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Heaven Gallery

Group Exhibition Curated by Pia Singh

Chicago, IL
Dec 11- Jan 24


Surface Tension





Group Show with: Yani Aviles, Ashley Gillanders, Rosemary Holliday Hall, SaraNoa Mark, Galen-Odell Smedley

The evolution of natural forms and the evolution of human perception have coincided to produce the phenomenon of a potential recognition: what is and what we can see sometimes meet at a point of affirmation. This point, this affirmation, is two-faced: what has been seen is recognized and affirmed, and at the same time the seer is affirmed by what he sees.
-John Berger, 2016

Surface tension is a condition that is created by an entanglement of electrons. Electrons that are sensitive to the presence of magnetic fields. They entangle, enmesh, proliferate one another, combining and recombining to create different conditions to achieve different states. What state are you in while viewing this exhibit? What state are we in, collectively, in relation to history?

Rosemary Holliday Hall’s site specific installation ‘Adhesion’ is an assemblage of the artists interest in nature, forms, and patterns, and how humanity interacts with these elements (specifically in conditions of the crisis). Hailing from Los Angeles, Hall spent the initial months of 2020 relocating from Chicago to the West coast. Traversing the country at the beginning of summer, she spent weeks physically immersing herself, bodily processing ‘poesis’ with the earth. According to Heidegger, ‘poesis’ can be found in the blooming of a blossom, or the coming-out of a butterfly from its cocoon. This threshold, the moment ecstasis, is where Hall positions her inquiry. Reflecting on how experience and perception are conditioned by time and repetition, the artist melds the moment of the ‘event’ with a memory of it, while drawing up a conjuring or dream of the same. ‘Permeable Permutations’ captures autumn colored leaves with natural spore variations or bacterial discolorations, arranged as sheet music. What can be heard in a display of warning signs? Could this be read as a tune or is it nature's silent scream, a sort of self-cannibalism in protest of the climate crisis we’re currently experiencing? Hall arranges spotted yellowing leaves as sheet music for the viewer, who is also the player, inviting them to take part in the process of dying. Looking closely at nature during a global pandemic, a civil uprising and a US election year, Hall and her peers' works speak to a variety of concerns. To sit with the experience of non-locality (the basic connectivity of everything in nature), each of us become the determiner of what we choose to see (and be). The observer as the observed. The participant, as maker. The thinker, as doer.
- Pia Singh


Glass Curtain Gallery 

Third Coast Disrupted: Artists + Scientists on Climate

Group Exhibition

Chicago, IL
Sept 10-Oct30


River of Shadows,  Liquidation


A parallel timescale that follows one around throughout the day to day expereince of regular time. Shadowtime manifests as a feeling of living in two distinctly different temporal scales simultaneoulsy, or acute conciousness of the possibility that the near future will be drastically different than the present. - Ranu Mukherjee and Alicia Escott, Field Studio #009 for The Bureau of Linguistical Reality Project

Third Coast Disrupted: Artists + Scientists on Climate is an exhibition of artworks culminating a yearlong conversation between artists and scientists centered on Climate Change impacts in the Chicago region and beyond.

Participating Artists: Jeremy Bolen, Barbara Cooper, Hector Duarte, Rosemary Holliday Hall, N. Masani Landfair, Meredith Leich, Andrew Yang

Participating Scientists: Elena Grossman, MPH; Daniel Horton, Ph.D.; Abigail Derby Lewis, Ph.D.; Aaron Packman, Ph.D.; Katherine Moore Powell, Ph.D; Desi Robertson-Thompson, Ph.D., Phil Willink, Ph.D

porcelian casts made from dead plants collected from the street cracks of Chicago, held by spoons made from smashed pennies and steel stakes, video projection , &  packets of water retaining native plant species

image credit: Columbia College

Paris London Hong Kong

Solo Exhibition

Chicago, IL
Jan 10- Feb 22


now imagine
you’re a caterpillar
filmy eyes, wet
creased wings
slushy slop

Encyclia Imagosis

On the one hand, Encyclia Imagosis reads like a spell, and on the other the scientific discourse of taxonomy. Encyclia Imagosis stems from Greek, enkykleomai, “to encircle”, imago, imagination’s root, and osis, a suffix denoting a process or condition. Encyclia Imagosis casts a spell on categorical fixity. It proposes a cyclical destabilization and refashioning of imagination’s role in the processes of transformation, like a child’s incantation challenging the malaise of taxonomy.

The Codex Seraphinianus is an illustrated encyclopedia of an imaginary world, created by Luigi Serafini, written in a self-invented alphabet. It contains hundreds of hybrids, imaginary and strange beings: a horse transforms into a cocoon, a bird’s nest sprouts legs with yellow sneakers, lovers become a crocodile. Each undergoes metamorphosis, creatively overcoming bodily limits. Many real creatures are stranger than imagined. The caterpillar, for example, encases itself in a chrysalis into which it releases enzymes that digest its own form, liquidating its’ tissues. Only structures called imaginal discs survive, able to reorder the larval soup into a new being. Through this process of imagination, caterpillars push themselves into a different future, the confines of their chrysalis paradoxically enabling their flight forward into the unfamiliar, just as the imagination does for other species.

