The Story Behind the Mural

When I created Reach Higher, I wanted to capture more than the beauty of ballet. I wanted to celebrate the power of encouragement, perseverance, and the people who inspire others to discover their own potential.

The dancer portrayed in this painting has a special connection to Naperville. For several years, she taught dance at the Naperville YMCA, where she introduced children and young adults to the joy of movement, creativity, and self-expression. Like so many dedicated teachers and mentors, her influence reached far beyond the dance studio, helping students build confidence, discipline, and a belief in themselves.

Her graceful pose—reaching upward with strength and optimism—became the inspiration for this mural. It represents the pursuit of our dreams, the courage to embrace new challenges, and the hope that every generation can lift the next a little higher.

Public art has the unique ability to transform everyday spaces into places of reflection and inspiration. My hope is that this mural encourages people to pause for a moment, appreciate the arts, and think about the teachers, coaches, family members, and friends who have shaped their own lives.

About the Artist

I'm Fred Moss, a Chicago-area representational oil painter whose work is inspired by the beauty of nature, the energy of cities, and the stories that bring communities together. My paintings often explore places that create lasting memories—from America's National Parks and the landscapes of Italy to Chicago neighborhoods and public spaces.

In addition to gallery exhibitions, I've been fortunate to create several public art projects throughout the Chicago area, including sculptures for the Chicago Police Memorial Foundation's Horses of Honor program and All of Us, a large-scale public mural created with the Chicago Public Art Group.

Whether I'm painting a landscape, a portrait, or a public mural, my goal is always the same: to create artwork that brings people together through optimism, beauty, and a shared sense of place.

Thank you for visiting this page and for taking the time to learn the story behind Reach Higher. I hope this mural brightens your day and reminds you that even a single teacher, artist, or mentor can have a lasting impact on an entire community.

To see more of my artwork and public art projects, please visit www.fredmoss.com or follow me on social media.

I was invited to create a live painting over three days at the inaugural Every Child Thrives Festival, held at the newly opened Obama Presidential Center in Chicago. The event brought together youth, educators, artists, and global leaders for a shared exploration of how we can reimagine the future of education and community.

The festival was organized by the W.K. Kellogg Foundation and centered on the idea of placing young people at the heart of shaping that future. The atmosphere reflected that purpose—energetic, hopeful, and full of conversation and exchange. The event space itself, a beautifully transformed basketball court overlooking the auditorium, became my studio for three days.

I stayed at a nearby hotel with other attendees and rode the shuttle each morning. Along the way, I met visitors from several different countries, and I enjoyed hearing their perspectives on education, community, and opportunity. The sense of global connection added another layer of meaning to the experience.

Throughout each day, speakers and performances were woven into the schedule—during breakfasts, lunches, and dinners, with workshops and breakout sessions in between. I often paused from painting to listen.

Voices from the Festival

Rocsi Diaz served as host and announcer, guiding the flow of the event with energy and warmth. One of the first speakers I heard was Valerie Jarrett, who remarked that the Obama Presidential Center still carried the “new smell”—a reminder of how recently this space had opened and how much possibility it held.

On the second day, Time editor Lucy Feldman spoke, followed by comedian Sherri Shepherd, whose storytelling I could relate to deeply. She shared a humorous clip about trying to transport a large basketball hoop through the subway—eventually throwing it over a turnstile and climbing over herself, only to receive a ticket from a police officer. She thought she might be part of a prank show. As someone who has often carried large and awkward art supplies through cities, the story felt familiar in spirit.

Second City performed with Jack McBrayer, bringing humor and levity to the space. Later, Amanda Gorman spoke about her path to becoming a poet laureate, reflecting on voice, purpose, and persistence. Her words stayed with me as I worked.

The Painting

The painting I worked on throughout the three days depicts five young adults of different ethnic backgrounds looking upward together with optimism, surrounded by radiating fields of color. The composition is centered on hope, unity, and forward vision.

I had already drawn the composition in advance and began building it in stages during the event.

On the first day, I focused on establishing the structure of the piece—blocking in the black shapes of the faces and beginning the lettering for a quote by President Obama: “We choose hope over fear.” I also visited the museum and spent time viewing the artwork in the collection. It is a remarkable space.

On the second day, I developed the radiating background colors. I used drafting tape to create crisp, geometric edges between the color fields. I also began painting clothing and hair, allowing the figures to start emerging from the structure.

That same day, a fire alarm went off due to a fog machine. It was a reminder that the smoke detectors were fully functional—and part of the unpredictability of live events.

On the third day, I focused on the faces of the young figures, working steadily toward completion as the final hours of the festival unfolded. I was finishing the last details under time pressure as the painting needed to be collected and prepared for shipment to the W.K. Kellogg Foundation, which commissioned the work.

At the base of the painting, I completed the lettering of the quote: We choose hope over fear. Which is from president Obama’s speech to the United Nations. “We choose hope over fear. We see the future not as something out of our control, but as something we can shape for the better through concerted and collective effort. We reject fatalism or cynicism when it comes to human affairs; we choose to work for the world as it should be, as our children deserve it to be.”

