Every year Chroma showcases Aggie Zed's oddly enchanting work at Christmastime. Her work might be considered as a modern version of the sort of folkloric forms and superstitious practices surrounding this time of the year - not just Christmas, but Krampus, Samhain and other costumed celebrations of the winter solstice and darkening of the days - mostly having to do with the breaking through of barriers between the physical and spirit world. Every year, to expand on Aggie's sculptures, I then invite companion artists who I feel represent that psychical intercourse in some other way. In Leigh Anne's paintings, I imagine that mysterious, unfathomable drama that traditionally goes on in our collective heads in the dark. Remotely familiar shapes loom and vy with inscrutable shadows. There is a kind of disorientation and lack of personal control that happens. The sort that pushed early cultures to come up with mythologies to describe, if not quite explain away, the occurrences of their surroundings. In Michelle's work, one may imagine a similar disorientation occurs, but in her work it is more of a summoning past customary vistas and circumstances toward the unknown, where in Leigh Anne's work I feel more courage is called for to face that same unknown.