The Quiet Drift: Remembering What Grounds Us

Something is happening to us. You can feel it—between sentences, in the weight behind casual glances. There’s a stutter in conversation, a weariness behind the eyes that no amount of sleep quite touches. A subtle restlessness hums beneath daily life: in grocery aisles, across dinner tables, behind office screens. Kindness feels harder to access. Disagreements turn sharp too quickly. We’re overstimulated and under-connected—plugged in but vaguely hollow.

The world didn’t just speed up. It shifted. Quietly. Without asking.

Now, something feels misaligned. Being human feels… disjointed.

This isn’t just about phones or social media. It’s about the deeper drift—how attention became fragmented, how our sense of time collapsed into an endless scroll. Meaning, once grounded in slowness and ritual, began to fracture across feeds and timelines. We’ve grown fluent in expression, yet feel less understood. There’s more content than ever, but less clarity about who we are.

It’s not just “out there.” It’s happening inside.

There was a time not long ago when people abandoned vinyl records for cleaner, quicker formats. Digital promised perfection. But records didn’t disappear—they waited. And when they returned, it wasn’t just nostalgia that brought them back. It was the ritual. The friction. The warmth. The decision to listen, not just hear.

That same return is happening elsewhere.

People are reaching again for paper, for film, for the tangible weight of things. Not because they reject the new, but because they miss what grounded them. Slowness. Presence. Memory. We’re not regressing—we’re remembering.

Even with new technologies like AI, something ancient surfaces. These tools, trained on centuries of human creation, echo forgotten languages and lost aesthetics. A visual style from 1923. A melody from an extinct tuning system. A turn of phrase that hasn’t been spoken aloud in decades. These machines aren’t inventing the future—they’re stirring the past.

What they generate isn’t novelty. It’s memory.

But they don’t create meaning. That’s still ours to carry.

And maybe that’s the quiet invitation hidden inside all of this: not to reject the tools, but to recognize what they reflect. To see in them our own patterns, our lost cadences, our abandoned rituals. It’s not about fearing acceleration—it’s about reclaiming our sense of time within it. The real threat isn’t the technology. It’s our detachment.

We’ve become too quick to react, too scattered to remember what we were reaching for. The screen glows, and we respond. The scroll continues, and we forget what mattered. Everyone is reachable, but fewer people are truly reached. We know too much, too fast—and still feel left out.

But this isn’t the end of something. It’s the edge of something.

Already, people are seeking out the tactile, the awkward, the analog. Old tools, old ways—not for irony, but for grounding. Not to escape, but to remember. Even fascination with the newest technologies is often an attempt to understand the oldest stories.

We aren’t being replaced.

We’re being reminded.

So maybe the real choice isn’t whether we keep up—but whether we slow down. Whether we pause long enough to feel the pulse beneath it all. Whether we tend to what still resonates. Whether we choose depth, even when the world urges speed.

A turning is underway, just beneath the surface.

But it doesn’t have to end in fracture. It can begin with recognition.

With the quiet decision to pay attention again. To feel—on purpose.

Not nostalgia. Not resistance.

Just remembering.

Human communication is a marvel of subtlety and context. With just a glance or a tone of voice, we can infer power dynamics, emotional states, or even unspoken intentions. This innate ability to navigate social complexities is a cornerstone of human interaction. In contrast, artificial intelligence (AI) lacks the intuitive grasp of these subtleties, relying instead on explicit, structured inputs to function effectively. Understanding this distinction is crucial as we integrate AI into domains where human-like interpretation is key.

The Human Advantage: Subtlety and Context

Humans excel at reading between the lines. We interpret not only what is said but how, when, and why it is said. Environmental signals, body language, tone of voice, and shared cultural knowledge all contribute to this deep understanding. A simple phrase like “Can you help me?” can carry vastly different meanings depending on the context. Spoken with a tone of desperation, it signals urgency; delivered with a smile in a casual setting, it might suggest a friendly request. Humans can interpret these nuances instinctively, often without conscious effort.

The AI Limitation: Explicit Context Required

AI, by contrast, operates in a world of explicit inputs. It processes data within the boundaries of what it has been trained to recognize or interpret. Without clear instructions or structured data, AI cannot pick up on implicit cues such as sarcasm, body language, or cultural references. For example, when faced with the phrase “Can you help me?” an AI system might respond generically or seek clarification, unaware of the emotional or situational layers a human would instantly perceive.

This limitation stems from the way AI systems learn. Machine learning models are trained on vast datasets, enabling them to identify patterns and make predictions. However, these datasets often lack the rich context that humans draw upon in real-life interactions. Cultural nuances, emotional subtext, and situational dynamics remain largely inaccessible to machines, highlighting a critical gap in AI’s capability.

Why Context Matters

The inability of AI to understand subtlety has real-world implications. In customer service, for instance, an AI chatbot might misinterpret a user’s frustration as a routine query, offering unhelpful or tone-deaf responses. In healthcare, an AI assistant might overlook emotional distress conveyed through voice or body language, focusing solely on the factual content of a patient’s words. These gaps can lead to miscommunication, frustration, and even harm.

Moreover, power dynamics play a significant role in communication. A subordinate asking a superior “Can you help me?” might carry undertones of hesitancy or deference that a peer-to-peer request would not. AI systems, blind to these dynamics, treat all interactions as equal, potentially missing critical relational subtext.

Bridging the Gap: Can AI Learn Subtlety?

Researchers are working to bridge this gap by incorporating contextual awareness into AI systems. Advances in natural language processing (NLP) and multimodal learning—where AI integrates text, audio, and visual data—are steps in this direction. For instance, sentiment analysis tools can now gauge the emotional tone of written text, while voice recognition systems can detect stress or anger in speech. Yet, these technologies are still far from replicating the human ability to synthesize multiple subtle signals into a coherent understanding.

Training AI to recognize cultural and contextual nuances also presents challenges. Culture shapes how we communicate, and these patterns vary widely across regions, professions, and even individual relationships. Ensuring that AI systems are inclusive and adaptive to diverse contexts without reinforcing stereotypes or biases requires careful design and ongoing refinement.

The Human-AI Collaboration

Given these limitations, the goal should not be to replace human judgment but to complement it. AI can excel in areas where structured data and consistency are paramount, such as analyzing large datasets or automating routine tasks. Meanwhile, humans remain indispensable in roles that require empathy, intuition, and an understanding of social dynamics.

As we continue to integrate AI into our lives, understanding its strengths and limitations is essential. By recognizing where AI falls short—particularly in interpreting subtlety and context—we can set realistic expectations and design systems that work harmoniously alongside human intelligence.

Conclusion

The gap between human intuition and AI’s explicit logic is a reminder of what makes human communication uniquely complex. While AI offers incredible potential to enhance efficiency and innovation, its inability to grasp subtle social nuances underscores the irreplaceable value of human insight. By acknowledging and addressing this subtlety gap, we can create a future where AI serves as a powerful tool, amplifying human capabilities rather than attempting to replicate them.

When people see children engaged in art, a common question arises: “Are they really learning?” The assumption that fun and learning are mutually exclusive persists, but research proves otherwise. True learning flourishes when students are engaged, empowered, and joyful—qualities inherent to the arts. This perspective is supported by Erica Halverson, a professor and researcher in curriculum and instruction, whose work uncovers the profound learning that occurs in youth arts programs.

Arts Education: A Catalyst for Engagement

Erica Halverson’s journey into arts-based learning is deeply personal. Growing up in the National Dance Institute under the mentorship of New York arts legend Jacques d’Amboise, she experienced firsthand how arts shape identity, teamwork, and joy. Later, as a designer of youth arts programs in Chicago, she observed a recurring phenomenon: students who were previously disengaged in classrooms came alive in art spaces, demonstrating newfound skills and enthusiasm.

This observation inspired her to explore the deeper mechanisms of learning through arts, leading her to the Learning Sciences field—a blend of psychology, cognitive science, and cultural anthropology. Halverson emphasizes that learning isn’t solely cognitive; it’s rooted in social, cultural, and historical contexts.

The Four Pillars of Learning in the Arts

In her research, Halverson identifies four key practices that underpin learning in arts education:

1. Representation: At its core, art involves translating ideas into tangible forms, such as a watercolor painting, a poem, or a scene in a play. This process mirrors how students learn across disciplines, helping them conceptualize and communicate complex ideas.
2. Identity: Art-making allows young people to explore who they are and how they fit into their communities. By engaging in creative projects, students build personal narratives and connect with peers and mentors in meaningful ways.
3. Creativity: Often misunderstood as a natural disposition, creativity is, in fact, a practice that can be nurtured. It involves innovative thinking and problem-solving, skills that are crucial in education and beyond.
4. Collaboration: Art is rarely created in isolation. It demands teamwork, idea-sharing, and distributed cognition—where knowledge and tasks are shared among people and tools. This fosters a deeper understanding of interdependence and collective success.