On a warm Sunday afternoon, I set up my easel along the Chicago River at Wolf Point, one of my favorite spots in the city. It’s where the river branches off into its north and south forks—a place full of movement, reflections, and life.

As I painted, I couldn’t help but think of Georges Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte.” The scene around me felt like a modern version of that painting—people everywhere enjoying the sunshine, boats gliding by, and the energy of the city flowing through it all.

From where I stood on the west side of the river, I had a great view of 333 West Wacker Drive directly across from me. Its curved green glass façade reflected the blue sky and the shimmering water below—one of the most distinctive buildings in Chicago. To my left, the Merchandise Mart glowed in the afternoon light, its massive limestone exterior catching the warmth of the sun. In the background, the Marina Towers stood like sentinels over the river.

The Chicago Riverwalk began just across the way, already filling with people walking, talking, and relaxing by the water. Every few minutes, the El train rumbled across the nearby bridge, a reminder that the rhythm of the city never really pauses. Out on the water, tour boats cruised by with narrators pointing out landmarks, while smaller boats and kayaks weaved in between them.

It was one of those perfect Chicago days—bright, breezy, and full of color and sound. The reflections on the water constantly shifted as clouds passed overhead, keeping me on my toes as I painted.

Standing there, surrounded by all that activity, I felt the same joy I always get when painting plein air—the connection between the place, the moment, and the painting itself.

Someday, I’d like to create a larger studio painting of the Chicago River, inspired by this day. But for now, this plein air piece captures the essence of that Sunday at Wolf Point—vibrant, full of life, and unmistakably Chicago.

Earlier this year, I spent a day painting plein air in downtown Chicago, something I’d been wanting to do for a long time. There’s something about Chicago’s skyline—its mix of classic architecture and modern glass towers—that never fails to inspire me.

I drove into the city and parked at the Ohio Street parking garage, one of those tall garages that offers surprisingly great views if you go up high enough. On one of the upper floors, I found large open sections in the concrete walls where you can look straight out at the skyline. From there, I had an incredible southern view of the city, with Trump Tower rising in the background and LondonHouse Chicago clearly visible in the scene.

It was a perfect setup—sheltered, close to my car, and with a view that captured so much of what makes the Chicago skyline special. I didn’t have far to carry my painting gear, which always feels like a small gift when painting in the city.

I set up my Guerilla Box easel near the opening and began to paint. The geometry of the buildings, the reflections in the glass, and the movement of the afternoon light kept me completely absorbed. Now and then, I’d hear the hum of traffic below and the faint echo of a siren in the distance—sounds that remind you that you’re right in the heart of the city.

Across the street, I could see a rooftop restaurant or bar, with people enjoying lunch under umbrellas—a lively contrast to my quiet little corner of the garage. As the light shifted, the glass towers changed color, and I tried to capture that warm glow that rolls across the skyline late in the day.

When I finally packed up my paints, I wasn’t quite ready to leave, so I walked downstairs and headed to Pizzeria Due for one of their great pan pizzas. That was my reward for a day of painting.

It was a great day—art, architecture, and a bit of classic Chicago flavor all in one outing. I’ll definitely be heading back again with my easel to find another hidden spot with a view of this incredible city.

This July, I spent a beautiful summer day painting plein air at Glacier National Park. It was one of those perfect mountain days—blue skies, mild air, and the kind of light that makes every color come alive.

I drove along the Going-to-the-Sun Road, taking my time to enjoy the incredible views. The road winds through towering peaks, and every turn reveals another postcard scene. Near Logan Pass, I found a small pull-off along the road where you can see running water cascading down from the melting snowfields. I managed to grab a parking spot—always a small victory in Glacier—and decided this was where I’d set up.

There’s a little path that leads down closer to the stream, just a short walk from the car. It’s always nice when I don’t have to haul my Guerilla Box easel too far. I followed the path down, the sound of the water growing louder with each step. The air was cool and fresh, and you could feel the mist from the rushing water even a few feet away.

As I began setting up, a few people passed by on their way to hike the nearby trail. Some stopped to take a look and chat for a moment—everyone in that easy, relaxed mood that comes from being surrounded by so much beauty.

The sound of the stream, the sparkle of the sunlight on the water, and the movement of the clouds over the mountains made it a perfect spot to paint. I worked steadily, trying to capture the contrast between the deep blues and greens of the landscape and the bright, lively energy of the running water.

There’s something about painting outdoors in a place like Glacier that feels grounding. You’re not just observing the landscape—you’re part of it for a while. When I finally packed up, I sat for a few minutes just to take in the view before heading back down the road.

It was one of those days I’ll remember every time I look at that painting—a small moment of stillness surrounded by the grandeur of Glacier National Park.

I’m excited to announce my upcoming solo exhibition, Moments in Time: A Visual Voyage, opening November 1st and running through November 28th, 2025 at the Elmhurst Art Museum in Elmhurst, Illinois.

This exhibition brings together three of my most personal and inspiring subjects—Italian landscapes, U.S. National Parks, and garden scenes—all captured in oil through an impressionistic lens. Each painting in this collection is a reflection of a real moment that stirred something in me: the light hitting a Tuscan hillside, the quiet strength of a red rock canyon, the colorful flowers in a blooming garden. These are the moments that stay with us, the ones we return to in memory, and the ones that inspired this show’s title.

