Exhibitions

The inspiration to assemble man-made and natural elements happened when the artist viewed the land flooded by the Illinois River.  The shore was covered with an assemblage of objects resembling a sculpture in relief.

The birdhouses are covered with elements that speak of the link between man, place and the natural world.

My work explores the intersection of structure and spontaneity through the medium of wool. Initially trained in weaving, I was drawn to the meditative rhythm of the loom, but often found its precision limiting. Discovering felting in graduate school offered me a liberating shift—allowing me to manipulate and reshape the rigid woven form into something more fluid and expressive. Felting is a deeply physical, intuitive process that opened up new creative possibilities. By layering, agitating, and sculpting the wool, I transformed both the material and the imagery, often with surprising and delightful results. The recurring figure of the dancing human form—an expression of energy and joy—emerges naturally in my work, animated by the freedom that felting allows.

The pieces I am exhibiting today illustrate my major difficulty as an artist—I can’t focus on one medium or art form. Too many interest me, though I consider myself primarily a fiber artist—I have sewn clothing since junior high, done various types of needlework since high school, and started quilting in the 1980’s. But I also love paper arts (especially bookmaking and cardmaking), so collage and surface design criss-cross boundaries for me between paper and fiber.  “At the Corner of Abbey Road and Penny Lane” is a failed entry for a quilt challenge—it fails primarily because it’s not technically a quilt, though the stacks of buttonhole-stitched wool circles derive from 19^th century penny quilts or penny rugs, a way in which women could use up small scraps of wool or felt to make practical household items. This is my interpretation in fabric collage of the iconic Beatles Abbey Road photo which has been copied, imitated and parodied so many times.

Out in left field is my long-time love of photography which started in graduate school. Back then I knew about technicalities like f-stops and I even developed my black-and-white-photos myself, but the years have considerably simplified my process while significantly improving my “eye.” I’m not a sophisticated photographer—I use a Lumix point-and-shoot camera set on autofocus, and my editing skills are limited to cropping and adjusting the light in my photos. I love to photograph markets, especially open-air produce markets, and though I rarely photograph people (I don’t like to intrude on their personal space), markets often provide a theatrical space for people which I find irresistible.

I discovered the joy of making art as an adult. Mixed media is my passion – exploring and learning new ways to use materials that I love. Glass mosaics, beads, flowers (and more flowers!), bright colors, fabrics, wallpapers, and most recently, abstract painting. I make art that I like to look at, with a patient attention to detail and an openness to new discoveries. Some of my pieces are wall hangings; others are freestanding; and many are dresses. I enjoy the process, seeing the finished products, and encouraging my kids to explore and celebrate their own creativity too.

Art is a strong contender of how we share our thoughts and ideas. It’s an unpredictable source of imagination that can change one’s thoughts and open up our minds to new ideas.  I love to challenge myself and views with texture, color, and image to create wonder.

The world around me is my inspiration, and I want the participants to explore ideas beyond the canvas.

My artwork is primarily done on wood panels.  This substrate supports the heavy molding paste I use for texture.  I work with acrylic paint, photographs and other found objects.  Most of my pieces are sealed with resin for a candy-coating finish.

My bodies of work often vary in style, reflecting an ongoing drive to innovate and discover new

visual languages. While there are consistent threads—geometry, structure, material

exploration—each series emerges from a desire to push into new territory. I am drawn to

minimalism and abstraction, as well as to contemporary art that uses shapes, colors, and forms

to evoke emotion and convey ideas. I’m also fascinated by tactile, unexpected textures that add

richness and complexity to the visual experience. Exploration fuels my process; it keeps the

work vital, surprising, and personally meaningful. I am committed to developing compelling art

that challenges and connects, both for myself and the viewer.

My art journey has been an adventure in self-discovery where I assemble fragments of identity, memory, and emotion in abstract ways to become my visual language that allows me to communicate with the world when words fall short. Each piece is a snapshot in time, a reflection of my evolving self, expressed through layers of color, texture, and form.

