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Sharing Shelter: Small, Affordable Works


Recently, like me, you may have become aware of the fact that you are looking at the same walls in your living space more than ever before. In this time of sheltering in place, we all share the need for the presence of meaningful art to bring new moments of life and meaning to our environment. We often look to the arts in their many forms to provide renewal and hope. This exhibition is a special expression of this calling that artists possess and answer for our benefit. The artists featured in this exhibition have made unique, one of a kind works with their own hands, and their desire is to share them with others and make a connection with viewers. Most of these works were created recently as a response to current events, and in my opinion, they all possess a special power and spirit that belies their intimate dimensions.

It may be that at times like these, artists are at their best, stripping down to the very core, the motivations that compel them to make art. This beautiful exhibition of small jewel-like objects and images demonstrates that in a whisper there is real power. The size of these pieces allows you, the art viewer, to engage with (and acquire) this work easily. Concerns like measurements and decor can be set aside, and one must only react and embrace these beautiful statements that reassert our shared humanity and connection in challenging times.

Enjoy this creative selection of small but compelling works, and contact me via text or phone at 312.664.3406, or email at dan@addington.com to reserve the works that you would like to welcome into your home, or have sent to a friend. Provide an email address and you will be sent an invoice which can be paid online. We ship anywhere, and a 10% donation from the proceeds of each sale will be made to Care For Real, an organization working hard to meet the needs of those touched by the corona virus pandemic in Chicago. - Dan Addington

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ALLISON B COOKE

"For almost two months now, my studio connection is just up a flight of stairs to the attic of our old Victorian home. Even though this rather small domestic environment is worlds apart from my sprawling urban warehouse space, I am painting everyday and as engaged as ever. If anything, I'm feeling even more solace in the transformative potential of making art in these challenging times."


Allison B Cooke, Atmosphera Blu III, 16x16, oil/cold wax on panel, $580.



Allison B Cooke, Quaela, 12x12, oil/cold wax on panel, $500.



Allison B Cooke, Ritornoli, 12x12, oil/cold wax on panel, $500.



Allison B Cooke, Vista Ariale I, 18x18, oil/cold wax on panel, $620.



Allison B Cooke, Vista Ariele II, 20x20, oil/cold wax on panel, $650.



Brooks Anderson

"I am presenting my latest four paintings, which are rather miniature compared to the larger pieces I've completed recently. They represent a continuing theme of a metaphoric inner light illuminating a diffuse landscape. Luminous paintings for dark times. I hope you are staying well and healthy, being creative, and thriving with your own inner light."


Brooks Anderson, "The Sun Also Rises", 10" x 16", oil on canvas $700. SOLD
Named after the classic from Hemingway, it's a reminder of the qualitative aspect of rising again.



Brooks Anderson, "Farmer's Trust", 9" x 12", oil on panel $600.
Named after an elegant and iconic song from Pat Metheny, this piece captures the
poignant feeling of living under the big sky--perhaps being taken in by a sunset
over the fields--this sweet little piece caught those emotions.



Brooks Anderson, "Yellow Canoe", 13" x 21", oil on canvas $800.00
One of my more successful attempts at getting pretty close to American Luminism
of the Hudson River School--being able to match sky and water surface, yet keeping
those two segments distinct from each other, as the water is always a bit cooler and
darker than the sky. This is about as placid a piece that I can paint.



Jeffrey Hirst

I have been creating my small irregularly shaped paintings for a while now and have continued during the pandemic. For me, the pieces have a sense of contemplation and introspection with bursts of color popping out in the work.


Jeff Hirst, Blue Location, 6x6, encaustic on wood, $400.



SIDE VIEW



Jeff Hirst, Destination, 6x6, encaustic on wood, $400. SOLD



Jeff Hirst, Confection, 6x5, encaustic on wood, $400.



SIDE VIEW



Jeff Hirst, Marking Paths, 6x5, encaustic on wood, $400.



SIDE VIEW



Jeff Hirst, Here to There, 6x6, encaustic on wood, $400.



SIDE VIEW



Jeff Hirst, Parallel Points, 7x6, encaustic on wood, $500.



SIDE VIEW



Helen Dannelly

I painted most of these works after I returned from my second trip to Ireland in the fall. I was inspired by the sweeping vistas of the Wild Atlantic Way. I hope they convey my contemplative reverence of nature. I completed "Reading By the Window" during the pandemic lockdown. It is an homage to Edward Hopper's isolated individual figures and interior light and shadows.


