About the Work

Statement

In the past few years I have been painting images derived from my travels and projecting my views for the future. All of these countries have been affected by technological developments and population growth. As a result, life styles of the people have altered, either due to environmental shifts or politically enforced such as relocation of farmers into government built city dwellings. We have all been affected by global changes, some more than others.

China’s governament-forced urbanization is one of the largest and most apparent. Farmland has been contaminated with heavy metal residues and deadly toxic clouds are consuming the city skylines. Other countries are losing natural habitats necessary for the survival of the wild life and fauna living in each area. Changing the course of river flows, forest growth and drilling for oil are all affecting our ability to control our natural resources and the increase in global warming.

The imagery presented in my paintings is reflective of our times as is the technique used. All paintings in this series are a combination of photographic transfers and oil on canvas. All images are derived from my photography and juxtaposed to create the desired image.

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.

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.

Collections

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
 
Publications

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

1999

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