My creative path has unfolded through a series of transformations—from the meticulous discipline of metalsmithing to the layering of collage, and ultimately to the boundless possibilities of mixed media where textures, materials, and techniques intersect in surprising and playful ways. Each shift in medium has marked a turning point in my process, inviting in more intuition, spontaneity, and experimentation. This continual exploration fuels my curiosity and joy, and is a testament to transformation, both in art and self.

Instagram: @mara.krumins

Each of us is mysterious.  I relish my ability to think thoughts that nobody hears.  My worries and desires and dreams and doubts can remain private.  I like the feeling of having control over something.

I embellish boxes;  I embellish branches.  My fascination with the art of collecting anything that appeals to me is paramount to my work.  I entice you with sparkle and unique adornments.  I tease you with savory snippets from my life… but only fragments.  With my boxes, I also withhold information, preferring uncertainty.  I hide something that will only be revealed if you destroy what you thought a treasure.  And I make my “scepters” to empower you.  We all like the illusion of having power.  But here, too, is a sense of secrecy.  Only you know what it is that you are fighting.  They are your demons alone.

In addition, my boxes and branches celebrate the notion that the viewer is part of the ongoing creative process.  For always, you can guess the contents of the boxes.  Forever, you can imagine different battles that need to be fought with your reimagined sword of might.  Point is, artistic interpretation should be open-ended and personal.

Like I said, we are mysterious beings.  With me, rejoice in your ability to be your own creation.  Beware of sharing, if it means compromising your aura

I create paintings and

collages that come from my soul, because making art keeps me centered.  My work is about our many blessings.

            I cannot make enough angels.
It all started when I introduced a tiny figure at the corner of my landscapes to create scale. Then she was floating in the sky. Everyone said she was an angel, and she has taken over my work!

            I am influenced by color, texture, and pattern. My art is full of whimsy. And if I had to describe my work, I would say that it is a mix of folk art, and outsider art with a splash of graphic design. 

Lezlie Lenz Graphics

po box 547 Lake Forest IL 60045 LezlieArt@gmail.com
847.707.6112

Ranging from the realistic to the abstract, I render something familiar with which we all can easily relate: sometimes it’s obvious, sometimes you have to look closely and search an abstraction for its human side. This searching reflects the depth to which art gives me inspiration; the insights I find in my artistic journey lead me to a greater understanding of myself and our collective humanity.

Linda Lutz

Lindaleelutz@gmail.com

Every day we are confronted with instant information through online media.  As viral news ruminates on challenges to our democracy, human injustices, and environmental disasters around the world… We can often be pulled into a negative spiral.

Over the last few years, in a quest to seek positive news, I have been creating a series of collage paintings I call Do Not Despair; the paintings are embedded with uplifting articles and words cut from print media. The works are self-reflective, representing my emotional response to living and aging during these challenging personal and socio-political times.

Journalist Nicholas Kristof’s New York Times OpEd piece, “The Case for Hope” inspired the pieces in the exhibit.

Circles have been a part of my visual language for many years. The process began with drawing a single circle on a square sketchbook page. It was a deliberate slowing down, focusing on a single circle — a quiet meditation. Over time, the circles and materials expanded, reflecting more details, more layers, and more complex ideas. A singular focus remains as I begin each circle, a slow quiet-centered meditation.

My work spans a variety of paint and drawing media as well as subject matter. What I do and when has to do with the current project or challenge. I’d like to say that all my art has a mission, whether to seek beauty, explore a concept, benefit a cause or just describe what I see on any given day.

I generally work in a series that will explore a theme. Prior work has explored themes such as orchids using design elements from the work of Gustav Klimt, clotheslines, shadows and shadow patterns, landscapes and giant silk moths.  Drawing inspiration from history, the work of other artists, nature and my imagination, I enjoy the challenge of creating unique and original pieces that explore concept and technique.