Regional Contexts Shape Artistic Learning

Halverson’s research highlights the importance of local histories and cultures in shaping youth arts programs. Whether in the Urban Midwest, the Indigenous Southwest, the Texas-Mexico border, or the Bay Area, each region’s unique socio-cultural dynamics influence how art is taught and experienced. For instance, border communities blend cross-cultural traditions into their art forms, while urban areas reflect histories of industrialization and redlining in their creative expressions.

Beyond Attendance: Measuring Impact

Traditional metrics like attendance fall short of capturing the true success of youth arts programs. Halverson shares insights from arts leaders who define success as long-term engagement and personal transformation. One leader remarked, “I know I’ve been successful when a kid comes once, disappears for a year, and then returns, eventually becoming a mentor.” This cyclical journey reflects the lasting impact of arts education, even when it doesn’t align with standard measurements.

The Arts: A Pathway to Lifelong Learning

Ultimately, arts education equips young people with tools to represent ideas, explore their identities, innovate, and collaborate—skills that transcend the boundaries of the classroom. By centering learning on joy, creativity, and connection, youth arts programs not only foster academic growth but also prepare students to thrive as engaged and compassionate members of society.

As Halverson’s research and experiences demonstrate, the arts are not just a medium for expression; they are a powerful framework for learning, transformation, and community building.

This mural dives into the cultural currents of Algoma’s identity, where mythology meets community. The figure of the mermaid, with flowing hair crowned in flora, evokes an ancient guardian of the Lake—her presence both mesmerizing and protective. Her harp, a universal symbol of harmony and rhythm, suggests a symbiotic relationship between nature and human endeavors. The mermaid’s song is not only for the fishermen but also for the alley’s visitors, pulling them into an underwater dreamscape of vibrant orange blossoms, swirling currents, and moonrise-drenched waters.

The choice of orange flowers, with their bold, almost celebratory bloom, contrasts with the cool aquatic tones, anchoring the mural in a sense of place. They echo resilience and life—a reminder of the fertility of both land and sea. These blooms, like the mermaid, thrive on the boundary of water and earth, bridging the mythic and the mundane.

Commissioned by the City of Algoma, the work transforms an urban alley into a narrative canvas, one that reflects the local history of fishing and the delicate balance between livelihood and environmental stewardship. It also raises questions about the power of public art to forge connections—between past and present, between art and audience.

This mural doesn’t simply decorate the alley—it situates itself within Algoma’s socio-cultural framework. It recalls the intimacy of storytelling, the shared guardianship of resources, and the enduring allure of myth as a form of collective memory. In this space, viewers are invited to reflect on their own role as stewards of both tradition and transformation.

• counter culture, Yonder
• Sacred geometry, Yonder
• The Avant Garde, Yonder
• Generative Art, Yonder
• The Tarot, Yonder
• Out of Print Music, Yonder
• Biodynamics, Yonder
• Graphic Design, Yonder
• Mythology and Magic, Yonder
• Obscure Film, Yonder
• Esoteric Lectures, Yonder
• Off-the-Grid Living, Yonder
• Alt-Spirituality, Yonder
• The Canon of Fine Objects, Yonder
• Muscle Cars, Yonder
• Ancient Wisdom for a New Age, Yonder

Dylan Chmura-Moore of the Manitowoc Symphony Orchestra approached me with an exciting challenge: to create distinctive visuals for their highly anticipated season opener on October 5th, 2024. After brainstorming together, we landed on the idea of a shadow puppetry-inspired film, an evocative medium that would seamlessly intertwine with the symphony’s live performance. The concept was ambitious, blending the timeless art of shadow play with the dynamic power of orchestral music.

Over the following months, I designed and crafted a series of shadow puppets and atmospheric scenes, each tailored to evoke the spirit of the music. Once the physical elements were complete, I transitioned them into a digital framework, animating and refining the sequences to align perfectly with the symphony’s score.

The final result was two distinct films, each tailored to a specific piece of music. The first, an 11-minute visual journey accompanying Edward Elgar’s Three Bavarian Dances, captured the elegant whimsy of Elgar’s melodies. The second, a 20-minute piece set to Aaron Copland’s Four Dance Episodes from Rodeo, embodied the robust, rhythmic vitality of the American West. Though both films shared a cohesive shadow puppetry aesthetic, they were designed with subtle stylistic variations to reflect the unique character and narrative of each composition.

Together, these films transformed the symphony’s performance into a fully immersive, multimedia experience, offering audiences a visual and auditory feast that celebrated the intersection of tradition and innovation.

Statement from the Artist

This project is a visual exploration of Edward Elgar’s Three Bavarian Dances, a suite that evokes a deep connection to place, innocence, and nostalgia. I tried to interpret the sound of Elgar’s music but travel through emotional landscapes where memory and rhythm intertwine to create a sense of both belonging and loss.

Each dance in Elgar’s suite offers a unique window into a world both familiar and elusive. The animation seeks to capture these moments, where innocent joy and melancholic reality coexist, where whimsical beauty and harsh devastation are two sides of the same coin. Using a hand-drawn silhouette style, I’ve allowed the simplicity of form to echo the music’s pastoral charm, while also leaving space for a deeper narrative beneath the surface.

The first dance brims with festive energy, portraying moments of simple celebration—life unfolding in its lighthearted exploration. The second dance slows the pace, offering a contemplative reflection on introspection found in quiet moments. In stark contrast, the third dance takes a more sobering turn, following a figure as they must face their reality of destruction and loss. Here, the remnants of a once-thriving place speak to the resilience and fragility of life and the pain that one cannot return to a place.

The didactic at the mural reads:
Aho!

Welcome

As you stand here today, take in the beauty of the artwork and the river that surrounds you. The Fox River was vitally important to those who came before us.

The Ho-Chunk are one of two of the First Nations of Wisconsin with an oral history that places their origin village at Móogasuc or the Red Banks, located approximately 10 miles north of this site along th banks of Green Bay.

The Ho-Chunk were first known as the Wisconsin Winnebago Tribe, a name given to them by early European explorers. In 1994, when the tribe adopted its present constitution, the nation reclaimed their original name: Ho-Chunk or

“People of the Big Voice.”

The Ho-Chunk Nation is comprised of twelve clans, or family groups, and each has distinct responsibilities within the tribe.

Water Spirit Clan – Wakjexi Hikika-The Water

o physicians, using heros, sacred

Snake Clan – Waka Hikikarac

Fish Clan – Hoo Hikikarac

Pigeon Clan – Ruucge Hikikarac

Hawk/Warrior Clan –

Kereju/Woonggire Waaksik

Eagle Clan – Caax$ep Hikikarac

Wolf Clan – Suukjgk Hikikarac

Buffalo Clan – Ceexji Hikikarac

Dee

Clan – Caa Hikikarac

Thunder Clan

– Waka a Hikikarac

traditionally solected.

Elk Clan – Hyuug Hikikarac

Bear Clan – Hyuc Hikikarac

The mural design of the 12 feathers was inspired by the work of Wisconsin Ho-Chunk artist, Ken Lewis. He is a Bear Clan member, and his Ho-Chunk Name is Haap Maasja Maani, which means

Walks with the Strength of the Day.

Artists Erin LaBonte, Don and Wes Krumpos, and David Carpenter of Yonder in Algoma, Wisconsin, brought this mural to life in July 2024

with the help of over 300 painters. Area residents and visitors, including members of the Ho-Chunk Tribe, joined together to paint this community mural during the 2nd annual ArtFest Green Bay

Hoocak Wookixete

Love one another

やん

The City of Kewaunee’s Port O’Call had recently been purchased by a new owner with a vision for revitalization. Alongside extensive renovations, he aimed to capture the essence of Kewaunee’s rich heritage and vibrant future. To achieve this, he commissioned a new mural to adorn the side of his building, designed to evoke a sense of nostalgia and charm.

Embracing the retro aesthetic of antique advertising reproduction murals seen in Algoma, the mural artistically blends past and present. It features vivid depictions of paddle sport and bike rentals, reflecting the new recreational amenities offered at Port O’Call Harbor Center. The scene bursts with life, showcasing a standup paddleboarder navigating serene waters and a cyclist exploring scenic routes, framed by a backdrop as a reference toward Kewaunee’s landscape.

