CSArt Madison 4th Edition

Shares for the final season of CSArt Madison—southern Wisconsin’s first Community Supported Art program—are still available! Your full share will include works by each of the ten artists. Half shares will include one work from five different artists. Shares can be purchased online or by check. Please note that there is a $10 processing fee added to online credit card purchases.

Become a shareholder today!

The 2019 CSArt Madison artists are: Emily Arthur, Eric Baillies, Angelica Contreras, Richard Jones, Jennifer Leaver, Maeve Leslie, Emma Lister, Victoria Maidhof, Richie Morales, and Michael Velliquette. Information about the artists is available by clicking the links at the bottom of this page.

On June 29, 2019, shares were distributed at a pick-up event and exhibition reception providing opportunities for artists and patrons to further connect. There were two CSArt Artist Talks on June 2 and June 9, 2-3:30pm where the public learned more about the artists.

This project is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

Emily Arthur

I see nature as an interdependent living force rather than as the backdrop for human events. Land is living matter that holds specific meaning to a place. This is the nature-based perspective through which I conduct my research. My fine art practice is informed by a concern for the environment, displacement, exile and the return home from dislocation and separation. I seek the unbroken relationship between modern culture and ancient lands which uses tradition and story to make sense of the enduring quest to understand our changing experience of home.

Eric Baillies

My work examines the experience and impact of engagement through 19th century photographic techniques. The mind and a sense of wonder continue to grow when ideas begin to form and are executed. This sense of wonder is what drives the images to be created. It's life is very much driven from how it makes me feel when made. Thoughts and ideas can be and are often derived backwards from a presentation or material stand point or are generated from a feeling an object or presence felt.

Angelica Contreras

My work explores the relationships between tradition and pop culture. Growing up in two cultures, I was submerged in rich imagery, as well as that from other countries. In most of my work, there is an element of nostalgia present in its layers, sometimes reminiscing about childhood or adolescence or sometimes referencing a certain culture. Surrounded by this multicultural esthetic from early age, I interpret the world with a certain irony. My work originates from the yearning of childhood and innocence where nature can sometimes show both its charming and dark side. My use of mixed media creates a rich palette of colors and textures, providing spectators with a richer interpretation.

Richard Jones

Richard Jones spent his early life with three bodies of water. A backyard swimming pool dug by his father, a yet wild neighborhood creek, and a chain of piedmont ravines flooded for hydro-power and cooling nuclear reactors. The tension between wildness and management control agendas in these bodies were reflected in the 70% of water that made up his own, and continues to show up in Richard’s work. This time was also marked by tutored lessons in drawing, which set his path and vision. Upon leaving his southern home he received a BFA from Rhode Island School of Design, discovered meditation from a Korean Zen Master and spent a long weekend at a Trappist Monastery in SC. He then spent thirty plus years in deep conversation with glass, a super-cooled liquid that at times has an uncanny resemblance to water. Currently he’s trying to excavate language from its watery origins; carving glass, making prints and engaging with other people.

Jennifer Leaver

I am a maker first and foremost. My work crosses many mediums and subject matters. At the crux of it all is a basic passion to see how far I can push the boundaries of an image. I love to see a subject matter pushed and pulled from clarity to abstraction. I want to look back at a finished piece and feel like I've pulled away layers of wallpaper and found a hidden treasure.

Maeve Leslie

As a Filipina-American artist and the daughter of an immigrant, my current work revolves around both my journey and my mother’s journey in America. I express the often-mixed signals experienced as a first-generation Filipina-American born in the United States as a child of mixed race. I seek to share these feelings and experiences with my audience to spark discussion around these experiences, both similar and different. I primarily work in serigraphy printmaking and am pursuing an MFA in Printmaking at the University of Wisconsin-Madison.

Emma Lister

The pieces I make are not an answer to a question or a drive towards an achievement. They are a communion with the world around me—a conversation in the dark—a breaking of bread between physical realities and more elusive sensations. Their identities fall partway between object and being. They are striving to become alive.

Victoria Maidhof

With an earnest search for threads of humanity, I work to create intimate portraits of compelling individuals in their personal spaces. Aiming to evoke a sense of empathy within the viewer, I hope to encourage a connection between people with vastly different life circumstances.

Richie Morales

Originally from Guatemala, I am a self-taught painter who does not hesitate in my stroke. I explore the accident as a form of communion with the unknown and regularly reflect about the role of art in social justice. Since childhood, I have experimented with textures and materials while working in trades of wood and construction work. Now I integrate this knowledge in my painting. My life is marked by signs of socio-economical violence as well as with legacies of personal and community resilience.

Michael Velliquette

My approach to art making and to spiritual practice derive from a common root. My earliest art courses taught me that the maker’s approach to using form to access meaning resonated with my experience growing up in the Catholic church, where the formalism of the mass was meant to access a transcendent other. I continue to view my work in the studio to be akin to spiritual contemplation: material investigation provides me with access to discoveries about the exterior world and insights into myself. My work requires that I look more closely than ordinary sight requires and to perceive what might otherwise go unnoticed.

CSArt Madison 4th Edition

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