Suzette Bross is a photographer living and working in Chicago, Illinois. Her work is in the permanent collections of The Art Institute of Chicago, the Cleveland Museum of Art, the Museum of Contemporary Photography in Chicago, the New Britain Museum of American Art, Mary and Leigh Block Museum of Art and more. With an MFA from the Institute of Design at IIT, Bross has taught at Columbia College Chicago, the Milwaukee Institute of Art & Design and the Northwestern University Medical School. Her work has been exhibited internationally and across the United States. Bross was commissioned by Northwestern Memorial Hospital to create a permanent portrait series of Chicago women and was also included in the Cleveland Museums of Art’s “DIY: Photographers & Books” show. Bross has exhibited her Walks series in a solo show at Geary Contemporary in New York City, NY and the group exhibition, titled Alien Nation, at Lehman, College Art Gallery in Bronx, New York. Her series, For the Glass, was featured in solo exhibitions at the Chicago Artists Coalition and Lehman Arts Center in North Andover, MA, Geary Contemporary booth at EXPO Chicago 2016, and as the first exhibition in the Chicago Google Artist Initiative. In 2016, she began collaborating with Suzanne Hanney at StreetWise Magazine creating photo-essays about Chicago’s Uptown Tent City residents. Suzette is the Founder and Executive Director of the non-profit arts organization, CPS Lives , which began piloting in 2018. Her ongoing CPS Lives related series, Principal Project, has been exhibited with the Geary Contemporary booth at EXPO Chicago 2018, The Art Center Highland Park’s two person show, A Look Within, and most recently the national juried exhibition entitled, We, The People at the Cape Cod Museum of Art.
Patty Carroll’s work is a fusion of the inner and exterior worlds of women. It references the domestication of feral emotions and conflicting psychological states within the interior world of the home. Our homes are places of power, as well as confinement. Subjugating the natural world into stylish decoration indicates both our love and fear of the natural, messy, and incoherent as well as the delight of creating private retreats made of color and pattern.
Liz Chilsen is a creative artist working in a range of media aligned around the photographic image. Her key concern is the role of the individual within a broad social and historical sweep, centered in place and the tangible; both expansive and intimate.
Mary Farmilant, a Chicago-based visual artist who works in photography, video and sound. She is well known for her images of the interiors of abandoned hospitals. Her work looks at the ephemeral qualities of space and memory by examining objects and the spaces they occupy. Farmilant's passionate involvement with this subject stems from her background in nursing and her current concern with the issues we face today: the crisis in healthcare, debates about historic preservation of history, and the use of scarce resources.
Alice Hargrave’s work reflects on the notion of impermanence: environmental insecurity, habitat loss, and species extinctions.
She recently collaborated with The Cornell Lab of Ornithology NY, to create her project Last Calls — abstract patterned “portraits” of the most threatened and endangered birds of the world. They are constructed using Spectrogram recordings, sound files depicting sound wave patterns of actual bird calls. She photographs, layers, and tones the sound wave patterns using the surprising colors of eyes, talons, skin, or plumage of each particular species, contradicting the ubiquitous argument “why save that simple brown bird”?
Reminiscent of hieroglyphics, these avian vocalizations then are symbolically returned to their nascent ecosystems in site specific installations of wavering fabric landscapes and sound.
Jean Sousa’s work is an ongoing exploration beneath the surface of the everyday in an effort to make visible metaphors for lived experience and states of consciousness.
Photographs of loved ones are tantalizing because they promise to give you something, but the more you look at them, the less they deliver. They intensify a feeling of wanting to be connected, but cannot satisfy it. In this project, I am trying less to capture a specific memory of someone, than the process of forgetting that person.
The Alice Project originated with a trove of photographs and a cache of poems that I inherited from my late aunt, Alice Gonçalves Sousa, the last living relative of my parents' generation. My reclusive aunt was the family archivist who saved photographs and material objects from past generations. Studio photographs are mixed in with snapshots, many are of people I never met, but even those I knew are like ghosts from another era.
The suite of Al & Alice portraits were appropriated from hand tinted studio photographs and photo booth prints of the 1940’s. These images were ubiquitous in their time and are a reflection of the period in terms of pose, hairstyles, and other gender tropes, as well as mid-century photographic processes. I am re-photographing and re-imagining these intimate, pocket photos and creating large-scale portraits, imbued with the softness and loss of detail that comes with one’s recollection of the past and the passage of time.
The Alice Project includes a suite of portraits and an octet of film poems inspired by her poetry. The source material for the still photographs was taken when the future held promise for Alice, and the poems were written when her options had all but disappeared. This is the story of a woman who had artistic ambitions that were thwarted by the social norms of the time. It is a metaphor for loss and the experience of forgetting someone, as well as a commentary on the process of disappearing, a phenomena that happens to many with age.
Margaret Wright uses photography, collage, fiber, video and sound to explore an enduring interest in what happens over time between people, what motivates us psychologically, and how photographs can evoke these experiences for viewers.