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Heaven Gallery
/2020-21

Group Exhibition Curated by Pia Singh

Chicago, IL
Dec 11- Jan 24


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Surface Tension



adhesion


knowing oak, CABBAG AAGGABCAC

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 
/2020

Third Coast Disrupted: Artists + Scientists on Climate

Group Exhibition


Chicago, IL
Sept 10-Oct30



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River of Shadows,  Liquidation





Shad-ow-time

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
/2020

Solo Exhibition

Chicago, IL
Jan 10- Feb 22


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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
/2020

Solo Exhibition + Residency

Chicago, IL
March 5 & 8



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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

Collabiosis


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

“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.


Handmade Brick 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.


Fly Perspective consists of broken windshields suspended in the center of The Blue Parrot’s garage, they are illuminated by projections of the gridded, pixelated white noise.



House of Dust  is a video installation  of a kaleidoscipic  poem in the living room, in reference to the first computer generated poem A House of Dust  by Allison Knowles.


image credit: Astro Escuadero








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


Chicago, IL
May 10


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


Stigmergy || the space inside repetition




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.









cabinet, speakers, termites, acrylic
Image Credit: Brittany Laurent



Sullivan Galleries
/2020

MFA Thesis Exhibition

Chicago, IL
May 10


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The Predicament of Pressure



clay collected from construction sites in chicago, metal, chicago common brick cut with 1891 news article


Image Credit: Astro Escudero



Space P11
/2019


Two- Person Exhibition

In collaboration with Alberto Trejo Oretga



Chicago, IL
Jan 27- March 11


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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
/2019

Group Exhibition with Carbon Copy Collective

Chicago, IL
March 5 & 8


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Here We Only Understand
General Motion, Noise of Dust


weather balloon, wood armature, white noise projection

Image Credit: Woojin Shin


UGLY
/2020

Group Exhibition with Carbon Copy Collective

Chicago, IL
March 5 & 8



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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