Inside\Within

Richard Rezac: Expansion Without Chaos

Before beginning any sculpture, Richard first draws. Through this act ideas manifest on paper— blueprints which are then altered and refined in a series of proceeding drafts. His mark-making is careful but never precious, as the drawings are first and foremost a vehicle for his abstract sculpture. Considering a work’s physical form follows these drafted musings, with Richard often building his sculptures in a way that will best express the honest and inherent details of their material composition.

Nate Young: Excavating the Void

Nate’s work observes his family lineage, detailing the fissures found in his grandmother’s stories about his great-grandfather. Excavating these familial histories connects his practice to the gaps found in larger, related histories, presenting these connections as immersive installations that utilize sound, absence of light, and sculpture to project a narrative void. In his sculpture and performance he often obscures fact, forcing the audience to experience these stories through his own murky translation.

Kelly Kaczynski’s Mutable Stage

Kelly has previously produced large-scale installations, focusing on the stage as a site of inclusive narrative-building through works produced for the University of Buffalo Art Gallery and the Hyde Park Art Center. Kelly’s adopted roll of director turned her focus inward to the studio, observing the choreography associated with the performance of making. Recently Kelly has begun to deconstruct the stage by letting its objectness inform her work—obscuring its shape through video, and building upon its form through print.

Rashayla Marie Brown: Interrogating the Artist’s Mythology

Rashayla avoids having a a centralized studio. Her practice instead lives in gestures, interactions, and observations— improvisationally finding its home in her relationships and lived environments. Her interdisciplinary practice allows her to shapeshift into different figures, some presented in-frame while others are integrated into her daily life. For our particular studio visit we convened at the Chicago Cultural Center where Rashayla had organized a collection of research materials and photographic prints for her installation Appropriation Politics 102 Circa 2017.