshly picked garden and wild flowers, leaves or other still-life elements.”
Joan E. Robertson is the former art curator for the Kemper Insurance Companies art collection, which specialized in artists from Chicago and Vicinity, and has judged or been juror for over 30 exhibitions. She has lectured on the Kemper collection and colored pencil drawings. After receiving a BA in art form Bucknell University and an MA in printmaking from the University of Iowa, she has been working in colored pencil since 1975. Currently she is President of the Colored Pencil Society of America’s Chicago District Chapter.
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| Margaret Socher |  | Painting seems to have always been a part of my life. The reason I paint is mostly due to my grandfather. He was always willing to sit and draw or paint with me when I was a child. He would set up objects on a table and challenge me to do my best rendition. It was great fun! He would also show me paintings in art history books; and I would look at them hoping to one day do as well. When I was eight, I received my first oil paint set...I felt like I'd hit the big time.
During the mid-1980’s, I joined a weekly painting class. It was headed by a young man named Dominic Vignola. He is now a very prominent portrait painter. I am in awe of his work and I feel very fortunate to have been able to study with someone so talented.
I believe that an artist is someone who really is just trying to leave a record of their take on this place we're in, very much like those who write, but instead of using words and artist will use a medium which best suits his skill.
Even though at one time in my life I was painting primarily portraits, my work has evolved to where my paintings are mostly representational of actual objects and places where I have been or where a member of my family has been. My interpretation of these objects and places is surreal and dream-like. I am compelled to continue painting because it completes my life, ever conscience of the creative forces involved.
I still actively paint portraits, but of dogs and other pets on a commission basis.
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| Jim Henry |  | The common impulse driving the creation of my images is a desire to share a sense of place and time, and to communicate some aspect of the beauty of that place, whether it is an aspect of the land, of architectural form, or of light or atmosphere.
The Chicago pictures constitute a selection of architectural details as revealed in the reflections in the glass walls of the skyscrapers of the past few decades; in many cases the reflections are of buildings from the first half of the past century. These form abstract patterns which are endlessly fascinating. I believe Chicago may be unique in the number and variety of these beautiful visual opportunities.
The images from Northern Illinois focus on the more subtle and intimate aspects of the landscape. Neglected by many photographers, the Midwest has its own quiet beauty which can be found, I think, simply by paying attention and waiting for the season and light to come together.
Montana has a broader and more dramatic landscape and skyscape. Of course, to anyone raised in flat-horizon country, mountains are a real novelty, but it is more than that. There is a vaster scale in the mountain west – you can easily see 70 miles on a clear day – and a quality of light that is not to be found elsewhere. These pictures are a small sampling of what I have found there.
The barn wood detail images are also from Montana, where weather and climate acting on wood have formed - over a century or more - iron-hard abstract patterns which symbolize to me the tenacity of nature expressed through man’s interaction with it, and simultaneously the ultimate transitory nature of these structures.
These images are available in the sizes listed by each, printed on Epson Ultra Premium Presentation Paper with Epson K3 archival pigment inks. The paper sizes are 8 x 11 inches for the smaller size or 11.7 x 16.5 for the larger. Custom print sizes can be arranged if desired.
Prices are $90 for the smaller size and $125 for the larger size.
Framing is available through the DeKalb Gallery at a 25% discount.
Jim Henry is an Associate Professor of Computer Science at Northern Illinois University. He has been photographing urban, rural, and wilderness landscapes (and people from time to time) for over 40 years. In addition to photographs at DeKalb Gallery, he has had invitational shows at the Metropolis Coffee Company in Chicago, Illinois, in 2004 and 2005.
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| Ruth Nunley |  | I create my art images for my own enjoyment and for the pleasure of the viewers. I paint in oil pastels, pastels, acrylics and oil paints.
I began painting in the early 1960’s when I was a part of organizing the Fox Valley Art League in St. Charles, Illinois. Some of my instructors were Alice Bodel, John Charvat, and Dick Henley. My art productivity went by the wayside when I began working outside the home. I am back painting again since I took an oil painting workshop with Rodger Bechtold at The Fine Line Creative Art Center in St. Charles, Illinois in 2004 and 2007. In Spring of 2007 I took a workshop with pastel artist Jerry Powers. Beginning in the Fall of 2003 to present I have been taking oil pastel lessons with George Shipperley OPS and acrylic painting and collage with Alyce Van Acker and Carol Kazwick at The Fine Line.