Helen Dannelly, Reading By The Window, Acrylic on paper, 9.5" x 9.5", $450. SOLD




Helen Dannelly, Rock Wall with Farmland, Acrylic on paper, 15"x12" (matted and framed), $450.



Helen Dannelly, Blue Clouds, Acrylic on canvas, 10" x 8" (framed), $250.



Helen Dannelly, Rocky Irish Beach I, Pastel on paper, 13"x10" (matted and framed), $450.



Helen Dannelly, Little Irish Cottage, Acrylic on paper mounted on panel, 7" x 7", $250. SOLD



Helen Dannelly, Rossnowlagh Beach, Acrylic on paper, 15" x 12"(matted and framed), $450.



Kathleen Waterloo

2020 arrived on an upbeat note for me... By mid-March the chaos and quarantine began. I've been trying to stay positive day by week by month and I'm thankful and thrilled to have an isolated studio to go to for diversion. It has been a joy to stay focused on these small works, a size I haven't worked on in a while. Often I will name my artworks after the song playing when I know a piece is finished. The titles in this series amazingly link together for me indicating a light at the end of the tunnel.


Kathleen Waterloo, First Light, Encaustic on cradled panel,l 8 x 8, $800.




Kathleen Waterloo, Optimistic, Encaustic on cradled panel, 8 x 8, $800.



Kathleen Waterloo, Sweet Apocalypse, Encaustic on cradled panel, 8 x 8, $800.



Kathleen Waterloo - Sweet Apocalypse, Side View,



Susan Hall

Yellow Bird
During this time of isolation, I make sure I get outside for a walk every day. Spotting my first Yellow Warbler in springtime always brings me joy.

Two Deer
On a misty morning, a mother stands watch.

Garden Rabbit
A rabbit hesitates in the floral filigree of a garden, taking in the scents and sounds before making his next move.


Susan Hall, Yellow Bird, oil on panel, 6x12, $650.




Susan Hall, Two Deer, oil on panel, 8x10, $600.



Susan Hall, Garden Rabbit, oil on panel, 12x6, $600 SOLD



Julia Katz

These small mixed media pieces are intimate studies that continue my interest in integrating figures into abstract compositions. The subjects are my family and the images were taken from vacation photos that I shot over Christmas 2019, pre-pandemic.


Julia Katz, Carlsbad, 12x12, Mixed media, Acrylic, paper, charcoal, pencil on panel, $600. SOLD




Julia Katz, Santa Monica, 12x12, Acrylic, charcoal on panel $600



Julia Katz, Sisters In Law, 12x12, Acrylic, pencil on panel, $600.



Julia Katz, Bageldor, 12x12, Acrylic, paper on panel, $450SOLD

("Our dog Dwayne was a beagle/Labrador mix so we called him a Bageldor, pronounced bagel - door.")



Lisa Pressman

In difficult and stressful times I find myself painting with the medium of encaustic as it is transformative. Color and light, translucency and opacity, additive and reductive: These qualities allow for a meditative state during the studio process. That is the state I want to be in these days.


Lisa Pressman, Amber Passage, 6x6, encaustic on panel, $375.



Lisa Pressman, Blue Aisle, 6x6, encaustic on panel, $375.



Lisa Pressman, Jewel Cypher, 6x6, encaustic on panel, $375.



Lisa Pressman, Pink Pier, 6x6, encaustic on panel, $375.



Lisa Pressman, Light Island, 6x6, encaustic on panel, $375.



Lisa Pressman, Red Route, 6x6, encaustic on panel, $375.



Joan Holleb

I've been playing with the subject of the forests, the light that filters through the trees, the beauty of the woods that face constant struggle against the forces of human needs and climate change. Recently I read, The Overstory, by Richard Powers. His novel is all about the impact of humanity on the trees, the old growth forests, etc. He discusses at length about how the trees have their own system of communication, for example, how they actually send out microscopic molecules to each other to send messages, to protect themselves from disease. The Forest speaks its own language. This is what I am trying to demonstrate symbolically with my work, the magic of the forest, the fact that the trees have their own language and how we must never lose sight of their beauty and the history that surrounds us in the old woods.


Joan Holleb, Evening Ruminations, 18x18 image, 22x22 framed, oil on copper, $650. SOLD



Joan Holleb, Sage Advice, 18x18 image, 22x22 framed, oil on copper, $650. SOLD


Joan Holleb, Strong Words, 18x18 image, 22x22 framed, oil on copper, $650 SOLD


Susan Kraut

As it did for all of us, the world changed for me in one day, as my busy spring semester suddenly became uninterrupted quarantine at home. The first couple of weeks were an anxious struggle to learn enough technology to teach the second half of my undergraduate painting class on-line. When I finally had a little time to think about getting back into my studio (which, happily, is in my home) the 8 or so paintings I had begun during the fall and winter suddenly looked uninteresting and frivolous to me. My energy for painting felt very low.

