Phyllis J. (P.J.) Rogers (1925-2014)

Pictured, from left (see below for more information on each): From the Botanical Series, c. 2005

• Lily (edition no. 11/25)
• Dancing Tulips (edition no. 10/25)
• 4 Zinnias (edition no. 7/25)
• Pink Peonies (edition no. 5/25)
• White Mum and Freesias (edition no. 9/30)

Materials: Digitally Scanned and Manipulated Print on Paper, 20 x 14.5” Each

Location at Summa Health: Dr. Gary B. and Pamela S. Williams Tower, Akron Campus (141 N. Forge St.), Blue Neighborhood, Fourth Floor Waiting Room 

Lily

The 11th print in an edition of 25, this work enhances the sense of intimacy by cropping the stem and leaves, as though we are so close to the flower that we cannot take in its full form within our visual field. As P. J. Rogers often said, “I usually select a fragment… and expand this to suggest something more or different, to make the fragment.” This close-up invites the viewer to focus on the delicate details of the flower, its creamy veins and slightly scalloped petal contours, offering a heightened appreciation of its subtle beauty.

Dancing Tulips

The 10th print in an edition of 25, this work highlights the long, elegant stems and leaves of the tulips, creating a striking contrast with the graceful nod of their heavy red flowers. The smooth red petals stand in vivid contrast to the bright green of the stems, their complement on the color wheel, where the green shifts in intensity and even fades to white in places. In this profile portrait, the tulips appear to dance against the deep black background, an expression of movement and life captured in the stillness of the image. Rogers' keen eye for color and form brings a dynamic energy to this otherwise tranquil floral composition.

4 Zinnias

In this close-up of four zinnias in varying colors, the flowers’ irregularly curved stems and coarse, drooping leaves take on an abstract form, evoking a sense of figures interacting: bowing, retreating, or standing to one side. The creamy white and vibrant petals create visual drama in the upper half of the composition. The two zinnias on the right present a strong profile, while the red and pink flowers on the left, shown frontally, suggest a deeper space beyond the foregrounded group. This dynamic composition transforms a simple floral arrangement into a compelling, almost theatrical group portrait.

Pink Peonies

Continuing the concept of flowers as portraits, P. J. Rogers arranges her three subjects in varying perspectives: frontal, three-quarter view, and profile. The foremost petals of each bloom push forward, their bright white and pink highlights drawing our attention. The large, multi-petaled heads captivate with their richly complex forms and shades of pink and purple. There is an almost ethereal quality to this triple portrait, as the peonies seem to float against the deep shadows of the background, with their stems fading into near obscurity. This composition transforms the flowers into almost spectral figures, inviting us to engage with their beauty in a more contemplative and intimate way.

White Mum and Freesias

P. J. Rogers began her artistic career with etching and aquatint, drawn to the medium for its textural qualities, transparency, and the dramatic contrasts it could achieve. In this digitally recorded and printed image, those same qualities of transparency shine through. Rogers limits her palette to the whites of the blooms with delicate touches of yellow and pink and the unmodulated green of the stems and leaves, allowing subtle nuances to emerge.

The mum in this piece curls its petals in a triumphant profile, its dense regularity interrupted only by the slight deviation of a few petals, adding complexity to its form. This strong, white, repetitive shape dominates the composition, offering a striking contrast to the stem of freesias on the right. The freesia stem seems to float upward from the inky depths, its bright stamens unfurling at the center of each bloom, framed by soft pink-veined petals. The progression of life is captured in the delicate shifts from unopened buds at the top to full blooms in the center and to wilting, fading petals at the base. In a single stalk, Rogers encapsulates the fleeting life cycle of flowers, emphasizing both their beauty and transience.

Layers of Time in the Garden, IV, 2010

Materials: Digitally Scanned and Manipulated Print on Archival Paper, 41" x 50.5”

Location at Summa: Juve Family Behavioral Health Pavilion

About the Art

This vibrant and intricate composition is a product of imagination rather than a straightforward photograph. P. J. Rogers, known for her mastery of digital tools in her later years, combined separate images of purslane (Portulaca oleracea) and primrose (Primula vulgaris) with a lichen-covered rocky background to create a scene that never existed in nature. The bright yellow cup-shaped blossoms of the purslane and the red-purple daisy-like primrose would not typically be found together, but in Rogers’ work, these elements form a carefully composed and harmonious whole. This is the essence of the artist’s process, taking inspiration from the world around her and reimagining it to convey her unique vision.

This large-scale digital piece, measuring over three feet by four feet, was one of several prints produced by Akron photographer and gallerist Paul Duda, allowing Rogers to experience her work at a monumental scale. When health concerns forced her to move away from traditional printmaking due to the toxicity of the materials involved, Rogers embraced digital methods to continue realizing her artistic visions. This print is one of only two created in this size and one of four in the Layers of Time in the Garden series, a title that reflects both the layered nature of digital imaging and the rich complexity of nature itself.

While Rogers’ earlier works often presented landscapes as still lifes, her botanical series feels more intimate, resembling portraits of individual plants. The textures, color combinations, and fine details create a deep sense of immersion. Though viewed up close, the piece expands into a broader composition, enveloping the viewer with its richness.

The Summa Health Collection is fortunate to have acquired this print as a gift from the artist’s estate, generously made possible by her daughter, Sarah Rogers.

About the Artist

These captivating botanical prints are among the final works of Phyllis J. (P. J.) Rogers, a distinguished artist whose career spanned decades. The piece titled Lily was signed by Rogers during her time in nursing care, not long before her passing, marking a meaningful moment in her creative journey.

Rogers transitioned to digital processes later in life out of necessity when she could no longer work with the chemical-based methods of aquatint and etching that had defined much of her earlier career. Passionate about the effects she achieved through those traditional methods, she adapted to photo, scanning, and digital techniques to continue producing vibrant, layered works. This shift came at a time in her life when many artists retire, but Rogers' dedication to innovation and creation never waned.

Her earlier works treated landscape as still life, but in the Botanical Series, Rogers redefined still life by portraying flowers as individuals. Each bloom is presented like a portrait sitter against a deep black background, bringing out the brilliance of color, texture, and form. Through this intimate approach, Rogers invites viewers to see these subjects not merely as decorative elements, but as expressive presences.

Now displayed in the Dr. Gary B. and Pamela S. Williams Tower on the Akron Campus, these works offer a quiet and powerful presence that encourages reflection on both the beauty of nature and the legacy of Rogers' remarkable career.

Where You Can See More of This Artist’s Work

Phyllis J. (P.J.) Rogers' work is held in esteemed collections across Akron, Cleveland, and beyond, including the Cleveland Museum of Art, the Print Club of Philadelphia, and various corporate and educational institutions throughout northeast Ohio. Many of these institutions directly commissioned work from the artist. Rogers’ art has been widely exhibited in solo shows in Akron, Cleveland, and Columbus, as well as in group exhibitions in Boston, New York, and across the United States.

Rogers was the recipient of numerous accolades, including the Lifetime Achievement Award from the Akron Area Arts Alliance in 2011. She also received multiple grants from the Ohio Arts Council and earned purchase and merit awards at exhibitions nationwide, including the top graphic arts award at the 1976 May Show. Rogers’ enduring legacy continues to inspire and resonate through her presence in public and private collections alike.

The Healing Arts at Summa Health

• Next featured artist: Caroline Rowntree
• Homepage: summahealth.org/art
• More artwork in new patient tower