Incorporating elements of local history, the mural pays homage to Kewaunee’s nostalgic feel while looking toward the future. The color palette is warm and inviting, reminiscent of vintage travel posters, invoking a sense of timeless adventure and community spirit.

This mural is more than just a piece of art; it is a celebration of Kewaunee’s identity and the new opportunities that the renovated Port O’Call Harbor Center and its amazing view brings. It stands as a testament to the harmonious blend of tradition and progress, inviting both residents and visitors to appreciate the town’s enduring charm. The community can now look forward to enjoying this vibrant addition for decades to come, as it becomes an iconic landmark symbolizing the heart and soul of Kewaunee.

In the winter of 2023, Erin La Bonte of Yonder, a budding mosaic artist, embarked on her first major project. Her task was to create a stunning mosaic depicting an Earth Goddess, to be installed in the back courtyard of Yonder, a serene and secluded venue open only a few times a year for special events, which provided the perfect backdrop for this remarkable piece of art. The mosaic was to be unveiled in May 2024, after months of meticulous craftsmanship.

The mosaic speaks profoundly to the intricate connections between nature and the feminine divine. This piece, a testament to La Bonte’s emerging talent, captures the essence of an Earth Goddess in a way that is both contemporary and timeless.

The goddess herself, standing as the focal point, is a celebration of form and function. Her figure, constructed from a mosaic of tesserae, is a meticulous blend of colors and textures, each chosen to convey a specific aspect of the natural world. Her hair, formed by dark, rounded tiles, cascades around her face, reminiscent of the flowing locks found in classical depictions of feminine divinity. This is no mere decorative element; it is an invocation of nature’s untamed beauty.

Her serene expression, framed by a halo of radiant, reflective pieces, suggests a divine presence that is both ethereal and grounded. The leaves surrounding her head are not just a nod to nature but a symbol of the cyclical nature of life, growth, and rebirth. This goddess is not a distant deity; she is intimately connected with the world she inhabits.

The upper portion of her body is adorned with blue and turquoise tiles, evoking the essential elements of sky and water. These colors are not just visually striking; they remind us of the vital life forces that sustain our planet. The dark bird she cradles, possibly a raven or crow, introduces a layer of complexity and mystery. Birds have long been symbols of transformation and protection, and here, the bird’s outstretched wings create a dynamic tension within the piece.

The goddess’s torso and legs are rendered in lighter tesserae, creating a striking contrast that highlights her form and draws the viewer’s eye to the vibrant red flower at her midsection. This flower, bursting with color, represents life, fertility, and the inherent beauty of the natural world. Her feet rest upon a verdant bed of green and yellow tiles, grounding her in the very earth she symbolizes.

The background is a tapestry of earthy tones—browns, beiges, and greens—that form a naturalistic backdrop of trees and soil. This palette is not merely decorative; it situates the goddess within her rightful realm, emphasizing her role as a guardian of the earth. The border of smooth, rounded stones frames the piece, adding a tactile, organic element that enhances the artwork’s connection to the natural world.

La Bonte’s mosaic is more than a visual spectacle; it is a narrative woven from the very elements of nature. It speaks to the viewer not just through its beauty but through its profound symbolism and careful craftsmanship. This Earth Goddess is a reminder of the intricate web of life and the enduring power of the feminine in nurturing and protecting our planet.

The mosaic is now installed in Yonder’s back courtyard for viewers to enjoy.

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4o

Jill and James Iverson traversed the Great Loop and documented their journey in writing and sketch journals. They asked Yonder to create a book cover based on Jill’s journal art. It was a fabulous collaboration to create Exploring America’s Great Loop.\

Their adventure spanned over 6,000 miles, winding through rivers, lakes, canals, and coastal waterways. The Iversons faced numerous challenges, from navigating through rough waters to encountering diverse wildlife and experiencing the vibrant cultures of countless towns and cities along the way. Each moment was meticulously recorded in Jill’s intricate sketches and James’s detailed notes, capturing the essence of their journey. Their book is not just a travelogue but a vivid tapestry of exploration and discovery, inviting readers to embark on their own Great Loop adventure.

Krumpos of Yonder took Jill’s beautiful sketches and transformed them into a stunning book cover that encapsulated the spirit of the Iversons’ journey. He meticulously selected elements from Jill’s artwork, blending them seamlessly to create a cover that was both evocative and visually captivating. Krumpos paid close attention to color palettes and textures, ensuring that the cover art mirrored the vibrant and diverse experiences documented within the pages of the book. His artistic vision and attention to detail resulted in a cover that not only attracted readers but also served as a true reflection of the Iversons’ epic adventure.

In the heart of Kewaunee, a vibrant mural now graces the cityscape, a testament to the collaborative spirit of the community. The local artists of Yonder, in partnership with the talented art students from Kewaunee High School, spearheaded this ambitious project. From the initial sketches to the final brushstrokes, the students were actively involved in every step of the process, gaining invaluable hands-on experience and artistic insight.

The mural itself is a captivating fusion of colors and themes, reflecting the rich cultural heritage and natural beauty of Kewaunee. It features a dynamic interplay of local landmarks, historical references, and abstract elements, all woven together in a harmonious composition. The students’ creativity and passion are evident in every detail, from the intricate patterns to the bold, sweeping lines.

Now, this magnificent piece of art stands as a beacon of community pride and a source of inspiration for all who behold it. Both residents and passersby are drawn to its vibrant energy, finding joy and contemplation in its many layers of meaning. The mural not only beautifies the city but also serves as a lasting reminder of the power of collaboration and the importance of nurturing young talent.

The Krampus of Yonder arrived at Green Bay’s Christkindlmarkt on December 1st at 5:30 p.m., heralded by the sound of jingling bells and ominous hoof clomps. As the creature emerged from the shadowy alleyway, cloaked in a thick, tattered lederhosen and adorned with a mask of twisted horns and a menacing grin, the crowd of festive gazers gasped in both delight and apprehension. The air grew colder, as if the very presence of Krampus brought a chill that seeped through the layers of warm clothing and blankets.

Children clutched their parents’ hands tightly, eyes wide with a mix of fear and excitement, while adults whispered tales of the mythical beast who punished naughty children during the holiday season. The Krampus moved with an eerie grace, each step calculated to enhance the sense of otherworldly mystery. His chains clanked and his burlap sack, rumored to be filled with naughty children, swayed with his movements.

The Christkindlmarkt, usually vibrant with the colors and scents of the season, seemed to take on an even more magical atmosphere as Krampus made his way to the central stage. The market’s twinkling lights reflected off the icy pathways, casting a spectral glow that added to the enchantment of the evening. Stalls filled with handcrafted ornaments, warm spiced cider, and festive pastries lined the square, creating a cozy contrast to the intimidating figure now at the heart of the gathering.

Eager attendees lined up, each waiting their turn for a photo with the legendary creature. Some were brave enough to pose with Krampus’s arm draped over their shoulders, while others kept a cautious distance, smiling nervously as they snapped their pictures. Laughter and squeals filled the air, blending with the traditional holiday music that played softly in the background.

As the night wore on, Krampus’s presence seemed to deepen the community’s connection to the folklore of the season. Storytellers spun yarns about Krampusnacht, and older visitors shared memories of their own childhood encounters with the creature. The blend of fear and festivity created a unique and unforgettable experience, one that reminded all who attended of the rich tapestry of traditions that make the holiday season so special.

By the time the clock struck 8:00 p.m., the Krampus of Yonder had bid his farewell, disappearing back into the shadows from whence he came. The crowd, now buzzing with the thrill of their encounter, continued to celebrate, their spirits lifted by the mingling of light and dark, joy and mystery, that only a visit from Krampus could bring.

I was asked by Downtown Green Bay to design a project for their first annual Art Fest, a festival centered around art and culture to enliven the downtown area. The organizers wanted the project to be collaborative, engaging the community in a meaningful way. It was suggested that the medium be clay, offering a new dimension for community art in Green Bay. While Yonder has designed several paint-by-number murals, we had yet to venture into clay, making this a unique opportunity to expand our repertoire.

After contemplating the subject matter, I decided that the Fox River would serve as an ideal inspiration. The river is a vital lifeline, dividing Green Bay into two halves and playing a significant role in the city’s history and development. The chosen location for the final installation was 238 E Walnut Street, on a retaining wall by a parking garage. This wide expanse was perfect for a horizontal representation of the river, allowing for an expansive, detailed portrayal.

