Opening Reception: Friday, March 23, 6:00 p.m. – 8:00 p.m.
Exhibit Start Date: March 23
Exhibit End Date: April 19
Curator: Philipp T. Eirich

Opening Night Pictures





Hans Habeger  of Evanston, IL

“For the last 10 years Hans Habeger has focused on painting urban landscapes. He find visual inspiration in his immediate surroundings. The facades of strip malls and superstores in suburban Chicago and the environment around them have become his motif. The buildings imply the larger culture of consumerism in which we live. The settings are views typically vacant of the human figure, mundane spaces often unnoticed as they are passed. To Habeger they are visually appealing for their utilitarian architecture, sense of stillness, and the arrangement of formal design elements they contain.

Conceptually the works are also about the process of constructing a painting or drawing. The compositions have developed out of several interests; the first being a frontal direction of viewing, where the subject is viewed straight on. Secondly, the use of horizontal lines, vertical lines, and geometric shapes positioned to compose and emphasize the flat surface of the picture plane. Lastly, the use of a square format and precise cropping diminish the viewer’s angle of vision and emphasize the abstract qualities of the space as a whole.

Some paintings have been developed from imagination and memory; others are developed from source photographs which Habeger has taken. The compositions usually evolve through the use of preliminary sketches and tonal drawings. The alignment, proportion, color, and tones may continue to change once on the painting support. The use of the photograph has allowed the artist more freedom in his studio work. He no longer needs to have the development of the painting contingent on reoccurring visits to the location. As a result, Habeger sees the works as deliberate constructions, adjusted as needed to create balance and a sense of space.”



Tyler Lotz of Bloomington, IL


Tyler Lotz’s sculptures and vessels have been shown in solo and group exhibitions at venues including the Dubhe Carreño Gallery – Chicago IL, Cervini Haas Gallery/Gallery Materia – Scottsdale, AZ, Harvey/Meadows Gallery – Aspen, Co, Santa Fe Clay – NM, The Clay Studio – Philadelphia, PA, and SOFA Chicago.  His work has been presented abroad at The First World Ceramic Biennale Korea and 2010 Vallauris Biennale Internationale in Vallauris, France.  Tyler’s work has been acquired by collections including the Daum Museum of Contemporary Art, in Missouri, and the Icheon World Ceramic Center in Korea. Publications including Ceramics Monthly, American Craft, and the Clay In Art International Yearbook have featured his work.  He has been an artist in residence at the Archie Bray Foundation in Helena, Montana and at the Watershed Center for Ceramics in Newcastle, Maine.  Having received his BFA from Penn State and his MFA from the New York State College of Ceramics at Alfred University, Tyler is currently an Associate Professor teaching at Illinois State University.


Historically, man’s relationship with nature has been one of intervention, marked by the human drive to tame its wildness, use its resources and shape it in its own image.  My sculpture is a speculative response to the many ways in which we remake nature to suit our own purposes.  It questions the assumption that “the artificial” could be an acceptable stand-in for “the real” in regards to human interaction with our natural world.  This is examined through a multi-faceted lens that includes ideas like a longing for wilderness and my concern for the developing global environmental emergency.

I intend for my sculptures to have the sensibility of synthetic, fabricated and built objects and environments.  Their materiality is at once natural and artificial, organic and manufactured. What is artificial would not simply be a binary for nature, but rather a man-made rendition of something that already exists or a simulation.  Jean Baudrillard poses that the “real” no longer exists and that everything is now a simulation.  So if nature is “real”, and if the “real” no longer exists, then must nature now be redefined?

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