Inside\Within

Alex Bradley Cohen’s Community-Culled Portraiture

Published February, 2016

Painting from the subjects that surround him, Alex creates portraits of his family and longtime friends— bright works that highlight his relationships in both the past and present. His paintings often take on an autobiographical quality, tracing personal stories from childhood memories to getting his GED. Alex often places himself within a work’s scene, painting multiple versions to represent different aspects of his psyche. Although deeply engaged with painting, he is also an active installation artist, desiring the balance of community-engaged art to his solitary studio time.

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Erin Washington’s Porous Palimpsests

Published February, 2016

Utilizing material as content, Erin produces works on handmade chalkboards with ephemeral materials such as coffee, chalk, and dust. Her works claim the labels of both painting and drawing as she continuously adds and erases marks on top of the abstract pieces. This layering express the history of each work’s construction, leaving evidence of prior marks and feelings within the porous materials. Inspired by the institution in which she works, Erin often pulls imagery from sculptures found in the Art Institute of Chicago, placing ancient Greek pieces like Head of Aphrodite onto her chalk-based works.

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Tom Burtonwood: Object as Infinite Producer

Published March, 2015

Due to his interest in the lineages between art objects’ reference material, Tom produces 3D printed work that can be quickly linked back to its original source. He has designed and printed two books that allow one to easily copy the objects within their 3D pages—serving as a source for continuous reproduction and an open-sourced object that features the instructions for its creation online.

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Dan Gunn's Implied Mobility

Published November, 2014

Stitching together wooden slats inspired by photographed fabric, Dan creates mobile sculptures—objects that stray from their material’s restrictions. Through Photoshop Dan manipulates his sources, accepting the computer-aided gestures and errors that produce another dimension for his photographic sculptures.

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