January & February Exhibition

Opening Reception January 5th from 5:30-8

Artist Talk from Craig Grabhorn around 6:30

Exhibition runs through February 26th

Black Tie Event February 2nd from 5:30-8

Craig Grabhorn


Inspired by place, and how one finds value in material objects as heirloom or product of tradition, I work to develop my nostalgic perspective via photographic studies, screen prints, ceramic, and woven works. Drawing on my German heritage--one that I find culturally rich and interesting--the works are a mix of historical and cultural references, but also include imagined or fantastical elements. I find this pursuit to be personally grounding; this approach gives me confidence and the ability to explore my craft and aesthetic values. In this work I find a place in myself that is comforting and natural, a place that seems to makes sense.

Since moving to Sheboygan I have been enchanted by the lake and the expanse that the horizon provides in contrast to the landscape Driftless region where I moved from. For nearly the past year I have been working on a photo project, “50 over 50 Atmos" a daily meditation from the same locations capturing the ever changing colors and atmosphere of Lake Michigan. Photography provides me a way to explore ideas of place that affects my prints and paintings, through this practice find an intimacy, respect for,  and sense of place with where I am. 

Lesley Wamsley


This series of drawings is titled Likable. Created during the historic and volatile 2016 Presidential Election, the imagery speaks to a particular aspect of female worth: likability. The election demonstrated unequivocally our cultural demand that women be perceived as likable. More important than education, strength, and experience, the campaign proved that the socially acceptable woman is, above all, agreeable. What I find most interesting about this sexist belief is my internalized willingness to meet its expectations. I know the pressure I feel to look and behave a particular way is the result of a sexist paradigm; and, yet, I cannot break from it. I knowingly participate in a system designed to devalue and dehumanize women. The drawings reflect this conflicted desire. They articulate a cycle that involves attention, approval and objectification. It is an brutal experience that exists under the guise of beauty. Tropes like hair, ribbons and flowers describe a feminine archetype of purity, innocence and congeniality. This description is genuinely poetic and, yet, completely cliché. The drawings strive to be pretty, they want to be liked; but there is a disquieting overtone. The objects that I draw are associated with the body and it is their separation from it that suggests violence. More still-life than portrait, the disembodied objects are arranged and displayed like trophies.

Jodi Hays


Painting is an investment in constraint, in a similar way that architecture bends and works within our complex landscapes and cultural matrix. My work is an eclectic “abstraction” drawn from soundbites, pattern and the built environment/grid.This composite of influences on the work becomes an account of events and spaces, the painting serving as a surrogate souvenir. 

For years my work has been a negotiation of restraint and abandon. Through my work I address the nature of representation through process (surface, space, color, gesture) and image (grid, screens, flags), usually parallel to titles. The paintings become ways I demarcate physical and psychological borders. They are missteps, tryouts, attempts and earnest repairs the aesthetics of the broke down.

james may gallery© 2018