To reflect the region’s rich natural heritage, I sketched flora and fauna that provided initial resources for the area’s development, both before and after European colonization. Our team, including Jenny VandenLangenberg, Jen Metcalf, Laura Schley, Keith Carter, Carrie Dorski, and others, met to discuss the design and the process of bringing it to life. Keith Carter, with his expertise in clay, was instrumental in guiding our approach.

The collaborative aspect of the project was designed to span two days, July 29th and 30th. On the first day, participating artists would scribe imagery into clay tablets or add low relief clay to create additive textures. On the second day, these pieces would be colored with glaze, adding vibrancy and depth to the artwork. After many months of drying in Keith’s studio, he and his wife, Sarah Carter, meticulously prepared the panels for installation. The mural was installed on November 11th and dedicated on November 21st.

The dedication ceremony was attended by our team, representatives from Capital Credit Union, including Kendra Leppard, Anders Goderstad, and Steve Zich, as well as Wisconsin Arts Board Chair, Brian Kelsey. During the dedication, I had the opportunity to speak about the project from a designer’s perspective. While I provided the initial sketch to kickstart the vision, the project’s success was due to the collaborative efforts of many individuals. The community played a crucial role, even submitting title ideas. “Spirit of the Fox” was chosen, beautifully encapsulating the project’s essence and my original impetus: to create a communal artwork celebrating our powerful river and its spirit.

This project not only brought the community together but also highlighted the potential for future collaborative endeavors in Green Bay. We look forward to many more projects that unite and celebrate our vibrant community through art.

The mural on Whim Parlour’s garage door is a striking black and white illustration that blends elements of nature with a whimsical touch. The intricate design features large flowers, mushrooms, and a variety of plant life intertwined with fantastical elements, creating a scene that is both enchanting and surreal. The detailed line work and bold contrasts draw the viewer’s eye, inviting them to explore the myriad of forms and figures hidden within the composition.

Whim Parlour’s vision for a unique and captivating piece of art is perfectly realized in this mural, which serves as a statement of her brand’s creativity and individuality. Located behind the Rahr-West Museum, this artwork adds to the vibrant collection of murals in Manitowoc, enhancing the town’s cultural landscape. The mural not only beautifies the space but also acts as a beacon for art lovers and curious passersby, making Whim Parlour’s salon a must-visit destination in the community.

Peter Rathanman, CEO of Allis Tool, was gearing up for his company’s 70th Anniversary, which included a significant rebranding effort to rename his company Allis Manufacturing. Peter had acquired the business several years ago and had been driving excellence ever since. As part of the rebranding, he envisioned a mural on the side of the company building to celebrate the rich manufacturing tradition of West Allis.

This endeavor began in 2020, just before the pandemic hit. When the coronavirus started to spread, creating uncertainty and disruptions, the mural project was put on hold. By 2022, with a semblance of normalcy returning, the project resumed. Peter, known for his vast knowledge of manufacturing history in West Allis, was keen on certain key images he wanted to include in the mural. One of these was Allis Chalmers, a manufacturing powerhouse in the early part of the last century.

“West Allis was the machine shop for the world,” Peter often said, highlighting the pivotal role the city played in global manufacturing. His deep appreciation for this history was evident as he shared insights and stories, which he also detailed in an article available on the company’s website here https://www.allismfg.com/news_and_events/mural-project-west-allis/.

The mural, titled “Timeless Manufacturing,” was more than just a piece of art; it was a tribute to the enduring spirit of the manufacturing community in West Allis and Wisconsin at large. The design process involved intricate planning, with Peter and the design team ensuring every element captured the essence of the city’s industrial legacy.

In the mural, images of massive factory machines, hardworking laborers, and iconic buildings from West Allis’s manufacturing past were prominently featured. Each brushstroke told a story of innovation, resilience, and community pride. The mural was set against a backdrop of the Allis Chalmer’s factory floor, seamlessly blending historical and contemporary elements to symbolize the ongoing journey of Allis Manufacturing.

Peter’s vision for the mural extended beyond aesthetics; he saw it as an educational piece for future generations. It served as a reminder of the city’s contributions to the world and the importance of preserving this heritage. The community embraced the mural, with many locals sharing their own stories and connections to the city’s manufacturing roots.

“Timeless Manufacturing” stood as a testament to Peter Rathanman’s dedication to honoring the past while steering Allis Manufacturing into a future of continued excellence. The mural project, much like the company itself, was a fusion of history, innovation, and community spirit, making it a source of pride for everyone involved.

Lynn Heidemann of Steele Street Trading is a long-time supporter of the arts in Algoma, and it was time for another mural on her building. She provided us with some ideas but was also a firm believer in allowing the artist’s creativity to run a little wild. Blending her vision as a tribute to her family, we conjured up a mural that would enchant those walking by and give them something to marvel at.

The mural is a vibrant tapestry of nature, where a dark blue night-time sky serves as the perfect backdrop for an explosion of color and life. Pink mushrooms sprout with an almost magical glow, their caps a stark contrast against the deep blue. Snails with whimsical, spiral shells crawl leisurely over lush green leaves, adding a sense of slow, serene movement. A brilliant butterfly, with wings painted in shades of pink, flutters beside a dragonfly that seems to dance on the petals of a striking blue cornflower.

Above this enchanted garden, a crescent moon casts a gentle light, enhancing the mural’s dreamy quality. The scene is not just a celebration of nature’s beauty but an invitation to step into a whimsical world where the ordinary becomes extraordinary. The words “Algoma Wisconsin” are subtly woven into the mural’s base, grounding this fantastical scene in a sense of local pride and community spirit.

This mural, with its blend of realistic detail and imaginative flair, offers a moment of tranquility and wonder to all who pass by. It’s a testament to Lynn Heidemann’s dedication to the arts and her belief in the transformative power of creativity, providing the town with a beautiful, whimsical piece that captures the imagination and celebrates the natural world.

Jan and Chad, the proud owners of The Epicenter in Sturgeon Bay, approached us with an exciting opportunity: to transform the large wall of their 4th Avenue building into a vibrant work of art. Despite the chill of the winter months, we eagerly embraced the challenge, brainstorming and collaborating to design a concept that would bring warmth and color to the community. Our efforts culminated in a stunning mural that captured the essence of nature’s beauty and the spirit of togetherness.

The design process was a labor of love, and by spring, we had finalized a vision that encompassed a breathtaking natural landscape. It featured an array of vivid flowers, delicate butterflies, and a mesmerizing sunset over a tranquil body of water, all elements meant to evoke peace and joy. The scene was further enriched by the inclusion of rugged rocks and majestic trees, creating a harmonious balance between serenity and strength. A silhouette of a person standing on the edge of a cliff added a human touch, reminding viewers of their connection to the natural world.

The excitement grew as the mural project moved from paper to reality. On June 23rd, the community gathered to bring the lower portion of the mural to life. It was a heartwarming sight as people of all ages and abilities came together, each contributing their unique touch to the wall. The air was filled with laughter and the sounds of brushes against the wall as everyone painted their little piece of the mural.

The mural not only beautified the neighborhood but also became a symbol of community spirit and collaboration. It stands as a testament to what can be achieved when people come together with a shared vision. Every time someone passes by The Epicenter, they are reminded of the unity and creativity that brought this vibrant scene to life, making it a beloved landmark in Sturgeon Bay.

Door County Daily News has an interview with Erin here.

We were thrilled to be part of the 3rd Annual Mural and Busker’s Fest organized by Downtown Green Bay’s vibrant Broadway district. This event, now in its third year, has already resulted in the creation of 30 stunning murals, transforming the area into a dynamic outdoor gallery. The festival’s popularity continues to soar, as evidenced by the over one hundred talented artists who applied this past year alone.

For our contribution, we collaborated closely with Stage 1,, the welcoming venue where our mural now proudly stands, as well as the Broadway committee, the dedicated custodians of the wall which will soon be part of the highly anticipated Public Market. Together, we brainstormed, conceptualized, and brought to life a vision that encapsulates the spirit of Green Bay.

The mural itself is a celebration of the city’s rich heritage and dynamic present. Dominating the left side is a majestic Bay Beach train, symbolizing Green Bay’s industrial past and its ongoing journey toward progress. Interwoven with this is a lush representation of nature, with vibrant green leaves sprouting throughout, signifying growth and the importance of preserving our natural environment.

