Inside\Within is a constantly updating web archive devoted to physically exploring the creative spaces of Chicago's emerging and established artists.

Support for this project was provided by The Propeller Fund, a joint administrated grant from Threewalls and Gallery 400 at The University of Illinois at Chicago.

Inside\Within is produced in Chicago, IL.

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Posts tagged as: performance


Udita uses her body as a conduit to tell the many stories that travel through it, working with textile, drawing, and performance to express narratives encountered within. Trained in Vipassana meditation, her work has a quiet patience. For her current untitled project, Udita delicately harvests gold thread woven into a collection of frayed and discarded saris, repurposing the removed material as handmade rope. Like this project, many of her works address grief, Udita teaching her hands to lose each textile they actively deconstruct.

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Entering into Aaron’s studio you immediately encounter several projects in different states of decay—loaves of white bread transforming into gruesome piles of sludge, and past-due bologna twirling above your head while other slices discolor the walls. Originally focused on video, his practice is more concerned with the process behind each of his pieces rather than their final image. Aaron closely follows how his work lives, rots, and dies, utilizing the mediums of sculpture, photography, or one-off performances which follow his destruction of a love seat within the context of an improvised death metal show.

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Researching ways to interact with plants on their own terms, Lindsey has hosted a symphony for plants by plants, introduced herself to poison ivy’s infectious chemical, and dedicated herself to experiencing the world in the same ways as the peripheral life form. Through these experiments and projects Lindsey aims to understand plants’ quiet role outside of the perceived center, appreciating each for their often passive existence rather than forcing an aggressive examination of their delicate form.

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Recalling past, present, and fabricated histories, Judith builds sculptures from thread, self-hardening clay, and words, selecting aspects of their origins to highlight through her own twisted lens. In addition to a studio practice, Judith’s work also extends into others’ homes, asking participants to select texts to read to her for an hour. Deeply relationship tied, the sculptural and performative works express the laborious process of coming to understand anyone, even the work’s creator.

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Joshua’s practice is blurred between his life and work, an overarching practice that is many times simply lived and not documented. When his work is presented to the public in the form of performance, he often provides a bounty of bulk flowers and previously disposed of food. These offerings are presented as gifts rather than trash, Joshua questioning society’s obsession with peak perfection and pointing to food and flowers’ own relationship to wealth and privilege.

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Cheryl Pope's Sculpted Language


Cheryl Pope's Sculpted Language

Cheryl Pope's Sculpted Language

Located on the first floor of her Logan Square loft, Cheryl’s studio exists in a state of organized chaos, mannequins standing erect amongst piles of collected china tableware. With a background in fashion and boxing, Cheryl’s performance, projects, and sculptures speak to the combined history of an object or movement, excavating memory from sculptural objects and her own muscles. Recently Cheryl has begun to work with local youth, encouraging them to express their own histories through both poetry and spoken word.

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Located within her home, Meg’s studio travels to any room that fits her current need, covering an upstairs wall with details from her upcoming film while filling another with suitcases that carry the rubble of past works. After optioning the rights to James Agee’s 1947 script “The Tramp’s New World,” Meg has begun to explore the new roles the project has provided, creating performance through her position as director, and becoming comfortable within the new territory laid out as filmmaker.

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Recently moving his studio into Mana Contemporary, Brandon has created a 13-foot installation that serves as an artist’s self-portrait— a snapshot into his own practice through his performance within the work. Although the floor of his studio was installed against the wall, the inverted studio still acts as a functional space in which he produces work.

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Often using comedic tropes as the subject matter of her practice, Jessica focuses on humor within her performance, drawing, painting, and comics. Relating comedy and art through their guarded expressions of vulnerability, she has begun to mask text within her work, forcing the audience to slowly absorb the words within their camouflaged environments.

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Arranged from overlooked memories, Chelsea’s paintings tap into the undocumented moments of her recent past, turning them into fantasy on canvas. Often distracted by images imprinted on her mind, Chelsea chooses to paint the images instead, removing them from her consciousness so her focus remains on her environmental paintings and cement-dipped sculptures.

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Tony’s work flashes, pulsates, and confuses, whether in person at one of his performances, or while watching a video of his on screen. Influenced by music like krautrock, Tony creates looping videos that seem to stretch time, placing you inside a moment for far longer than you feel comfortable. With a studio located both inside and on the back porch of his Pilsen home, Tony has space to edit his psychedelic video creations as well as build his recent triangular, cubed, and circular disco balls.

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