Weaving Stories, Building Legacies: Jessica Skinner and Gregory Cross at East Ave Gallery

by Chimba J. Nachinsambwe

When East Ave Gallery in Akron’s historic Kenmore neighborhood unveils its newest exhibitions, visitors will encounter two artists whose work, while distinct in medium and approach, shares a common thread: an invitation to reflect on the people, histories, and experiences that shape us. Jessica Skinner’s To The Ones and Gregory Cross’s Standing on the Shoulders of Giants ask us to consider not only where we come from, but also whose lives continue to echo through our own.

Speaking with Jessica Skinner, I quickly realized that her work is about much more than baskets. Every woven form, every carefully chosen textile, and every material she incorporates carries the weight of memory. Her work asks viewers to think beyond the object itself and instead consider the people, traditions, and experiences woven into our lives.

Skinner’s artistic journey has been one of curiosity and continuous evolution. Nearly nine years ago, she began in furniture design, learning upholstery, refinishing techniques, and developing an appreciation for the natural beauty of wood grain. As her interests expanded, so did her practice, leading her into woodworking and stained glass before eventually finding her current artistic home in basket making.

Interestingly, that transition began not with a grand artistic plan, but with an abundance of fabric. What started as a practical decision soon became an opportunity to explore texture, movement, and form in entirely new ways. Basket making allowed Skinner to combine sculpture with textiles while creating work that invites viewers not only to look, but also to imagine the feeling of each woven surface.

Although she never received formal art training, creativity has always been a part of Skinner’s life. Encouraged by her mother from an early age, she learned to trust curiosity and intuition, allowing each new medium to teach her something different.

That openness is evident in To The Ones. More than a collection of baskets, the exhibition is a tribute to the women who have nourished, encouraged, and believed in her throughout her life. Through botanical imagery, African fabrics, and references to the quilting traditions of Black women, Skinner reflects on nourishment—not simply as food, but as love, wisdom, care, and community. Her work reminds us that growth rarely happens alone.

If Skinner’s work asks us to consider those who nurtured us, Gregory Cross’s Standing on the Shoulders of Giants broadens that conversation to the countless people whose wisdom, courage, and humanity become the foundation upon which we all build.

For Cross, art has never been about creating a “pretty picture.” Instead, it is about telling the truth as he sees it. He hopes viewers leave his exhibition asking questions rather than simply admiring technical skill.

“I don’t make paintings just for the sake of making paintings,” he shared. “I want them to reflect what’s happening in my life, what’s happening in this country, and ultimately what’s happening in the world.”

His work often draws from history while engaging directly with today’s political and social landscape. Rather than telling viewers what to believe, Cross creates visual commentaries that encourage reflection. Years from now, he hopes people will look back at his paintings and recognize them as honest representations of the times in which they were created.

Cross also challenges the idea that artistic ability is something people are simply born with.

“Anyone can learn how to draw,” he said. “It has nothing to do with talent. It’s about understanding what you’re trying to say with the techniques you have and challenging yourself to put your vision onto any surface.”

That willingness to experiment has led him to work in watercolor, acrylic, oil, and even unconventional materials such as shoe polish. His figurative paintings are often vibrant with color, but beneath their visual richness lies something more personal. Whether depicting contemporary social issues or creating deeply layered works inspired by his mother, Cross strives for universality. He wants viewers to recognize something of themselves within each painting.

“It’s not just about my mother,” he explained. “I want someone to look at the painting and think, ‘That could have been my mother, too.’”

The title Standing on the Shoulders of Giants carries its own personal history. As a student at Kent State University, Cross met renowned sculptor Selma Burke, whose influence stayed with him throughout his career. It was through Burke that he embraced the idea that every artist stands upon the work, wisdom, and sacrifices of those who came before.

Perhaps that is what makes these two exhibitions feel so connected. Skinner honors the women who nurtured her journey, while Cross reflects on the mentors, historical figures, and shared humanity that continue to shape his own. Though they work in different mediums and tell different stories, both artists remind us that creativity is never created in isolation.

Walking away from my conversations with Skinner and Cross, I found myself thinking less about baskets or paintings and more about gratitude. We often celebrate achievements without acknowledging the people whose encouragement, wisdom, and resilience made those achievements possible. Together, To The Ones and Standing on the Shoulders of Giants invite us to do just that. They remind us that art is not simply something to admire—it is something that asks us to remember, to question, and perhaps most importantly, to recognize ourselves in the stories of others.

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