Candida Alvarez’s Embodied Biography

Candida gives herself over to each of her paintings, inserting her own historical references as well as that of the world around her into shapes that fragment on the canvas. Influenced by the attention-grabbing images on the front of the New York Times, Candida formats her works to express her current obsessions, also including merengue, cartoons, and words that refuse to leave her consciousness. Using cheap materials, Candida begins each work from a non-heroic place, using everything from hardware store paint to cloth dinner napkins.

Candida Alvarez

Jason Lazarus: Image as Footnote

Jason uses image to build community around certain historical events and moments, often involving his subjects directly in the process of each of his ongoing projects. Understanding the social nature of photography, Jason has moved beyond pure documentation, layering his images with meaning that can either be digested or taken at face value. Looking outside the typical frame, Jason observes subjects from all angles, creating alternate ways of looking, even turning the picture to the wall to make the image something that can only be envisioned.

Jason Lazarus

William J. O’Brien’s Humor in Expressive Weight

Drawn to physical forms of making, Bill produces ceramics, drawings, and collages, often using humor within each of his mediums to address a latent darkness in his work. Through his physical processes he is able to address a range of emotional states, calling attention to the way his own body expresses these forms of consciousness. Flipping between gentle and aggressive making, he moves from quiet creations to those that are quite heavy and messy, producing ceramic pieces that are confusing or hard to reconcile.

William J. O'Brien

Victoria Martinez’s Sparkly Detritus

Victoria makes physical and metaphorical marks on the communities around her, engaging with local students while creating outdoor sculptures she places in environments with strong nostalgic ties. Existing in a nomadic work state, Victoria’s studio is wherever she is currently making work, producing soft sculptures and tapestry-like pieces in the gallery or urban environment in which they will live. To build her pieces Victoria collects scraps and abandoned materials found in the neighborhood she is producing work, scavenging for materials in local thrift stores and alleys.

Victoria Martinez

Jennifer Reeder's Unremarkable Utopias

Hailing from Columbus, Jennifer writes and directs films about places that are overlooked, the day-to-day scenes otherwise dismissed as filler. Injecting these stories with feminism, telekinesis, and multiple sub-plots, she creates worlds in which teen girls are often the stars, underdogs reigning as leads.

Jennifer Reeder

Josh Dihle's Material Lust

Josh balances his practice through several mediums, allowing his 3D work to influence the content of his paintings and vice versa. Drawn to organic structures, Josh often incorporates this subject matter into his work, creating paintings with material ranging from mid-Atlantic plants called from memory to fossilized shark teeth imbedded into the canvas.

Josh Dihle

Jessica Campbell's Drawn-Out Humor

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.

Jessica Campbell

Brandon Alvendia's Nomadic Studio

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.

Brandon Alvendia

Cody Tumblin's Dyed Anti-Relics

Meticulously mixing dye like a mad scientist, Cody (who a plethora of beakers) uses the highly calculated process to paint onto cheap cloth. The material, which is often casually strewn around his studio, tends to be hung untraditionally after completion. Recently pieces were stretched into the shape of books from his personal collection as well as hung dangling from a laundry line. Paying attention to the personality of his materials Cody often sews pieces of fabric together to create one piece, using the seam as an opportunity to draw on his works.

Cody Tumblin

Allison Reimus: Contending with the Edge

Allison flattens 3D vessels onto her canvas, concentrating on the static object as an active subject. Constantly thinking about what her vessels should contain, Allison has begun to add texture to her works—first discovering the idea to layer alternate materials after a piece of her ceiling literally fell on her head. Observing both the subject (vessel) and painting as objects, Allison continues her paintings to the edges of her canvas, allowing the often looked over area to become another focal point in her piece.

Allison Reimus

Andrew Holmquist's Articulation Through Destruction

Embedded within Andrew's work are the subtle and not so subtle instructions for its final composition. This process is also explored within his video work, 4-5 minute pieces that trace his compositional decisions while keeping a steady beat to move the audience along at a steady pace. Andrew's work seduces the viewer into engaging longer than the typical once-over, making sure to entice one from any distance they stand from the canvas.