Whether it’s the grandeur of a mountain range or the intimacy of a single flower, my goal is to give viewers space to pause, reflect, and connect with the natural beauty that surrounds us—and sometimes slips by unnoticed.

Moments in Time is not only a visual journey through place, but also an emotional one through memory, time, and atmosphere.

Opening Reception: Friday, November 7th, 7–9 PM

Please join me at the artist reception to celebrate the opening of the exhibition. I’ll be there to talk about the work, answer questions, and share a few stories behind the paintings. Light refreshments will be served, and admission to the reception is free.

Giclée Prints Available

For those interested in taking home a piece of the exhibit, archival-quality giclée prints of select paintings will be available throughout the run of the show. These prints are professionally scanned and color-matched to ensure they’re as close to the originals as possible—offering an accessible way to collect and enjoy the artwork.

This show means a lot to me, and I’m honored to share it with visitors at such an incredible venue. If you’re in the Chicago area this November, I hope you’ll stop by to experience the work in person.

Thank you, as always, for your support—and I look forward to seeing you there.

— Fred Moss

I will have a solo exhibit at the Prairie Center For the Arts in Schaumburg March 31st through May 2nd 2025. The exhibit will be Art of the Parks: Paintings of the National Parks Exhibit. “National Parks” is a solo exhibition that will explore our magnificent National Parks. The exhibit will have oil paintings of scenic, historic and iconic locations in our parks. I traveled to a dozen National Parks, sketching, photographing and painting plein air paintings in the Parks. I sought out scenic locations to paint. Some of the paintings in the exhibit have been painted plein air on location at the Park. This series will explore how conservation has enriched our lives for generations of Americans and why it was one of America’s best ideas. We need to keep these wonders of nature as they are so our children and our children’s children can benefit from them. Our parks are the last refuge for some incredible species of animals, and a refuge for people who want to replenish their spirit. Some of the paintings have wildlife as they exist in the parks. Bison are now the American mammal. When I was in Yellowstone National Park I was fortunate enough to see many bison and herds of bison roaming through the park. As a result my Yellowstone National Park paintings have bison as the focal point.

To coincide with the exhibit I’m releasing print on demand (POD) prints of several of my National Park paintings for a limited time. Created from high-resolution color corrected digital images they are sent to a large professional printing company through my website  based on choices you make regarding size and material. A selection of beautiful frames and mats are available and the finished print is shipped to you.

I served as an artist in residence at Crater Lake National Park in 2018. During my residency I painted plein air paintings of the lake and taught a workshop for visitors to illustrate their own postcards from a scenic location.

The address is 201 Schaumburg Ct Schaumburg, Illinois 60193. The gallery is open Monday through Friday 9 am to 5 pm and on select evenings and weekends. Call 847-895-3600 for evening and weekend hours. 

The hope of this series is to plant the seeds for people to visit our National Parks and to conserve this amazing legacy for future generations.

Birdwoman Falls is located in Glacier National Park, Montana. The falls are readily visible from a distance of two miles along the glorious Going-to-the-Sun Road, which bisects the park east to west. It is a magnificent drive that winds through the mountains. The falls are fed by snowfields and a remnant glacier. I felt such awe seeing these mountains and driving on the Going-to-the-Sun Road. The road at times is narrow, winding, with hairpin turns, and offers the most amazing views of the park.

The Falls are named after the Indian woman Sacajawea who is well-known as the Indian woman that led Lewis and Clark on their famous expedition to find the Pacific Ocean.

Download a free high res Crater Lake National Park wallpaper for your cel phone or tablet. In 2018 I did an artist residency at the park and created this oil painting “Silent Sapphire Sea” of the lake from a view from the rim. It’s an awesome view. I created wallpaper background from the painting for various cel phone sizes.
https://www.nps.gov/rlc/craterlake/artist-wallpapers.htm

Art of the Parks: Paintings of the National Parks is on display January 13 through March 6 on the 8th floor of the Harold Washington Chicago Library Center. My paintings explore our magnificent National Parks through oil paintings of scenic, historic and iconic locations. Several of my impressionist paintings are completed on location or, en plein air at the National Parks. Come see the exciting and fleeting moments nature has to offer through dynamic paint strokes and vibrant colors. My emotional works make a compelling case for the continued conservation of our national parks and the environment.

The exhibit also has typographical designed quotes from presidents and historians about conservation. And it has photos of me painting plein air on location in the parks.

Some of the locations of the painting subject matter includes Yosemite National Park, Yellowstone National Park, Grand Canyon National Park, Glacier National Park, Redwood National Parks, Crater Lake National Park, and the Apostle Islands National Seashore.   

Two of the paintings are from my artist residency at Crater Lake National Park. It was an artist residency on the base of a scenic volcano. The National Park issued me snow shoes, GPS and a walkie talkie for his residency. I am grateful for the time I have been able to spend in the National Parks and believes it’s good that generations have been, and will be able to enjoy the parks