![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419516/et1a7gds5obuvkqhtwhi.png\")
New Location Opening February 2026
Volume Gallery is pleased to announce its forthcoming move to a new, more expansive and distinctive, location at 1700 W Hubbard Street, opening February 2026 with a landmark group exhibition, The Heresy of Legacy, exploring the cyclical nature of currents in art, architecture, and design, how acts of rebellion and refusal have continually propelled cultural production forward. Celebrating fifteen years of the gallery’s operations, including almost ten at its Chicago Avenue location, Volume Gallery’s move marks a significant new chapter in the program’s evolution. The expanded location will provide additional gallery space designed to foster the development of new ideas and methodologies by both established and emerging artists. More about the gallery's new space and forthcoming exhibitions here.
Established in 2010, Volume Gallery focuses on material-driven practices across disciplines with a concentration on contemporary and historical American art and design. There is a commitment to finding meaning in materiality and a dedication to advancing innovative makers of the present and recent past. In addition to its exhibitions program, Volume Gallery releases editions, publications, and engages in site-specific commissions that showcase the work of American artists and designers to regional, national, and international audiences.
Image: Work by Christy Matson and Jennefer Hoffmann, installation view, Volume Gallery
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","type":null,"state":"published","slug":"arrangements","created_at":"2026-08-26 17:17:48.055","updated_at":"2026-08-26 17:17:48.056","excerpt":"","is_timeless":true,"organization_id":877,"highlighted":false,"opening_starts_at":"2026-09-17 17:00:00","opening_ends_at":"2026-09-17 20:00:00","searchable":"'-8':28B '17th':25B '5':27B 'angel':18B 'angeles-bas':17B 'arina':21B 'arrang':1A,8B 'artist':20B 'base':19B 'beneath':66B 'ceram':37B 'domest':63B 'erdélyi':22B,42B 'exhibit':14B 'explor':43B 'extend':76B 'first':12B 'form':58B 'frame':61B 'full':56B,71B 'full-scal':55B,70B 'galleri':3B,10B,31B 'hang':74B 'illumin':65B 'lamp':60B 'light':38B 'los':16B 'miniatur':53B,62B 'open':23B 'pair':51B 'perspect':48B 'plate':73B 'pleas':5B 'pm':29B 'present':7B 'scale':46B,57B,72B 'scene':64B,78B 'septemb':24B 'seri':35B 'shade':68B 'silk':67B 'solo':13B 'space':82B 'surround':81B 'tabl':59B 'tension':44B 'two':32B 'volum':2B 'wall':40B 'work':41B","thumbnail":"http://res.cloudinary.com/dfafo598z/image/upload/v1787764597/wXpP46eINC-cGY6B3cEg9rvKsPib5bsVJW-x1UpuaTg_10fy2Uu5BsghIICBEsJ3lOtdf_HUb4KDfhDzhoo7C9-dTm5EwxQOq7bgZGiK37VMwsnEKYO6WVX9WCqOrmZ7bc-F3DZ1Y-u0ub8xJrcsoXmQZEDAIWO2dpzOwP4U2Gc_tzddyp.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":34968,"title":"Flowers and Leaves","starts_at":"2026-09-17 17:00:00","ends_at":"2026-10-24 00:00:00","body":"Volume Gallery announces Flowers and Leaves, Christy Matson’s fifth solo exhibition with the gallery, opening September 17th, from 5-8PM.
This new work draws on a recently discovered box of nineteenth-century family textiles, including lace, tatted fragments, and woven cloth passed through generations, to consider inherited histories of labor, resistance, and ornament.
“Flowers and Leaves begins with a Jacquard-woven tea cloth found in a box of family heirlooms, accompanied by a handwritten note from my grandmother tracing its passage through generations. The cloth dates to the 1830s or 40s and belonged to Sarah Doty Arnold, my fifth great-grandmother, a Quaker woman living in Macedon, New York, within a community shaped by abolitionist networks and early feminist organizing, where radical thought moved through households in letters, meetings, and domestic exchange.” - Christy Matson
Many of Matson’s ancestors were Quakers active in abolitionist, pacifist and early feminist movements. Macedon, New York, was a vital hub of the Underground Railroad, and these inherited objects would have circulated within households during moments of profound social and political change.
Alongside that history, the handmade lace and cloth also carry a parallel meaning: the long tradition of women’s textile work as a site of knowledge, cultural production, and embodied practice, often left out of written record, but preserved in the objects that remain as evidence of their presence. This tension is a throughline in Matson’s practice, a sustained attention to the time, intelligence, and material thinking embedded in domestic textiles, forms of labor that have long gone unrecognized.
This box of tatted doilies, scraps of lace with delicate floral motifs, and cloth bearing geometric patterns was passed down through generations. Unlike bulkier heirlooms that would have been left behind during displacement, these pieces endured. Cloth could be folded into trunks, sewn into coat linings and passed between hands across migration, upheaval, and inheritance.
Drawing from details found in the remnants, Matson creates geometric but irregular oil pastel drawings that serve as a ground for collage. From the textile fragments, she isolates motifs of flowers and leaves, photographing and extracting these details before integrating them into the drawn compositions. These layered works function as studies for the woven images that follow. Using a Jacquard loom, she translates the collages into meticulously constructed woven paintings, drafting each image thread by thread through a series of weave structures. The resulting works are both intimate and monumental. Colorful blocks of pattern evoke both quilt-making and Modernist painting. Vertical stripes intersect lace-like interventions that depict scraps and studies, including overshot florals, suns, and sunflowers, drawn from larger, now-lost textiles.
The exhibition’s title comes from the writings of Ada Lovelace (1815–1852), mathematician and the world’s first computer programmer. In the same decade that the Jacquard-woven tea cloth that inspired this body of work was made, Ada Lovelace described the loom as a system that “weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves.” She used weaving to describe a new kind of machine logic, one that operates on symbols according to rules rather than only calculating quantities. This idea sits within a longer history of textile practices as systems for encoding and transmitting pattern, structure, and notation, most often through women’s labor.
The binary logic of weaving (warp and weft, thread above and below) runs through all of Matson’s work, a reminder that these ancient systems of making were always a form of code and a form of communication. Textiles encode structures that outlive their origin; patterns carried across time.
Flowers and Leaves will be on view through October 24, 2026.
Christy Matson lives and works in Los Angeles, CA. Recent solo exhibitions include Philip Martin Gallery, Rebecca Camacho Presents, The Milwaukee Art Museum, Cranbrook Art Museum, which featured a special commission for the US Art in Embassies Program, and the Long Beach Museum of Art. Her work has been in dozens of group exhibitions, including the Bakersfield Museum of Art, the Contemporary Arts Museum, Houston, the Renwick Gallery of the Smithsonian Museum, the Craft and Folk Art Museum, Los Angeles, the Asheville Art Museum, and the Knoxville Museum of Art. Matson’s work is in the permanent collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Cranbrook Art Museum, the Milwaukee Art Museum, and the Renwick Gallery of the Smithsonian American Art Museum.
Exhibition on view: February 25-April 8, 2017
\r\nOpening reception: Saturday, February 25, 5-8pm
\r\nFeaturing Aranda\\Lasch and Terrol Dew Johnson
Building off their recent show at the MOCA Tucson, Aranda\\Lasch presents baskets and furniture that connect the weaving practices of Native American tradition with contemporary design. Weaving is a material practice performed through ritual. It is an iterative and social activity. Through repetition it forms pattern and structure in simple materials to yield complex cultural artifacts. For Aranda\\Lasch, architecture can be understood in much the same way.
\r\n\r\nIn Coil & Cloud, they work with weaver Terrol Dew Johnson of the Tohono O’Odham tribe to explore the practice of coiling. Coiling starts with one central point around which a material is wound, spiraling outward and upward in concentric circles until structure is created. Extending this, the works in the show are built around the idea of a three-dimensional coil, a form both practical and symbolic. For the Tohono O’Odham, baskets employ coiling as a structural strategy to create everyday objects, but also as a ritual which connects the maker to the community, their elders and the desert.
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\r\n\r\nOpening reception: Saturday, April 15, 5-8pm
\r\n\r\nAnders Herwald Ruhwald’s new body of work called Glasur Stykker is a series of ceramic objects where Ruhwald sidesteps his recent project based installations in order to investigate the nature of glaze and ceramic materials. “Glasur-stykke” is a Danish term that translates to glaze piece - a unique ceramic object where the glaze has a particular or unusual effect - as a result - differentiates it from other objects produced by the artist.
\r\n\r\nRuhwald considers this new work to be similar to that of a drawing practice. It is an open-ended investigation, where he can query the formal and aesthetic properties of ceramics, in order to explore and search out unknown paths with the medium. For him the exploration of glaze and surface-treatments in ceramics operates both as a material discovery and a concept device. A place where new possibilities for work arise and ideas begin to take shape.
\r\n\r\nTraditionally glaze is understood as a surface treatment - an added effect - but Ruhwald considers glaze as surface, matter and color at the same time. For him glaze has not only the potential to cover the surface, but also to alter our perception of a given object. In this way the “Glasur-stykke” series can be understood as an exploration that does not have a programmed output. Instead they sit as a tangential line of his practice that allows him an intuition driven mode of discovery.
\r\n\r\nImage: Anders Herwald Ruhwald, Glasur-stykke #3
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\r\n\r\nExhibition on view: June 3-July 8, 2017
\r\n\r\nOpening reception: Saturday, June 3, 5-8pm
\r\n","type":"Event","state":"published","slug":"michael-c-andrews-tuft","created_at":"2018-10-22 20:40:40.941593","updated_at":"2018-10-22 20:40:40.941593","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':117B '2017':110B '3':107B,115B '5':116B '8':109B 'academ':90B 'advisor':91B 'andrew':3A,7B,63B 'anim':11B 'anxieti':31B 'approach':22B 'art':80B,99B 'artist':101B 'bodi':36B 'bow':95B 'c':2A,6B,62B 'categor':14B 'center':54B 'chicago':42B,49B,52B,83B 'cinema':17B 'citi':60B 'conscious':37B 'cultur':38B,53B 'dan':43B 'depart':75B 'desir':29B 'deven':44B 'exhibit':39B,47B,103B 'faculti':68B 'fiber':71B 'fuel':26B 'full':66B 'hybrid':21B 'il':50B 'includ':40B 'institut':81B 'juli':108B 'june':106B,114B 'make':24B 'materi':73B 'mca':41B 'michael':1A,5B,61B 'new':58B 'object':19B 'open':111B 'ox':94B 'ox-bow':93B 'penelop':56B 'pm':118B 'project':45B 'recept':112B 'resid':102B 'saic':84B 'saturday':113B 'schizophren':34B 'school':77B,96B 'sculptur':9B 'studi':74B 'summer':89B 'tapestri':8B 'taunt':12B 'textil':16B 'time':67B 'tuft':4A 'view':105B 'well':86B 'york':59B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669445/event_ics_1721669444771.ics","carousel":null,"category_name":"Exhibitions"},{"id":4852,"title":"Various Designers: THE MIDNIGHT SPECIAL","starts_at":"2017-07-14 17:00:00","ends_at":"2017-08-26 20:00:00","body":"Volume Gallery is pleased to announce its upcoming group exhibition, The Midnight Special, opening July 14 from 5-8 at 1709 W Chicago Ave, Chicago IL, 60622.
\r\n\r\nFeaturing works by Bec Brittain, Benas Burdulis, Bureau Spectacular, Aaron Jones, Thomas Leinberger, Luftwerk, Jonathan Muecke, and Anders Ruhwald, The Midnight Special is an exploration of the different forms and characteristics of light. These works open a dialogue between the physicality of objects and the immaterial properties of the light which they manipulate or project, examining how the corporeal can influence the ethereal.
\r\n
\r\nWhile pieces by Jones and Brittain incorporate generated light into the design itself, Benas Burdulis’s Optical Surfaces and Jonathan Muecke’s Mirror serve as lenses which manipulate the quality of surrounding ambient light. By contrast, Bureau Spectacular turns the Statue of Liberty into a conceptual neon light. These works provide new possibilities for projection and portrayal of light and encourage viewers to notice the variability and complexity of light’s properties that so often go unnoticed.
\r\n
\r\nThe Midnight Special continues through August 26th.
\r\n
\r\nWell, you wake up in the mornin', you hear the work bell ring
\r\nAnd they march you to the table, you see the same old thing
\r\nAin't no food upon the table and no pork up in the pan
\r\nBut you better not complain, boy, you get in trouble with the man
\r\n
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a ever lovin' light on me
\r\n
\r\nYonder come Miss Rosie, how in the world did you know?
\r\nBy the way she wears her apron and the clothes she wore
\r\nUmbrella on her shoulder, piece of paper in her hand
\r\nShe come to see the governor, she wants to free her man
\r\n
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a ever lovin' light on me
\r\n
\r\nIf you're ever in Houston, oh you better do the right
\r\nYou better not gamble and you better not fight
\r\nOr the sheriff will grab you and the boys, will bring you down
\r\nThe next thing you know, boy, oh you're prison bound
\r\n
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a light on me
\r\nLet the midnight special, shine a ever lovin' light on me
\r\n
\r\n-Fogerty
Reflections, focuses on works – specifically, chairs - from Krueck+Sexton's 1980s commissions, which propelled their career. Larger projects, ranging in scale, followed--from restoring Crown Hall to larger buildings like Spertus Institute for Jewish Studies in Chicago, as well as numerous project around the U.S. and Europe.
\r\n","type":"Event","state":"published","slug":"krueck-sexton-reflections-from-there-to-here","created_at":"2018-10-22 20:41:32.428381","updated_at":"2018-10-22 21:18:57.932549","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1980s':14B 'around':46B 'build':32B 'career':19B 'chair':9B 'chicago':40B 'commiss':15B 'crown':28B 'europ':50B 'focus':5B 'follow':25B 'hall':29B 'institut':35B 'jewish':37B 'krueck':1A,11B 'larger':20B,31B 'like':33B 'numer':44B 'project':21B,45B 'propel':17B 'rang':22B 'reflect':3A,4B 'restor':27B 'scale':24B 'sexton':2A,12B 'specif':8B 'spertus':34B 'studi':38B 'u.s':48B 'well':42B 'work':7B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668393/ap8vhprvllrozxt8y8bn.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669457903.ics","carousel":null,"category_name":"Exhibitions"},{"id":5089,"title":"Art After Hours: From There to Here","starts_at":"2017-09-15 17:00:00","ends_at":"2017-09-15 21:00:00","body":"Reflections, focuses on works – specifically, chairs - from these 1980s commissions, which propelled Krueck+Sexton’s career - from restoring Crown Hall to larger buildings like Spertus Institute for Jewish Studies in Chicago, as well as numerous project around the U.S. and Europe.
\r\n\r\nPart of EXPO's Art After Hours.
\r\n","type":"Event","state":"published","slug":"art-after-hours-from-there-to-here","created_at":"2018-10-22 20:41:39.880252","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1980s':12B 'around':40B 'art':1A,49B 'build':26B 'career':19B 'chair':9B 'chicago':34B 'commiss':13B 'crown':22B 'europ':44B 'expo':47B 'focus':5B 'hall':23B 'hour':3A,51B 'institut':29B 'jewish':31B 'krueck':16B 'larger':25B 'like':27B 'numer':38B 'part':45B 'project':39B 'propel':15B 'reflect':4B 'restor':21B 'sexton':17B 'specif':8B 'spertus':28B 'studi':32B 'u.s':42B 'well':36B 'work':7B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669466/event_ics_1721669466096.ics","carousel":null,"category_name":"Art Fairs"},{"id":4906,"title":"Tanya Aguiñiga: New Works","starts_at":"2017-11-03 17:00:00","ends_at":"2017-12-31 20:00:00","body":"Exhibition on view: November 3-December 31, 2017
\r\n","type":"Event","state":"published","slug":"tanya-aguiniga-new-works","created_at":"2018-10-22 20:42:00.560025","updated_at":"2018-10-22 21:17:10.631802","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2017':12B '3':9B '31':11B 'aguiñiga':2A 'decemb':10B 'exhibit':5B 'new':3A 'novemb':8B 'tanya':1A 'view':7B 'work':4A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668392/izufb4cntl46ayssdzrr.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669457914.ics","carousel":null,"category_name":"Exhibitions"},{"id":5463,"title":"Various Designers – PRE 3D","starts_at":"2018-01-06 17:00:00","ends_at":"2018-02-17 20:00:00","body":"Opening Reception January 6, 5-8pm
\r\n\r\nVolume Gallery is pleased to announce its group exhibition, Pre 3D, with Johnston Marklee, Pezo Von Ellrichshausen, Norman Kelley, and Ania Jaworska, opening Saturday, January 6th from 5-8 PM at 1709 W Chicago Ave, Chicago IL, 60622.
\r\n\r\nAn architect’s methodology of creating is as unique to them as it is to the language of the built environment they construct. Moving past, through, into, and out of, a design or idea often involves an extraneous output from which kernels of insight are gleaned and incorporated into the rigor of a more specific project.
\r\n\r\n","type":"Event","state":"published","slug":"various-designers-pre-3d","created_at":"2018-10-22 20:42:15.041383","updated_at":"2018-10-22 21:13:40.45689","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':10B,40B '1709':43B '3d':4A,22B '5':9B,39B '6':8B '60622':49B '6th':37B 'ania':32B 'announc':17B 'architect':51B 'ave':46B 'built':69B 'chicago':45B,47B 'construct':72B 'creat':55B 'design':2A,81B 'ellrichshausen':28B 'environ':70B 'exhibit':20B 'extran':87B 'galleri':13B 'glean':95B 'group':19B 'idea':83B 'il':48B 'incorpor':97B 'insight':93B 'involv':85B 'januari':7B,36B 'jaworska':33B 'johnston':24B 'kelley':30B 'kernel':91B 'languag':66B 'markle':25B 'methodolog':53B 'move':73B 'norman':29B 'often':84B 'open':5B,34B 'output':88B 'past':74B 'pezo':26B 'pleas':15B 'pm':11B,41B 'pre':3A,21B 'project':105B 'recept':6B 'rigor':100B 'saturday':35B 'specif':104B 'uniqu':58B 'various':1A 'volum':12B 'von':27B 'w':44B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/vcfulmx1nsxzggbjvpt2.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478720.ics","carousel":null,"category_name":"Exhibitions"},{"id":5480,"title":" FOG Design+Art","starts_at":"2018-01-11 17:00:00","ends_at":"2018-01-14 18:00:00","body":"FOG has become a focal point for the design and arts communities on the West Coast and further afield. The fair is synonymous with a uniqely pioneering spirit due to its bold hybrid approach and intimate presentation of art and design, dynamic programming on-site and its community-led mission to champion art and design in its historic Fort Mason setting. Building on FOG's longstanding commitment to cultural institutions, the fair's Preview Gala is honored to continue its crucial support of SFMOMA's exhibitions and education programs. FOG represents a key moment in which the local and global community congregate to engage in critical dialougue, artistic exchanges and a shared passion for creative pursuits.
\r\n\r\nImage: Krueck + Sexton, Dining Chair (2017)
\r\n","type":"Event","state":"published","slug":"fog-design-art","created_at":"2018-10-22 20:42:16.034829","updated_at":"2018-10-22 21:13:39.879339","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2017':127B 'afield':22B 'approach':37B 'art':3A,14B,42B,58B 'artist':113B 'becom':6B 'bold':35B 'build':67B 'chair':126B 'champion':57B 'coast':19B 'commit':72B 'communiti':15B,53B,106B 'community-l':52B 'congreg':107B 'continu':84B 'creativ':120B 'critic':111B 'crucial':86B 'cultur':74B 'design':2A,12B,44B,60B 'dialougu':112B 'dine':125B 'due':32B 'dynam':45B 'educ':93B 'engag':109B 'exchang':114B 'exhibit':91B 'fair':24B,77B 'focal':8B 'fog':1A,4B,69B,95B 'fort':64B 'gala':80B 'global':105B 'histor':63B 'honor':82B 'hybrid':36B 'imag':122B 'institut':75B 'intim':39B 'key':98B 'krueck':123B 'led':54B 'local':103B 'longstand':71B 'mason':65B 'mission':55B 'moment':99B 'on-sit':47B 'passion':118B 'pioneer':30B 'point':9B 'present':40B 'preview':79B 'program':46B,94B 'pursuit':121B 'repres':96B 'set':66B 'sexton':124B 'sfmoma':89B 'share':117B 'site':49B 'spirit':31B 'support':87B 'synonym':26B 'uniq':29B 'west':18B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/jvuafykkgkspocgg2ppc.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478721.ics","carousel":null,"category_name":"Exhibitions"},{"id":5694,"title":"Luftwerk: afterglow","starts_at":"2018-02-24 20:00:00","ends_at":"2018-04-07 21:00:00","body":"Volume Gallery is pleased to announce its first solo exhibition, afterglow, with Luftwerk, opening Saturday, February 24th from 5-8 PM at 1709 W Chicago Ave, Chicago IL, 60622.