Andrew Holmquist

Laura Davis's Sculpture-Based Object Poems

Utilizing her background in jewelry and metalwork, Laura's sculptures are often focused on the armature which acts as a display for the smaller works she places delicately upon the structure. Balance for her is often found in twos, bringing opposites together in combinations of light and dark, gold and silver. Laura also focuses on the regenerative nature of the work she produces, constantly saving and refurbishing elements of her sculptures for future pieces.

Laura Davis

Susan Giles's Constructed Observation

Currently working in miniature and large-scale, Susan builds replicas of buildings to explore how we yearn to own and manipulate the structures we visit as tourists. Fascinated by aerial views, Susan's latest project involves building four of the world's tallest observation towers, exploring their function as both a tourist object and a way for modern cities to aggressively expose their technological progress.

Susan Giles

Tom Burtonwood: Object as Infinite Producer

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.

Tom Burtonwood

Kenrick Mcfarlane's Latent Cartoon Abstractions

Consciously leaving the details of himself and present worries at the door, Kenrick uses his studio as a way to play with the inner matter of his subconscious, folding deep memories and scattered inspiration into his work. Simply applying materials to canvas without plan, Kenrick chooses to analyze images only after their creation, often circumventing intention and relying completely on a meditative flow.

Kenrick Mcfarlane

Lyndsey Marko's Tropical-Tinted Now

Inspired by cinematic moments, her personal history, and bright florescent accents, Lyndsey paints abstract images of tropical scenes that call forth her childhood in Florida. Previously painting straight from memory as a way to transcribe the last traces of her grandparents' home, Lyndsey has moved to painting more abstractly, using a mix of oil and spray paint to produce works that play into a common nostalgia.

Lyndsey Marko

Elijah Burgher's Portable Ritual Spaces

Focused on sigils, Elijah turned his drawings into portable ritual spaces, a way to propel his images on paper into real space. His history of experimental rituals now informs his large, drop cloth paintings, charging them through the act of making each work. Focusing on a specific group of symbols at a time, Elijah allows them to fall out naturally as desires and worries emerge or evolve.

Elijah Burgher

Lise Haller Baggesen's Disco Feminism

Lise creates work that not only address motherhood and its feminist components, but act as a mother through its execution and content. Her practice focuses on staking out a territory for mothering in contemporary discourse, balancing her vibrant, tented environment with the printed text of her piece Mothernism—a disco beat serving as the lyrical and aesthetic inspiration.

Lise Haller Baggesen

Soo Shin: Reflecting the Inner Void

Soo builds sculptures from found pieces of wood and metal, the natural wear of the discarded objects creating an approachability for the viewer. Pointing towards the inseparable nature of struggle and faith, Soo's pieces often have a slight reflective quality, allowing one's body to complete the sculpture as they stare at themselves through the dark, resin-coated abyss.

Soo Shin

Wyatt Grant's Works on Stage

Wyatt paints beams of light onto his darkened landscapes, their presence often growing to act more as characters to the narrative rather than visual attributes. Previously focused on printmaking, Wyatt harnesses the practice's devices and methodologies to create layered scenes akin to juvenile sets, his cut-out and painted figures taking on the appearance of props on a stage.

Wyatt Grant

Sam Jaffe’s Anthropomorphic Textiles

Appearing like the jumbled clothing stores from which Sam pulls inspiration, her studio contains large collections of yarn, thread, fabric, and sweaters of every color and pattern. Crafting geometric works out of her compilations of amorphic material, Sam occasionally adds hair to exemplify her practice’s position between sculpture and body.

Sam Jaffe

Ryan Travis Christian’s Patterned Obscurity

Ryan’s detailed drawings incorporate graphite, rubbings, and personal histories obscured through cartoon figures and geometric explosions. Suburban life is just one of his many influences, as he attempts to twist mundane activities into graphic fantasies. Ryan also curates massive exhibitions, his latest show bringing together over 100 works from artists across the country.

Ryan Travis Christian

Magalie Guerin’s Repetitious Shape Systems

Magalie has had a relationship with a hat-like shape for the past several years of her practice, painting the shape over and over again to create a systematic style to her work. Previously concentrating on detailed ballpoint drawings, Magalie has opened up her practice to embrace color— not settling on a final palette until several layers are built up upon the canvas.

