“My work cannot just exist in a white cube. I don’t think it’s responsible.”
There is a tension here difficult to achieve in a two-person show; earth vs. air; corporeal vs. abstract; the natural environment vs. a garishly constructed one.
Where a critic could easily argue this collection of sculptures is about our waste and how much of it there is, Celeste provides us the opportunity to quit worrying and find a better use for the refuse, ourselves.
I’ve come to understand that my practice is really about responding to a body in space and the way we move through that space, the way light activates that space.
She is reassembling herself, and we bear witness through imagery pregnant with the promise of spring.
We don’t want to keep moving around because we know that wherever we go, our presence will become weaponized against the working class.
In “Big Words,” Brandon Breaux explores his Chicago roots in a tangible way, with pride and integrity; the city is lucky to have him.
Some of the work that we need to be doing as culture makers is to try to propose alternate structures for our culture.
While the art fair format can engender a fleeting scan over a lackluster expanse, here, the artworks, barely there, nevertheless command a closer look.
Like that first taste of the unfamiliar on an expectant tongue, these are paintings that you have to work for.