\r\n\r\nExploring the interplay of light and color, afterglow, presents concepts that have evolved over a decade of research, experimentation, and installations by Luftwerk. Through a large-scale immersive wall installation and a series contained light boxes, this exhibition reveals Luftwerk’s interest in the effects of a gradient of light, from brightness to darkness and the shifting perception of colors in different light conditions.
\r\n\r\nExperimenting with light conditions—from day to night, light to dark—the color-coded wallpaper is activated through shifting color interactions and perceptions. These principles of light and color interactions are contained through a series of corresponding lightboxes. Each featuring a different color, they explore how color lives between light and dark and how this interaction affects spatial sensibilities.
\r\nFor the past decade, Luftwerk has developed a series of installations on iconic buildings. Through this experience developing immersive interventions, an interest in the relationship of light and color to spatial sensibilities has emerged. As light qualities shift, so does the perception of color. In this exhibition, these pieces distill their use and research of light and color as a primary medium in their work.
Super Natural examines the perception of nature as a perfect, composed image. This series explores colors, forms, and industrial processes through functional objects made from epoxy resin in a range of scales. Eschewing the monotony of identical objects, these works resemble the structure of nature: similar at first glance yet varied upon inspection. The synthetic material and construction of these objects push the natural into a new state: the super natural.
\r\n
\r\nRoss Hansen investigates the concepts of the 18th century English artist, William Gilpin’s notion of the picturesque through his own interpretation of these ideals in the objects of this series. While nature is good at producing a variety of textures and colors, as Gilpin asserts, it is often man’s intervention to refine and sculpt the perfect composition. The varied textures within each object—from a smooth, marbled shelf to the surface of a two-toned bumpy chair—echo this idea in nature and are constructed into their own unique compositions.
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\r\nBorrowing from methods of industrial production, each item is hand-produced through custom-crafted molds and craft methodologies. The molded tables need no armature as the structural integrity is created through the shape of design. As the pigment is mixed and applied in each piece, Hansen develops ambiguous patterns and textures that blur the line of the natural and synthetic.
\r\n
\r\nInspired by his work and training as a landscape architect, Hansen designs and creates these objects as a method to explore histories and theories of the discipline at an intimate scale. The objects in this series range in scales, from a modern interpretation of wainscoting to a series of bowls. Epoxy resin unites the objects as the primary material, with a variety of colors and finishes: smooth, marble-like surfaces; bumpy textures; and fuzzy flocking. Combining theories of nature with synthetic material, the series reflects the industrial landscape of the 21st century as it nods to past notions of landscape ideology and the picturesque.
\r\n
\r\nAs a landscape and furniture designer, Ross Hansen explores theories of nature through explorations in industrial production and material exploration. Since founding his practice in 2014, Hansen has developed landscape design and public art projects for clients while creating and designing unique, experimental yet functional objects. He earned his Bachelors in Landscape Architecture from Iowa State University and an MFA in 3D Design from Cranbrook Academy of Art. Hansen has served as adjunct faculty at Woodbury University and worked at the offices of Hood Studio and Andrea Cochran Landscape Architecture.
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Opening Reception: Friday, June 1 from 5-8 PM
\r\n\r\nWorking intuitively, Jennefer Hoffmann expresses her moments and days through this collection of ceramic sculptures. The responsive and reflexive nature of clay allows for quick articulations to capture the essence of each moment. Mixing different clay bodies, both low and high fire, with glazed and unglazed elements, the material selections and finishing details add layers of complexity from varied textures and surfaces to material tension. As the clay, glazes, and textures combine they create distinct expressions of time.
\r\n\r\nEach sculpture emerges from a meditation with no set plan or aim for outcome. These daily musings, each named for their date of production, trace the moods, feelings, and attitudes that ebb and flow in those moments as they manifest into distinct physical forms. This open-ended and undefined approach affords her visceral and personal expressions to emerge in each piece while connecting to the universal idea of emotions – shifting and evolving, in flux. Collectively, the works reveal a more comprehensive understanding of the history they imbue through the accumulation of these expressions as they evolve over time. Friday June 1, 2018 presents layers of emotions as a record of time—yesterday and today—embodied in this collection of ceramic sculptures.
\r\n\r\n","type":"Event","state":"published","slug":"jennefer-hoffmann","created_at":"2018-10-22 20:43:05.971335","updated_at":"2018-10-22 21:08:15.796927","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':10B '1':7B,191B '2018':192B '5':9B 'accumul':180B 'add':65B 'afford':141B 'aim':101B 'allow':34B 'approach':140B 'articul':37B 'attitud':119B 'bodi':48B 'captur':39B 'ceram':25B,210B 'clay':33B,47B,79B 'collect':23B,165B,208B 'combin':83B 'complex':68B 'comprehens':171B 'connect':153B 'creat':85B 'daili':105B 'date':111B 'day':20B 'detail':64B 'differ':46B 'distinct':86B,131B 'ebb':121B 'element':58B 'embodi':205B 'emerg':92B,148B 'emot':159B,196B 'end':137B 'essenc':41B 'evolv':162B,186B 'express':16B,87B,146B,183B 'feel':117B 'finish':63B 'fire':53B 'flow':123B 'flux':164B 'form':133B 'friday':5B,189B 'glaze':55B,80B 'high':52B 'histori':175B 'hoffmann':2A,15B 'idea':157B 'imbu':177B 'intuit':13B 'jennef':1A,14B 'june':6B,190B 'layer':66B,194B 'low':50B 'manifest':129B 'materi':60B,75B 'medit':95B 'mix':45B 'moment':18B,44B,126B 'mood':116B 'muse':106B 'name':108B 'natur':31B 'open':3B,136B 'open-end':135B 'outcom':103B 'person':145B 'physic':132B 'piec':151B 'plan':99B 'pm':11B 'present':193B 'product':113B 'quick':36B 'recept':4B 'record':199B 'reflex':30B 'respons':28B 'reveal':168B 'sculptur':26B,91B,211B 'select':61B 'set':98B 'shift':160B 'surfac':73B 'tension':76B 'textur':71B,82B 'time':89B,188B,201B 'today':204B 'trace':114B 'undefin':139B 'understand':172B 'unglaz':57B 'univers':156B 'vari':70B 'viscer':143B 'work':12B,167B 'yesterday':202B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/e4xaajsayewwtsrrjz05.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669504/event_ics_1721669504606.ics","carousel":null,"category_name":"Exhibitions"},{"id":6326,"title":"Various Designers – PRIVATE QUARTERS","starts_at":"2018-07-13 17:00:00","ends_at":"2018-08-28 20:00:00","body":"Volume Gallery is pleased to announce its upcoming group exhibition, Private Quarters, open from July 13th - August 31st, 2018 at 1709 W Chicago Ave, Chicago IL, 60622.
\r\n\r\nFeaturing works by David Salkin, Ross Hansen, Ania Jaworska, Thaddeus Wolfe, Christy Matson, Jennefer Hoffmann, Jonathan Muecke, and Anders Ruhwald, Private Quarters is a hypothetical interior of an imaginary home. Consisting of a dining room, living room and office, each of the areas are arranged with pieces that create the backbone of an interior - a table, a couch, a desk, etc. The spaces are defined by three rugs by David Salkin to further reinforce the platform of each room.
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\r\n","type":"Event","state":"published","slug":"various-designers-private-quarters","created_at":"2018-10-22 20:43:27.343005","updated_at":"2018-10-22 21:07:11.287742","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13th':20B '1709':25B '2018':23B '31st':22B '60622':31B 'ander':50B 'ania':39B 'announc':10B 'area':74B 'arrang':76B 'august':21B 'ave':28B 'backbon':82B 'chicago':27B,29B 'christi':43B 'consist':62B 'couch':89B 'creat':80B 'david':35B,101B 'defin':96B 'design':2A 'desk':91B 'dine':65B 'etc':92B 'exhibit':14B 'featur':32B 'galleri':6B 'group':13B 'hansen':38B 'hoffmann':46B 'home':61B 'hypothet':56B 'il':30B 'imaginari':60B 'interior':57B,85B 'jaworska':40B 'jennef':45B 'jonathan':47B 'juli':19B 'live':67B 'matson':44B 'mueck':48B 'offic':70B 'open':17B 'piec':78B 'platform':107B 'pleas':8B 'privat':3A,15B,52B 'quarter':4A,16B,53B 'reinforc':105B 'room':66B,68B,110B 'ross':37B 'rug':99B 'ruhwald':51B 'salkin':36B,102B 'space':94B 'tabl':87B 'thaddeus':41B 'three':98B 'upcom':12B 'various':1A 'volum':5B 'w':26B 'wolf':42B 'work':33B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668450/z1knoyyfurb3pfjurtxf.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669514/event_ics_1721669513857.ics","carousel":null,"category_name":"Exhibitions"},{"id":6568,"title":"Jonathan Muecke: Open Objects","starts_at":"2018-09-14 18:00:00","ends_at":"2018-09-14 20:00:00","body":"
Open Objects is an ongoing and continuous exploration and approach to design encompassing the practice of Jonathan Muecke. Tracing a decade of work, these objects are the manifestation of his philosophical and practical approach to design. Open Objects create layers of exploration: between the objects within the group and within each individual object.
\r\n
\r\nUnified around the concept of measure, the scale of the human body grounds this presentation. This refined group of Open Objects spans across the measurement of a human: from head to toe, reaching from fingertip to fingertip. The six-foot tall steel MLP, for instance, shines light upward and downward extending the reach of the scale. In contrast, the fiberglass LCS expands horizontally as it reaches only nine inches tall. The irregular hexagonal form is comprised of concave arches to complete the geometric expression. Complex in engineering yet simple in appearance, the LCS represents the obscure intricacy that emerges through experience with these objects.
\r\n
\r\nThe clean, simple lines and forms of the work take on a straightforward functional approach allowing space for the conceptual to emerge. Rather than focusing on visually complex forms, the objects distill the necessary elements such as density and opacity or structure and strength. With each piece primarily comprised of one single material this removes the complexities of combining materials and affords a freedom to explore scale, shape, and quality. No one principle defines this open exploration where each object carefully balances the qualities from material to measure, resulting in a body of work in which the overlap is noticed but often indecipherable.
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\r\n\r\n","type":"Event","state":"published","slug":"jonathan-muecke-open-objects","created_at":"2018-10-22 20:44:01.378272","updated_at":"2018-10-22 21:06:05.762529","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'across':80B 'afford':224B 'allow':178B 'appear':149B 'approach':14B,38B,177B 'arch':137B 'around':59B 'balanc':244B 'bodi':69B,254B 'care':243B 'clean':164B 'combin':221B 'complet':139B 'complex':143B,190B,219B 'compris':134B,211B 'concav':136B 'concept':61B 'conceptu':182B 'continu':11B 'contrast':116B 'creat':43B 'decad':25B 'defin':236B 'densiti':200B 'design':16B,40B 'distil':194B 'downward':108B 'element':197B 'emerg':157B,184B 'encompass':17B 'engin':145B 'expand':120B 'experi':159B 'explor':12B,46B,228B,239B 'express':142B 'extend':109B 'fiberglass':118B 'fingertip':92B,94B 'focus':187B 'foot':98B 'form':132B,168B,191B 'freedom':226B 'function':176B 'geometr':141B 'ground':70B 'group':52B,75B 'head':87B 'hexagon':131B 'horizont':121B 'human':68B,85B 'inch':127B 'indecipher':265B 'individu':56B 'instanc':103B 'intricaci':155B 'irregular':130B 'jonathan':1A,21B 'layer':44B 'lcs':119B,151B 'light':105B 'line':166B 'manifest':32B 'materi':215B,222B,248B 'measur':63B,82B,250B 'mlp':101B 'mueck':2A,22B 'necessari':196B 'nine':126B 'notic':262B 'object':4A,6B,29B,42B,49B,57B,78B,162B,193B,242B 'obscur':154B 'often':264B 'one':213B,234B 'ongo':9B 'opac':202B 'open':3A,5B,41B,77B,238B 'overlap':260B 'philosoph':35B 'piec':209B 'practic':19B,37B 'present':72B 'primarili':210B 'principl':235B 'qualiti':232B,246B 'rather':185B 'reach':90B,111B,124B 'refin':74B 'remov':217B 'repres':152B 'result':251B 'scale':65B,114B,229B 'shape':230B 'shine':104B 'simpl':147B,165B 'singl':214B 'six':97B 'six-foot':96B 'space':179B 'span':79B 'steel':100B 'straightforward':175B 'strength':206B 'structur':204B 'take':172B 'tall':99B,128B 'toe':89B 'trace':23B 'unifi':58B 'upward':106B 'visual':189B 'within':50B,54B 'work':27B,171B,256B 'yet':146B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668458/wa5qdqmlifbenaqh3j0c.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669523/event_ics_1721669523052.ics","carousel":null,"category_name":"Exhibitions"},{"id":6507,"title":"1709 W Chicago Galleries Open House","starts_at":"2018-09-30 12:00:00","ends_at":"2018-09-30 16:00:00","body":"
12:00–4:00pm | Open House
\r\n\r\n1709 W Chicago Galleries
\r\n\r\nCome and sample Marz Community Brewing Company's new fall releases and spend an afternoon of art viewing at David Salkin Creative, DOCUMENT, Paris London Hong Kong, Volume, and Western Exhibitions, all while enjoying creative beers and snacks.
\r\n\r\nPart of EXPO Chicago's EXPO Art Week
\r\n\r\n","type":"Event","state":"published","slug":"1709-w-chicago-galleries-open-house--3","created_at":"2018-10-22 20:44:22.985303","updated_at":"2019-01-04 14:58:01.312776","excerpt":null,"is_timeless":false,"organization_id":877,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':8B '00pm':10B '12':7B '1709':1A,13B '4':9B 'afternoon':31B 'art':33B,61B 'beer':52B 'brew':22B 'chicago':3A,15B,58B 'come':17B 'communiti':21B 'compani':23B 'creativ':38B,51B 'david':36B 'document':39B 'enjoy':50B 'exhibit':47B 'expo':57B,60B 'fall':26B 'galleri':4A,16B 'hong':42B 'hous':6A,12B 'kong':43B 'london':41B 'marz':20B 'new':25B 'open':5A,11B 'pari':40B 'part':55B 'releas':27B 'salkin':37B 'sampl':19B 'snack':54B 'spend':29B 'view':34B 'volum':44B 'w':2A,14B 'week':62B 'western':46B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668454/zbi1jnbmbmbohwzqhhkn.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669519/event_ics_1721669518977.ics","carousel":null,"category_name":null},{"id":241,"title":"Christy Matson: THE SUN AND THE MOON","starts_at":"2018-11-02 12:00:00","ends_at":"2018-12-29 12:00:00","body":"Christy Matson lives and works in Los Angeles, CA.
Recent exhibitions include the Long Beach Museum of Art, Craft and Folk Art Museum Los Angeles, Museum of Contemporary Arts Houston, The Milwaukee Art Museum, The Knoxville Museum of Art, the Asheville Museum of Art, and The San Francisco Museum of Craft+Design.
Matson's work is in the collection of the Art Institute of Chicago and Smithsonian Museum of American Art’s Renwick Gallery as well as numerous corporate and private collections. In 2012 Matson was tenured and appointed as Associate Professor of Fiber and Material Studies at the School of the Art Institute of Chicago.
Tickets: $25 Click here
Luftwerk and MAS Context, in collaboration with the Mies van der Rohe Society, invite you to an event that includes the announcement of their upcoming project Geometry of Light and the screening of the documentary Mies on Scene. The event will take place at the historic Robert F. Carr Memorial Chapel of St. Savior at IIT, the only building ever designed by Mies van der Rohe for religious services (65 E 32nd St, Chicago, IL 60616).
During the event, Petra Bachmaier, Sean Gallero, and Iker Gil will share details of their upcoming art installation at the 1929 Barcelona Pavilion designed by Ludwig Mies van der Rohe. Despite only existing for eight months, it influenced generations of architects and changed the history of the discipline. The pavilion was reconstructed on its own original site in 1986.
Architect Dirk Lohan, grandson of Mies van der Rohe, will share insights about the Barcelona pavilion as an emblematic work of the Modern Movement as well as a critical project in the career of Mies van der Rohe.
The 2018 documentary Mies on Scene, produced by the Fundació Mies van der Rohe and Nihao Films, will be screened in Chicago for the first time during this event. The film explores the pavilion and the Barcelona that made possible its construction in 1929 and its reconstruction in 1986.
100% of the cost of the tickets will be used to finance Geometry of Light. Additionally, donations will be accepted onsite and online. MAS Context is a 501(c)(3) not for profit organization and donations are tax-deductible.
Thank you Normal for creating the identity of the project.
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Image: Truth Lies in Experience No Matter How Incomplete It May Be (man/desk/table)
","type":"Event","state":"published","slug":"after-ro-lu-ooiee-what-would-anything-be-without-everything-else","created_at":"2018-12-27 22:25:33.362711","updated_at":"2019-01-03 20:28:45.913152","excerpt":"","is_timeless":true,"organization_id":877,"highlighted":false,"opening_starts_at":"2019-01-11 17:00:00","opening_ends_at":"2019-01-11 19:00:00","searchable":"'anyth':6A 'els':10A 'everyth':9A 'experi':15B 'imag':11B 'incomplet':19B 'lie':13B 'man/desk/table':23B 'matter':17B 'may':21B 'ooiee':3A 'ro/lu':2A 'truth':12B 'without':8A 'would':5A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668229/fxk1j6ac3gowlvypfdue.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669267/event_ics_1721669266830.ics","carousel":null,"category_name":"Exhibitions"},{"id":767,"title":"Thaddeus Wolfe: Crossing the River to Fetch Water","starts_at":"2019-03-01 17:00:00","ends_at":"2019-04-27 17:00:00","body":"This exhibition gathers Thaddeus Wolfe’s new kiln-constructed objects and blown flat wall reliefs.
The work of Thaddeus Wolfe exhibits a dedication to the laborious techniques of glassmaking and an inquisitive, bold vision that leads the medium into new terrains. In his latest exhibition at Volume Gallery, Wolfe unveils a new vein of work in kiln-formed constructions that incorporate parts and cutoffs from older works. These parts are reassembled together using rough rectangular bars of glass that form open structures which stand and flow decisively, as if they were centuries-old geological formations.
Akin to Wolfe’s previous rather architectural work, the exhibition also includes vibrant flat wall reliefs that are blown through his mold-blowing technique, resulting in intricate idiosyncratic forms. These pieces start with preparatory drawings which act as a guide for carving the molds, and once the glass is blown, it is ground into different layers of colors with some polished areas making the work interact with light. In the gallery, the work sits closely to the walls becoming highly spatial, marking the boundaries and corners of the space.
Crossing The River To Fetch Water is a captivating look into Wolfe’s intuitive glass practice that continues to expand and accelerate in a singular manner.
Thaddeus Wolfe (b.1979) studied art and design with a focus in glass at the The Cleveland Institute of Art where he received a BFA in 2002. He has held artist residencies at Pilchuck Glass School, The Creative Glass Center of America in New Jersey and the Tacoma Glass Museum. His work has been exhibited in New York at E.R. Butler and Co., Heller Gallery, Matter, R & Company, and The South Street Seaport Museum, and in Chicago with Volume Gallery. Thaddeus lives and works in Brooklyn, NY.
INTERIOR gives the viewer a considerable insight into Leinberger’s conceptual exploration of the interior and the role of objects in space. Inspired in part by his great interest in early modernist interior design and the continuum of designed objects, the pieces in the exhibition were first imagined as interventions in historical interiors, considering how they would activate in these environments and in turn, the space transformed by their introduction. These objects are conceived to participate in everyday functions of support and furbishing, yet they also possess autonomy outside of their utility.
Leinberger’s continued interest in the monolith is evident throughout the exhibition. Their single forms lack signifiers of “furniture” other than their distinctly domestic scale and implied function. Their existence is not substantiated by the functionality, like a readymade who changes in context, these objects lend themselves to all kinds of speculative use. Through this work, Leinberger continues to exemplify design that resists the strict functionalism that’s associated with object design, instead, his work quietly invites us to imagine how an object is capable inexhaustible ways of being.
THOMAS LEINBERGER
Thomas Leinberger is a designer based in Chicago, IL. He designs furniture, objects and installations out of his studio in Garfield Park. In 2014 he was included in the CHGO DSGN (Recent Object and Graphic Design) exhibition at the Chicago Cultural Center. Recent and ongoing clients include: The Art Institute of Chicago, Corbett vs Dempsey, The Renaissance Society, The Museum of Contemporary Art , Chicago, Rebuild Foundation and The Graham Foundation.