I am a member of the Oil Pastel Society and The Fine Line.
My enthusiasm for art has blossomed immensely!
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| Resale Gallery |  | The owners of these items of art in the resale gallery are typically down-sizing their possessions, moving out of town, fundraising, or their taste in art has changed. This art are originals in good condition seeking a new home. The owners’ names are in confidentiality with DeKalb Gallery. Any interested party interested in these resale items may contact the owner of DeKalb Gallery, Daniel Grych, via telephone: 815-754-4316, email: dan@dekalbgallery.com, or by letter: DeKalb Gallery, 161 E. Lincoln Highway, DeKalb, Illinois 60115. It is not guaranteed that these items are on display in the showroom as space is limited. |
| Dorothea Bilder |  | "My art is based upon personal experiences, dreams, conversations...the treatment of space requires complex and subtle adjustments, a situation which seems appropriate within the context of both life and art in the late 20th and early 21st centuries. More important than capturing the landscape in realistic terms is to capture the mood and the texture of a landscape. What I try to do in my art is to create a universal image of the landscape, a feeling that it will exist long after we have left it."
Bilder received her Bachelor of Fine Arts and Master of Fine Arts in Painting from Illinois Wesleyan University and Southern Illinois University, respectively. She is alum of the School of the Art Institute of Chicago where she received an MFA, as well as the School of Art in Terni, Italy. She is Professor Emeritus from the School of Art at Northern Illinois University, DeKalb, Illinois and author of the book, "Silk Screening Printing".
Her work can be viewed through other website locations: Ymagos Atelier de Gravuras di Arte Ltda, Sao Paolo, S. P. Brazil, LaGrange Art League and Northern Illinois University.
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| Dale Sinderson |  | It was a few years ago that I started the Chemung Tech art studio. I had just moved to the area from Bloomington where I had been working out of a studio in the downtown area. I had just received a degree in art and was planning to put it to good use by being the head cashier at the local fast food joint, but fate had other plans.
I was walking past an abandoned building and had an epiphany. I was to buy this building and turn it into a grocery store. I bought the building, but the grocery store thing didn’t really work out, turns out that health inspectors take their rules seriously, condensed version, it would have taken a lot more cash than I had to safely sell package junk food and high fructose drinks, so I figured screw it, let’s just make an art studio in a tiny Midwest village, that should really go.
Well, it kind of did. I like to tell stories that encompass the everyday tragedy of life, an attempt to make us laugh at the absurdity that is us. That being said, there I am awaiting the angry townspeople carrying torches and pitchforks, and instead I get people who like what I do. Then the press comes out and writes about me. (Not just one guy, but a bunch of them, Chicago Tribune, Chicago Sun Times, Rockford Register Republic, Elgin Daily Courier, Northwest Herald, and some local ones. That was fun, but next thing I know, I am featured on WTTW Channel 11, and WGN Channel 9. Now it’s really getting crazy. So I decided to try some galleries. They liked me, too. Now I have stuff in places from Southern Illinois to Toronto Canada. I’ve had a bit of a tragic past, and apparently I echo that in what I make, mixing it with a touch of sarcasm to make it go down better. (That’s how I survived).
I also make the walking sticks. Different approach there. I look at a picture and then freehand draw it onto the wood. Then I allow myself only a few references to the picture, and force shapes to morph into a finished work. That’s about it, thanks for looking. Look as long as you wish, and purchase something so’s I can go to art camp this summer. Then maybe you should get back to work. Thanks. Dale
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| Trevor A. Elliott and Joshua D. Rahorst |  | Trevor A. Elliott and Joshua D. Rahorst are soldiers stationed in Baghdad Iraq with the 101st Airborne Division in support of Operation Iraqi Freedom.
Trevor, a 23 year old aspiring artist, graduated from De Kalb High School in 2003. There he was an art student for four years and had many pieces recognized. During his Senior year, Trevor participated in many Art Shows and Competitions including the Senior Art Show on display at DeKalb Gallery. One his accomplishments as an artist is placing 1st Prize and Best of show at the Upstate Eight Conference Art Show. Trevor is an abstract expressionist artist using drawing materials and digital photographer enhancing the elements of his photographs to create a more obscure meaning.