Meanwhile, a small bouquet of flowers sitting on our kitchen table began to wilt. I'm sure I was thinking about the beautiful small flower paintings that Edouard Manet painted toward the end of his life, which I have always loved and was able to see in person last summer at the Art Institute. I found a bunch of small painting panels lying around my studio, which I usually use to make preliminary studies for larger paintings, and I began painting flower studies on them. A few friends sent me pictures of bouquets they had brought home, and I discovered other images of flowers among my old photos.

My project for the past several weeks has been to paint small studies of these Quarantine flowers, as I think of them. They feel ordinary yet intimate to me, touching because we know the real flowers will soon begin to fade and wilt. They seemed especially poignant during our recent cold Chicago spring; set on windowsills, their showy bursts of reds, yellows and purples glowed against the cool grays and browns of the outdoors.


Susan Kraut, "Flowers, Los Angeles", 8x10, oil on panel, $350.SOLD



Susan Kraut, "Flowers, NYC I", 6x6, oil on panel, $250.SOLD



Susan Kraut, "Flowers, Studio Window, Day", 10x8, oil on panel, $350. SOLD



Susan Kraut, "Flowers, Studio Window, Night", 8x6, oil on panel, $250. SOLD



Susan Kraut, Carroll Street Studio I, 9x12, oil on panel, $375.



Susan Kraut, Carroll Street Studio 2, 9x12, oil on panel, $375.



Joanne Mattera

Out of the Blue: Silk Trail

Silk Trail began recently when the cyan in the all-in-one color cartridge ran low as I was printing. What I'd wanted was the image of one of my Silk Road paintings. Instead, I got one with bands and striations. The composition was minimal but the color was rich, an accident I could work with. Bands of color signaled the last gasps of uniform color; fine striations were the machine's vain attempt at producing the color field. The results were glorious: overlays of slightly out-of-register color with a gouache-like richness or a watercolor-like veil. Quite literally out of the blue I stumbled upon a new way to explore color that is very much in keeping with the way I paint: layer on layer, relying on the interaction of hues to produce richness and depth.

Production of the prints is sporadic. I get to make about 15 at the end of the life cycle of each color cartridge. I work primarily with an HP office printer on Epson archival print paper, but I may also overlay a scrim of color with my Epson printer. Each digital print is unique and sufficiently archival to last your lifetime.


Joanne Mattera, "Silk Trail 333", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250.



Joanne Mattera, "Silk Trail 340", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250.



Joanne Mattera, "Silk Trail 367", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250.



Joanne Mattera, "Silk Trail 372", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250. SOLD



Joanne Mattera, "Silk Trail 378", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250.



Joanne Mattera, "Silk Trail 387", 6x6 (image), 11x8.5 (paper size)
Unique digital monoprint on archival paper, $250. SOLD




Carl Linstrum

One of my main motivations for painting lately has been finding a balance between beauty and interest. Aesthetics are always on my mind, but that just gets me looking. To sustain me, I need to have something deeper to think about and consider beyond the superficial appearance of things. This is what keeps drawing me, literally, back into nature. What better place to be awed and intrigued?

These "Small Foregrounds", for me, are a puzzle. They are formal, with a strong sense of visual organization and color. They are conceptual as little moments of reconciling opposites, such as natural and architectural, close and far, old and new. They are not meant to represent the reality of what we might view in the world, but are instead a little view into what might be in the front of our mind while we're thinking about the world around us.


Carl Linstrum, "Small Foreground 1", 6x6, oil and wax on panel, $300.



Carl Linstrum, "Small Foreground 2", 6x6, oil and wax on panel, $300.



Carl Linstrum, "Small Foreground 3", 6x6, oil and wax on panel, $300.



Carl Linstrum, "Small Foreground 4", 6x6, oil and wax on panel, $300.



Carl Linstrum, "Small Foreground 5", 6x6, oil and wax on panel, $300.



Scott French

The Four Seasons Landscape Series is my response to the beauty and wonder of the natural world that surrounds us. Each landscape, is a custom hand built wood block that frames and focuses a little piece of nature that it can either hang on your wall or sit on a shelf.


Scott French, Four Seasons 7, 5x5 inches, oil on block, $235. SOLD



Scott French, Four Seasons 8, 5x5 inches, oil on block, $235.