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Volume Gallery is pleased to announce The Vessel is a Body is a Skull is a Mask, an exhibition of new works by Anders Ruhwald,opening on Friday, June 7th from 5-8 PM at 1709 W Chicago Ave, Chicago IL, 60622.
“If the body had been easier to understand, nobody would have thought we had a mind” Richard Rorty (2008).
Anders Ruhwald’s third solo exhibition at Volume Gallery departs from the subversion of an essential archetype: the vessel. Through this act, he continues to mine the relationship between the body and the object with new works that converge around one of the central metaphorical expressions in ceramics, the vessel as a body.
In The Vessel is a Body is a Skull is a Mask, Ruhwald further explores the significance of the vessel through the lens of language. The Danish word for vessel, skål, is linguistically tied to the word skull originating in the Old Norse word skalli that means shell. In this triangle of words and meanings a relationship between body, surface, and container is established suggesting a representational conflation of external and internal experiences of the world.
Between two oversized and roughly shaped ears, the installation positions the viewer within a metaphorical vessel – the space inhabited by the mind. As the viewer becomes aware of their placement inside this figurative skull, the experience takes a metaphysical turn. Centrally placed in the gallery, large amorphous sculptures linger between bodily representation and abstraction as a large-scale perforated mass of material. The ten ceramic masks on stands – five with eye-like orifices, the others without – are silent onlookers returning the audience’s gaze. In this encounter between the observer and the observed, there is a layering of the consciousness that implicates the audience in the overall experience of the work.
ANDERS RUHWALD
Anders Herwald Ruhwald (born 1974, Denmark) lives and works in Chicago and Detroit. He graduated from the Royal College of Art in London in 2005. Ruhwald has had more than 30 solo exhibitions in the last 20 years in museums and galleries around the world including Middlesbrough Institute of Modern Art (UK), The Museum of Art and Design (Denmark), Casa Museo Asger Jorn (Italy) and MOCA Cleveland (USA). During the same time his work has been shown in more than 100 group shows at venues like Yerba Buena Center for the Arts (San Francisco), Fondation d’entreprise Richard (Paris), Denver Art Museum (USA), Taipei Yingge Museum (Taiwan) and Kunsthal Charlottenborg (Copenhagen).
In June 2019 Ruhwald will open the permanent installation, “Unit 1: 3583 Dubois,” inside an apartment on Detroit’s east side. Ruhwald has worked for six years on this immersive 7 room installation which considers the effects of fire in the context of the domestic and intimate. The installation is supported by the Knight Foundation, the Graham Foundation, the Danish Art Foundation, and the Gilbert Family Foundation.
Ruhwald's sculptures are represented in over 20 public museum collections including The Victoria and Albert Museum (UK), The Denver Art Museum (USA), The Detroit Institute of Art (USA), Philadelphia Museum of Art (USA), Musée des Arts Décoratifs (France), The National Museum (Sweden), The Museum of Art and Design (Denmark), and Taipei Yingge Museum (Taiwan).
Ruhwald's work has been featured in books including Vitamin C (Phaidon), Contemporary Clay and Museum Culture (Routledge), Breaking the Mould (Black Dog) and it has been reviewed by publications like TL Magazine (Fr), Guardian (UK), Wallpaper (UK), Artforum.com (US), Financial Times and Avenuel (Rep. of S. Korea).
In 2011 he was awarded the Gold Prize at the Icheon International Biennial in South Korea. He also received a Danish Art Foundation three-year work-stipend in 2010 and the Sotheby’s Prize (UK) at the Victoria and Albert Museum in 2007.
Ruhwald has lectured and taught at universities and colleges around Europe and North America since 2006 and has held an associate professorship at the School of the Art Institute of Chicago and was the Artist-in-Residence and Head of the Ceramics Department at Cranbrook Academy of Art in Michigan, USA from 2008-2017. Currently he is a visiting professor at the Oslo Academy of the Arts in Norway.
View Available Works by Anders Herwald Ruhwald
Image: Anders Herwald Ruhwald, Second Skin (Rose/Blue), 2019.
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Volume Gallery is pleased to announce Tigerman Rides Again, a presentation of drawings celebrating the legacy and life of the renowned architect, Stanley Tigerman. This exhibition presents the last works by the architect before his passing on June 3, 2019.
After a hiatus from his daily drawing practice, Stanley Tigerman picked up his pen and his moleskin notebook in January 2019. He began creating images that harkened back to his early paintings and moved away from the drawings he made to express, explore, and develop ideas on architecture throughout his over five decade-long practice. While he is known for his lively and often colorful collages of buildings and cartoons, these black and white drawings revert to another time. The works produce optical illusions and align with his paintings from the 60’s that reveal influences of his former Yale professor, Josef Albers. Tigerman first created sketches that began to disrupt the plane and later morphed to open-ended explorations. The shifting black and white square-like shapes create movement and an undulating surface that, given his life-long commitment and passion for architecture, can easily be read as spaces for the far away worlds he was constructing. These works are not only a shift away from the practice which established Tigerman as an influential figure in postmodernism but also mark a moment of exploration, reflection, and an end to his physical life in this world.
Founding his practice in 1962, Stanley Tigerman built a significant career as an educator, scholar, and architect that helped to define Chicago’s postmodern architecture movement. With a passion for the history of architecture, his work embedded references to history and religion in both his daily practice of drawing and his physical buildings. Mies van der Rohe remained one of Tigerman’s greatest inspirations as he continued to create buildings in reaction to the rigid principles of modernism. He designed his final resting place at Graceland Cemetery to be in axis with Mies and other great architects of Chicago; a further testament to his passion for architecture and reverence to modernism. He was also inspired by art and held artist Briget Riley in great regard and her influence is evident in this series. The contrasting rigidity of Mies and fluidity and freedom of Riley represents Tigerman’s relationship to modernism; he respected and reacted to modernism throughout his career as a productive form of antagonism. Notably, he used the method of cleaving as a violent expression against modernism. This divide created symmetry in his projects as both a conceptual statement and physical structure. These recent drawings express a different perspective as they create unknown and fluid planes and break from his typical conventions and his heavy reliance on symmetry. Ultimately, the concept of symmetry embraces Tigerman as it poignantly marks the end of his life at the symmetrical age of 88 years old.
Tigerman Rides Again showcases the last 28 drawings by the architect. These black and white works will be on view from September 13, 2019 – November 2, 2019.
Image: Stanley Tigerman, Untitled (1956), 2019.
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Open for Art After Hours, a citywide open gallery night inviting EXPO CHICAGO visitors and the Chicago community to experience the city's vibrant art scene during extended hours.
For details and participating galleries and art spaces, click here.
6:00–9:00pm | Citywide Locations
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Within the tradition of painting, the still life is a typology that carries a history where, a curated representation of one’s identity is made public through objects. In still life paintings, collections of inanimate objects are arranged in three-dimensional space on a two-dimensional plane. And through this process, the identity of the individual is symbolically communicated through the staging of said objects. For example, depicting freshly caught salt-water fish with a newly sliced citrus sends a powerful message about the social status of a person residing in inland Bavaria. Although, the fish caught on distant shores and the exotic citrus fruit may never have co-existed together within the same space at the same time—nonetheless—the canvas becomes a fictional space that unites them together. In juxtaposing such improbable objects together, an otherwise impossible narrative about a subject is constructed.
As we arrive at the second decade of the 21st Century, our relationship with our public selves within a private collection has evolved alongside the rise of social media. The living room, once a private environment for intimate social gatherings, is changing into something different. Programmatically, the living has now become a staging room for gathered objects rather than a space to socialize in. Transformed from a three-dimensional space into a two-dimensional image, the living room is returning to its’ still life origins, functioning more as a storytelling device rather than a room full of functional objects. How we handle our stories on social media has redefined the idea of a living room into a medium that socializes on the human’s behalf.
Led by Jimenez Lai, Bureau Spectacular is a practice that engages culture through the contemplation of art, architecture, history, politics, sociology, linguistics, mathematics, graphic design, technology, and graphic novels. Before founding Bureau Spectacular, Lai worked for various international offices, including MOS and OMA. Lai is widely exhibited and published around the world, with his work being collected by SFMOMA, Art Institute of Chicago, and LACMA.
Shadows of Things We Wished We Had will be on view from November 8th – December 20th, 2019.
Image: Detail from Website
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Volume Gallery is pleased to present a solo exhibition by New York based designer Sam Stewart.
Sam Stewart (b. 1988, North Carolina) is a New York based artist whose work resembles and functions as household furniture and domestic objects. As sculptures, they often take on animistic qualities that border on the absurd and whimsical, but also the slightly perverse. His forms, colors, and shifts in scale collapse observations of his present—from everyday New York spaces (drainage pipelines, subway seating), iconic 20th century design, and 3D modeling software—with those that evoke his memory of childhood perception. Although his source material tends to be specific (retro sets and costumes from children’s movies of the 80s and 90s, like Beetlejuice or Big, the mass produced palette of Fisher Price, the extruding and distorting tools of Google Sketch Up) and projects carefully researched (from the history of the execution chair and UFO spotting’s to virtual reality and 3D scanning technology), the objects themselves are aimed at a more visceral, bodily and emotive response akin to creating and reading a painted image.
He is interested in design that elicits a heightened simplicity and exaggerated satisfaction of looking, as much he wants to draw out awkward, more anecdotal encounters with the designed object.
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Volume Gallery is pleased to announce Tenure, a 10-year anniversary show, opening Friday, February 28th, 2020, from 5-8PM at 1709 W Chicago Ave, Chicago, IL. This group show will feature the work of Tanya Aguiñiga, Ross Hansen, Sung Jang, Ania Jaworska, Krueck + Sexton, Snarkitecture, Christy Matson, Jonathan Muecke, Anders Ruhwald, Sam Stewart and Thaddeus Wolfe.
Over the course of 10 years Volume Gallery has produced 42 solo exhibitions, 13 group shows, and participated in 16 fairs. There have been over 800 works exhibited, with over 30 works acquired by more than a dozen different museums and institutions all over the world. Beyond the metrics, crucial to the gallery’s history our foundation has been the intimate relationships established with artists, designers, intuitions and patrons. Tenure celebrates these relationships that have provided a unique place for experimentation and discourse across disciplines.
Established in 2010, the gallery “took over” spaces to create site-specific installations of work by designers and artists commissioned by Volume Gallery. After 2-3 years of this nomadic beginning, an office space was secured, which quickly had its walls knocked down to create the first permanent gallery space. In early 2017 Volume Gallery moved to its current location, helping establish a thriving arts district on Chicago Avenue.
Tenure will feature works that touch on all of the disciplines that Volume Gallery has focused on for the last 10 years: Design, Ceramics, Fiber and Glass. Highlighting some of the best examples that have come from previous shows, as well as new work by designers and artists that continue the spirit and nature of the cutting-edge thinking that drives the work shown in the gallery.
Tenure will be on view through April 11th, 2020.
Image: Ania Jaworska, Unit 3 (Cabinet) and Thaddeus Wolfe, Assemblage
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You may still view images of work by this artist online
Luftwerk explores light, color, and perception in immersive, experience-based installations. Focused on the context of a site for each project, Luftwerk applies their own interpretive layer, integrating the physical structure, historical context, and embedded information into each piece. Since founding in 2007, Luftwerk has amassed a significant body of work ranging from site-specific installations to experimental projects that interpret data. In each project they are interested in the abilities of how light and color can be utilized to shift perception and enhance experience.
Light and color are primary elements in work by Luftwerk. Their interest lies in the power of light as a crucial element to sight, exploring its dynamic relationship with the perception of color. Using various modalities—projecting videos, casting shadows, creating custom sculpture—they integrate light into every project to explore its ephemeral and shifting nature. Luftwerk has amassed a significant portfolio of work interacting with iconic architecture by architects including Renzo Piano, Frank Lloyd Wright, and Mies van der Rohe. In each project, they draw from the surrounding environment to interpret and expand on the context of the site.
Luftwerk is the artistic collaboration of Petra Bachmaier and Sean Gallero.
Chiaro Oscuro will be open by appointment only at Volume Gallery beginning July 10th and continuing through the end of August.
Volume Gallery is pleased to announce Chiaro Oscuro—its second exhibition with Luftwerk, open now at 1709 W Chicago Ave. Chicago IL, 60622.
Chiaro Oscuro—Luftwerk’s second exhibition at Volume Gallery, Chicago—is an exploration of the varying modes and forms of gradient light. With roots dating back to ancient Greece and Rome, the word chiaroscuro literally means bright/dark and refers to the use of strong contrasts within art compositions. Situating this concept of contrast, difference and changeability as a point of departure, four light-based sculptural works illuminate the gallery, evoking an ephemeral sense of constant flux. By using the power of reflection and perception to imply and summon a point of disappearance—a threshold is invoked.
Projected light and reflective surfaces activate the restrained white and grey palette of Frequencies No. 1, an undulating wall-mounted sculpture composed of mirrored stainless-steel strips, which mimics the surface of a seascape in motion. Illuminated by programmed lights from above, the wave-like form transforms its surroundings into an ethereal yet dramatic play of pattern between light and shadow.
In two works called, Vanishing Horizontal and Vanishing Vertical, eight straight lines of white neon discretely tapers down in length towards nothingness—recessing to an imagined endpoint beyond, suggesting the spatial depth of an edge, a place beyond the horizon.
Luftwerk explores light, color, and perception in immersive, experience-based installations. Focused on the context of a site for each project, Luftwerk applies their own interpretive layer, integrating the physical structure, historical context, and embedded information into each piece. Since founding in 2007, Luftwerk has amassed a significant body of work ranging from site-specific installations to experimental projects that interpret data.
Light and color are primary elements in work by Luftwerk. Their interest lies in the power of light as a crucial element to sight, exploring its dynamic relationship with the perception of color. Using various modalities—projecting videos, casting shadows, creating custom sculpture—they integrate light into every project to explore its ephemeral and shifting nature. Luftwerk has amassed a significant portfolio of work interacting with iconic architecture by architects including Renzo Piano, Frank Lloyd Wright, and Mies van der Rohe. In each project, they draw from the surrounding environment to interpret and expand on the context of the site.
Luftwerk is the artistic collaboration of Petra Bachmaier and Sean Gallero.
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Super Natural is an investigation of assumptions in the field of design. By utilizing processes and materials which have mainly been implemented for industrial production, such as mold making, Hansen repurposes established techniques to create unique functional objects. Hansen questions and expands upon traditional mass production uses of materials, and in turn creates objects with animated and unrepeatable characteristics.
A continuation of themes presented in Hansen’s previous solo exhibition, by the same title in 2018, the works constituting the exhibit are results of continued experimentation with materials and techniques explored in Hansen’s larger body of work. For example, his recent utilization of fiberglass and ceramic epoxy to create planters, which bare a resemblance to botanical specimens in both form and texture.
With a background in landscape and furniture design, Hansen is inspired by natural and organic happenings of inconsistency, strength, and textures by exposing structural components in his work and making elements of the design process visible. Substrates and internal supports are exposed becoming part of the aesthetic experience of a piece of furniture.
Hansen expands and recontextualizes techniques and materials beyond their commonly accepted roles within design through a process of deduction. After six years of working with ceramic epoxy, he understands the material’s possibilities and limitations. Hansen custom makes his molds, including registers to combine other materials with the ceramic epoxy cast for structural integrity and aesthetic variation. Molding becomes a process for unique objects due to Hansen’s material decisions and surface treatments of the cast objects.
The artist has control over the form and color palette of the objects, but the texture and patterning of the pieces are dependent on a level of chance. Despite continuous material trials, Hansen experiences a moment of suspense with each mold pulled waiting to see how the coloration will disperse. The element of chance and suspense is contradictory to the usual aspirations of mass production design, in which identical results are expected. Hansen accepts a level of risk and celebrates the resulting patterns and textures, keeping inconsistencies on the object’s exterior rather than smoothing them out. The textural surface gives the solid objects a gestural feeling, at times fossilizing fingerprints and dents.
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Volume Gallery is delighted to present new works by Tanya Aguiñiga and Ross Hansen for EXHIBITION Weekend September 25-27. For EXHIBITION Chicago weekend extended gallery hours and to schedule a visit, click here!
Landscape is often a concept associated with large swathes of color - green with accents of color from flower or foliage. Hansen and Aguiñiga both reside in the Los Angeles area, but spend a lot of time escaping the city; Ross to the high desert and Tanya to the borderlands.
The pieces presented for EXHIBITION Weekend reflect Tanya and Ross's perspective of this desert landscapes in a material sense and color palette. Tanya's work focusing on the border and her Mexican heritage while Ross's is based in landscape design and his contemporary view of it.
Image: Ross Hansen, Super Natural, 2020
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The New Art Dealers Alliance (NADA) is pleased to present the Chicago Gallery Open, in partnership with Artlogic. Taking place September 30 - October 4, 2020, the new hybrid online-offline event will showcase online presentations and in-person viewings from Chicago galleries, non-profits, and artist-run spaces.
We are excited to participate presenting new pieces by Jennefer Hoffmann and Christy Matson.
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Aguiñiga assembled this collection of objects around the word extraño’s two meanings. Through a moment of collapse, the word’s meanings include the experience of missing (to miss) and the adjective of strange. These meanings are entangled with the artist’s reflection of the current everyday resulting in a combination of raw cotton and flax combined with ice-dyed technicolor weavings.
Extraño marks Tanya Aguiñiga fourth solo exhibition at Volume Gallery. Her previous shows at the gallery, Reindigenizing the Self (2017), Mothering the Form (2015), and Driftless Zone (2013), contained works that explored themes of skin tones, home, travel, and care. Interconnected with her previous exhibitions, the Extraño objects were made in the company of grief, gratitude, rage, exhaustion, and worry the artist has experienced recently in response to the constant threats our BIPOC community faces and the diverse affects and losses of the pandemic.
Aguiñiga’s past artworks, likewise, heavily engage with ideas of community and travel. As a collaborative and performative artist, Aguiñiga creates a collection of objects while facing the losses of community laughter and the inability to travel small corners of the continent. For Extraño the artist shifts her practice to independently make objects of relief.
Using materials of the earth, of strange beauty, Aguiñiga aims for moments of joy and inspiration, to provide relief to the ‘ashes of what was’. Connected with the artist’s material heritage these pieces implement raw cotton, ice dying, and flax - creating sculptural forms to enter into worlds of absurdity.
Extraño is open through December 23rd.
![](\"https://ymlpmail1.net/imgz/9n0f_ScreenShot20201031at33211PM--1.png\")
Based in Los Angeles, Tanya Aguiñiga identifies as an artist, designer, and craft person. Her practice involves public works, performances, sculptures, and furniture. She is also the founder of AMBOS (Art Made Between Opposite Sides) an ongoing series of artist interventions and commuter collaborations that address bi-national transition and identity in the US/ Mexico border regions. Aguiñiga holds a BA from San Diego State University and an MFA in furniture design from Rhode Island School of Design. Her work is included in the collections of various museums around the country including Museum of Arts and Design (MAD) in New York, Los Angeles County Museum of Art (LACMA), and the Museum of Fine Arts in Houston.
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Matson’s dimensional woven works of yarn, paper, and paint center conceptually on their own making, with visual patterns built through the arrangements of yarn in a grid. By creating the pictorial image and the supporting structure of each work simultaneously, she creates a feedback loop that cycles between optical and tactile properties. Color and composition converge with texture to make the organization of threads within the weaving visible on the work’s surface—modified grid compositions emerge and reemerge in a new scale, a sequence in which the thing itself informs the making of the thing. In an iterative progression, the feedback from each gesture hopes for the next one, scanning for new lines of sight. It’s a methodology that allows for learning and growth.
In this new body of work, Matson paints the threads of both warp and weft, building layers of color that intersect in the weaving, interrupted by bubbles of painted paper yarn that burst up from its surface. Her artworks are washed in color where dye permeates fiber, bleeding from thread to thread to blur the grid on which they are organized, with subtle gradations flushing into sudden shades. Matson’s freedom with color highlights her interest in both constraint and precision.
During the pandemic, her approach to her studio time has altered: by painting, she is able to work in intermittent stages, leaving the color to dry while she cares for her daughter. Informed by the aesthetics of care work, her artwork refers to domestic textiles through familiar woven patterns like ticking stripes, gingham, subtle florals, and overshot. These patterns have rich and varied histories from hand looms to textile factories and carry strongly gendered associations with home and family. In a year in which the work of the home has been brought into sharp relief, Matson’s new body of work captures the beauty, necessity, and tedium of domestic labor.