At the center of the mural, viewers are treated to a breathtaking scene of a sunset, its vivid orange and pink hues reflecting over tranquil waters. This imagery evokes a sense of calm and beauty, reminding us of the simple yet profound joys found in our everyday surroundings. To the left, the Ferris wheel rises behind the train, hinting at the leisure and community spirit that define our city’s character.

On the right, the mural pays homage to the arts with a depiction of the grand West/Tarlton theater marquee. A solitary figure in a coat and hat, none other than the legendary Packers coach Vince Lombardi, stands facing the theater, embodying the pride and excitement of the this community has become. His presence signifies pride in the community’s growth and achievements. Bridging these diverse elements is a structure that symbolizes connection, continuity, and the shared journeys we all undertake in life.

Through vibrant colors and dynamic scenes, our mural encapsulates the essence of Green Bay—its industrious roots, its natural beauty, and its thriving cultural landscape. We are deeply grateful to have had the opportunity to contribute to this ever-evolving tapestry and look forward to witnessing the continued growth and enrichment of our community through art.

It was a great Father’s Day weekend, with live music on the stage along side us.

Gremlincore is an emerging aesthetic and subculture that finds beauty in the overlooked and the unconventional. Rooted in folklore and deeply connected to the natural world, it revels in the darker, dirtier side of ecosystems and objects often dismissed as undesirable. A kindred spirit to other nature-inspired aesthetics like cottagecore and fairycore, gremlincore sets itself apart with its embrace of chaos, comfort, and a gritty appreciation for the odd and imperfect.

The Origins of Gremlincore

The roots of gremlincore trace back to the early 2010s on Tumblr, where it was initially known as “goblincore.” While both terms share similarities, the shift to “gremlincore” highlights an even grittier, more mischievous take on nature and folklore. The aesthetic quickly resonated with queer communities, where its focus on individuality and embracing non-conformity found a natural home.

Key Characteristics

Gremlincore is defined by an aesthetic palette and style that reflects its unconventional ethos. Hallmarks of the subculture include:

• Darker Earth Tones: Shades of brown, green, and gray dominate, echoing the hues of moss, soil, and stones.
• Second-Hand and Worn Clothing: Thrifted, patched, and weathered clothing pieces are preferred, emphasizing sustainability and a rugged, lived-in look.
• Comfort Over Convention: Loose-fitting, cozy outfits prioritize function and personal comfort over traditional style rules.
• Clashing Colors: A playful disregard for traditional color matching mirrors the chaotic beauty of nature.
• Natural and Shiny Objects: From moss-covered rocks to shiny trinkets, gremlincore treasures items that feel magical in their imperfection.

Celebrating the “Undesirable”

What sets gremlincore apart is its unapologetic celebration of things society often overlooks or dismisses. Enthusiasts find charm in:

• Fungi and Mushrooms: From vibrant toadstools to humble shelf fungi, these organisms are symbols of life’s resilience and mystery.
• Furry and Slimy Animals: Rats, frogs, snails, and other creatures traditionally considered “unclean” or “pests” are appreciated for their unique roles in ecosystems.
• Moss and Soil: The damp, earthy textures of moss-covered stones and rich soil are central to the aesthetic’s tactile appeal.
• Animal Skeletons and Bones: Skeletons and skulls serve as memento mori, celebrating the life cycles of nature.
• Rocks and Plants: Unique stones, lichen, and wild greenery remind adherents of the small wonders in every environment.

The “Other Side of Things”

At its core, gremlincore embodies a celebration of the “other side”—a world often hidden in plain sight. It invites us to appreciate life’s messier, less polished aspects. It’s not about rejecting beauty but redefining it to include what is raw, wild, and real. Whether it’s the damp underbrush of a forest or a collection of rusted trinkets, gremlincore finds magic where others might see only decay.

Why Gremlincore Matters

In a society increasingly focused on perfection and minimalism, gremlincore is a refreshing counterculture. It embraces sustainability through thrifted goods, fosters inclusivity by celebrating difference, and nurtures a connection to the natural world. Gremlincore reminds us that there’s beauty in chaos and value in what’s often dismissed.

Whether you’re collecting shiny pebbles, admiring the texture of moss, or simply wearing a patched-up sweater that makes you feel at home, gremlincore invites you to embrace the messy, magical side of life. After all, who says beauty has to be pristine?

A group of enthusiastic students from The Algoma Venture Academy, a vibrant public charter school, approached Yonder with an inspiring idea: to have us teach a mural class, culminating in a community-painted wall in our city. Throughout the crisp winter months, we embarked on this creative journey together. The eight talented students collaborated passionately, brainstorming and sketching to design a mural that would reflect the spirit and unity of our community.

Under the guidance of our skilled instructors, the students honed their artistic skills, learning about color theory, composition, and the powerful impact of public art. Each session buzzed with creativity and camaraderie as ideas flowed and the mural’s vision gradually took shape. The students’ design was a vibrant tapestry of local culture, natural beauty, and shared dreams, embodying the essence of our city’s identity.

As the first blossoms of spring hinted at the arrival of warmer days, we began the next exciting phase: painting the mural. The chosen wall, nestled in the alley just behind Yonder’s studio, became our canvas. Armed with brushes and an array of bright paints, the students started bringing their design to life. The wall gradually transformed, each stroke adding depth and vibrancy to the unfolding masterpiece.

In late spring, with the mural partially complete, we decided to invite the entire community to join in the creative process. We organized a paint-by-number event, making it accessible for everyone, regardless of artistic experience. The anticipation built as we spread the word, and on a sunny Saturday morning, the alley buzzed with excitement.

Around 150 of our neighbors, ranging from toddlers with paint-smeared hands to elderly residents with memories of a bygone era, came together to participate. The event was a joyful celebration of community spirit, with laughter and conversations filling the air. Families worked side by side, friends reconnected, and strangers became acquaintances, all united by a shared purpose.

As the day progressed, the mural blossomed into a kaleidoscope of colors, each section painted by different hands but harmoniously blending into a stunning whole. The once-blank wall now told a story of collaboration, creativity, and community pride.

This project not only beautified our city but also strengthened the bonds within our community. It was a powerful reminder of what we can achieve when we come together with a common goal. The mural stands as a testament to the creativity of The Algoma Venture Academy students, the support of Yonder, and the vibrant spirit of our city, marking the start of a summer filled with hope and new beginnings.

Yonder proudly presented “Shadow Play – A Night of 4 Puppet Shorts by 4 Puppeteers” on March 31, 2023. This unique event was the grand culmination of the intense and creative work done during a two-week workshop led by the renowned puppeteer Don Krumpos. The workshop, which focused on the art of shadow puppetry, allowed participants to explore the depths of storytelling through intricate paper cut designs and innovative puppet manipulation techniques.

Among the dedicated participants were Cecily Schleicher and Jill Iverson, who attended the workshop and produced captivating paper cuts for stories they had crafted themselves. Their work, along with that of their fellow puppeteers, was showcased during the event, each performance highlighting their unique styles and narrative talents.

That magical night, Don Krumpos himself performed “Bone Memory,” a haunting tale that delved into the echoes of the past and the memories etched into our very bones. His performance was a masterclass in shadow puppetry, using light and shadow to evoke deep emotions and tell a story that resonated with the audience.

Cecily Schleicher enchanted the audience with “Anansi and the Box of Stories,” a whimsical and colorful retelling of the classic African folktale. Her intricate paper cuts brought the cunning spider Anansi to life, capturing the essence of the character’s wit and charm.

Jill Iverson presented “Love Can Make a Man Do Great Things,” a poignant narrative that explored the transformative power of love. Through her delicate paper cuts and evocative storytelling, Iverson conveyed the profound impact of love on the human spirit, leaving the audience moved and inspired.

Erin La Bonte concluded the evening with “Flutter,” a gentle and mesmerizing piece that depicted the delicate beauty of nature and the fleeting moments of life. La Bonte’s performance was a visual and emotional feast, with graceful movements and intricate designs that captivated the audience’s imagination.

“Shadow Play – A Night of 4 Puppet Shorts by 4 Puppeteers” was a celebration of creativity, storytelling, and the art of shadow puppetry. The event not only showcased the incredible talents of the puppeteers but also highlighted the power of collaborative artistic efforts. The audience left with a renewed appreciation for the art form and the stories that can be told through the dance of light and shadow.

Students, ages 8 to 18, spent the day in our printmaking studio.  They were introduced to monotype printmaking and got the opportunity to create original, one of a kind prints by exploring different surfaces, painting and inking techniques.  These works of art were hand-rubbed or were be run through our etching press. 

Yonder printmaker Don Krumpos led this class and inspired students by sharing his work as well as techniques and the importance of process in printmaking.  