Scott French, Four Seasons 9, 8x8 inches, oil on block, $395.



Sandra Dawson

For the first 10 years or so of my painting career, I painted exclusively from my imagination. At some point I realized that this was a bit limiting and began inter-weaving imagery from real life along with imaginative play. I love combining materials, styles and emotional content in my work and my goal always is to express the duality of life: the beauty and stillness within our complex, chaotic world.


Sandra Dawson, "19", 11x11 inches, mixed media on panel, $600. SOLD


Sandra Dawson, The Crossing, 11x11 inches, mixed media on panel, $600.



Sandra Dawson, The Garden, 10x8 inches, mixed media on panel, $600.SOLD



Sandra Dawson, The Message, 11x9 inches, mixed media on panel, $600.SOLD



Jill McGannon

Up before dawn, I'm standing on the edge of a field with the sun coming up, bathing the tops of the trees with a warm glow. There's a cool cast shadow on the grass, and it's all reflected in the water. The quiet is broken only by a heron fishing nearby. I try to paint slow enough to get my drawing, values, and color right, but fast enough to finish the painting before the light changes. Every now and then my concentration is broken for a second as I look around to see what made that twig snap! The light has changed now, but I'm finished. I leave with my painting and a sense of satisfaction. I've learned something new today, some subtle color or value change, or drawing correction that I didn't notice the last time I painted plain air.


Jill McGannon, Dusk Farmhouse 9x12, framed 20"x24" $600. (IMAGE VIEW)

Painting comes framed like the paintings pictured below.

Jill McGannon, Dusk Farmhouse 9x12, framed 20"x24" $600. (IMAGE VIEW)

Painting comes framed like the paintings pictured below.

Jill McGannon, Dusk Farmhouse 9x12, framed 20"x24" $600. (IMAGE VIEW)



Jill McGannon, Dusk Farmhouse 9x12, framed 20"x24" $600. (FRAMED VIEW)



Jill McGannon, Summer in the city 9x12", framed 20"x 24", $700 (IMAGE VIEW)



Jill McGannon, Summer in the city 9x12", framed 20"x 24", $700 (FRAMED VIEW)



Jill McGannon, Sun Behind the Trees, 9x12", framed 19"x 23" $600. (IMAGE VIEW)



Jill mcGannon, Sun Behind the Trees, 9x12", framed 19"x 23" $600. (FRAMED VIEW)



Pat McGannon

Working from life allows a clarity and specificity that is essential to the meaning of my work. Every stroke of the brush is informed through feeling and knowing what is seen. This process is much more than taking dictation from the world around us. It is an exploration of physical relationships and their emotional and psychological resonance. Understanding these subtle relationships is what I hope to gain. The moment when a model first poses before an artist are often tense with an intimacy awaiting articulation. I begin my work in such pregnant moments, meditating upon the figure before me, waiting in the silence for its meaning to reveal itself. The paintings expose my vulnerabilities, loves, and sometimes fears and memories. Out of the tensions of painting a model from life arise expressions of empathy, admiration, and of shared human experience.


Irene Study, oil on board. 12" x10", $300.



Dreamer oil on board, 12" x 12", $300. SOLD



Becalmed, oil on canvas 10" x 14", $300.



Paula Blackwell

The inspiration for these small new works which I call "modern relics" comes from observing and finding beauty in nature. Recently, I've been intrigued by the idea of precious objects like jewelry, 18th century miniatures, and dendritic agates, and how these visual ideas might relate to painting. I use shaped panels, gold leaf, beeswax, and oil.


Paula Blackwell, Modern Relic 1, encaustic and gold leaf on wood, 3x5, $240.



Paula Blackwell, Modern Relic 3, encaustic and gold leaf on wood, 3x5, $240.



Paula Blackwell, Modern Relic 4, encaustic and gold leaf on wood, 3x5, $240.



Paula Blackwell, Modern Relic 6, encaustic and gold leaf on wood, 3x5, $240.



Paula Blackwell, Modern Relic Oval, encaustic and gold leaf on wood, 3x5, $240.



Diana Cutronel

Diana Cutrone

"Hope" is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -

And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -

I've heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.
Emily Dickinson 1830-1886

These days we could all use a little hope. Thus, I am offering some small works at small prices.


Diana Cutrone, Bird Sketch, mixed media on panel, 6x6, $130. SOLD



Diana Cutrone, Sunset Song, mixed media on panel, 6x6, $130.



Diana Cutrone, Tree Top, mixed media on panel, 6x6, $130.



Diana Cutrone, Oriole, mixed media on panel, 6x6, $130. SOLD




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