Matson’s works cite time-honored designs that reflect the right-angled crossing pattern of their internal support and reference patterns that are everywhere—from the rags she uses in her studio to the towels found in most kitchens. Against such homey, familiar motifs, the colored splotches in Matson’s pieces evoke the stains those rags pick up in their everyday use. If a striped kitchen towel is a ubiquitous cloth, the stains that towel picks up through daily use are unique personal embellishments. Stains make us aware of history: they are the past that textiles bring with them to the present.
Matson’s new methods, rhythms, and timely concerns reflect the current moment and build on an acclaimed career.
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Online Fair 28-30 May | VIP & Press Preview 26-27 May | https://salon.collectible.design
Volume Gallery is delighted to announce its participation in this year's edition of COLLECTIBLE, presenting exciting work by Tanya Aguiñiga and Ross Hansen. Opening May 28-30, click the images above and below to register online.
Experimental in its approach, COLLECTIBLE is a one-of-a-kind platform for the showcase and discovery of the best in contemporary collectible design. Seeking to continuously push the boundaries of creativity, the fair brings together established and emerging galleries, design studios, independent makers and brands in a dynamic integrated space, while collaborating with leading curators, design institutions and foundations to deliver groundbreaking commissions and curated projects.
Focused on today’s creation, COLLECTIBLE strives to only showcase high-quality and well-researched objects which reflect the latest currents. In order to keep COLLECTIBLE's concept coherent, works presented are either unique pieces, bespoke commissions or limited editions, pieces are functional or have functionality in mind during the process and all works need to have been produced recently, while premieres are favoured.
The upcoming edition of COLLECTIBLE will be held on SALON, an advanced digital platform replicating the fair’s unique DNA and bringing its signature experience online. COLLECTIBLE SALON will run from 28-30 May 2021, with a VIP and Press Preview on 26-27 May 2021, whilst the physical fair will be postponed to 2022. COLLECTIBLE WEEK will be held in-person simultaneously across Brussels offering visitors an exciting insight into the city’s flourishing design scene.
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Volume Gallery is pleased to present BRICKS, the second solo exhibition of new work by Chicago-based architect and designer Ania Jaworska. Opening June 5th, 2021, BRICKS engages this elemental unit of construction formally and conceptually to create a homage that is at once sincere, humorous, pragmatic, and seductive.
Bricks are both resolutely material and culturally potent. Especially in Chicago, they aggregate to form a backdrop to urban life, and not always elegantly or intentionally. At the same time, bricks provoke an earnestness, even reverence, among architects (Louis Kahn most famously) and lay brick enthusiasts (there are many among us, analyzing the techniques and sources of the brickwork in our neighborhoods). As metaphors, bricks appear in diverse contexts, negative and positive: a basketball that clanks off the rim; a ton of something dropped on us; a mighty-mighty woman; the road we follow to Oz.
Bricks are solid, substantial, but often a veneer: real ones front other structural systems, and Home Depot sells fake surfaces that resemble them. They are legible as a simple 2D pattern of red rectangles divided by white lines, but their true (or approximated) texture is familiar and appealing, too—enough so that we might choose to leave them exposed inside our homes. BRICKS explores the brick’s ability to translate across appearances that are analog or digital, real or imaginary, tasteful or vulgar, oversimplified or overexaggerated, willfully entering the psychological realm behind these many expressions.
Like bricks, the pieces in the series—a table lamp, a bench, a coffee table, a wall cabinet, a credenza, and a corner light, in addition to a curtain and a decorative brick—conflate utility and excess. The furniture is practical, without fuss; proportions are all determined by the same singular module, and each piece serves a distinct purpose. But the one-to-one-scale graphic treatments of their unique, furniture-grade laminate surfaces blur reality and representation in an exuberant, cinematic way. The series plays with depth and weight, evading easy readings but easily prompting new associations. Secret drawers and sound effects add to their unexpected behaviors.
At nearly seven feet tall, the corner lamp appears as an almost urban-scale element. On its inside face, two mirrors frame a “brick” column topped by a globular light, extending the lamp’s surroundings. The exterior of the lamp structure is wood framing, a reference to the systems that support and are supported by brick. The curtain also cultivates a relationship to wall assemblies, becoming a surprising presence in a window seen from outside; on the interior, it mimics the stereotypical backdrop of a stand-up set. The coffee table’s pattern recalls the decay and maintenance of brickwork, incorporating Z-cracks, tuckpointing, misalignments, and a mix of colors. Together, the furniture interrogates a material—and its associated cultural meanings—so omnipresent and unassuming that we thought we no longer had to think about it.
The project graphics were produced in collaboration with the artist Beverly Fre$h. Matt Junn provided design assistance.
![](\"https://ymlps2.com/imgz/9n0f_jaworskaBWheadshotphotobyZackOstrowski--1.jpg\")
Ania Jaworska is an architect and educator. She currently is a visiting assistant Professor at the University of Illinois at Chicago, School of Architecture. She holds a master's degree in architecture from the Cracow University of Technology in Poland as well as the Cranbrook Academy of Art in Michigan. Her practice focuses on exploring the connection between art and architecture, and her work explores bold simple forms, humor, and commentary as well as conceptual, historic, and cultural references.
Jaworska’s work was exhibited in numerous exhibitions, notably, at the 13th and 17th Venice Biennale, Chicago Architecture Biennial 2015, Chicago Cultural Center, Chicago Architecture Foundation, and Storefront for Art and Architecture. In 2015 she had a solo exhibition titled BMO Harris Bank Chicago Works: Ania Jaworska at the Museum of Contemporary Art Chicago and SET at Volume Gallery in Chicago. She designed a bookstore for the Graham Foundation and was a 2017 MoMA PS1 Young Architects Program Finalist. Her work is in the permanent collection of SFMOMA.
Volume Gallery is pleased to announce an exhibition of new objects by Jonathan Muecke.
Free from any of the traditional obligations of functionality common to most design practices, Jonathan Muecke is interested in making unfamiliar and unknowable objects. Each piece deflects understanding, remaining open to ongoing interpretation. Attempting to go beyond design, idiosyncratic formal choices allow the user to think outside of familiar notions of use.
Muecke’s elegant forms are hyper-specific in scale and material. Meticulously articulated, his projects subvert standards of scale and investigate notions of positive and negative space. Making liminal objects which often play with being too high or too low, too big or too small, Muecke draws from the concept of measurement and the scale of the human body. Each project is typically made from one material, allowing the freedom to explore scale, shape, and quality. Muecke favors raw materials which he then transforms and interprets in his own way. He is interested in finding the limits of objects and reducing any details to the extreme. His process involves rigorous thought, labor, and time.
This exhibition highlights Muecke’s interest in introducing new forms to our collective visual vocabulary, finding shapes without precedent, and adding to our accumulated knowledge of design and objects. These new projects seek ways for the unknown to remain in the object, they hold contradictions and strive to exist beyond established categories.
“Through an incredibly focused and concise body of work produced over more than a decade, the epistemological question on the relation between art and design seems to be an obsession Jonathan Muecke obstinately wrestles with. Muecke’s work is often suspended between opposites, occupying the terrain between stasis and movement, foreground and background, known and unknown, the physical and the psychological. But rather than finding a static equilibrium, or a common denominator between the opposites, his work is always in constant motion, dynamically embracing the tension between opposites, oscillating between extremes. The result of this dynamism is a strangeness that is always present in his objects. Even though they may appear to be simple and singular at first glance, the richness unfolds slowly. They are always enigmatic, bearing both foreign and familiar characteristics, possessing something mysterious in an out-of-this-world way while being grounded at the same time. Muecke denies the categorical while confronting, in a seemingly deadpan way, such barriers within his own design.”
– Architect and Chair of the Department of Architecture and Professor in Practice at Harvard Graduate School of Design, Mark Lee
In his second solo exhibition at Volume Gallery, Chicago based designer Sung Jang presents symbiotic combinations of found stones buttressed by lattice bases. The deliberate combinations are analogous to humanity’s relationship with nature—rock and grid representing nature meeting human reasoning. With their light touch, the pieces reflect a traditional Korean dynamic with nature, one of appreciation and respect.
“My inquiry started from the question of the role of the maker. Taking on the Korean design mindset, my work was limited to finding the object from nature and merely situating it for human use. A found stone is supported by a fabricated structure to offer function as seating or table surface, allowing the user an interaction with unprocessed nature.” -Sung Jang
Each object is usable as either a chair, stool, or small table. The pieces propose that the found stones have inherent value and embody a delight in finding use and significance in natural objects and states.
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Volume Gallery is pleased to announce Private Quarters III which will be on view beginning January 8, 2022. Private Quarters is an ongoing series of exhibitions focused on giving further context to work by the gallery's designers and artists. A rumination on domestic space, this group show will feature work by Ross Hansen, Jennefer Hoffmann, Christy Matson, Jonathan Muecke, and Thaddeus Wolfe.
New pillar-shaped ceramics by Jennefer Hoffmann made during a residency in North Carolina reference the steeples and rolling hills in the area as well as the influx of wasps and bees in her studio. Some of the pieces are titled after daubers, wasps that build their nests from mud. Not only resembling their cylindrical nests, the ceramics are also intended to translate the buzzing sound of wasps and bees in clay.
Christy Matson's weavings often reference the history of Modernism, including the concept of the grid, as well as the history of textiles from all over the world. In Pliable Grid (Silver), hand-painted metallic fibers form a grid that overlays a subtle spray of yellow, pink, and green. In Pliable Grid (Pink), shades of black and pink are woven into a plaid-like pattern, imprecise as if hand-drawn.
Ross Hansen’s recent ceramic epoxy table, Bootcut Console, has a marbled surface and unusual split legs that exemplify Hansen’s subversive use of industrial production methods to form unique and animated designed objects.
Thaddeus Wolfe is known for his dedication to the laborious techniques of glassmaking and an inquisitive vision that leads the medium into new terrain. Untitled is a combination of kiln-formed and mold-blown glass. Mostly a deep black with a few windows into its more chromatic inside, the glass has been cast in a crystalline pattern like an otherworldly geological formation.
Jonathan Muecke’s elegant forms are hyper-specific in scale and material. His FS (Flat Shape) comes from a series of matte-black aluminum sheets cut into a variety of shapes, all of which are one hundred inches around with a serrated border of five hundred tiny peaks.
Volume Gallery is delighted to announce a solo exhibition of work from the 1970s and 80s by celebrated fiber artist Françoise Grossen opening March 5, 2022. The Swiss-American artist is considered one of the most innovative textile artists of her generation.
Best known for her momentous hanging works of knotted rope, Grossen’s experimental use of uncomplicated braiding and plaiting techniques broke with many conventions. Part of a movement elevating craft in 1960s and 70s New York, Grossen moved away from the rectangle, the loom, the wall, and fine materials by knotting her monumental forms by hand with commonplace rope and suspending them from the ceiling.
\"From the beginning, I was looking for alternatives to the rectangular shape historically carried down from rugs (floor pieces) and medieval tapestries (wall decoration). The problem with rope was where and when to cut the seemingly unending material… Choices could be made at every moment… It’s like writing in another, perhaps secret, alphabet, creating another language. A dialogue takes place between my idea and the material.”
Her rebellious use of material rose from an eclectic training—Grossen studied architecture and textiles in Europe, received her MFA in California, and spent extensive time in West Africa observing craft techniques. She was inspired throughout her travels by local utilitarian use of rope and knots including suspension bridges, Incan quipus (knotted record keepers), and ship mooring lines.
Grossen was also inspired by natural forms like the exoskeletons of insects. Almost six feet tall, Metamorphosis IV 6 and 7 (both 1987-90) hang from the ceiling. Manila rope coated in waxy red, blue, and orange is woven in some sections, wrapped, tightly braided, strung like a harp, or left to hang in others. Also made from manila rope—widely used across industries due to its durability, strength, and ability to hold knots—Apodid (formerly ALAR), 1986, is named for an order of deep-sea creatures. Just over five feet long, the tightly bound gray cords form one long loop lying prostrate across the floor. Smaller and more delicately braided works in linen and cotton include maquettes for large-scale installations. Taupe and terracotta-colored, the banner-like maquettes are made up of fishtail braids and twill-like woven patterns.
The first notable appearance of Grossen’s dramatic weavings was in the Museum of Modern Art’s 1969 Wall Hangings exhibition, where her large-scale fiber sculptures were shown alongside contemporaries also experimenting with textile construction.
The exhibition will be on view at Volume Gallery through April 23, 2022
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419546/ejx8jc8awbarjz7vk3u4.jpg\")
All images © Françoise Grossen, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo
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On view: Françoise Grossen
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New objects by Aranda\\Lasch and Terrol Dew Johnson transform materials of the Sonoran Desert into sculptural forms. The result of ongoing material experiments, their latest work includes paper baskets, agave fiber baskets, and brass coils.
Design studio Aranda\\Lasch have collaborated with renowned artist and basket weaver Terrol Dew Johnson of the Tohono O’odham Nation for over a decade. Their collaboration stems from the commonalities of algorithmic techniques, repetition and ciphering used in both computer-generated design and Tohono O’odham basket weaving. They approach basket construction as a framework for experimentation and expression, sharing knowledge and tradition; and as a medium of exchange that bundles various materials and voices together.
Their process begins by collecting materials around Tucson and Sells, Arizona. In these recent pieces they use bear grass, yucca, dirt, mica, mallow, creosote, copper, volcanic dust, and agave fiber. Materials are processed into a paper pulp-like slurry to be formed into vessels, agave fiber is bundled into open coils of adjoining circles, and brass is bent and woven with sinew into knots. By inventing a new material language from the desert and respecting time-honored techniques, these constructions offer a uniquely Sonoran interpretation of the art of baskets.
Image Credit: Aranda\\Lasch and Terrol Dew Johnson, 2022
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Abigail Chang's first solo exhibition with the gallery features reflective surfaces that use familiar proportions from both domestic and public spaces. The objects read as windows viewed at night and invite an acute awareness of one’s surroundings.
Chang presents eight objects of varying shape and scale that borrow from everyday mirrors—cosmetic, full-length, rear-view, safety. Acting as framing devices, they call attention to the relationship of a body in space—encircling the face or reflecting the entire self. Perception itself is the subject of the work, with the viewer in direct dialog.
The objects reference the transition of a window from day to night. In daylight, the reflectivity of a glass pane leaves a glimmering trace in the surrounding environment, while at dusk, the dimming exterior glow contrasts with interior illumination. From within a building at night, the window acts as a blurry mirror and prompts an inhabitant’s sense of exposure.
The work examines reflection as a contemporary condition of viewing, reminding us to notice the ubiquitous reflective surfaces in our daily lives—the ongoing dance of transparency and bouncing light in our built environment.
Abigail Chang is a designer and educator from Los Angeles and based in Chicago. Forged between academia and practice, her work is interested in subtle encounters that are driven by material qualities and details, and that respond to currents in contemporary culture.
A recent installation, Skeuomorphic Screens, examines the screen as an architectural element that singularly translates apertures, portals, and reflections. Her work has been exhibited internationally, including the 2019 Lisbon Architecture Triennale and the 2021 Seoul Biennale of Architecture and Urbanism, and supported by the Graham Foundation for Advanced Studies in the Fine Arts. She is currently Visiting Assistant Professor at the University of Illinois Chicago College of Architecture, Design, and the Arts.
Prior to starting her practice, she worked in Los Angeles, New York, Chicago, Basel, and Tokyo at architecture and landscape architecture firms including Norman Kelley, SO – IL, and Herzog & de Meuron. She has a Bachelor of Arts in Architectural Studies from the University of California, Los Angeles, with distinction, and a Master’s in Architecture from Harvard University, Graduate School of Design, where she was awarded the Takenaka Fellowship.
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Volume Gallery is pleased to announce Sam Stewart, Daisy Chain, opening September 16th from 5-8pm at 1709 W Chicago Ave, Chicago IL 60622.
Daisy Chain addresses the suburban home good, finding curiosity in its mundanity. Though not necessarily unique, the source material evokes a familiarity that can be sentimental. And yet, Stewart has recast these objects via modest shifts in scale, collapsing the American vernacular with American modernism. At what point in losing function or practicality does a chain become a screen, or a ladder a chaise lounge? And conversely, how many working details or weld marks does a designed object, or to put it more bluntly, a piece of furniture, allow for?
Positioned away from the walls, the works in Daisy Chain — a roof, a couch, a fence, a ladder, a trampoline — appear as a living room in slight disarray as if guests had moved the furniture around or, the works are just so indicatively animate.
In Daisy Chain, the roof is on the wall, its procession of miniature shingles, with its blunt bitumen glitter, recurrent and sobering. But then there are the two dormers pitched steeply downward, almost drooping. Sleepyhead undercuts its own logic with a little pareidolic joke. Extended Release is an array of vertical and horizontal oval-shaped segments that appear continuously slotted into each other at a 90-degree angle. Made of inflatable brown polyvinyl fabric, the work’s notched progression pays homage to Lincoln Logs. Stewart’s trampoline (Yeeted Image) sits tilted, reflecting the upper corner of the gallery. Privacy Screen does not really fulfill its namesake, except for at one specific spot. Made simply by welding each subsequent link, the chain stands with splayed feet, almost fantastically. Dad Joke operates similarly, an eight-foot straight aluminum ladder excised of two triangles and pushed together. The only evidence of its alteration is a lovely “stack of dimes” weld. Titled Lefty, a graduated stack of 12 lidded oval boxes, rising in a soothing selection of resins: faded burgundy, butter yellow, pewter blue, are a puckish (pudgy) homage to the bentwood originals that the Shakers made by hand.
Daisy Chain will be on view at Volume Gallery through October 29, 2022.
Image: Sam Stewart, Yeeted Image, 2022
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Volume Gallery is pleased to announce Entropic Blocks, Thaddeus Wolfe’s fifth solo exhibition with the gallery, opening November 4 from 5-8pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Wolfe is known for his innovative mold-blown glass technique, a one-shot process resulting in singular pieces that are engagingly complex. The New York-based artist’s sculptures are alternately matte and glossy, textured and smooth, with layers of color and carved linework built into the cast forms. Softly geometric, the rectilinear pieces have imperfect, rounded edges, and a hand-hewn feeling.
This new body of work features linear drawings etched into surfaces and repetitive relief work. Several new pieces take the form of a block-shaped mass of material that seemingly dissolves into a pile of rubble. Like unearthly, architectural models crumbling into decay, these pieces suggest both order and chaos. Vivid coloration of cobalt blues, deep grays, and milky whites, mottled with dashes of pink and yellow, is visible on their exteriors and through portals into the pieces’ centers.
Wolfe’s multi-step process is largely intuitive. He creates the forms thoughtfully but also embraces chance. First, he constructs each form in polystyrene foam, adding and subtracting material. He then builds a plaster mold around the form, removing the foam before blowing glass into the mold. Finally, the mold is broken away from the piece, and Wolfe carves, grinds, sands, and polishes to create the final form.
Wolfe’s inventive approach asks highly contemporary sculptural questions about form, color, scale, and space within a time-honored medium.
Entropic Blocks will be on view at Volume Gallery through December 17, 2022.
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Image: Sung Jang, Given / 2022, Granite and red oak, 79h x 41w x 32d in
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Best known for her bold wall-painted Supergraphics of the 1960s, Solomon’s signature aesthetic uses black and vermillion line, shape, and sans-serif typography at architectural scale and in her inventive works on paper.
Intended and realized as both an exhibition and a book, I DO began with Solomon’s interest in playing with letter forms. Throughout the drawings she uses iteration, allowing the letters of phrases like “I DO,” “I DO U,” and “I DO C U” to break down and be rearranged. The book’s materiality comes through in painterly question marks, tangible edges of collaged sections of text, and scribbles of Wite-Out. Each page has a hand-drawn grid as a background. Instead of erasing this compositional foundation, Solomon leaves it to give a glimpse of the underlying structure. When installed together, the sequence of pieces reveals where she has expanded letters and punctuation across pages, letting ideas extend across the installation.
As in many of her books, Solomon’s autobiography finds its way into the work. On one page, she mentions her two marriages. She uses the theme of marriage and its declarative commitment, “I DO,” as a catalyst to play with the structure of the italic sans-serif typeface, the meaningful words evolving into abstraction. As Solomon says, her interest was in the letter forms, “and what people read into it is their own problem, you know?”
I DO will be on view at Volume Gallery through April 22, 2023.
Volume Gallery is thrilled to announce a solo exhibition by renowned multi-disciplinary artist Barbara Stauffacher Solomon. A continuation of Solomon's recent focus on works on paper assembled as intentional bodies of work into books, I DO features eighty-five 8.5 x 11 works on paper crafted with Solomon's signature use of wordplay and graphic invention.