$35 per student includes all necessary materials

Due to space concerns this class is open to no more than 10 students.

ArtBeet Kewaunee is proud to present its 2nd Annual Youth Art Month (YAM) celebration throughout March 2023. Yonder hosted an exhibit as part of ArtBeet’s city-wide exhibit at many of the art galleries across Algoma.

New Printmakers spent a night “out” in our studio.  They created original, one of a kind monotype prints by exploring different surfaces, painting and inking techniques.  These works of art were hand rubbed or can be run through our etching press. They brought inspiration and left with beautiful art prints. 

$45/per participant 

We will provide beverages, water, glasses, corkscrews, bottle openers, snacks, and supplies!

Due to space concerns this class is open to no more than 10 students.

Ages 21+

Course Materials and Links

• Practice cutting exercises (PDF)

This print out will give you some ideas on how to use a craft knife and strategies to make paper cuts.

 

• Concept and Sketching

We will be using overhead projectors as our performance area. The area is about 10 inches x 10 inches so generally, our puppets are small. They will be projected on a large screen, so that the audience sees these as 4 feet by 4 feet.

We will work on cinematic concepts that use wide angles and closeups and transitioning between scenes.

We will develop a story that is about 5-10 minutes long for each participant. The narrative can be loose and surreal or follow a literal narrative. You may come with your own ideas, or, if you’re having trouble of thinking of ideas, we will look toward mythology and fairy tales to borrow from. An example is looking at the work of Hans Christian Anderson. He even has a story about Shadows!

Your puppet short may have voiceover/narration, or music, or none if you prefer.

If you have your idea, you can write your narrative, and storyboard. Here is an example of one that I did for a 3 Act performance in 2019.
It is not fancy, in fact it is pretty sketchy, but it lets me get my ideas from my head to paper to free my mind to work on cutting referencing my rough composition.

 

 

• Wayang

The Wikipedia entry on Java shadow theater and its many branches and expressions.

• Turkish Shadow Theater

Karagöz is a Turkish shadow theater in which puppets of characters and objects made of camel or ox skin are held up to a light with sticks to project their silhouettes onto a cotton cloth.

• “Karagöz”

The Wikipedia entry that briefly talks about the traditional shadow theater of Turkey.

• Lotte Reiniger

The best example to talk about animation using cutout paper silhouettes and shadows is Lotte Reiniger.

This German artist was a pioneer of animation in the early and mid-20th century. Lotte used resources from the traditional shadow theater of the East and combined it with the openwork silhouettes of Europe.

“Lotte Reinigers silhouettenfilm: Die Geschichte des Prinzen Achmed”

Booklet of the premiere of The Adventures of Prince Achmed .

The Star of Bethlehem

Beautiful short film from the 50’s that uses silhouette animation to tell a popular Christmas story.

“Mary’s Birthday”

Another magnificent short film from the 50’s in which you will be able to appreciate the talent and originality of Lotte Reiniger.

“The Art of Lotte Reiniger, 1970 | From the Vaults”

A short documentary where she is seen working on her works.

“The Adventures of Prince Achmed”

The Wikipedia entry for The Adventures of Prince Achmed

Shadow Puppets, Shadow Theaters and Shadow Films | Lotte Reiniger

This is an unmissable book by Lotte Reiniger where she explains in detail all the resources of shadow theatre, from minimal scale to her own shadow animations. It was published in 1975 and a digitized version can be borrowed at Archive.org.

• “Cinematic Shadow Theater”

This company has been producing shadow theater in San Francisco since 1972. Here you can see images of some of their productions.

• “Kakashiza Shadow Play Theatre: An Interview with Shuichi Iida”

This is the first professional modern shadow theater troupe in Japan and has produced several plays that bring people into the world of theater, inventing original dramatic styles that modernize shadow play. I share an interview with Shuichi Iida so you can learn more about this Japanese shadow theater company.

• “Silhouette Artist; A Master at Paper Cuts”

Interview with Karl Johnson, a contemporary silhouette portrait artist.

• Silhouette: The Art of the Shadow | Emma Rutherford

A book about the history of shadow silhouettes by Emma Rutherford.

• ‘Feathers of Fire’: Spectacular Shadow Play | SoCal Connected | KCET”
  

An incredible shadow theater production that combines actors, silhouettes and projections on a large-scale tableau. In this video they show many details behind the scenes.

• “A la Sombrita: A piece of the moon”

A small production by the brilliant company A la sombrita that uses the space in front of the altarpiece and leaves the actors visible.

• “Color Changing Bubbles Tell Stories Through Shadows”

The review of an installation of light bubbles on which shadows were projected devised by Lucion Media. This is another creative use of projection space.

• “Christian Boltanski: Théâtre d’ombres”

A brief review of the work of Christian Boltansky that refers to the traditional resources of shadow theater.

• Manual Cinema

A theater group out of Chicago, but that performs across the world, using many of the same methods we use in this course and for our performance.

Artist Workshop

Schedule: 2 classes 

Ages 12 and up

Saturday, March 18  9 am-2 pm

and

Saturday, March 25 10 am-4pm  

 

Sign up at https://shadowpuppets.bpt.me/

 

Public shadow puppet performance beginning at 5 pm March 25.

Workshop Price:  All supplies will be provided.  Yonder will order pizza on Saturday March 25th for all participants.  Please bring your own snacks, lunch and beverages.

Adults: $200

Artists under 18: $100

Class Limit: 10

Workshop Description

Puppeteer, Don Krumpos, will share shadow puppet history, storyboarding and process as well as technical craft. Students will create their own shadow puppet short animation (about 5 minutes).   Creative work is encouraged outside of class time to refine their performance.  Students will work collaboratively and perform their puppet show on March 25th at 5 pm in a public performance hosted by Yonder.  All artists, students and professional artists, ages 12 and up are welcome!

 

Due to space limitations this class is open to no more than 10 students.

 

Since this course has a lot of material put into a small amount of time, we have prepared some material for you to look at ahead of time.

Once you’ve signed up for the course, you’ll be sent additional course materials to start early, and between course dates so that we can make the most of our time together.

 

 

 

In 2022, SeaGrant celebrated its 50th anniversary. To mark this significant milestone, they commissioned a mural painted by talented Wisconsin artists. The vibrant and dynamic city of Sturgeon Bay was chosen as the perfect location for this commemorative artwork.

Collaborating closely with Jody Henseler, a respected local teacher, friend, paddler and fellow artist, the artists aimed to create a mural that not only celebrated the organization’s legacy but also highlighted the beauty and importance of Lake Michigan. Jody’s extensive scientific knowledge and deep passion for the water played a crucial role in shaping the mural’s design.

The mural is a stunning visual narrative that captures the essence of Lake Michigan’s ecosystem, from its shimmering waters and diverse marine life to the rich cultural history and communities that thrive along its shores. The mural showcases the interplay between humans and nature, emphasizing the need for conservation and sustainable practices to protect this precious natural resource for future generations.

Jody Henseler’s input ensured that the mural was not just a piece of art but also an educational tool. Elements of the mural depict key scientific concepts and the delicate balance of the lake’s ecosystem. Through vibrant colors and intricate details, the mural tells the story of Lake Michigan’s past, present, and future, inspiring viewers to appreciate and protect the lake’s natural beauty.

The mural has become a beloved landmark in Sturgeon Bay, drawing residents and visitors alike to marvel at its beauty and reflect on the importance of preserving the Great Lakes. It stands as a testament to SeaGrant’s 50 years of dedication to environmental stewardship, education, and community engagement, and it continues to inspire a sense of wonder and responsibility towards Lake Michigan and beyond.

A video by SeaGrant’s Bonnie Willison can be seen here.

 

It was a beautiful day in the neighborhood as Manitowoc Sputnik Fest attendees came by to help paint the mural on First Presbyterian Church. Pastor Matt Sauer wanted a Mister Rogers-themed mural on his wall, since Mister Rogers was a Presbyterian minister and the “closest thing we have to a saint” he said. Pastor Matt has a giving and inclusive organization, so the mural was to display this idea to the traffic as they are heading down the hill into downtown Manitowoc.

The Sturgeon Bay Historical Society with their hard work in preserving the Teweles and Brandeis Grain Elevator, wanted a mural paying homage to the Sturgeon Bay’s agricultural roots. Bayside Bargains , which is across the street from the grain elevator, allowed us to paint on their wall. The historical society knew they wanted to represent the agriculture heritage of the water to the land so we went about designing a concept that included their famous steel bridge, a wooden clipper ship, that would haul the seeds to the granaries, and in the center, the seed itself as a center point, and then a transition around the wall to a pastoral land with rolling hills which Door County scenery did then, and still does abound in. This was also  a paint-by-number mural in which the community turned up to finish painting the lower half.