Joshua Rahorst, a 29 year old California native, has been experimenting with photography for ten years. The opportunity to move across the country and into Iraq with his unit has opened up a new world to Joshua. He enjoys capturing the Iraqi Locals and Military Units throughout the Area of Operations, which he and his unit inhabit. The quality and subject of his photography inspire his comrades. His work is highly regarded by his unit, and he has been designated as the Company Public Affairs Representative.
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| Linda Tillis |  | Yes, I was a university administrator at NIU for over 20 years. I retired in 2002.
Yes, I was a realtor many years ago and, yes, I am now a realtor once again.
Yes, while at NIU, I journeyed to my PhD in English with a concentration in 19th century British literature. Thus I began to “transcend” on the wings of 19th century poetry and marvel at the miracle of the “creative imagination.”
I have been drawing and painting intermittently since childhood. I was an only- child who grew up listening to the radio. I always drew or painted as I lost myself in that imaginary world. Later, I was tutored in art history and inspired by Sandra Jorgensen, a Chicago artist, chair of the art department at Elmhurst College, and dear friend. After I retired, I began to move toward a new mode of artistic expression. For the past five years I have painted independently; but have been stimulated and motivated by Charlotte Rollman’s graduate critique classes at Northern Illinois University. The creative talents and artistic insights of Professor Rollman and her students have opened my mind to new possibilities.
I have learned that much of what I see is sensed, felt, and experienced through the expressive attributes of color. Colors exploding, combining, co-mingling, connecting, changing the look and feel of each other, lighting and dimming, seducing and comforting, assuring and re-assuring, evoking, calming, frightening, and brightening the spirit. I find joy in intentionally and intuitively searching and choosing as I connect with the brightness, lightness, boldness, deepness, clashing or complementing qualities of color. My expressions feel lyrical with a touch of whimsy. Some are works built on personal stories, memories, pieces of the familiar, slices of past and present. I wrap a free floating piece of the familiar in color to ignite, expand, subdue, or enhance the object. Some works are fantasies in form that are strangely connected in space. |
| TIM BURNS |  | Dragonfly Methodology in Printmaking, experimental digital pigmented printmaking on acrylic surfaced aluminum plates will be on display at DeKalb Gallery, 161 E. Lincoln Highway, DeKalb, Illinois through September 6th.
In reference to the “dragonfly”, it means as a dragonfly feeds on other insects to sustain their existence, Mr. Burns utilizes several traditional art forms to create a new art form to sustain himself as an artist. The dragonfly is the symbol he uses as his “chop”. The “methodology” is how he uses the combination of traditional art forms, the process. Because many artists are relying on digital technology to make reproductions of their art called “giclées”, there are artists who use this technology as a means to an end. These artists prefer to call their digital output “pigmented dye prints”, originals rather than reproductions.
The following is an artist statement by Tim Burns: “I tend to work in conceptual suites, a series of prints, with the range of images depending on the idea. I find dreams to be a major source of inspiration. Sometimes a dream is used nearly whole cloth, like in my art books, more often they start me down a course of discovery as I work, process the images and develop the techniques. I have utilized several different types of images in this new technique.
My definition of printmaking expanded from traditional intaglio and relief work after taking Keith Howard’s “Intaglio-type and acrylic resist etching” course in 2003. Rethinking the whole process and what makes the printing matrix and other techniques changed how I viewed the printmaking process.
Beginning in January of 2008 I started exploring how to create my own surfaces using acrylics both as a support and final surface for printing. Initially transferring the printed acrylic to canvas I finalized my work by preparing ball-grained aluminum plates (used for lithography) with titanium white and a pigment receptor based on calcium carbonate.
Results were exciting but uneven, and I soon found a commercial product that acted as a better surface for the ink. Since then another, major, acrylic supplier has crated an acrylic-based emulsion for pigment and dye based inks to this technique is opening a new area in printing.
My images in the show are from several conceptual suites, one reason for this has been my exploration of what images types worked best with this surface. Video frames, photography and drawings, all with some level of additional over-painting and pen and ink before finalizing the print, have been the “stuff” or basis of my experiments. By having my printing matrix, drawn or digital photography, allows the digital printer t act as the press. Using a digital pigment printer, acrylics, and metal has provided a unique range of possibilities in this experimentation in new media that I am still developing.”
For further information please contact DeKalb Gallery at 815-754-4316, email dan@dekalbgallery.com or visit the gallery website at dekalbgallery.com.
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