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Tanya Aguiñiga’s latest pieces are unconventional portraits–abstractions of the human experience. Cotton rope weavings with ceramic renditions of body parts woven into their rich surfaces represent the external and internal physical body as well as the metaphysical body. One piece cascades terracotta hands, another has ceramic internal organs, and another is long like a spine with woven pieces attached along its length like vertebrae. The portraits are a continuation of Aguiñiga’s ongoing weaving practice which is often layered with meaningful materials.
Los Angeles-based Aguiñiga was raised in Tijuana, Mexico, and crossed the border daily as a child to attend school in San Diego. This binational experience indelibly formed her perspective and continues to be an essential influence on her artistic and activist practices.
Aguiñiga often uses heavily symbolic materials tied to her Mexican heritage. Off-loom weaving techniques and terracotta have a rich history in Mesoamerica. Her use of unglazed terracotta objects and a slurry of the red-brown material to dye sections of cotton reference this history. Either in its shaping by stone or salt from her hands operating as a glaze–the objects act as a record of her body and of their own making. Aguiñiga’s work frequently addresses the U.S./Mexico border, whether with pieces of the border wall, performances along its edge, or activism with those affected. By using clay from Mexico and the U.S., Aguiñiga addresses colonization, commodification, and ownership of land.
Tanya Aguiñiga’s ongoing investigations of identity, place, and craft are powerful and playful abstractions of her and her community’s experience.
Swallowing Dirt will be on view at Volume Gallery through June 17, 2023.
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Protist
Volume Gallery is delighted to announce Protist, the gallery’s first solo exhibition with Jack Craig opening June 23, 2023, from 5-8 pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Jack Craig’s practice operates in acts of transformation and regeneration. Giving precious and non-precious, natural and man-made materials equal weight, his projects connect to an undiscovered world just beneath our increasingly mass-produced landscape.
The show's title, Protist references the fourth kingdom of organisms - a class of life otherwise uncategorizable plant, animal, or fungus. In Craig’s latest body of work, he introduces a series of petrified objects formed from melted synthetic carpet, sculpted into grotesquely beautiful works.
In Craig's childhood home, carpet represented a luxury. Through the economy of mass production, carpet brought an animal-like warmth and insulation into the interior. Craig arrived at design after first exploring a career as an electrical engineer developing stealth technologies. For Craig, “invention is an engine for fantasy.” His methodology combines his understanding of the scientific method with an intuitive process.
Over the past 15 years, Craig has made Detroit his home. In that time, the material language and attitude of the city made its way into his work. Carpet is often used and discarded in Detroit to pave alleyways and create weed barriers for gardens. Detroit is a place where creative solutions are necessary and where resilience and inventiveness are common amongst the population.
With these recent melted carpet pieces, Craig is leaning into unconventional use and aesthetics, finding opportunity in experimentation with the conventional and undesirable material. Craig has worked through hundreds of iterations and experiments to transform the ubiquitous material into new unidentified forms and finishes. Craig amplifies the material’s biomimicry, and like the protist, he creates new, in-between creatures posing as furniture in a domestic color palette of hard and soft tissue.
The results are intriguing feats of transformation that embrace the captivating beauty and strangeness of the unfamiliar.
Protist will be on view at Volume Gallery through August 12, 2023.
Jack Craig currently resides and works in Detroit. He was first trained as an engineer (BS and MS, University of Maryland, 2001 and 2003) and worked on stealth technology for the US Navy before pursuing degrees in design (BFA, University of Illinois, 2010; MFA, Cranbrook Academy of Art, 2012). His works – which span the categories of furniture, sculpture, and installation – source material and inspiration from industrial processes scaled down and reexamined through hand manipulation and fantasy.
Volume Gallery is delighted to announce Spirit Houses, Stephen Burks’ first solo exhibition with the gallery opening September 8, 2023, from 5-8 pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Originally hailing from Chicago, Stephen Burks’ practice has grown internationally. He consistently challenges and redefines the spaces in which design should participate in an attempt to create a more inclusive discipline. This exhibition extends concepts from his acclaimed mid-career survey, Stephen Burks: Shelter in Place, launched in 2022 at the High Museum of Art in Atlanta, and opening at the Philadelphia Museum of Art on November 18, 2023. As his first solo exhibition with the gallery and first in Chicago, Spirit Houses represents a homecoming as well as an intimate reflection on self and practice.
A series of modern altars, Spirit Houses builds upon Burks’ radical design speculation in the form of six unique typologies contemplating spirituality in our contemporary lives. The accompanying essay “On Cosmologies: Stephen Burks Approaches the Sacred” by Najha Zigbi Johnson, offers deeper reflection into the religio-spiritual origins of Burks’ newest body of work.
“As more people turn to a range of veneration practices across the globe, the necessity of creating furniture and products to meet the particular needs of modern day spiritual practitioners has emerged as a new design imperative.”
These multifaceted spirit houses allow us to engage the sacred in personal ways that are both reflective of traditional altar use and expansive in their exploration of new typologies imbued with spiritual sentience at the will of the user.
In Burks’ first spirit house, the open structure offers space for photographs, incense, and other sacred objects that honor the memory of loved ones who have since transitioned. This first altar was exhibited in memory of the late visionary, bell hooks whose friendship and teachings were very important to Burks’ practice.
Pulling from a myriad of West African and Asian religio-spiritual practices, Burks’ interpretation of the traditional spirit house exists within cosmological worldviews that affirm the dead as active, everyday participants in our world-making process. His work reflects a necessary expansion and intervention into the largely secular world of industrial design that responds to and serves our everyday needs through the creation of products, furniture, and devices. The varied forms —from a woven floor lantern, to a wall-mounted display shelf, partitioned coffee table, and ambiguous wooden container— of these works have become both physical and metaphysical portals, allowing us to place our present lives within a temporal continuum, beginning with our ancestors and ending with future generations to come, whose lives will be informed by the choices we make today.
The creation of these contemporary altars is both a meditation on the importance of the ancestral realm and a design imperative for the modern world as we increasingly look to earth-honoring and communal-based practices in response to the failures of rapid globalization, environmental degradation, structural racism, and inequity. In Spirit Houses, Burks has turned toward and honored spirit-based cosmologies while creating a new design lexicon and physicality through which we may engage the wisdom of our ancestors and honor the lives of our loved ones.
Spirit Houses will be on view at Volume Gallery through October 28, 2023. Excerpts above from Najha Zigbi-Johnson’s essay On New Cosmologies: Stephen Burks Approaches the Sacred.
Chicago native, Stephen Burks is one of the most recognized American industrial designers of his generation. Independently and through association with various non-profits, he has worked as a product development consultant in close collaboration with artisans and craftspeople in over ten countries on six continents.
He and his Brooklyn-based studio have been commissioned by many of the world’s leading design-driven brands to develop collections that engage hand production as a strategy for innovation including Cappellini, Dedon, MASS Design Group, Missoni, & Roche Bobois. His work has been exhibited internationally, including solo exhibitions at the Studio Museum in Harlem, the Museum of Art & Design, and the High Museum of Art. His works are in the permanent collections of the High Museum of Art, the National Museum of African American History & Culture, The Philadelphia Art Museum, and the San Francisco Museum of Modern Art.
Burks is the only African-American to win the Smithsonian Cooper Hewitt National Design Award in Product Design and the only industrial designer to be awarded the prestigious Loeb Fellowship at the Harvard Graduate School of Design.
His acclaimed traveling mid-career survey, Stephen Burks: Shelter in Place, will open at the Philadelphia Museum of Art November 18, 2023.
Volume Gallery is delighted to announce 1/24th, Light Over Light—the gallery’s third solo exhibition with artistic duo Petra Bachmaier and Sean Gallero of Luftwerk opening November 3, 2023, at 1709 W Chicago Ave. Chicago IL, 60622.
Petra Bachmaier and Sean Gallero of Luftwerk are known for their atmospheric explorations of color, light, and space. Their research-based practice seeks to capture the immaterial poetics of natural phenomena, illuminating our subjective and illusive perception of the existing spectrum of light. Their work engages viewers in specific sensorial moments, quotations from our world. They use gradients of colored light, pigments from the botanical world, and often draw insight from historical color classification systems. Sometimes site-specific and responsive to architecture, at other moments more sculpturally discrete, Luftwerk’s captivating work connects us with nature.
1/24th, Light Over Light features new sculptural works that channel natural light in more minimal and analog gestures than the collaborators have ventured before. Achromatic surfaces at first glance subsequently reveal radiant auras of subtly colored light. The concealed verso sides of the pieces employ surfaces painted fluorescent orange to reflect glowing ambient light on the surrounding wall.
With these sculptural works, Luftwerk intends to cast shades, to reveal gestures that capture a passage of light. The work is minimal and quiet, presenting moments to hold still. Lichtstunden (hours of light) is comprised of three wall-mounted orbs, the inner rims brightly painted to project a subtle wash of warm light. Each ring is slanted at increasing increments of 15 degrees representing the passage of the sun over one hour – or 1/24th of a day. In Bend of Day, a slightly curved rectangle of white metal appears to peel away from the wall, its edges radiating a soft orange hue onto the wall behind. A monumental planar piece arcs away from the gallery ceiling at a 15-degree angle, its fluorescent reverse casting a glow above.
In Luftwerk’s practice, color and light are not simply abstract concepts or optical effects, but are utilized as primary artistic materials. These new pieces give viewers quiet moments with light, simulations of the orange light at dawn or an hour passing in the afternoon.
Petra Bachmaier and Sean Gallero are Chicago-based artists. After meeting in 1999 while studying at the School of the Art Institute of Chicago, they formed Luftwerk Studio in 2007. Their chosen name—a combination of the German words Luft (air) and Werk (work, artwork—is meant to emphasize both the ephemeral, immaterial properties of light and the material frameworks in which it takes shape and is experienced. The concept of Luftwerk has proven a conceptual touchstone for over twenty years of artistic collaboration.
Recent solo exhibitions of Bachmaier and Gallero’s work have been organized by the Chicago Cultural Center, Chicago, IL (2022); Fosdick-Nelson Gallery, Alfred University, Alfred, NY (2022); Cheekwood Estate & Gardens, Nashville, TN (2022); Mattress Factory, Pittsburgh, PA (2021); Museum für Gestaltung, Zürich (2020); Elmhurst Art Museum, Elmhurst, IL (2019); Cleve Carney Museum of Art, Glen Ellyn, IL (2017); Arts Club of Chicago, Chicago, IL (2016); and Garfield Park Conservatory, Chicago, IL (2015). They have also realized installation projects for significant architectural sites including the Jay Pritzker Pavilion, Chicago, IL (2020); Barcelona Pavilion, Barcelona (2019); Farnsworth House, Plano, IL (2014); Ford Residence, Aurora, IL (2014); Millennium Park, Chicago, IL (2012); Fallingwater, Mill Run, PA (2011); Robie House, Chicago, IL (2010); and Netsch Residence, Chicago, IL (2019). The artists have realized numerous large-scale permanent public and private commissions in Atlanta, Calgary, Charlotte, Chicago, Harare, and Kansas City. Bachmaier and Gallero have been selected for residency programs at the Sustainability Lab at Bellevue University, Institute of Electronic Art at Alfred University, Loghaven, Montello Foundation, and Experimental Sound Studio, among others. They are the recipients of numerous awards, including those from the AIA Chicago, Graham Foundation, and Illinois Arts Council.
Read CGN's fall 2023 cover interview with Petra Bachmaier & Sean Gallero here.
Image: In-Reflection, Luftwerk, 2023
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Volume Gallery is delighted to announce Apex, a multi-generational group show of contemporary American artists working in fiber. Curated by esteemed craft specialist Meaghan Roddy, the exhibition features work by Tanya Aguiñiga, Lia Cook, Ricki Dwyer, Josh Faught, Terri Friedman, Ferne Jacobs, Michael Rohde, SHENEQUA, and Jana Vander Lee. Apex opens January 5, 2024, from 5-8 pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Apex facilitates a dialogue among nine remarkable artists working in textiles now. In this context, the word ‘apex’ refers to a meeting point for these artists, many of whom arrived at working in fiber through different media, areas of practice, or subjects of study. It also refers to the joining of the many technical and material differences, practical approaches, and the diversity of age, geographical location, identity, and cultural backgrounds of the makers in the show.
Expanding on Volume Gallery’s existing program of presenting the work of contemporary American makers whose practices hover beyond the confines of categorization, this exhibition suggests no hierarchy among technical or material uses, or among established and emerging makers. Apex presents these artists as contemporaries living and producing alongside each other, exploring the limitless potential of the same craft.
Apex is an inaugural exhibition curated by Meaghan Roddy, the first in a series of exhibitions initiated by Volume Gallery to engage the perspectives of academics, market leaders, and influential voices within contemporary art, design, and craft. Roddy’s field of interest is mining alternate art histories to tell a more complete story of American art and design, spotlighting the common through-current of craft practices and materials, their precedence, and trajectory.
Tanya Aguiñiga (b.1978) was raised in Tijuana, Mexico, and crossed the border daily as a child to attend school in San Diego. This binational experience indelibly formed her perspective and continues to be an essential influence on her artistic and activist practices. Aguiñiga often uses off-loom weaving techniques and heavily symbolic materials connected with her Mexican heritage. Her ongoing investigations of identity, place, and craft are powerful and emotive abstractions of her and her community’s experience.
Lia Cook (b.1942), a pioneer of combining weaving with technology, confronts restrictive assumptions about the separation of art, craft, science, and technology within her work. Little Tunnel B, 1989, employs dyed rayon–a fiber made from plant cellulose–sculpturally, with repeated rows of pink and gray material rolling out into space to three-dimensional effect.
Ricki Dwyer (b.1990) is a sculptor whose research into textiles and the historical trade routes, labor histories and contemporary economic theory linked therein informs the exploration of his practice. Dwyer sees his work as part of a lineage of skilled labor–his deconstructed and sculptural textile pieces embodying the intersection of personal and industrial production with the somatic. Family Limits, the Political Imaginary, 2023, is a lattice of intersecting lengths of woven black and purple material, exposing the layers of the textile structure and engaging gravity as an additional medium in its creation.
Josh Faught (b.1979) is also interested in the history of textile production especially as connected to queer and feminist histories. His assemblage work merges woven material with cultural detritus and references to resistance and survival. Souvenirs, 2022, explores the humble basket’s powerful ability to conceal and reveal, and includes baskets woven by Faught with reed and hemp, a found VHS tape, a heating pad, and a book entitled Surviving the Collapse of Society: Skills to Know and Careers to Pursue, all stacked on a pedestal housing a tower of tuna cans within a ‘hidden’ niche.
Terri Friedman’s (b.1962) colorful and gestural textiles are brimming with various materials and textures. Although meticulously planned in order to be woven on a loom, her vibrant pieces retain a sense of urgency. Friedman’s recent work is inspired by neuroplasticity–the ability of our minds to change and heal. Descriptive titles Your heart is the size of your fist, Neurons gone wild, and Laughter is Carbonated Holiness draw from the mind-body connection.
Ferne Jacobs (b.1942) began using basket-weaving techniques to make sculpture with waxed linen thread in 1970. Creating irregular rows of intricate organic forms, Jacobs is interested in the close connection between her hands and the material. She considers the time-intensive process devotional–an attempt to serve the sacred in the feminine.
Michael Rohde’s (b.1943) weavings exercise a quiet beauty. The monochromatic pieces Naiveté and Solemnity, both from a series of four works created in 2005 in response to the Bush Administration, note the characteristics desired of politicians and are among the first instances of Rohde’s use of natural dye in his textile work. Rohde’s use of house imagery in recent work, including homes that seem to disappear, addresses the impact of human and natural causes on the homes and lives of people.
SHENEQUA’s (b.1992) work celebrates her Afro-Caribbean identity and, specifically in this body of work based on the Tarrus Riley song She’s Royal, So Royal, the Black hair salon as the center of community, intimacy, and friendship. SHENEQUA uses the materials and imagery of Black hair styling practices to explore the complexities of Black women. Blonde Plaits, 2018, weaves together black cotton thread with interruptions of braided synthetic hair and hangs from an oversized bobby pin, mimicking the function of holding one’s hair down in the work’s installation against the wall.
Jana Vander Lee’s (b.1945) work is informed by her studies of Lowland/Dutch tapestry traditions, Diné (Navajo) weaving, and subatomic physics. Her geometric textiles are rife with iconography. Propensity, 2022, is part of her recent Tribute Series in which she honors figures who have impacted her career–this piece is a tribute to Theo Moorman (1907-1990) an artist weaver whose innovative techniques have inspired many.
Based in Los Angeles, Meaghan Roddy has spent over two decades working in the auction sector, most recently as Senior Vice President of Design at Phillips. She has long been an advocate for works produced in craft-based media, seeking to advance their visibility and increase the market longevity of multiple artists in the secondary market. She successfully managed multiple auctions and singular collections and continues to privately advise collectors and institutions. A frequent contributor to publications regarding the design and craft markets, Roddy has also been a guest lecturer and panelist for various organizations including The Museum of Fine Arts, Houston, Haystack Mountain School of Crafts, and Design Miami/. She was an inaugural Curatorial Fellow at the Center for Craft in Asheville, North Carolina, and is the catalog co-author and co-curator of the exhibition The Good Making of Good Things: Craft Horizons Magazine 1941-1979, which traveled nationally from 2017 to 2019. Roddy presently serves on the Board of Directors at the Center for Craft and is a member of the Design and Decorative Arts Acquisition Committee of the Los Angeles County Museum of Art.
Image: Jana Vander Lee, Propensity, 2022
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behind Thoreau’s life by a remote mass of New England water while he was sharply observing the surrounding flora and fauna for his eventually seminal book Walden. The pastoral equilibrium was his laboratory within his very particular timeframe—a simplified life in a rapidly industrializing 19th-century American landscape was the lure. But what did he fantasize about throughout those long nights? Who did he miss the most when the flowers blossomed by the pond or with the snow dressing the pine trees? When did he question the plausibility of his determination when wildlife roamed around his home?
The naturalist philosopher’s book partially lifts the curtain to some of the unknowns during his lonesome lodging, but some mysteries are never to be unveiled—and like a tulle lace over an allusive face, the very agent of the enigma can indeed lend itself to beauty. Anders Herwald Ruhwald’s fifteen ceramic Thoreau busts—each titled My head in your head - Forehead, Nose variation, do not seek answers; they rather wander through the fulfilled curiosities as well as unanswered urges of man who strived for a return to the nature within a rapidly transforming society. The sculptures radiate light in their blinding sheen and bewilder with their generously shed humanoid features. They are monuments of innate failures and earned glories of the human drive—of men who have taken up the chivalry of explorerdomfor what they are convinced is awaiting discovery out in the wilderness.
The self-proclaimed scouter archetype is abundant across the dusty spines of the encyclopedias. Among those who punctured the lands and their people with entitled intrusiveness, some even had their monuments placed in cities around the world. Thoreau was not such a man—he was rather more of a romantic, a benign nose-poker into the equilibrium. He was an early cut of the curious modernist, always adventuring into the more difficult trail to plunge himself deeper into the wild. Flexing the muscles of his masculine genealogy with a dare against Mother Nature was perhaps a part of the thrill as well. He was the original urban camper, the city animal in desperate need of an oxygen getaway. But Thoreau was also a daydreamer, perhaps a little naive about his expectations from the pond life. His curiosity remained kinetic against the insistent placidness of the water. A well of possibilities was perhaps what he saw looking deeper into its subtle undulations.
In Herwald Ruhwald’s busts, Thoreau is represented in a broad color palette. Nature’s own hues, such as azure, teal, ebony, and olive, wash the breakable musings of his likeness. The liquid finish of the ceramic surfaces resembles the pond’s dancing first layer, as much as a mercurial elixir sculpting itself into an army of emotion-free heads. Beyond the neutrality of their absent features, they are alchemies of seriousness and irony, of the funny and the absolute. The sculptures are anti-monuments; towered by us, they are vulnerable, not only for their fragile materiality but through their stripped-down emotions.
The display at the gallery urges us to meander through them; we fluctuate between amusement and pity for their shiny aloofness. The realization of a probability begins to linger: the busts might be us as much as Thoreau. Like blank canvases waiting for the painter’s generous brushstroke, they are available for us, to be completed with our own über-modern Homo sapien fascinations and delusions. Today, whispers of an inviting nature are what we yearn to hear, the rubbing of the leaves to each other, and the birds’ chirping of the spring songs. Each blank visage is one of us, shopping at a high-end camp gear store or booking the next glamping escapade. Look behind our grid posts and dinner party small talks where the earth suffers through her unfolding collapse.
