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A rumor, cast in glass

A curator says Bigfoot is the most popular cryptid in SIU’s 58-work art show

The popularity claim comes from the curator. The exhibition presents artistic interpretations, not evidence that an unknown animal was found.

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Black-and-white 1848 wood engraving of a long dark sea serpent swimming through rough water in front of a three-masted sailing ship.
An 1848 wood engraving depicts a reported sea serpent in front of HMS Daedalus. It appeared in The Illustrated London News on October 28, 1848. This is a separate historical illustration from the Library of Congress, not evidence that a sea serpent existed and not part of SIU’s Spooks or Spoofs exhibition. Library of Congress Prints and Photographs Division, no known restrictions on publication. OMG News Network cropped the scan vertically and converted it to JPEG. Photo by Creator not identified in the Library of Congress record via Library of Congress Prints and Photographs Division. No known restrictions on publication. Cropped the 1,536 by 1,211 grayscale TIFF vertically to 1,536 by 864 pixels and encoded the result as a grayscale JPEG. No generative alteration, compositing, added text, recoloring, relighting or object removal was used. Original file size: 1,862,490 bytes. Delivery file size: 357,684 bytes. Original SHA256: f75fcb9401eef4ec3955f9af602f0d1d1d32984dfdd8453ab730ece20b4b1762. Delivery SHA256: e446632d99ebdd0282eab456bb9d82bb57eb43de3b913f2b63c41a7a5c718f5f.

Two works named The Guardian and Gatekeeper emerged from hot, sculpted glass. They are among 58 entries accepted for Spooks or Spoofs at SIU Carbondale’s Sharp Museum. Curator T. Lance described Bigfoot or a sasquatch variation as the exhibition’s clear favorite. Artists from nine states also worked in ceramics, soft sculpture, audio, video and metal. Their subjects remain rumored and unproven. The artworks do not change that.

The curator put Bigfoot at the center

The exhibition brings together work from about 35 artists and remains open through December 11. SIU’s October release does not publish a creature-by-creature count, so the Bigfoot result remains Lance’s observation rather than an audited tally.

The show is broader than one large, elusive figure. Its 58 entries also include painting, drawing, digital illustration, printmaking, resin and paper mâché. That range lets artists give the same uncertainty very different surfaces.

Two works SIU names are The Guardian and Gatekeeper by alumnus Tim Spurchise. Both were made from hot, sculpted glass. Hot glass gave an unproven subject a solid form.

The submission rules excluded AI-generated images

The museum’s May call allowed work in any medium but excluded AI-generated images. It invited artists to interpret cryptid lore. The rule governed submissions; neither the May call nor the October release describes a separate audit of every accepted work’s production method.

Loren Coleman and Jeremy Efroymson served as jurists. SIU identifies Coleman as founder and director of the International Cryptozoology Museum and Efroymson as an artist and collector who works mainly in photography, installation and found-object sculpture. Their role was to judge the art. It did not turn the selected pieces into scientific findings.

SIU kept the creatures rumored and unproven

SIU describes cryptozoology as the study and search for rumored, unproven animals and figures such as Bigfoot and the Loch Ness monster.

The original call offered Illinois lore as material, including the Big Muddy Monster, the Cole Hollow Monster and the Enfield horror. Artists did not have to stay local. These names entered the assignment as stories to interpret, not sightings the museum had verified.

A sculpture can explore belief without becoming a specimen. Audio can make a presence feel close without becoming a recording of an unknown animal. SIU also says the artworks represent their creators’ viewpoints, not the university’s. Bigfoot’s popularity measures what artists chose to make, not what lives in a forest.

The sea serpent above is not in the exhibition

The Library of Congress dates the engraving at the top of this article to 1848. Its catalog title identifies the scene as the sea serpent when first seen from HMS Daedalus, and its notes say the image appeared in The Illustrated London News on October 28 of that year.

A long, dark shape crosses rough water while a three-masted ship rises behind it. That describes the engraving, not an observed animal. The Library also warns that its record contains unverified old data from a caption card. The image documents how a reported encounter was illustrated and circulated, not what the sailors actually saw.

The sea serpent became a wood engraving in 1848. At Sharp Museum, other cryptids became glass, ceramics, metal, sound and video. The works are real. The creatures remain unproven.

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