Here is an interview by Door County Daily News about the process.

We were invited by On Broadway to participate in their Second Annual Mural and Busker’s Festival. They wanted a food-themed mural and with knowing about their renowned farmers market, we wanted to include foods and flowers that would be found during harvest season in Northeastern Wisconsin. We included some butterflies to indicate the importance of these pollinators in the food growing process.

We invited David Carpenter a usual partner, and Gabby Krumpos, an emerging artist and designer to help us complete this large artwork in the required 4 days. David’s impeccable skill would help render the vegetables to realistic perfection, and Gabby is an up-and-coming mural artist, and they will help with two other murals later this year.

Erin and Don came out a couple nights early to project the outlines, and we met some of the local business owners already on this hot July night. The next day, we painted in some of the higher background areas, to get them out of the way. It was Wednesday, so we got to visit the farmers market for a little while.

Thursday was the official start and our team was assembled. Every day in the morning and before we left, we would drive or walk to see other nine artists working on their mural. Saturday and Sunday, were the days that the Festival occurred so the buskers and musicians were out in full force and we got to meet some wonderful people. Old friends stopped by to see the spectacle; and it was a reunion of sorts.

We completed the painting just on time, on Sunday about 4 p.m. This event will end up being one of our best memories of mural painting because of the energy and camaraderie surrounding us.

We were contacted by the City of Fond du Lac Downtown Committee.

Saturday March 26th 9-4 pm 
Students ages 10 and up spent a day in our printmaking studio learning the art of creating a linocut relief print. Participants began by learning what makes an ideal image for printing. Students then used gouges to form their linocut, roll on ink and pull their original work of art using hand-rubbing techniques and our etching press.

Yonder printmaker Don Krumpos led this class and inspire students by sharing his work as well as techniques and the importance of process in printmaking.

$50 per student includes lunch and all necessary materials

Due to space concerns this class was open to no more than 9 students.

This class was offered in collaboration with Art Beet’s Youth Art Month’s Initiative.

Register at https://printmaking.bpt.me

We couldn’t say it better than our friend and attendee Alex Galt over at his blog.

I saw a beautiful thing a couple of weeks ago and I wanted to tell you about it because, by its very nature, I can’t share it with you. And maybe that was the point. These days the accepted thing is to seek virality, maybe to put your spin on a meme and to send it out into the world hoping for a million views. Because attention is currency and it’s come to be how we place value on things. What I’m about to describe is on the opposite end of the continuum from whatever Kim Kardashian West is doing. Imagine working hard to create a layered and beautiful artistic performance that will be seen and enjoyed by no more than 60 people. I mean, what would be the point? Right? I’m talking an original story with elaborate props, costumes, shadow puppets, simulated stained glass windows, stage sets, food, and giant papier-mâché hands. True, the audience to effort ratio for the performing arts is much lower than for other media, due to their ephemerality. For example, I have a college friend who is a relatively successful playwright in New York and it’s been almost impossible for me to follow his career from my home in Wisconsin. But what I’m about to describe feels like it was specifically designed to be immune to digital virality and, in retrospect, I think that’s part of why I found it so thrilling.

Yonder and the Krampus

On a Saturday evening in early December, Don Krumpos* and his team presented “Krampus Claws Is Coming to Town” at Yonder, Krumpos’ art gallery and studio in Algoma, Wisconsin. Using a blend of storytelling, shadow play, illustrations made from simulated stained glass, and immersive theater, Krumpos and his troupe told an original story using elements of the German and Icelandic Christmas folk traditions. First, there was Krampus, St. Nick’s horned and bearded co-worker, who has been punishing the wicked children of Germany for centuries. This Christmas, Krampus discovered that morality is not as simple as black and white, that ‘bad’ kids are sometimes good kids in bad circumstances. Initially he’s perplexed by this moral ambiguity, but by the end of the show he’s taken it to heart and found a new role to play during Christmas. Then there was Gryla, a giantess who traditionally punishes the misbehaving children of Iceland with the help of the “Yule Lads” and her terrifying Yule Cat. (Apparently Iceland has a more interesting Christmas season than we do). In Yonder’s retelling, Gryla and her minions have been locked beneath the earth for a thousand years, bound by magical spells cast with air, water, and fire. And these bonds are weakening…

Enter the audience

“Krampus Claws” was divided into three acts with an intermission between each act. As the audience mingled and consumed Krampus-inspired snacks, treats, and ciders (both hot and alcoholic), costumed members of the troupe pulled individuals or small groups of people to visit with the spirits of water, air, and fire. Each of these experiences, which were elaborately presented in smaller spaces, yielded a token: a rubber “fireball,” a kazoo, and a small water pistol. Participants were asked to hang on to these and to keep them hidden. In the third ‘act,’ which was primarily conveyed using shadow puppets, Gryla and her brood slipped their bonds and prepared to wreak havoc on the children of Earth. But at the last minute they were turned back by Krampus, freshly motivated by his new, more nuanced moral understanding. In fact, he has come to see that it’s now Gryla who is misbehaving and in need of punishment. Finally, Krampus and the narrator of the story rallied the audience to defeat the Icelandic folk monsters, including the Yule Cat, with their fireballs, kazoos, and water pistols. Thus, another merry Christmas was assured and the balance of the universe maintained.

Nothing I write here (not even Joshua Clark’s photos, though they tell part of the story) can convey the sense of wonder that this production produced in the audience. We collectively gasped and laughed as all of the elements of the production converged at the end. Elements that may have felt absurdist and a little off-handed at the time were revealed to be dramatically important. It all felt cathartic and almost ritualistic… but without any of the self-seriousness that things too often have this time of year. As with everything Krumpos does—working alone or with his co-conspirators—from his beautiful prints to the murals he’s been painting in communities all over Wisconsin, every aspect of the event was beautifully detailed and well considered. This year’s Krampus costume was feral, like something out of a deep, medieval Alpine forest, and in an entirely different way than the equally beautiful Krampus figure he designed for the 2019 show (which is currently on display at Yonder’s storefront at 321 Steele Street in Algoma). The shadow puppets, which Krumpos has been experimenting with since producing a workshop with Minneapolis’s Michael Sommers, co-founder of Open Eye Theater, at UWGB seven years ago, were intricately cut and full of playful effects.

This is a type of experience that feels rare to me to me these days, it reminded me of a culture of artistic production that was more familiar to me in my 20s—back in the 1990s—long before the potential for virality demolished the idea that a thing could be done just for itself and just for the people fortunate enough to be in the room. That it was so creative, so well executed, and so beautiful just made it all the more precious. Krumpos says that these Krampus pageants (for lack of a better term) will continue… you should make a point of getting on his mailing list so you don’t miss out!

* Who is Don Krumpos? He is a muralist, printmaker, and multimedia artist who has been an art professor at the University of Wisconsin—Green Bay.

This mural was commissioned by the Community Improvement of Algoma in one of their “pocket parks”.

We had the opportunity to design the poster for the 100th Anniversary of the Capitol Civic Centre in Manitowoc, Wisc.  Thanks to Lori Kirby, the marketing directory, to provide the guidance to get this done in the style that we liked, and that their board was delighted in.

This idea was conceived in the mind of City of Manitowoc Water Treatment Facility employee Scott Krause in 2015, and in 2020 this painting came to life, after the City of Manitowoc came to us to paint this image of a rainbow trout on their giant gas sphere painted to look like a giant bobber. 

Let it exist to delight visitors after they arrive from Michigan on the USS Badger ferry, and add a splash of color to an heterotopic, industrial area.

Thanks to Hallman-Lindsey for paints and Hamann Construction for the donation of the lift.

 

We enjoyed doing this mural

On a night when the veil between worlds grew thin, Yonder held its first grand interactive performance, summoning Krampus himself to weave a tale of fate, mischief, and shadowy revelry. Inspired long ago by the traveling spectacle of Michael Sommers’ A Hole, this vision of immersive storytelling simmered for years—until at last, in 2019, the muses whispered their secrets, and the tale was set in motion.

Through the flickering glow of lanterns and candlelight, guests embarked on a journey through a living fable—a three-act shadow puppet play where the narrative was no mere performance, but a game of fate itself. Between each act, the audience was drawn into the story, moving through a series of strange and wondrous encounters.