Herwald Ruhwald does not seek answers—or he even avoids the questions. He instead lights up small fires alongside his busts. Four gently slim and generously stretched candleholders, each titled Bee Stump, are peppered around, with candles slowly burning their beeswax bodies. A sign—of a cycling life; of a rustling blaze; of an innate curiosity—the fire releases the immediacy of the moment as well as the slow demise of the honeybees’ bearings. The freely wavering surfaces of the glazed sculptures bud the slippery beeswax. The material transformation, however, blossoms in Pond Tree. This is a life-size glazed ceramic sapling with quintuple limbs that loosely tangle towards atop. Like a glorious wise tree, its serpentine branches are woven to forever unity. The knot is gently interrupted by a roll of red-dyed string tied on its end to a terra-cotta stone fragment that the artist found on one of Lake Michigan’s beaches. The show’s only singular work pays homage to a chapter in Thoreau’s book where he attempts to disprove the local belief that Walden was bottomless, immediately ensued in the text by the author’s own pondering about how our mind is in fact our very own endless pond. The winding red string hugs the ceramic arm like a desperate shipwreck survivor, or a snake cunningly sneaking around a branch. The sanguine thread is a lifeline through nature’s processes: a fibrous vein of softness touches the breezy surface of a once wet clay monumentalized forever by the vehement fire.
By Osman Can Yerebakan
Anders Herwald Ruhwald (born 1974, Denmark) lives and works in Chicago and Detroit. He graduated from the Royal College of Art in London in 2005. Ruhwald has had more than 30 solo exhibitions in the last 20 years in museums and galleries around the world including Indianapolis Museum of Art (USA), Middlesbrough Institute of Modern Art (UK), The Museum of Art and Design (Denmark), Casa Museo Asger Jorn (Italy) and MOCA Cleveland (USA). During the same time his work has been shown in more than 100 group shows at venues like Yerba Buena Center for the Arts (San Francisco), Fondation d’entreprise Richard (Paris), Denver Art Museum (USA), Taipei Yingge Museum (Taiwan) and Kunsthal Charlottenborg (Copenhagen).
In 2019 Ruhwald opened the permanent installation, “Unit 1: 3583 Dubois,” inside an apartment on Detroit’s east side. Ruhwald worked for six years on this immersive 7 room installation which considers the effects of fire in the context of the domestic and intimate. The installation is supported by the Knight Foundation, the Graham Foundation, the Danish Art Foundation, and the Gilbert Family Foundation.
Ruhwald's sculptures are represented in over 25 public museum collections including The Victoria and Albert Museum (UK), Los Angeles County Art Museum (USA), The Denver Art Museum (USA), The Art Institute of Chicago (USA), The Detroit Institute of Art (USA), Philadelphia Museum of Art (USA), Musée des Arts Décoratifs (France), The National Museum (Norway), The Museum of Art and Design (Denmark), and Taipei Yingge Museum (Taiwan).
Image: Anders Herwald Ruhwald, My head in your head - Forehead, Nose variation #9, 2024
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FRIDAY, APRIL 12TH, FROM 5-8 PM
Across a suite of new works featuring the artist’s woven compositions of painted paper, Matson’s geometric abstractions allude to the history of the use of textile as a storytelling device. At once suggestive of either vast landscapes or closely observable patterns in nature—like the silhouette of mountains visible from a distance, or pebbles magnified under the clear glass surface of a slow flowing stream—the artist’s cellular and organic forms exact a realm where macro and micro phenomena coalesce. Through a material-forward and process-oriented approach, the colored lines of the artist’s handwoven tapestries are intertwined with that of the blank warp, resulting in optically mixed desaturated fields. The artist’s palette, muted hues of dusty blue, faint apricot, and warm earthen tones, adopt the influence of the Los Angeles-based artist’s immersion in Southern Californian light—bleached out apparitions weft into the structure of the image itself.
The simplicity of Matson’s geometries are redolent with familiarity yet remain indistinct, a tension created by the relationship of each form in proximity to the next, which either reinforces or dissolves the picture plane. Beginning with delicately drawn studies in oil pastel, characteristic gestures where certain gaps in the toothed texture of the paper are left uncovered by the artist’s hand, Matson translates these images through an intricate system of codes manually programmed onto a Jacquard loom. Together, the sequences of binary code and the pastel sketches act as a type of preparatory drawing that serves to map the final (doubly wrought) work on paper: hand-painted rolls of flat paper ‘string’ in place of the skeins of yarn conventionally associated with weaving. Performing this highly specified method to create each piece, Matson interacts with a language lost to industrialization while developing new vocabularies.
Aside from form, color is the primary marker that signifies Matson’s references—in Sunrise Moonrise (2023), a pale-yellow half circle touches an inverted swath of deep brown to establish a horizon reminiscent of land and sky, though if the form represents a coming day or night is left ambiguous. The artist’s interrelated compositions rarely lead viewers to a place of pure abstraction, instead maintaining discernable patterns amid their geometry. In Fiddlehead (2023), curving lines of lavender and tan encircle the top left of the woven image against passages of verdant greens. Indicative of the growth pattern of the fern species referenced in the title, one of the most well-known manifestations of fractals that can be found in nature, the implications geometry holds within Matson’s work relates to theories of self-similarity—recurring forms in which each component exists as a reduced-scale replica of the entire pattern. The earliest examples of these mathematical illustrations were created by artists in ancient civilizations, far before Euclidean geometry could prove their complex symmetries. While the discovery of these patterns, now known as wallpaper groups, occurred across remote continents—the tessellations and tapestries of interlocking forms arising from Mesopotamia to Japan—the human desire to transpose universal models found in nature find their lineage in textile.
Employing the same technique across each composition, Matson collapses the image and its substrate, which allows representation to manifest through the pattern’s physical construction. The images within her work are built through personal, as much as collective, memory. “There is comfort in looking back in history and seeing yourself in someone’s dream,” says Matson. Similarly, the relationship to language that the roots of textile possess—the term textilis in Latin refers to letters woven together—are furthered in Matson’s work, such as in the ‘scroll’ depicted in the fern’s stage of unfurling in Fiddlehead, among other references. The East Put Out a Single Flag (2023) similarly nods to text, lifted from a line in Emily Dickinson’s poem A drop fell on the apple tree, which lithely personifies the correspondence of different forces in nature. Featuring the recurring shape of the yellow sun-moon, quilted forms of cool-toned color appear patched upon the warm ground. Suggestive of an aerial view, this semi-flattened perspective is mirrored in Hills End (2023), the most formally restricted work on view in the exhibition.
As the title of the exhibition infers, a reference to Joni Mitchell’s eponymous song Both Sides Now, the attribution of meaning is a question of relative perception, of what side you are looking from. For example, the difference in seeing clouds while standing on the grass or from the window of an airplane. Or how we identify with causes in moments of crisis. Sometimes we have the benefit of perspective, though we often don’t. Place is everything. In navigating where we stand, the expression of metaphor finds reflection in nature: the sunrise climbs over the water on the east coast, while sun sets into water in the west. While reversed, both experiences are true. If your flight leaves from Chicago to Los Angeles at the right time, you will experience the longest sunset—perpetually glinting, as if the plane were threading itself across the weft of a glowing loom from one side to the next.
By Stephanie Cristello
Christy Matson lives and works in Los Angeles, CA. Recent solo exhibitions include Philip Martin Gallery, Rebecca Camacho Presents, The Milwaukee Art Museum, Cranbrook Art Museum, which featured a special commission for the US Art in Embassies Program, and the Long Beach Museum of Art. Her work has been in dozens of group exhibitions including the Bakersfield Museum of Art, Contemporary Arts Museum, Houston, the Renwick Gallery of the Smithsonian Museum, the Craft and Folk Art Museum Los Angeles, the Asheville Art Museum, and The Knoxville Museum of Art. Matson’s work is in the permanent collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Cranbrook Art Museum, The Milwaukee Art Museum, and the Smithsonian Museum of American Art’s Renwick Gallery. In 2012 Matson was tenured and appointed as Associate Professor of Fiber and Material Studies at the School of the Art Institute of Chicago.
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reconstruct a thing in their mind. Experiences, objects, people, places can all be described, well or poorly, though a bad description is not necessarily unfruitful, and a good one not necessarily enjoyable. In fact wondrous things have often come from inexact descriptions, such as Blake’s illuminated prints or the creatures drawn in medieval manuscripts. A description can be boring, but it need not be. It can describe the physical or the immaterial, mundane or fantastical and the describer is not obligated to distinguish between the two. Matt Paweski is a virtuoso describer in form and his latest work plays this interpretive game of telephone with the work of the great Austrian designer, master of ornament, and energizer of the second phase of the Wiener Werkstätte, Dagobert Peche.
Matt Paweski’s engagement with Peche enters into the historical dialogue between craftsmanship and mass production, between ornamentation and austerity. This form vs. function conflict would define the production of the modern era, causing the association of reduction with refinement. Paweski’s project is to recover what was lost in the overzealousness of this attitude. His Polished Gourd for instance, alludes to Peche’s 1920 whimsical silver Box in the shape of a pumpkin, a box which truly evades the common understanding of box-ness. In Paweski’s hands, Peche’s sensuousness enters back into the rigidity which often defines machined processes.
A common critique of Peche’s designs was that in all their ornament, they did not adequately suggest their own use. A critic of Peche’s contributions to the 1920 ÖMKI exhibition remarked: “Peche’s works lack the chief component of all craftsmanship: a simple comprehension of what is required to fulfill a given purpose and how to give it artistic form. And with its soundness, the vital force of something natural.” Perhaps what this particular critic was responding to was the reappearance of the gap between reality and effect, hand and eye.
Writing about Peche’s metalwork, Elisabeth Schmuttermeier says “In contrast to Josef Hoffman whose artistic roots were in architecture, Peche could not disguise his bent for drawing.” Paweski’s sculptures take a similar view of drawing—it is the base for further realities, for sculptural forms that while inescapably dimensional, could nonetheless be called graphic. They alternate between an almost cartoon toylikeness (calling to mind the old Looney Tunes gag of a character being run over, only to peel themselves up like newsprinted silly putty off the road), and the most refined, pristine dinnerware, which would not be out of place in Werkstatte patron Fritz Waerndorfer’s service. Paweski’s process of drawing, creating template shapes, and then making working models in cardboard re-enchants the hardness of aluminum through the use of more malleable stand ins.
Each of Paweski’s sculptures feature smooth, impossible, compact surfaces—like organs, faces, or household objects, solid but not dense, prominently featuring their own voids, meant to fit in a given space or be easily hefted by the hand. His titles often hint at possible subjects (bonnets, vessels, bouquets, gourds, cuffs, timepieces, lamps, shelves) but more often they are hybridized; crossbred between animal, vegetable and mineral. There is a working atomism behind them, that out of a limited palette of materials, an abundance of forms can come into existence.
Paweski’s forms suggest a kindred fascination with sea creatures, especially those—mollusks, oysters, snails—which refuse to present a coherent inside and outside, that insist upon their own labrynthianess. Paweski’s sculptural surfaces partake in mollusk logic. At first glance, you believe you could explain them simply, as if to a child, but when you attempt such a description, they evade your geometric vocabulary, your mental catalog of color swatches, your encyclopedic knowledge of fastenings, your comprehensive dictionary of finishes. Paweski’s table setting places these disparate “descriptions'' in proximity to each other, spilling them out onto the tabletop, somewhere between the tipped bucket of a child’s collection of curiosities from a day in the tide pools, and the carefully laid out elements of a glimmering Peche tea service tray.
The table is the site of discussion, of studying, of work, of unconcealment. It is an agreed upon form and forum for hashing things out. The term “table setting” itself suggests a set pattern, a way of laying down the basic serving elements so that culinary invention can happen on top of them. It is the embodiment of Gustave Flaubert’s famous quote in his letter to Gertrude Tennant: “Be regular and orderly in your life like a bourgeois, so that you may be violent and original in your work.” Counterintuitively, a repetition of base forms is necessary for discovery
This is why patterns and templates have a long history in architecture and the decorative arts, they are proven and translatable forms which work over and over again. Any graceful curves or surprising reversals are presaged by flat templates that hang in stacks on shop walls, each waiting in the wings to perform. These patterns, jigs and templates along with saws, files and burnishers are a hidden vocabulary, similar to the cartoons of the Renaissance masters, drawings at full scale with their lines perforated and pounced with pigment onto the final canvas. They are the workaday techniques that produce the enchantment of the final object.
It’s just that word, “enchantment,” that best describes Paweski’s table setting, a word that implies the impossibility of being pinned down and a failure of the senses to grasp just what it is that captivates us. In his sculptures’ relationships to each other and to the external world, Paweski “takes the side of things,” he revels in their inability to be completely encompassed by description. The table becomes a metaphor for an array of references, but most importantly, it becomes the place of presentation, where the viewer must make of them what they will.
by Darling Green
Matt Paweski (b. 1980; Detroit, Michigan) lives and works in Los Angeles. He received an MFA from Art Center College of Design, Pasadena, CA. Paweski is represented by Gordon Robichaux, New York and Herald St, London.
He has presented solo exhibitions at the Wadsworth Atheneum Museum of Art, Hartford, CT (2023); Gordon Robichaux, New York (2021 and two-person with Sanou Oumar, 2018); Herald Street, London (2020, 2017, 2014); Octagon, Milan (2019); Park View / Paul Soto, Los Angeles (2018); Lulu, Mexico City (with Ella Kruglyanskaya, 2018); Ratio 3, San Francisco (2016); and South Willard, Los Angeles (2015, 2013, 2012).
Group exhibitions include White Columns (curated by Mary Manning), New York; La MaMA Galleria (curated by Sam Gordon), New York; Wallspace, New York; Parker Gallery, Los Angeles; South Willard, Los Angeles; Octagon, Milan; Librairie Yvon Lambert, Paris; Palais de Tokyo, Paris; kurimanzutto, Mexico City; and Goldsmiths, London.
His work has been reviewed and featured in numerous publications, including The New Yorker, The New York Times, Apartamento, Mousse, Contemporary Art Review Los Angeles, Contemporary Art Daily, Artforum, Los Angeles Review of Books, Artnet, Dwell Magazine, Art in America, Flash Art, and New York Times T Magazine. In 2020, his first monograph, MP.19, was published by Zolo Press.
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Volume Gallery is delighted to announce Of human feelings, Ross Hansen’s third solo exhibition with the gallery opening September 6, 2024, from 5-8 pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Excerpts from an essay by Matt Olson, founder of transdisciplinary studio OOIEE (Office Of Interior Establishing Exterior), written following a conversation with Ross Hansen, Summer 2024:
On paper, Ross Hansen and I share a fair amount of biography, we both work with the landscape – plants, trees, soil, stone, light, rain, seeds, humans, communities, collaborative aesthetics, etc. We both work with objects that share proximities to art, design, and architecture, but that we loosely call furniture. So I was happy to be invited to think and write about his new exhibition at Volume, Of human feelings, a group of gorgeous, large, haunted sculptural lamps which were, in part, inspired by childhood memories of an “oil rain lamp” his grandmother had. My grandmother had one too! I guess they were somewhat common in the 60s/70s. Fake brass, about 24” tall, and in the center there’s a Venus sculpture surrounded by nylon strings that, when turned on – besides being a light – heated oil circulates and runs down the strings creating a visual “rain-like” effect. Totally gaudy. Gauche. Ridiculous. When I finally saw photos of Ross’s lamps in his Los Angeles studio, they were literally beautiful and stunning, and I couldn’t connect the two.
Then a few days later, I had a super fun call with Ross. I’d had too much coffee, as usual, and started breathlessly ranting about “oil rain lamps” not really being lamps at all, but rather, these strange stages, almost like a set for a performance we couldn’t understand that would complete itself much later on if at all, a strange plinth of fiction, an odd spectacle, and container for memories. I kept asking about his grandma and eventually, he said with a little concern, “This work isn’t really about my grandma, though.” Which I totally knew. But a space started to open that I trusted. A space of scrambled, messy layers of memories and care that flash with realities (and whatever their opposites are) in: the now.
As a somewhat serious meditator, after a while, meditation seemed to return me back to that same space but with something new every time. Maybe, like Rilke said, “I live my life in widening circles.” The most consistently rich area for exploration in all this has been questions around origination, emergence, inspiration, influence, and their real and imagined edges. I believe in an aliveness of things. That we are and aren’t separate from what we encounter in each moment, and we’re actually not really so separate from each other… We do experience different perceptions through what we call self, but my understanding is getting bigger and messier as I travel, not more defined. If the universe is expanding in each moment, we are too. And at the furthest detectable proprioception where we might imagine we’re separate, we’re actually an entropy of entanglement and connectivity – like weather. Donald Winnicott believed that the psyche exists not inside of us, but between us? Bothness?
I think I first started seeing photographs of Ross Hansen’s work about seven or eight years ago. I loved it right away, truly, and that’s something that’s become increasingly rare for me. Over the last 25 years as photos of art, architecture, and design have proliferated on the internet (and everywhere) and the pace of their distribution keeps accelerating, it’s only natural for a sort of “tolerance” to emerge, a “familiarity” that dulls and can make it harder to locate alivenesses through sight and thought alone. But something about Ross’s work stood out – I think I want to use the word gently, though that feels odd – and it left itself quietly unresolved in different ways each time I saw it. What is it that causes that longing to engage?
Sarat Maharaj describes a way of making and seeing that produces “a marker for ways we might be able to engage with works, events, spasms, ructions that don’t look like art and don’t count as art, but are somehow electric, energy nodes, attractors, transmitters, conductors of new thinking, new subjectivity and action that visual artwork in the traditional sense is not able to articulate.” Good work can do this, even in photos, inviting us forward, borrowing our awareness of reality for a moment as they appear, and then living with and in us as we go forward. That’s such a great feeling! You know what I mean? And even though it makes me a little anxious to ask you to come along with an unknowable, often intangible journey… while you look at these lamps and experience joining them, you resist attempting to place them in that static illusion of identity and memories which is made of everything we call “self”…
So what does all this have to do with the lamps in Of human feelings? Literally, everything. Because like the “oil rain lamp,” they’re alive and traveling through time as part of us, not separate. They’re very much still becoming themselves. Design has often been plagued by habitual ties to rationalism and functionalism which get reinforced by linear, hierarchical stories that academia and institutions like to tell in authoritative tones, but are only partly true – or temporarily true – because like us, and like weather and anything else... everything is always changing all the time. So, as Ross’s work seemed to invite me to come closer and forget old stories, I’m inviting you to open to a widening circle of how you think about lamps.
We know now that the function of language is not to inform, but to evoke. So can we make a pact? Can we agree to remember that, in truth, it’s not design; it’s not art; it’s not this, nor that; not speech, not silence; there's no me, no you; so it’s always the same: however you approach it, whatever you call it, whatever you think it is you want... you are mistaken.
—
Of human feelings will be on view at Volume Gallery through October 26, 2024.
Ross Hansen is a designer based in Los Angeles. He received his Bachelor's in Landscape Architecture from Iowa State University, followed by an MFA in 3D Design from Cranbrook Academy of Art.
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Catch Ross Hansen's exhibition, Of human feelings, at Volume Gallery this weekend as part of the second annual Chicago Exhibition Weekend (CXW 2024) featuring 50 participating galleries and creative spaces across the city, spotlighting Chicago’s vibrant cultural landscape and artistic spirit for locals and visitors alike. The weekend will bring together art collectors, enthusiasts, and local community members to engage with Chicago’s cultural community, helping artists and gallerists cultivate new collectors, broaden their audiences, and heighten global visibility for the local arts ecosystem. More about participating galleries here.
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While the works in the exhibition are impactful independently, they are greater than the sum of their parts. Their power is exponential. On a material level, the woven objects embody power in numbers as Dwyer brings individual threads together to make a more robust substrate. Each painting is a swatch of a repeat pattern only genuinely discernable when placed within its corresponding triptych. As the picture becomes whole, their conceptual underpinnings become amplified. What at face value may appear serene and passive starts vibrating with potential energy.
Distorted letters that read “IMPERIAL BOOMERANG” stretch across the edges of one of the triptychs. This theory, best elucidated by Michel Foucault in 1976, underscores how inevitably domestic policing will mirror the militarized tactics of control governments employ overseas. This concept, gaining momentum among organizers, is an anchoring theme for the show’s impetus to prompt people to reject passivity and instead demand change. The rest of the paintings create visual and narrative echoes reverberating Dwyer’s insistent question: how long until we come together to do something about it?
Dwyer’s paintings are further imbued with meaning through the dying process he has developed based on chromatography, a chemical analysis in which the components of a mixture are separated through a fluid solvent towards a solid substrate. The artist dips his textiles into synthetic dye baths, which spread upwards through capillary action and split into various colors, creating a gradient. Dye particles have different molecular agencies, causing them to move at varying speeds and distances. For example, the Brillant Blue particles within the purple dye Dwyer used to color one of the triptychs move farther and faster than any other dye particles. This chemical process mirrors the spread of humanity in nature and how some people are quicker to act than others. Dwyer has painstakingly tested many dyes to study their behavior. The result is a delicate balance between human control and material agency.
