Friday, July 12 from 5:00– 7:30PM
A pliable medium, photography has bent and shaped itself innumerable times to meet the concerns of
those working with it; this shifting history makes defining the medium near impossible. In the arts,
photography has constantly fought to maintain its status alongside other mediums, particularly
painting. However, now that it has gained an equivalent status, the artists employing photography are
aggressively reinvestigating it, turning it back onto itself. The work in this exhibition is the product of
this reconsideration. Ultimately, the pieces maintain their photographic thread, but they move outward
from the expected and alter the photographic plane (through illusion and physical alteration of the
surface) into a space where a new dialog can emerge.
Ben Alper culls images from an archive of vernacular photographs which he then modifies via
scanning. Intentionally seeking out interference, Alper presents the images with newly introduced
glitches, blurring specific narratives and adding a visual reference that is very much of our
By applying tape and spackle to his paper prior to printing, Daniel Hojnacki sets up his digital inkjet
printer for failure. The ink that does adhere to the paper presents the viewer with partial imagery,
hints of a memory or fleeting image, which we are then left to decipher. The destruction of the image
obliterates any form of photographic immediacy. Honjnacki will be producing a unique installation for
Diane Meyer’s embroidered photographs of Berlin allude to the traditionally feminine craft of crossstitch,
however the pattern—square, color-blocked, rigid—transforms the stitches into a recognizable
photographic shape: the over-enlarged pixel. The stacked bricks of pixels also make a secondary
reference to the German city, that of the Berlin Wall.
The photographer’s studio plays a critical role in the work of Laura Hart Newlon. A space generally
reserved for designing legible imagery, Hart Newlon instead creates scenes where pattern and form
collide and complicate the scene. Through photography, she re-presents everyday objects and
materials in arrangements that alter the viewer’s experience of the familiar.
...And in our windows...
Frames: Between Motion & Stasis
In our windows this summer recent UIC alum Nathan Miller will show pieces from his newest
series, Between Motion & Stasis. These symmetrical, quasi-geometric shapes have multiple visual
allusions: an eye of a storm, a fractal pattern, or perhaps an x-ray of some otherworldly form, just to
name a few. However, the half-still, half-moving images are laden with information of another kind,
that of the photographer’s life and family. Through overlaying images repeatedly, the original
photograph becomes buried in the confusion between pattern and depiction. Miller states, “In a
hesitation between motion and stasis, the original image becomes rapt in movement, yet motionless,
simultaneously based in and out of time.” These photographs hover untethered, in a space that is
equally abstract and figurative.