At the Threshold of Fate – The Keeper of the List
Shrouded in the crisp night air, The Keeper of the List (played by Yonder favorite, Chris Rand) stood beyond the shop, an enigmatic figure poised before the flames. Guests, clutching mysterious invitations riddled with cryptic inscriptions, approached. One by one, the Keeper lifted the parchment to the candlelight, watching as hidden messages were revealed—a decree from the shadows: Were you good, or had your deeds doomed you? With their judgment sealed, revelers then warmed themselves by the fire afterward, sipping mulled wine and nibbling on sweet confections, laughter mingling with whispers of fate.

Descent into the Icy Abyss – The Krampus Lair
Through a hidden passage, a mischievous nymph—her eyes alight with knowing mischief—beckoned guests downward into a frozen cavern beneath the building. Within, a looming, spectral Krampus (voiced and animated by co-collaborator Joel Zwicky) hovered behind a veil, a phantom visage brought to life through clever trickery and shadowed sorcery. His guttural voice and twitching snout searched the air, sniffing out each guest’s true nature. If one was deemed virtuous, a henchman branded their cheeks with rosy warmth—a mark of purity and elfish grace. But should a soul be found wicked, a sooty mark of coal was pressed upon their brow, sealing their shadowy misdeeds for all to see. Guests emerged, eyeing one another’s markings in gleeful confusion—what did it all mean?

Feasting & Riddles – The Puzzle of Destiny
Between acts, feasting commenced—mushroom wellington pastries shaped like Krampus himself, and later, shots of peppermint schnapps (or gentler, child-friendly brews for the small and pure of heart). But all was not idle revelry. Something stirred beneath the surface.

A puzzle lay hidden upon the walls, marked in strange glyphs—a cipher only those who dared to study their invitations closely might decipher. It was then that realization crept in—the guests had been divided into teams, unknowingly set on a path to determine the fate of Krampus himself. The pieces fit together, the phrases forming like prophecies whispered by the ancients: one side sought to empower the beast, the other to banish him for yet another year. Which force would triumph?

The Final Act – The Unveiling of the Beast
As the final act unfolded, a trick of sorcery played upon the walls—a camera cast the audience’s own silhouettes upon the grand screen, revealing them as more than mere spectators. They were now part of the legend itself. The story surged forward—Krampus, his plan near completion, arose in terrible grandeur.

From behind the stage, an eight-foot-tall, monstrous Krampus emerged, towering over the revelers, his clawed fingers reaching for the innocent. The audience gasped as he dragged a child behind the curtain, sealing their fate—for each day of the year, another soul would be taken. Unless. Unless someone could stop him.

The moment of reckoning arrived. The puzzle was nearly complete—whispered phrases turned to shouts, shouts to a single, unified declaration of power. One by one, guests stepped forward, each revealing a letter printed upon their invitation, a cryptic mark they had carried all along. As the final letters were placed into the puzzle, the hidden phrase emerged, its meaning at last unveiled—a spell of binding or a chant of ruin. In the final breath of suspense, the good side triumphed! The ancient bindings held strong, their combined voices sealing the decree. Krampus—cursed once more—let out a bellow of frustration as the forces of light held firm, banishing him to his shadowed realm, unable to claim another for a full turn of the sun.

Defeated, yet ever mischievous, Krampus conceded to his fate, retreating not in rage, but in begrudging amusement. He bestowed sweets upon the children—a final act of resignation, a token of the truce. And thus, the revelers gathered for final moments of merriment, posing for portraits with the subdued beast, basking in the strange, magical triumph they had helped weave into legend.

And so the tale was told. A night of shadows and riddles, of fortunes revealed and fates unwound.
But the question lingers:
Will Krampus return next year? Or will a new story be written?

Only time—and the turning of the wheel—will tell.

Bone Memory was a shadow puppet short performed at Yonder on October 4th, 2019

 

Deborah Maris Lader is a Chicago printmaker.

Nick Utrie is a Green Bay musician.

 

Woodland Dunes is a nature preserve in Two Rivers Wisconsin. They asked us to paint a mural on the old barn on the property that when visitors drove in, it would be one of the first things they would see. It included some flora and fauna on their land, such as a saw-whet owl, turtle and fox.

I received a text message in March from my good friend Chris Rand‘s wife, Tamara alerting me to a surprise 40th birthday for Chris. She also asked if I could make a piece for him since he and I always appreciated each other’s work. I easily agreed, and since one mantra of Chris and mine during undergrad was “go big or go home”, I decided to honor him by making the largest etching I had done to date.

This was good timing, as I was just tossing around ideas in my head about a new body of work to coincide with my Faerie (working title) series. I wanted to expand upon this idea with imagery of landscapes in this fantasy setting; Whereas the Faerie series is from a natural historians documentation, these new, larger prints would a tableau including narrative elements. This is all inspired by my, almost, daily walks in the woods behind my house, where I find myself getting elegaic for the similar setting of my childhood, which included many similar walks.  If I had to zoom way out, I would explain this work as a sense of place and a search for identity. I’ll get into more of that in another post.

Having all these ideas and sketches, I decided to go as large as I thought I could for my current studio using a copper etching. I was to use a 22×30 inch Rives BFK but also have this fit in a horizontal acid bath I would fashion out of photography chemical tray. I decided on 16 x24 inches for the copper plate. This let me work on the sketches at that size and I followed my usual workflow.

The main problems came with the acid. Using a horizontal tank without the right supplies to dunk and lift the plate was treacherous. I also had to use spray paint aquatint because rigging up an rosin box big enough didn’t seem worth it. With a few mis-steps in the aquatint I still believe the plate came out nice and the final print made me happy. Let me know what you think.

The title of this print is “Disenchanted Forest I: Christopher Renegotiates the Social Contract”, which again is a title which honors interests that overlap between me and Chris. I debuted this print at his birthday party, which was a dress-up costume party, since it was the day before Halloween. To honor the interesting person Chris is, I decided to “go big” on my costume as well. Let this photo show the evidence.

Things I am interested in:

carnival, circus, Victorian, Steampunk
industrialization (Industrial Revolution ie steam)
modernity
Kafka
Kafka-esque
ennui
nostalgia
chagrin
absurd
cute
creepy
stitches
existentialism
characters
animals
anthropomorphic
fairy tales
folklore
menagerie
farm
machinery
farm machinery
mechanization
gears
clockwork
inventions
exploration
The Enlightenment
robots
airships
Victorian fashion
gas light
steam power
hat box
antiques
whirligigs
whimsical
wheels
Grammaphone
gauges
boats/ships
submersibles
dirigibles
Turn-of-the-century science
protoscience
typewriter
wood type
freak show
navigational instruments
maps
telescopes
astronomy
alchemy
phrenology
occult
chiromancy
pseudo-science
Nikola Tesla
Tesla coil
oscilloscope
optical devices
optics
diving gear
laboratory
organ grinder
rivets/screws/texture
goggles
cabinet of curiosities
trapeze
balancing
tight rope
brass
port hole
grotesque
magic lantern
cibachrome print lightbox
post-WWII mores
capitalism
socialism
economics
traditional family values
evolutionary biology
rabbits
petticoat
frock coat and tails
bowler hat
top hat
bio-mechanical
farmland
barn
farm animals
Alice in Wonderland
Arthur Rackham
John Tenniel
Lewis Carroll (Charles Lutwidge Dodgson)
J.R.R Tolkien
coal power
iron
Columbia World Fair
Crystal Palace
Jack the Ripper
Sherlock Holmes
Charles Dickens
Edgar Rice Burroughs
Dr. David Livingstone
paleontology
wunderkammer
woodworking
cabinets
paper craft
paper engineering
stage craft
tubes
glass vessels
spy glass
helm wheel (ship’s wheel)
nautical apparatuses
pop-up books
book binding
bird cages
wire forms
dress forms
Victorian wallpaper
numerology
harlequin pattern
stripe pattern
hexagons
chains
old tools
collecting
bric-a-brac
bricolage
detritus
astrology
sun dial
astrolabe
sextant
armillary
surveillance
corporate culture
banality
Harry Houdini (Ehrich Weiss)
18th-century illustration
natural history
Abraham Cahan
dinosaurs
blue whale
technomancy
reflective globes
shadow puppets
miniature theaters
computer games
phantasmagoria
dioramas
naturalia
mirabilia
artefacta
scientifica
antiquites
exotica
Aldrovandi
memento mori
Four Deuces (Scar Face)
reliquaries
projectors
camera
thaumatrope
zoetrope
panopticon