A sculptural “footnote” accompanies each triptych. Dwyer refers to the grouping of four sculptures as a constellation because, while vastly different, they share the same DNA. Made of a single swath of textile, he cuts it into fragments and then gives them form. The sculptures have a bodily quality with metal skeletons and extremities, providing structure to the soft fiber. As Dwyer puts it, they represent “action rendered in form.” Their creation is catalyzed by intuitive feeling and a haptic understanding of materials rather than intellectual drive.
Hung on the wall with nails, one sculpture features a cast aluminum bat representing intuitive navigation of the world. Like the bat uses sonar, the artist engages in care and empathy. Another sculpture features plaques referencing Joseph Campbell's A Hero’s Journey as a critique of the trope in the Western epic canon prescribing a course of action as an individual pursuit that only a “chosen one,” typically a boy or man, can take.
Two other triptychs have varying levels of distress, physically representing the metaphorical decay of social fabric. The aesthetic deterioration has been carefully planned, designed, and woven into the textile by Dwyer, underscoring how the erosion results from actions and decisions made by people who can be held accountable rather than external uncontrollable factors. Stretched onto the canvas and held together by nails, a nod to Miyoko Ito’s work, the paintings convey instability and impermanence.
Dwyer stresses that the “call is coming from inside the house” with the last triptych. He has woven David Wojnarowicz’s The Burning House from 1982, a passionate protest against the oppression and marginalization experienced by those affected by the 1980s AIDS epidemic due to the mismanagement and lack of action of the government. While the iconic reference is abstracted across three panels, coupled with Dwyer’s dyeing technique, where a deep rust at the bottom edge spreads into sepia-toned wash, the incendiary imagery and ethos are hard to miss.
However intricately layered with references to literature, theory, activism, and art history, Dwyer's work is, you will feel it first and understand it later. For him, “abstraction is a tool of feeling intended to challenge the patriarchal supremacy of intellectual knowledge over visceral knowledge.” In the end, what prompts action? Is it feeling? Is it thought? Dwyer argues it’s both, together. With a web of threads laden with anxiety about the state of the world, Dwyer dares us to become a mobilizing force.
—Angelik Vizcarrondo-Laboy
Ricki Dwyer is an artist from the San Francisco Bay Area, currently working in Brooklyn. His practice considers the intersections of material, industry, and the somatic. His work acknowledges drapery as the negotiation that things never fall the same way twice. Dwyer has shown extensively throughout the U.S. as well as internationally. In 2022, he had solo exhibitions with Anglim/Trimble in San Francisco, Rupert in Lithuania and participated in the Biennale de Lyon in collaboration with Nicki Green. His most recent text, Decennial, on weaving as a metaphor for mutual aid was published with The Wattis Institute of Contemporary Art. He has been artist in residence with Recology, Jupiter Woods Gallery in London, The Textile Arts Center in New York, ARTHAUS Havana, and most recently in the foundry of Kohler Co, in Wisconsin. Dwyer is currently a Bronx Museum AIM Fellow and teaches with Parsons School of Design. He received his undergraduate degree in Fibers from the Savannah College of Art and Design and an MFA from UC Berkeley.
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Volume Gallery is proud to announce This is Not a Plate, an exhibition of the subversive and humorous plates by the late Howard Kottler, opening January 10, 2025, from 5-8 pm at 1709 W. Chicago Ave., Chicago, IL 60622.
Born in 1930 in Cleveland, Ohio, Howard Kottler would go on to complete a Master of Fine Arts degree at Michigan’s historic Cranbrook Academy of Art under Maija Grotell and a Doctorate in ceramics from Ohio State University. Following a Fulbright grant to study in Finland at the Arabia ceramic factory, Kottler pivoted to embrace readymades and photocollage, techniques favored by Dada and Surrealism. Wielding his unique sense of humor, Kottler found his voice creating visual double entendres on mass-produced porcelain blanks, collaged with rearrangements of clichéd imagery. The artist focused on decal plates from 1966 through the 1980s, producing a limited body of about 250 works, the majority of which are unique.
Kottler was an influential teacher at the University of Washington in Seattle from 1964 until his passing in 1989. He frequently visited the Bay Area and was profoundly influenced by the thriving counterculture of 1960s San Francisco. As a gay man at a time when much of gay culture was still driven underground, he was inspired by the counterculture’s rejection of mainstream society to express his sexuality and sarcastic wit through his work with visual codes and signals.
The craft culture on the West Coast at the time was dominated by expressionism and Funk, as exemplified by Peter Voulkos and Robert Arneson. Approaches so far afield from the wry cultural commentary of artists like Warhol—whom he greatly admired—that it propelled Kottler to invent an entirely new visual language to contain his humor, becoming a notably rare artist using the clean, repetitive, and seemingly impersonal sensibilities of Pop within a ceramic context at the time, rankling the studio ceramics community.
Kottler began collaging with commercially available decals onto blank plates in 1966, reinterpreting iconoclastic imagery to take on nationalism, religion, the Western art historical canon, heteronormativity, identity, and desire. He used famous images to create puns and innuendos with astounding wit and visual literacy. Whether cutting away sections, interchanging or repeating parts of the same image, or combining different images, his versions layered meaning and offered coded suggestions. Under the guise of innocuous dinnerware, Kottler’s decal plates are rife with anti-establishment sentiments.
An image Kottler used in many permutations was Sir Thomas Gainsborough’s eminently recognizable The Blue Boy (1770). Often linked with Thomas Lawrence’s Pinkie (1794), as an iconic heterosexual pairing (him in blue, her in pink) Kottler sought to remix this famous duo. He would sometimes pair or double the boys as an image of same-sex partnership, and sometimes emphasize the titular text, “blue,” to draw attention to its additional meanings.
Howard Kottler’s plates toy with familiar visual signs, shifting the meaning of pervasive images with minor alterations. Trafficking in the language of glossy collectibles, but imbued with humor and narratives of liberation, in many ways, Kottler’s decal plates were ahead of their time.
This is Not a Plate will be on view at Volume Gallery through February 22, 2025.
Howard Kottler (1930-1989) was one of the West Coast ceramicists who helped to redefine the entire field of contemporary American ceramic art. Born in Cleveland, Kottler earned a Bachelor of Arts degree in biological sciences in 1952, a Master of Arts in ceramics in 1956, and a Doctorate degree in ceramics in 1964, all at Ohio State University. He studied with Maija Grotell at the Cranbrook Academy of Art., where he earned a Master of Fine Arts in 1957. That same year, he was awarded a Fulbright grant for study in Finland. Before moving west in 1964 to teach at the University of Washington in Seattle, Kottler created traditional ceramic work. Exposure to California funk-a new movement that rejected established art theories-gave Kottler license to use his art to satirize American culture. In his subsequent work, Kottler applied glazes and decals to ready-made ceramic objects, rarely modeling and casting his clay.
His work is included in important public collections including Cooper-Hewitt Museum, New York, New York, Cranbrook Academy of Art, Bloomfield Hills, Michigan, Detroit Institute of Art, Detroit, Michigan, Los Angeles County Museum of Art, Los Angeles, California, Metropolitan Museum of Art, New York, New York, The Museum of Ceramic Art at Alfred, Alfred, New York, Museum of Fine Arts, Boston, Massachusetts, National Museum of Modern Art, Kyoto, Japan, Portland Art Museum, Portland, Oregon, Renwick Gallery, Washington D.C., Seattle Art Museum, Seattle, Washington, Victoria and Albert Museum, London, England, and the Whitney Museum of American Art, New York, New York.
Image: Howard Kottler, For the Record, 1981. Photo: PD Rearick, Courtesy Paul Kotula Projects
Volume Gallery is pleased to announce Shape of Land, an exhibition of new paintings and objects by Sung Jang, opening Friday, February 28, 2025, from 5 to 8 p.m.
Sung Jang’s paintings reflect a complex and evolving dialogue between Eastern and Western traditions. The minimal continent-like shapes allude to the boundaries of unknown rivers and mountains. Textured with inked sand, the abstractions embrace painting’s unique ability to be simultaneously illusory and material, depictive and plastic.
One of the central inspirations for this body of work are the subjective and imprecise world maps of Korea’s Middle Joseon period of the 18th and 19th century. These maps, more artistic renditions than precise guides for navigation, depicted both geographically and culturally distant lands. Imaginative interpretations of place, they resonate with Jang’s exploration of memory and identity. With these paintings, he obliquely depicts meaningful locations from his personal history, drawing from memories of landscapes he's traversed.
In his Shape of Land paintings, including a new six-panel screen, Jang merges diverse geographies and time periods into single, unified compositions. By blending distinct locations and memories, he creates multidimensional landscapes. The painted shapes function as cartographic forms and abstract representations of natural landscapes, offering multiple viewpoints and inviting the viewer to experience time and space in a non-linear, layered manner. Jang is developing a visual language that captures the fluidity of memory, place, and identity, while also honoring the traditions that have shaped his perspective.
Sung Jang’s Given pieces are symbiotic combinations of found stones and wood bases. He constructs bases that act like pedestals, highlighting the beauty of the found stones. With their light touch, the pieces reflect a traditional Korean dynamic with nature, one of appreciation and respect. Jang is interested in honoring the condition and history of the stones just as they are, marking the stones with the latitude, longitude, and time of where and when he finds them.
Sung Jang’s unique perspective, combined with an instinctive understanding of materials, reflects his interest in nature and the intricate relationship between humans and the natural world.
Shape of Land will be on view through April 12, 2025.
Sung Jang is a graduate of the School of the Art Institute of Chicago with a fine arts degree and Domus Academy in Milano with a Masters in Design. Sung began his design career in Milano at Samsung Design Milano before taking on a teaching career as a faculty at the School of the Art Institute of Chicago’s Designed Objects program. Since 2013, Sung has served at the University of Illinois at Chicago’s School of Design as an Assistant Professor and Director of Undergraduate Studies to the Industrial Design program. Sung has worked with international brands such as Louis Vuitton, Guzzini, and Roche Bobois and been represented internationally at Venice Biennale, Design Miami, Victoria and Albert Museum, Volume Gallery, Armory Show, Chamber NYC among others.
Through his design and research practice, Sung Jang Laboratory, Sung strives to compose works that carry significance beyond functional extent which display and initiate dialogues regarding design’s roles and capabilities in social, cultural, emotional, artistic realms. One of Sung’s research interest is to understand and articulate qualitative attributes such as beauty, elegance, and extravagance in clear set of insights as methodology for design. In parallel to the independent practice, Sung serves as a partner in Article, LLC, a design consultancy based in Chicago.
Volume Gallery is pleased to announce Shape of Land, an exhibition of new paintings and objects by Sung Jang, opening Friday, February 28, 2025, from 5 to 8 p.m.
Sung Jang’s paintings reflect a complex and evolving dialogue between Eastern and Western traditions. The minimal continent-like shapes allude to the boundaries of unknown rivers and mountains. Textured with inked sand, the abstractions embrace painting’s unique ability to be simultaneously illusory and material, depictive and plastic.
One of the central inspirations for this body of work are the subjective and imprecise world maps of Korea’s Middle Joseon period of the 18th and 19th century. These maps, more artistic renditions than precise guides for navigation, depicted both geographically and culturally distant lands. Imaginative interpretations of place, they resonate with Jang’s exploration of memory and identity. With these paintings, he obliquely depicts meaningful locations from his personal history, drawing from memories of landscapes he's traversed.
In his Shape of Land paintings, including a new six-panel screen, Jang merges diverse geographies and time periods into single, unified compositions. By blending distinct locations and memories, he creates multidimensional landscapes. The painted shapes function as cartographic forms and abstract representations of natural landscapes, offering multiple viewpoints and inviting the viewer to experience time and space in a non-linear, layered manner. Jang is developing a visual language that captures the fluidity of memory, place, and identity, while also honoring the traditions that have shaped his perspective.
Sung Jang’s Given pieces are symbiotic combinations of found stones and wood bases. He constructs bases that act like pedestals, highlighting the beauty of the found stones. With their light touch, the pieces reflect a traditional Korean dynamic with nature, one of appreciation and respect. Jang is interested in honoring the condition and history of the stones just as they are, marking the stones with the latitude, longitude, and time of where and when he finds them.
Sung Jang’s unique perspective, combined with an instinctive understanding of materials, reflects his interest in nature and the intricate relationship between humans and the natural world.
Shape of Land will be on view through April 12, 2025.
Sung Jang is a graduate of the School of the Art Institute of Chicago with a fine arts degree and Domus Academy in Milano with a Masters in Design. Sung began his design career in Milano at Samsung Design Milano before taking on a teaching career as a faculty at the School of the Art Institute of Chicago’s Designed Objects program. Since 2013, Sung has served at the University of Illinois at Chicago’s School of Design as an Assistant Professor and Director of Undergraduate Studies to the Industrial Design program. Sung has worked with international brands such as Louis Vuitton, Guzzini, and Roche Bobois and been represented internationally at Venice Biennale, Design Miami, Victoria and Albert Museum, Volume Gallery, Armory Show, Chamber NYC among others.
Through his design and research practice, Sung Jang Laboratory, Sung strives to compose works that carry significance beyond functional extent which display and initiate dialogues regarding design’s roles and capabilities in social, cultural, emotional, artistic realms. One of Sung’s research interest is to understand and articulate qualitative attributes such as beauty, elegance, and extravagance in clear set of insights as methodology for design. In parallel to the independent practice, Sung serves as a partner in Article, LLC, a design consultancy based in Chicago.
Image: Sung Jang, Shape of Land, 2024
Robell Awake’s chairs are skillfully handmade with great reverence and appreciation for the work and techniques of under-recognized Black craftspeople throughout history. Awake continues a rich tradition of updating the ladder back chair, using inlaid materials and carved patterns rife with meaning and relevance.
Six new chairs are replete with allusions to spiritual practices, echoing historically sacred imagery calling for divine healing and protection. They feature carved faces, symbols, and creatures drawing from various talismanic practices of the African diaspora. Patterns of eyes reference a 2000-year-old tradition of Ethiopian magic scrolls, custom protective scrolls prescribed by healers combining sacred symbols with written prayers. Imposing faces with bared teeth are reminiscent of Edgefield face jugs, face-shaped ceramic vessels made by enslaved potters in South Carolina. Awake’s use of meaningful objects for protection alludes to a deep history including Hoodoo and Conjure, magical traditions in which spiritual power is invoked for healing and self-defense, and African American yard shows, an assemblage tradition going back generations. The yard shows of America’s Black Belt, ambitious outdoor art installations where ordinary materials are sanctified, reflect the resilience of people using the materials at hand to express themselves.
With these new chairs, Awake is exploring the spectral nature of our digital lives with inlaid cords, cables, and arrangements of zeroes and ones from bygone numerical systems, embedding the language of the virtual into the physical. Concerned with the fragility of identity formation online, he examines the precarity of our digital selves—simultaneously fabricated and highly visible. His chairs become talismanic objects, crafted not just as functional seats but as protective wards in the digital realm. By merging traditional craftsmanship with symbols of the online world, Awake transforms everyday furniture into sacred artifacts, offering a tangible anchor in an era where identity is often elusive, overdetermined, and over policed.
Awake’s process is rooted in pre-industrial technique, relying on hand tools and working with green (or unprocessed) wood. He begins by splitting whole logs—primarily oak, with hickory used for the rungs. After carving the backs and legs, he adds intricate visual details, incorporating line drawing and relief carving, which are then painted to highlight the textures and forms.
Awake’s work centers Black aesthetic traditions and histories, creating objects that are both deeply rooted and radically forward-looking. By intertwining traditional modalities with contemporary anxieties about the digital self, he highlights the ways in which technology both connects and destabilizes us as well as the countries that bear the brunt of resource extraction and technological production. His chairs serve as bridges between past and present, between tangible heritage and intangible existence, urging us to consider how we ground ourselves in an increasingly spectral world. They embody the weight of history while addressing the urgent realities of our present—an era of collapsing empires and ecological crisis, in which both people and the planet are endangered. By merging ancestral practices with contemporary concerns, Awake’s talismanic chairs serve as acts of resistance and resilience, grounding us in traditions of survival, expression, and protection.
The exhibition’s title, Human Resources, is a pointed nod to the insidious nature of the term, which reduces people to mere assets to be managed, extracted, and exploited—an unsettling parallel to the historical and ongoing commodification of labor, identity, and even digital existence.
Human Resources will be on view through June 7, 2025.
Robell Awake is a recipient of the Center for Craft’s Craft Research Fund Artist Fellowship and has taught at the Center for Furniture Craftsmanship, Arrowmont School of Arts and Crafts, Penland School of Craft, and the Woodworking School at Pine Croft. He has presented at the Furniture Society, Warren Wilson College, Berea College, Washington College, and the North Bennet Street School. Awake was recently selected as one of the Dwell 24, Dwell magazine’s awards for the best emerging designers from around the world. His recent book, A Short History of Black Craft in Ten Objects, published through Princeton Architectural Press (2025), features ten illustrated essays on handcrafted objects and their makers, providing invaluable insight into Black history and craftsmanship, and was the subject of an exclusive segment on National Public Radio. His work is included in important public collections including the Art Institute of Chicago, and he is producing a forthcoming commission for the Baltimore Museum of Art.
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Visit Robell Awake: Digital Talismans during these extended hours at the gallery. Referencing the talismanic traditions embedded in yard shows from America’s Black Belt and Ethiopian magic scrolls, Robell Awake offers talismanic chairs that speak to the spectral nature of our lives online.
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Named for a series of utopian letters initiated by Bruno Taut in 1919, in which a small group of like-minded architects and artists, unfettered by the demands of practicability, exchanged ideas on what form the architecture of the future should take. The exhibition celebrates Volume Gallery's 15 years of collaboration, showcasing the innovative practices of the celebrated artists we’ve been privileged to work with, fresh perspectives that continue to push the boundaries of art and design.
More about the exhibition here.
Image: Anders Ruhwald, L3, 2024
Volume Gallery is thrilled to announce Porfirio Gutiérrez: Modernism, an exhibition of captivating new abstractions exploring linear motifs, opening September 12, 2025, from 5 to 8 p.m. Expanding on the renowned imagery of Gutiérrez’s Zapotec heritage, these highly intentional weavings feature color palettes achieved with natural dyes, honoring the artistic vision of the artist’s ancestors while adding layers of contemporary interpretation.
Guided by tradition but informed by contemporary life and experience, Porfirio Gutiérrez’s practice is a powerful affirmation of cultural continuity, personal identity, and artistic innovation. His work bridges generations, reimagining ancestral Zapotec knowledge through a deeply personal and material-driven lens. By honoring the symbolism, technique, and spirituality embedded in Indigenous weaving and natural dyeing, Gutiérrez not only preserves a vital cultural legacy but also asserts its ongoing relevance in today’s world. His weavings are both of the land and expansive in vision—offering a resonant dialogue between past and present, earth and spirit, tradition and transformation. He engages the core principles of Modernism—experimentation with form, abstraction, and an emphasis on materials and process—as a continuation, reinvigorating the very Indigenous imagery that Modernists once borrowed. Through his practice, he asserts the original context and authorship of this visual language, while advancing its relevance within contemporary discourse.
His geometric Continuous Line compositions are woven to appear as if drawn in a single, unbroken line, evoking the meandering path of life and a meditative precision. Embracing the beauty of simplicity, these works reflect the rhythms of contemporary life and the cadence of the weaving process itself. The use of line and restrained abstraction speaks to a long history of cultural influence, as the visual language of the Zapotec people has inspired artists all over the world. Through form and material—the texture of wool, the tones of the natural dyes, and the elegance of the continuous line—Gutiérrez creates new compositions with timeless symbolism.
The artist’s Monte Albán works are derived from aerial and elevation views of the iconic steps of sacred Zapotec architecture. With concentric lines and stepped motifs, Gutiérrez improvises with the sacred symbolism embedded in his ancestors’ designs. The monumental civic and ceremonial structure Monte Albán in Oaxaca, Mexico, was built in alignment with the sun, moon, and cardinal directions. Gutiérrez is engaging with not only the geometry of the ancient structure, but also the play of light and shadow across stepped forms and the shifting perspective brought by time, season, and celestial movement. The step motifs and sunbaked colors evoke the structure’s spiritual resonance—cycles of life, cosmic balance, and the ongoing dialogue between man, earth, and sky.
The presence of braids in Gutiérrez’s work is representative of the deep cultural and spiritual significance plaiting holds in Zapotec culture as ceremonial adornment as well as the artist’s feminine side. The piece is a gesture of healing and emotional connection—an exploration of the strength required to be in touch with one’s emotions.