Magalie Guerin

Michael Milano’s Quotidian Explorations

Transitioning between several mediums, Michael applies the same method of parameters and permutations to both his sound-based and visual pieces. Applying an attentive eye to the studio allows Michael to transfer the same practice to real life, in turn bringing small, everyday inspirations from the street back to his drawings and textile works.

Michael Milano

Tony Lewis's Epigrammatic Abstractions

Layers of graphite shavings create an opaque yet luminous film across the entirety of Tony's studio, steadily imprinting the drawings that exist both on the walls and floor. Working mainly with appropriated language, Tony is interested in turning the nonsense from his many sources into important material and vice versa, reconstructing the text into marks and meaning of his own.

Tony Lewis

Chelsea Culp’s Memory-Tied Talismans

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.

Chelsea Culp

Matt Morris: Memory as Gesture

A writer, educator, critic, and artist, Matt investigates the underlying systems that exist beneath that which is most familiar. Working from a studio that also serves as an office and library, Matt allows each to influence the other, transparent about how the many positions he holds are continuously engaged with one another.

Matt Morris

Noël Morical’s Color-Based Suspension

Hung like a mass of piñatas, Noël’s macrame sculptures drift throughout her studio in different states of completion. Previously titled 'Eidolons' because of their specter-like presence, she is now moving away from the term to encourage a wider discourse for her objects, a way to embrace their increasingly architectural feel.

Noel Morical

Dan Gunn's Implied Mobility

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.

Dan Gunn

Allison Wade's Sculptured Prose

Allison arranges her sculptures in the same way an author would a paragraph, grouping works into phrases, removing objects for pause. Together the sculptures balance each other within small families, playing out a tensioned existence that works amongst each of their collected parts. Separately the works exist as minimal objects, but gain momentum when combined with others formed within the same clause.

Allison Wade

Diane Simpson's Detailed Continuity

Working meticulously from drawing to model to sculpture, Diane creates objects that are imminently sturdy in both design and function. Leaving no detail unaddressed, works appear as comprehensive plans for future cities, with architecture forming one of Diane's key inspirations. Although typically sparked by an item of clothing, the literal source immediately leaves Diane's mind once pencil is to paper, letting the sculpture exist beyond the nomenclature of both architecture and fashion.

Diane Simpson

Chris Meerdo's Absent Image

Chris's studio is interrupted by a large reflective orb, a sculpture that exists as both present and absent. Absence is often an area of interest for Chris—mining images that have been purposefully deleted or encrypted. Through this digital ritual Chris explores the corruption and failures that surface through bringing back an image that has already been lost.

Chris Meerdo

INSIDE\WITHIN Benefit Auction

The silent auction will feature essential works by featured artists: Alberto Aguilar, Claire Ashley, Tony Balko, Leslie Baum, Sarah and Joseph Belknap, Samantha Bittman, Robert Burnier, Alex Chitty, Paul Erschen, Assaf Evron, Eric Fleischauer, Max Garett, Danny Giles, Karolina Gnatowski, Andy Hall, Clay Hickson, Cody Hudson, Richard Hull, Steven Husby, Kirsten Leenaars, Sofia Leiby, Sarah Leitten ,Ben Marcus, Jeroen Nelemans, Meg T Noe, Heidi Norton, Betsy Odom, Sabina Ott, Melanie Pankau, Josh Reames, Renee Robbins, Joseph Rynkiewicz, Alfredo Salazar-Caro, Adam Scott, Geoffrey Todd Smith, Deb Sokolow, Edra Soto, Alex Tam, and Vincent Uribe


Maddie Reyna’s Disrupted Documentation

Smattered with objects Maddie has stolen from various chain retail locations, her studio exists as a gathering place for her girly aesthetic. Gold flowers and doodled hearts cover her foam core pieces, works not focused on precise production but rather how that lack of perfection is perceived. Often incorporating correspondence into projects, Maddie explores others' value systems— whether institutional or tied to one's obsession with frivolous accessories.

