Join us at the tenth anniversary edition of EXPO CHICAGO, returning to Navy Pier’s Festival Hall April 11–14. Amid the global showing, ART FOR CHANGE will participate as part of the fair’s Editions section. We are pleased to present a curated selection of limited edition and hand-embellished prints from a number of today’s leading contemporary artists including new works by Katherine Bernhardt, Marcus Leslie Singleton, David Shrobe, Eliot Greenwald, Wendell Gladstone, Dominic Chambers, Enoc Perez, and Emily Weiner, among others.
In support of global reforestation efforts, ten trees will be planted for each print sale.
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David Shrobe
Ascension, 2024
26 x 21.25 inches
Archival pigment print
Set within an oval frame that suggests a portal into a liminal space, Ascension stems from a body of work that builds on Shrobe’s interest in folklore and creation mythologies. The primary characters represent a pair of lovers, embracing one another against a dark background illuminated by twinkling, distant lights. Their faces merge together at the center, from which they peer outward through a single eye—intended to signify a unified vision. A reflection on the relationship between the artist and the women in his family, the female figure within the composition stretches an arm around her male counterpart, implying her role as the protector in the depicted moment. For this limited edition series, Shrobe will hand-embellish each print by incorporating unique elements that include patterned flocking materials, painted canvas, found textiles, and acrylic paint.
In support of global reforestation efforts, ten trees will be planted for each print sale.
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Katherine Bernhardt
Lucky Charms are Magically Delicious, 2024
Archival pigment print
31.75 x 40 inches
In Lucky Charms are Magically Delicious, the primary character of the iconic movie E.T. (1982) is surrounded by the marshmallow cereal pieces instantly recognizable to American consumers. Described as having a massive influence during Bernhardt’s childhood, E.T.’s character first appeared in paintings created during the artist’s undergraduate career at the Art Institute of Chicago, and has been a recurring figure ever since. The work’s title is a direct reference to the slogan popularized by the cereal brand’s cartoon leprechaun mascot, tapping into viewers’ collective childhood nostalgia. Distinguished from the brown background by a thin, yellow contour, the central figure stares outward, with an ambiguous expression that counterbalances the image’s inherent playfulness.
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Marcus Leslie Singleton
G Street, 2024
24 x 23.75 inches
Archival pigment print
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Ascension, 2024
26 x 21.25 inches
Archival pigment print
Set within an oval frame that suggests a portal into a liminal space, Ascension stems from a body of work that builds on Shrobe’s interest in folklore and creation mythologies. The primary characters represent a pair of lovers, embracing one another against a dark background illuminated by twinkling, distant lights. Their faces merge together at the center, from which they peer outward through a single eye—intended to signify a unified vision. A reflection on the relationship between the artist and the women in his family, the female figure within the composition stretches an arm around her male counterpart, implying her role as the protector in the depicted moment. For this limited edition series, Shrobe will hand-embellish each print by incorporating unique elements that include patterned flocking materials, painted canvas, found textiles, and acrylic paint.
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Eliot Greenwald
Super Spherical Earth Theory (12), 2024
Textured Archival Pigment Print on Sanded Birch Plywood with Aluminum Backing for Installation
22 x 18 inches
Depicting a nocturnal scene made up of two loosely symmetrical sides, Super Spherical Earth Theory (12) antagonizes the ‘flat Earth’ theory that some ascribe to. On the contrary, the artist argues, “The Earth is spherical, but it surpasses that geometric constraint. It is, in fact, a cosmic body beyond general human understanding.” Featuring an automobile driving away into the distance, the image is bisected by a horizon line which functions doubly as the bottom of distant mountains and the point where treetops meet their trunks. Two crescent moons illuminate the purple sky and the bulbous path below, allowing multiple realities to coexist at the same time and place. For this series, Greenwald worked collaboratively with ART FOR CHANGE to explore printing techniques that imbue the editioned works with varying levels of physical texture, as well as replicate the undulating perimeter of the original work.
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Wendell Gladstone
Fingerless Glove, 2024
Archival pigment print
24 x 24 inches
In Fingerless Glove, a woman exudes a surrealistic, gravitational pull on her surroundings as objects appear to bend to her will. Depicted against an effervescent backdrop, the primary subject holds up a finger, which blossoms from a banana, to create a hypnotic spiral in a teetering, halved citrus fruit. Meanwhile, the surrounding window pane becomes elastic and conforms to the contours of her face; a stained glass flower creeps upwards from the painting’s lower right corner, forming a bloom-like monocle over the celestial glow of her eye. As in many of Gladstone’s works, transparent layers of paint—many of which reveal textured, bas-relief surfaces—are used as a means to connote psychologically charged subjects. For this edition, the artist will hand-embellish each edition using clear acrylic raised drops on each individual pulp in the grapefruit, making each work unique.