Gutiérrez gathers natural dye materials between his native Oaxaca and his current home in Ventura, California. His process draws from thousands of years of ancestral knowledge and an evolving understanding of chemistry and botany. He is able to produce over 200 distinct hues from a variety of materials: pericón produces golden yellows; marush, greens; huizache, deep blacks; añil, vibrant blues; and cochineal insects make intense reds. His practice requires a sensitivity to nature’s rhythms—harvesting must happen at particular times, and factors like drought or sun exposure can determine the final color. This practice is more than technical; it is spiritual. In transforming earth into color, the artist honors the divinity of nature, recognizing that plants, like people, are living beings. Through this process, he sees himself not as separate from the land but as an extension of it—engaged in an act of reverence, reciprocity, and transformation.
Porfirio Gutiérrez: Modernism will be on view through November 1, 2025.
Porfirio Gutiérrez (b. 1978) is a California-based Zapotec artist and activist whose deliberately patterned textile works are informed by a marriage of his cultural heritage and an exploration of Modernist principles. Embracing the traditions of the Cloud People, or Zapotecs, who have lived in the Oaxaca Valley of Mexico for over two centuries, the artist works with material sourced directly from the earth, informed by his childhood learning weaving and dyeing techniques from his parents. Gutiérrez’s palette is determined by the varied flora which populates his homeland. Acutely aware of nature’s constant flux, Gutiérrez makes record of the exact period a plant is harvested for dyes, which he calls its “seasonal imprint,” noting that the color gleaned from a specific plant or insect will vary in vibrancy as the effects of climate change continue to be felt.
In 2023, the artist’s work was the subject of a solo exhibition, Continuous Line/Cosmos, at Chinati Foundation, Marfa, TX. Gutiérrez’s work has also been included in numerous significant group exhibitions in recent years, including We Live in Painting: The Nature of Color in Mesoamerican Art, Los Angeles County Museum of Art, Los Angeles, CA in 2024; Sangre de Nopal, Fowler Museum at UCLA, Los Angeles, CA in 2024; Temporary Spaces, Mingei International Museum, San Diego, CA in 2024; Weaving at Black Mountain College, Black Mountain College Museum + Arts Center, Asheville, NC in 2023; and Origins, Sharjah Institute, UAE in 2023, among others. Gutiérrez’s work has been acquired by a number of public collections, including the The Art Institute of Chicago, Chicago, IL; Fogg Art Museum, Harvard University, Cambridge, MA; Los Angeles County Museum of Art, Los Angeles, CA; and The National Museum of the American Indian, Smithsonian Institution, Washington, D.C., among others.
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2025, from 5 to 8 p.m.
There are moments when perception softens and we can sense an object is more than itself. What we knew before knowing is an invitation to perceive in the direction of post-judgement. Here, design can behave more like memory itself: unstable, flickering, and alive in transition. Something is developing. Matt Olson has an “open practice” in which making is thinking, where objects are not invented but found through a sort of inverted dialogue, recognizing, extracting, and recontextualizing—linking and joining concepts, problems, theories, and forms that remain unassuming yet unmistakably charged.
Rather than proposing definitive forms, the exhibition assembles an atmosphere of objects in flux. Materials typically associated with utility—stacked cribbing blocks, parking stops, lighting, Plexiglas, and aluminum—behave as memory conductors. Found photographs appear decontextualized, while seating hovers between invitation and apparition. The exhibition seeks relational attention. Each form leans toward the next, resonating with and accompanying one another, which together create a “WE”.
Certain motifs emerge from memory, quotations from experience not to be interpreted, but to be felt. A reproduction of a found, signed photograph of Laura Dern from the 1985 film Mask is a gesture of true perception. In the film, her blind character falls in love with a boy who is suffering from a disfiguring genetic condition—not by overlooking his difference, but by perceiving him more clearly than those with sight.
More simulacra, a print of a PDF of the books Bunker Archaeology by Paul Virilio and The Forgetting of Air in Martin Heidegger by Luce Irigaray appears—not to be read, but as a living material and conceptual presence. Virilio’s study of wartime bunkers becomes a lens for thinking about how design, function, and strategy differ from experience. These texts resonate with the exhibition’s attention to objects as carriers of memory and thought, existing between use and perception, presence and imagination. After Scott Burton Chair w/ Eric Timothy Carlson and RO/LU is almost 15 years old and has never been shown publicly.
Fleabane (Erigeron annuus), a wildflower often dismissed as a weed, helped shape the ideas here. Though cast aside in most landscapes, it holds medicinal value in its stems, revealing usefulness where none was assumed. Like fleabane, the materials in the exhibition—stacked lumber, found images, provisional structures—are invited not to prove themselves, but to be encountered anew.
These objects are in a state of becoming—layered and alive. A network rather than a statement, a fog of associations thick enough to move through, but never fully grasp. What emerges is not a collection of things, but a rehearsal of perception itself.
This will be the artist’s third exhibition with Volume Gallery, having previously exhibited with various collaborators and under different names. What we knew before knowing will be on view through December 20, 2025
OOIEE (Office Of Interior Establishing Exterior) was founded in 2016 by Matt Olson to work on a wide array of projects involving contemporary art and design ranging from furniture, gardens and sculpture and extending to teaching, writing and research. It is a cross-disciplinary, open practice. Previous to founding OOIEE and OOIEE Landscape Office, he was co-founder of RO/LU from 2002-2015 during which time he oversaw work ranging from residential landscape design to residencies in museums. His work has been shown internationally and is in the permanent collection at the Walker Art Center and many esteemed private collections. He was artist-in-residence at the Robert Rauschenberg Foundation in Captiva FL and has been a visiting artist/lecturer at SCI-Arc, the School of the Art Institute Chicago, the Cranbrook Academy of Art and others. He’s also an on and off Professor in Practice, Architecture at the College of Design at the University of Minnesota.
Volume Gallery's new location, 1700 W Hubbard, Chicago, IL
The Heresy of Legacy, the first exhibition at Volume Gallery’s new, expanded, space, explores the cyclical nature of movements and currents in art, architecture, and design—how innovation emerges in friction with established legacies, and how heresy becomes the foundation for new canons. This group exhibition considers what happens when today’s artists engage the paradox of history: honoring the influence of the past while consciously dismantling it. Rooted in the history of the avant-garde, the exhibition acknowledges how reactionary moves have continually propelled art, architecture, and design forward.
Stanley Tigerman once encouraged a protégé to “take the baton—run with it, stab him with it, stab someone else with it, pass it forward and be stabbed by it—just don’t decline it.” This call to action embodies the spirit of the exhibition: a recognition that creative inheritance is both a gift and a weapon—a cycle of making, unmaking, and remaking. The exhibition will feature carefully curated historical and contemporary practices that operate within this matrix: giving equal weight to legacy and heresy, embracing complexity rather than purity, and acknowledging that rebellion itself eventually ossifies into tradition.
Through this lens, The Heresy of Legacy will trace the continual renegotiation between reverence and rupture—how artists and designers today contend with inherited ideals, materials, and forms, and how they point toward future iconoclasms.
Featuring:
Selva Aparicio
Richard Artschwager
Garry Knox Bennett
Lia Cook
Jessica Jackson Hutchins
Norman Kelley
Howard Kottler
William J. O’Brien
RO/LU
Sarah Rosalena
Joyce Scott
Stanley Tigerman
Robert Venturi and Denise Scott Brown
James Wines
Thaddeus Wolfe
Claire Zeisler
Image: Lia Cook, New Master Draperies: Leonardo I, 1990
Terumi Saito’s first solo exhibition with the gallery opens April 10, 2026, from 5 to 8 p.m. Saito combines backstrap weavings toned in natural dyes with handbuilt ceramics to create highly original forms. Drawn to the intimate connection between body, time, and material that backstrap weaving requires, Saito has made it the foundation of her practice—one of the earliest weaving technologies, it has been practiced across Asia and the Americas for millennia. She sees weaving as a living language, evolving, yet deeply connected to its origins, and a form of reflection, each work a record of time and energy spent.
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Jonathan Muecke and Nile Greenberg In Conversation: Saturday April 11, 2pm
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Nile Greenberg is a founding partner of Abel Nile New York. ANY recently guest edited the 2025 issue of Flash Art Volumes on the theme of Crisis Formalism—a dossier of architectural responses to re-integrate architectural form and crisis. Nile serves as Architecture Editor at The Brooklyn Rail, overseeing a section that focuses on the relationship between architecture and art. His published works include co-authoring “The Advanced School of Collective Feeling” (Park Books, 2023), a study on the relationship between physical culture and housing in the 1920 and curating the exhibition “Two Sides of the Border” at Yale. Nile is the 2025-26 Douglas Aå. Garofalo Fellow at University of Illinois Chicago. He has taught at Columbia University GSAPP and Cornell University AAP. His work has been presented at the 2025 Venice Biennale, ETH Zürich, Cornell University, Spazio Maiocchi, the AIA Center for Architecture, Rice University, Harvard GSD, University of Melbourne, The Cooper Union, University of Colorado. ANY was recognized as New Practices New York 2020-2023 by AIANY. Nile Greenberg holds a Master of Architecture from Columbia University.
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In this new body of work, Aguiñiga strategically removes threads from the warp and weft of delicate gauze to create images — a subtractive process like reverse embroidery. Mounted over black velvet, sections of open weave catch light and shadow to outline animals long held sacred across Mesoamerica: opossums, coyotes, vultures, snakes, and bats. These creatures occupied central roles in Indigenous life and cosmology, and some of their Nahuatl names, tlacuatzin and coyotl, persist in daily language as quiet evidence of their cultural significance. Today, they are largely vilified as pests or nuisances, despite their vital ecological roles. Aguińiga’s imagery is inspired by depictions of these sacred animals in Pre-Columbian codices, pictorial manuscripts covering everything from history and geography to mythology.
The opossum—today dismissed or even feared—was among the most revered figures in Mesoamerican cosmology: a Robin Hood-like hero who stole fire from the gods and delivered it to humanity and who was credited in Maya tradition as an embodiment of feminine creative force, linked to the earth-lunar goddess. The vulture was also seen as far more than a scavenger; across Mesoamerican and South American traditions, it was understood as a transformer, converting death and filth into life and light. Known to the ancient world as a cathartic cleanser, the vulture appears throughout mythology as a keeper of fire and a shamanic figure associated with celestial brightness.
These animals were venerated figures, woven into creation myths, healing practices, and the highest expressions of spiritual life. Indigenous Peoples have understood that these animals perform quiet, necessary labor in our ecosystems, consuming decaying materials that spread disease. Performing an essential role, they are indispensable and deserving of respect. Ultimately, Aguiñiga’s new textile works are about perception and the effects of misunderstanding. These essential animals are metaphors for those whose value goes unrecognized, whose presence is treated as a burden rather than a gift. Like the migrants who cross the same borderlands these creatures inhabit, they are fundamental to our society, yet widely maligned.
For Aguiñiga, this work is also an act of ancestral recovery. Patterns referencing Otomi weaving and the craft traditions of Michoacán and Jalisco — regions tied to her own family history — speak to a Mestizo lineage fractured by colonization, now accessible only via fragments: a tourist object, a surviving codex, a persisting craft tradition. By working with gauze-like textile — used across Mesoamerica for everything from lacework to fishing nets — she draws on a material lineage that is at once sacred and utilitarian. Through material, image, and pattern, she reaches toward what has been lost, making meaning out of erasure.
Coyolxauhqui Imperative will be on view through July 25, 2026.
Tanya Aguiñiga holds an MFA from Rhode Island School of Design and a BA from San Diego State University. In her formative years, she created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. Aguiñiga is the founder and director of AMBOS (Art Made Between Opposite Sides), an ongoing series of artist interventions and commuter collaborations that address bi-national transition and identity in the US/Mexico border regions. AMBOS seeks to create a greater sense of interconnectedness while simultaneously documenting the border. Aguiñiga is a 2024 Center for Craft Catalyst Award Recipient, a 2023 Loewe Craft Prize finalist, a 2022 Latinx Artist Fellow, a recipient of the 26th annual Heinz Award, a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a NALAC Grant Recipient, and a Creative Capital 2016 Grant Awardee. She is the inaugural fellow for Americans for the Arts Johnson Fellowship for Artists Transforming Communities. She has been the subject of numerous articles in American Craft Magazine and has been featured in Art21’s Art in the Twenty-First Century, KCET’s Artbound, and PBS’s Craft in America Series.
Recent museum exhibitions include m\\other at The Lancaster Museum of Art and History, Lancaster, CA, Border Fall Height at the Berkeley Art Museum and Pacific Film Archive, Berkeley, CA, Sangre de Nopal/Blood of the Nopal: Tanya Aguiñiga & Porfirio Gutiérrez en Conversación/in Conversation at the Fowler Museum at UCLA, Los Angeles, CA, Intertwined: Weaving in Community at the Sun Valley Museum of Art, Ketchum, ID, In the Shadow of the Wall at Kimball Art Center, Park City, UT, Made in L.A. 2023: Acts of Living as part of AMBOS at the Hammer Museum, Los Angeles, CA, A More Perfect Union: American Artists and the Currents of Our Time curated by U.S. Art in Embassies, This Present Moment: Crafting a Better World at the Smithsonian American Art Museum’s Renwick Gallery, Washington, D.C., Hella Feminist at the Oakland Museum of California, Oakland, CA, the 2022 California Biennial at the Orange County Museum of Art, Costa Mesa, CA, LatinXAmerican at the DePaul Art Museum, Chicago, IL, Disrupting Craft: Renwick Invitational 2018 at the Smithsonian American Art Museum, Washington D.C., and Craft and Care at the Museum of Arts and Design, New York, NY. Her work is included in the collections of the Art Institute of Chicago, the Brooklyn Museum, Carnegie Museum of Art, DePaul Art Museum, Detroit Institute of Art, Los Angeles County Museum of Art, Museum of Contemporary Art San Diego, The Museum of Art Rhode Island School of Design, Oakland Museum of California, Pérez Art Museum Miami, Smithsonian American Art Museum and Cooper Hewitt, Smithsonian Design Museum, the Museum of Arts and Design in New York, the Museum of Fine Arts in Houston, The Mint Museum in Charlotte, and The Wichita Art Museum.
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printmaking, Joe Feddersen, a member of the Colville Confederated Tribes based in Omak, Washington, brings together ancestral modalities with contemporary iconography to create work that reflects his lived experience. The multi-disciplinary artist speaks from a Plateau perspective—one that honors our inseparable connection with the landscape.
Feddersen’s visual language is exemplified by stylized outlines—abstractions of everyday figures rendered graphic, like signs. At first glance, his work might seem traditional, and in some ways, his approach is a continuation of ancestral artistic innovations, just as Plateau people wove slanted triangles to depict mountains or painted pictographs on stone, Feddersen uses the same economy of form to depict the scenery he observes today. Parking lots, power lines, and tire tracks appear alongside bear tracks, eagles, and snakes—each given equal visual weight, each acknowledged as a character in our environment. Nature and society are shown entwined—creating indexical and unromanticized portraits of the American landscape as it actually is, shaped by industrialization, land use, and ongoing human presence.
His precise linen baskets, a continuation of centuries-old Plateau “sally bag” designs, are renderings of our world—its conflicts, infrastructures, and ironies. Feddersen’s compositions are taken directly from the landscape: aerial views of parking lots, the sinuous path of a snake, the diamond geometry of high-voltage towers. The towers carry particular resonance for Feddersen, who understands them as monuments to dispossession—invasive structures on Indigenous land lost to bad-faith deals and flooding when dams were built. One recent basket, Wild Peaks, takes its name from an SUV tire brand, its tread abstracted into repetitive forms that read like a mountain range; the imagery’s double meaning is a wry commentary on the idealized vision of the American West that consumer culture sells back to us. Additional recent pieces show protesters and ICE agents, urgent depictions of ongoing conflict and resistance. Protesters drawn with heads of affinity animals document gatherings in the small town of Omak, the cast of characters acting as a pictorial record of a moment in history.
Feddersen’s glass vessels are blown and then sandblasted with the artist’s signature symbology—trucks, bicycles, and animals are layered over subtler, weaving-like patterns etched beneath. Feddersen’s large-scale Charmed glass installations combine several ideas: a petroglyph wall, a wind chime, and a charm bracelet. Hundreds of clear fused-glass pendants, ranging from four to ten inches each, hang suspended across the wall, casting shifting shadows that animate the space around them. Feddersen’s Charmed pieces portray a teeming crowd of moments from our surroundings, in this latest iteration, cars and trucks mingle with protesters and buffalo.
With a long-time background as a printmaker, Feddersen thinks in layers across his practice. His Urban Drama monoprints are painterly and energetic, incorporating spray paint and collage. High-voltage towers are reduced to pure geometry, explored through reversals of positive and negative space and Pop-like repetition. Feddersen’s decades of experience in the medium are evident in the assured, direct, and indirect application of color and labyrinthine pattern.
At the heart of Feddersen’s practice is a commitment to observing, documenting, and storytelling. Viewing making as an act of reciprocity with the earth, he documents a landscape shaped by history, industry, and survival. With a finely tuned sense of humor, his work reminds us that the marks we leave on the land are all part of the same ongoing story.
Urban Drama will be on view through July 25, 2026.
Joe Feddersen (b. 1953, Omak, WA) emerged in the 1980s as part of a new generation of Indigenous artists along with colleagues such as Jaune Quick-to-See-Smith, Truman Lowe, Kay WalkingStick, and James Lavadour. Their generation was bolstered by a new found sense of unity and agency with grass-roots Native-run alternative spaces and community centers cropping up across the country. Feddersen started out as a printmaker, his major at the University of Washington where he earned his B.F.A. While still grounded in printmaking’s layered imagery and processes, his repertoire has expanded to painting, photography, large-scale multi-media installations, collage, glass, and basket weaving. Throughout, Feddersen’s work explores his experiences in the world he inhabits as a member of the Colville Confederated Tribes, a lineage grounded in the northern region of the historic Plateau territory. His work combines traditional Plateau imagery and techniques with references to the present day; geometric designs and motifs—mountains, elk, canoes, and petroglyphs—merge with geometries of the modern West—computer game animations, electrical towers, hard-edge abstraction, and graffiti. Feddersen’s work weaves its way through Indigenous thought and visual heritage, settler histories, and contemporary American art and culture.
Since completing his MFA at the University of Wisconsin-Madison in 1989, Feddersen has exhibited extensively both regionally and nationally. Until 2009, he taught at Evergreen State College in Olympia, Washington, where he is now Emeritus Faculty. In 2023, Feddersen’s work was featured at the Renwick Gallery of the Smithsonian American Art Museum and the National Gallery of Art in Washington D.C., as well as the Museum of Glass in Tacoma, Washington, and in 2024 he was included in the exhibition Implicit Explicit at Hauser & Wirth, Los Angeles. A major retrospective of Feddersen’s work entitled Earth, Water, Sky opened at the Northwest Museum of Art and Culture in Spokane, Washington in 2024, traveled to the High Desert Museum, Bend, Oregon, and will open September 2026 at the Missoula Art Museum, Montana. The exhibition features 120 works created throughout his 45-year career. Feddersen received the Governor’s Arts & Heritage Award for significant contributions to Washington State’s arts landscape or cultural heritage in 2024. Feddersen’s work appears in numerous institutional collections including the Whitney Museum of American Art, New York, Seattle Art Museum, Portland Art Museum, Oregon, The Heard Museum, Phoenix, and the Peabody Essex Museum, Salem, Massachusetts.
Volume Gallery x Stony Island Arts Bank
Reception
Wednesday, June 24
5-7pm
Join us Wednesday, June 24th, 5-7 PM for bubbles to celebrate the launch of Volume Gallery’s collaboration with Stony Island Arts Bank.
Design and architecture have been a shared language for Theaster Gates, Heiji Choy Black, and the founders of Volume Gallery, Sam Vinz and Claire Warner, since the beginning of their friendship. The Stony Island Arts Bank and Volume Gallery have long championed many of the greatest contemporary emerging and established designers and artists, bringing their work to the world
from their spaces in Chicago.
In this group exhibition, artists and designers share a common desire to honor where they come from with objects of beauty and brilliance and of enduring meaning and substance. The many perspectives, cultures, and geographies represented in Chicago are brought to life here as these makers intend to better our world through art and craft.
Featuring work by:
Tanya Aguiñiga
Robell Awake
Stephen Burks
Sung Jang
Terumi Saito
SHENEQUA
Larry Tchogninou
Norman Teague
Stony Island Arts Bank
6760 S Stony Island Ave
2nd Fl Gallery
Chicago, IL 60649
More about exhibited works here.