More than fifteen years ago, Charles Wisseman invited me to visit his home art studio in his basement. I was sort of shocked to see that almost any type of material that came to his hands could be turned into art. He uses any material that seems best suited for the project at hand — including forged steel, metals, wood, ceramic, paper, plastic, found objects and even dead bugs. It was also in that visit I learned that his academic profession was medical pathology rather than art. Charles Wisseman comes from the Baltimore/Washington area. He went to Harvard (chemistry) for undergrad, University of Pennsylvania medical school and medical internship, US Public health service officer working at CDC and National Institute of Occupational Safety and Health, Duke University for pathology residency. He came to CU in 1982 to be staff pathologist at Carle, serving as department head for his last 10 years. Clinical Associate professor and lecturer at the old UIUC medical school (now replaced by the new Carle-Illinois engineering based College of Medicine). Blood Bank board member for 15 years. As a pathologist, Charles Wisseman became used to seeing the world in cross-section and with trans-illumination. After retiring in 2005, Wisseman had more time for arts, service, travel, singing in the Unitarian church choir, and Osher Lifelong Learning Institute. He volunteered at the University library conservation lab repairing books. This led to an interest in book arts and papermaking. He started attending Paper and Book Intensive workshop in Michigan regularly, and built up his papermaking and binding studio. He helped get papermaking restarted at U of I. When CU Woodshop opened, Wisseman built up his woodshop and took classes in woodworking. He has always had a darkroom, and still enjoys black and white film processes, especially alternative processes and liquid silver gelatin emulsions on handmade papers. Other classes include metals at Parkland; metals, bronze, hot glass at U of I; and workshops in various media at Penland, Arrowmont, John Campell craft schools According to Charles Wisseman’s Artist Statement: “As a pathologist, I spent most days analyzing the layers of pattern revealed when light trans-illuminates slices of life mounted on laboratory slides. The study of disease focuses awareness on time and change, on the range of variation of natural patterns, and on the complementary information apparent at different levels of observation. I am intrigued by contrasts of order and disorder, and by the influence of chance in our optimistically-planned lives. I approach this complexity by using a variety of materials and processes in mixed media constructions, often based around a common theme or by juxtaposing varied presentations of a single image. I have experimented with wood, copper, forged steel, handmade paper, stained and fused glass, plastics and resins, ceramics, fibers (including silk painting), and photography using alternative processes in the darkroom and on the computer. Biomorphic and disease-related forms arise naturally, especially in paper and clay. My house is full of found materials looking for new life. Retirement has allowed me time to think about which processes and forms to emphasize. Experimentation with materials and process is what keeps art fresh for me, though, so each piece tends to be very individual.” “As my body ages, I am letting go of more physical processes like blacksmithing, but there is an endless supply of new materials and processes to experiment with. After a couple of dark years due to Covid-19, I have been playing more with glass and epoxy with light effects. LED panels make this much easier now.” As an important part of curating an art exhibition, I always try to have a personal conversation with the artist to learn as much as possible about the artist in general and to find out the artist’s art philosophy, theory, concept, technique, media and how a piece of art was created in particular.