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Dominic Chambers
Leave Room for the Wind, 2024
Archival pigment print
20 x 27 inches
As in many of the artist’s prior works, Leave Room for the Wind takes literature as its inspiration—particularly, Mary Oliver’s book-length poem The Leaf And The Cloud (2000), in which the author writes, “I will leave room for the wind combing the grass, / for the feather falling out of the grouse’s fan-tail, / and fluttering down, like a song.” Resplendent with saturated washes of blues and greens, the work centers on two children who fly translucent kites in the open sky. Roaming through a verdant landscape absent of any architectural markers, the primary characters appear immersed in their purely recreational act, unbound by neither time nor expectations. In creating this scene, Chambers resists the emphasis that society places on productivity, instead making a case for the necessity of finding enjoyment in stillness. hand drawn embellishments with color pencil and charcoal. Fifteen prints in the edition have been hand embellished by the artist using colored pencil and charcoal to add additional detail to each work.
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Super Spherical Earth Theory (12), 2024
Textured Archival Pigment Print on Sanded Birch Plywood with Aluminum Backing for Installation
22 x 18 inches
Depicting a nocturnal scene made up of two loosely symmetrical sides, Super Spherical Earth Theory (12) antagonizes the ‘flat Earth’ theory that some ascribe to. On the contrary, the artist argues, “The Earth is spherical, but it surpasses that geometric constraint. It is, in fact, a cosmic body beyond general human understanding.” Featuring an automobile driving away into the distance, the image is bisected by a horizon line which functions doubly as the bottom of distant mountains and the point where treetops meet their trunks. Two crescent moons illuminate the purple sky and the bulbous path below, allowing multiple realities to coexist at the same time and place. For this series, Greenwald worked collaboratively with ART FOR CHANGE to explore printing techniques that imbue the editioned works with varying levels of physical texture, as well as replicate the undulating perimeter of the original work.
CLICK TO SHOP
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Fingerless Glove, 2024
Archival pigment print
24 x 24 inches
In Fingerless Glove, a woman exudes a surrealistic, gravitational pull on her surroundings as objects appear to bend to her will. Depicted against an effervescent backdrop, the primary subject holds up a finger, which blossoms from a banana, to create a hypnotic spiral in a teetering, halved citrus fruit. Meanwhile, the surrounding window pane becomes elastic and conforms to the contours of her face; a stained glass flower creeps upwards from the painting’s lower right corner, forming a bloom-like monocle over the celestial glow of her eye. As in many of Gladstone’s works, transparent layers of paint—many of which reveal textured, bas-relief surfaces—are used as a means to connote psychologically charged subjects. For this edition, the artist will hand-embellish each edition using clear acrylic raised drops on each individual pulp in the grapefruit, making each work unique.
CLICK TO SHOP
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Leave Room for the Wind, 2024
Archival pigment print
20 x 27 inches
As in many of the artist’s prior works, Leave Room for the Wind takes literature as its inspiration—particularly, Mary Oliver’s book-length poem The Leaf And The Cloud (2000), in which the author writes, “I will leave room for the wind combing the grass, / for the feather falling out of the grouse’s fan-tail, / and fluttering down, like a song.” Resplendent with saturated washes of blues and greens, the work centers on two children who fly translucent kites in the open sky. Roaming through a verdant landscape absent of any architectural markers, the primary characters appear immersed in their purely recreational act, unbound by neither time nor expectations. In creating this scene, Chambers resists the emphasis that society places on productivity, instead making a case for the necessity of finding enjoyment in stillness. hand drawn embellishments with color pencil and charcoal. Fifteen prints in the edition have been hand embellished by the artist using colored pencil and charcoal to add additional detail to each work.
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Enoc Perez
Dorado Beach Pool, 2024
24 x 19.5 inches
Archival pigment print
Dorado Beach Pool stems from a recent body of work inspired by the paradisiacal settings of the Caribbeans—and, more specifically, the ways that they have been marketed through resort brochures and travel catalogs. Amassed over time, these promotional images become visual fodder for the artist, who mines the ways in which the locale has been sold as a fantasy to both foreigners and locals alike. Perez’s work centers on Dorado, a town in northern Puerto Rico populated by luxurious hotels and mansions. Detailed by shadowy lines that insinuate the soft movement caused by a tropical breeze, the image centers on a swimming pool surrounded by umbrellas that provide shade to a presumed, though unseen, elite. In this way, the image offers a critique on capitalist exploitations of the island territory, while simultaneously celebrating its beauty.
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Emily Weiner
Confluence, 2024
Archival pigment print
14 x 11.5 inches
In Confluence, a pair of symmetrical curtain panels frame a gradient sky distinguished by a celestial body that resides singularly at the center of the composition. Typically interpreted as a moon, this circular motif recurs throughout most of Weiner’s paintings, intended as a reference to the notion of eternal return. Meanwhile, the curtains harken back to the theater stages that inspire the artist, while signifying the unveiling of common perception. For this limited edition series, the artist has hand-embellished each print by adding a gouache vermillion moon and a constellation of stars—the latter of which is varied in placement and color temperature.
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