Encyclia Imagosis consists of four human-scale oxidizing chrysalis sculptures. They mark an evolutionary world, where objects are process and forms are dynamic patterns creating symmetries, hybrids, mutations. Through an embodied exploration of the possibilities of reorienting both personal perception and cultural convention, Encyclia Imagosis investigates various ways we make sense of the world and relate to ourselves and others through imagination, metaphor, and material

metal and oxidized fabric

image credit: Aron Gent

The Blue Parrot

Solo Exhibition + Residency

Chicago, IL
March 5 & 8


Collabi “to fall together”, shared root of collapse and collaboration and “osis” a suffix denoting a process or condition

This project was made possible thanks to the support of Emilio Williams and Dr. Robert Murphy


/kəˈlabi ōsis|

A process or condition of collapsing together.

Collabiosis is a mash-up of collabi ( the etymological root of  collapse and collaboration) and  osis (a suffix denoting a process or condition of change). Utilizing a wide range of materials from locally sourced clay, windshields, projection, to spoons, the multi-room installation investigates the transformation of forms and perceptions over time, highlighting the relationship of chaos to order as a constant flux of materialization and disappearance.

locally sourced clay, steel spoons, brick
entrance installation

“A single animal’s rebellion rendering mass destruction while also clearing the stage for a phatasmagoric theater of the future. Old Chicago burned to the ground and modern Chicago grew.”- Hannah B. Higgins

The famous cow mythology marks a genesis of Chicago’s grid, reflected in its’ brick buildings. After the devastating fire on October 8,1871 Joseph Mendill proclaimed in the Chicago Tribune, “Modern Chicago would be a grid” This installation presents a spectral reordering of grids that lay beneath Chicago’s material and discursive history within The Blue Parrot,  located on 1924 N Halsted St: 41°55’00.3”N+87°38’55.1”W:3.5 miles away from the Zero-Zero Point of the Chicago grid. It consists of unfired spheres and ash held in iron spoons protruding from a brick wall in  the entrance way of The Blue Parrot. The clay was collected from various construction sites in Chicago.

windshields, steel, projection, garage
garage installation

25 broken windshields are suspended in the center of a garage.  A digital reproduction of white noise, is projected through the hanging structure from two locations, refracting shadows throughout the garage.

video projection

 Video installation  of a kaleidoscipic  poem continuously reordering source text.  

image credit: Astro Escuadero

Public Presentation + Exhibition
In collaboration with Predrag Popovic
Phd in Geophysical Sciences
University of Chicago

Chicago, IL
May 10


This project was made possible thanks to the support of The Art Science and Culture Initiative
at The University of Chicago and School of the Art Institute of Chicago

Stigmergy || The Space Inside Repetition

termites, sound, cabinet, book, cds, acrylic 

The patterns of bird flocking, microbial growth, and insect colonies have captured the human imagination for centuries.  These patterns demonstrate swarm intelligence, a process where an emergent order arises from seemingly random biological activity, and where apparently dissimilar systems can show very similar behaviour. Predrag Popovic (PhD candidate, Geophysical Sciences, UChicago) and Rosemary Hall ’s (MFA ‘19, Printmedia, SAIC) research focused on the oldest eusocial insect, the termite, and stigmergy (a key concept in the field of swarm intelligence).

The collaboration resulted in a multimedia installation, which included a sound filtering algorithm modeled after stigmergy and a library of books eaten by live termites. The termites ate a book from Life Nature Series, titled, The Universe.Cellulose pages and maps of the cosmos were submitted to termite editing. In time, the termites consumed and created their own architecture out of The Universe.

Through wondering in a termite’s wandering this collaboration searched for hybrid, inbetween, and experimental, translations that invite a broader spectrum of interpretation. Our flesh, our limbs, our movements are inscribed with a multispecies history. The pattern which connects may be best articulated through the poetry of interspecies relations, movements and behaviour.

Image Credit: Brittany Laurent

Sullivan Galleries

MFA Thesis Exhibition

Chicago, IL
May 10


The Predicament of Pressure

clay collected from construction sites in chicago, metal, engraved chicago common brick

Image Credit: Astro Escudero

Space P11

Two- Person Exhibition

In collaboration with Alberto Trejo Oretga

Chicago, IL
Jan 27- March 11


This project was possible thanks to the support of:
Jonathan Solomon and David L. Hays.

The Issue You Mentioned Earlier

On March 19th, 2015, Florida’s emergency management chief Bryan Koon testified before the State Senate Budget Subcommittee on the news that the Federal Emergency Management Agency would pull federal funding from states that refuse to directly address climate change.

In alignment with his position of climate change denial, Koon went through a series verbal gymnastics to avoid using the scientific term for our current catastrophic path in his statements.A scaled steel cofferdam displays phrases exchanged in official emails by climate change deniers in the US Senate. Such phrases are projected over a melted piece of ice, residue of the Polar Vortex that hit Chicago one week before the opening of the show. Thuribles for a poisonous mushroom colloquially known as Destroying Angel embody the abstract threat of climate change. The gallery’s circuit box frames a nilometer that measures the scales of an Ideal Flood and a two channel video installation loops the works “Catastrophic Ice Formation” and “Order is human.”

Video, fuse box, acrylic, metal, projection, mushrooms

Image Credit: Brittany Laurent and Alberto Ortega

Carbon Copy P

Group Exhibition with Carbon Copy Collective

Chicago, IL
March 5 & 8


Carbon Copy Collective

weather balloon, wood armature, white noise projection

Here We Only Understand
General Motion, Noise of Dust

Image Credit: Woojin Shin


Group Exhibition with Carbon Copy Collective

Chicago, IL
March 5 & 8


The show's title is a mondegreen of "Diprosopus," the rare medical condition of two-headedness.

Die Prosperous

clay interventions, brick dust, plastic bag, metal hooks, rocks

Image Credit: Astro Escuadero