Maddie Reyna

Ivan LOZANO’s Polysemic Scars

Ivan's studio houses eyes, faces, and limbs roughly cut without attention to exact detail. The parts, culled from vintage and contemporary gay pornography serve as bookmarks to the pornography's history while also imitating similar shapes of Mexican milagros. With a background in experimental film Ivan has moved towards physically editing his work, creating animations that appear computer-edited rather than produced entirely by hand.


Phyllis Bramson’s Complex Eroticism

Phyllis’s studio in her Greektown loft appears as a collage itself, filled with drawers and portfolios that contain the scraps and images that she layers onto her complex works. Phyllis’s pieces have the quality of a collected chaos, abstracted narratives of fairytales and erotic encounters weaved throughout her large-scale pieces.

Phyllis Bramson

Chad Kouri’s Unique Multiples

Chad’s studio shares the same space as The Post Family, a studio he co-founded that encompasses projects ranging from curatorial to woodworking. His personal practice is one that has stemmed out of his design background, collages imitating the same principals as jazz. Chad's process involves carefully selecting the right composition of specified shapes and colors, rearranging their display over and over to create simple, yet eye-catching arrangements.

Chad Kouri

McArthur Binion’s Labor-Based Narratives

McArthur works with relics of his past, placing tiled autobiographical documents into his paintings. Within his DNA Studies series McArthur focused on the individuals that comprised his address book, while his new series, Haints, points to his Mississippi past and Southern upbringing. Forced to be left-handed as a child, McArthur has long embraced using both hands, keeping both sharp to ensure lack of fatigue during his labor-intensive process.

Alex Chitty

Richard Hull’s Elliptic Silhouettes

Richard’s studio is in the front room of his home, walking past several of his crayon-drawings before you enter his private space. Working in both crayon and oil, Richard creates looping works that evoke the sense of a dividing cellular organism, tricking the eye as to the interior and exterior each shape. Richard’s titles are often inspired by poems, their title exposing the interiority of his thought process during the work’s creation.

Cody Hudson

Dana Carter’s Nature-Bound Presence

Experimenting with an array of materials, Dana produces cut backdrops for her short videos and animations, light filtering through the slots that she gracefully removes from the dark fabric. Producing sets within her studio and on-location, Dana creates videos that are both planned out and happened upon, a filmatic spontaneity incorporating nature and its poetic slowness. Dana’s practice is just as broad as the subjects she focuses, leaving open the ability for shifting light and attitude within her work.

Geoffrey Todd Smith

Josh Reames's Compositional Illusions and Palm Trees

Previously focusing on the subject of escapism, Josh has recently moved away from escapist imagery, instead focusing on the removal of hierarchy from his compositions. Josh creates the illusion of depth within his work by heavily incorporating textured paper and shadowed objects, such as emojis. By placing the modern day hieroglyphics into his painted works, Josh creates a universal language of objects that exudes a dry sense of humor.

Alfredo Salazar-Caro

Alex Chitty’s Additive Distortions and Photographic Sculptures

Alex’s studio space is a culmination base camp, a bright studio where her many materials finally merge together. Although previously focused on scanner distortions, Alex has incorporated shelving-based installations through a similar method of additive information. Transitioning back and forth between the design of both the shelves and the objects they hold, Alex forms cohesive arrangements that distort the viewer’s observations of personal narrative.

Alex Chitty

Cody Hudson’s Cut Paper Crossovers

Once obsessed with limiting the connections between his paintings and graphic design, Cody has recently migrated to an acceptance of their related imagery, allowing his painting to become more planned. Cody continues to produce graphic design work for his company Struggle Inc., while also focusing further into the overlapping influence of cut paper collages within his large metal sculptures and paintings.

Cody Hudson

Geoffrey Todd Smith’s Diaristic Abstractions

Geoffrey creates paintings based on a grid, forcing the eye to twirl and race off the edge of his pieces through cyclical marks based in bright, eye-pounding shades. Spending almost as much time on the title as the actual piece, Geoffrey creates controversial text dripping in sleaze and wit which encourages the audience to penetrate his mind during the paintings' elongated conception.

Geoffrey Todd Smith

Alfredo Salazar-Caro’s Digital Architecture and Mayan New Media

Alfredo’s virtual reality constructions delve into the exploration of both digital portraiture and architecture, creating online spaces for our society’s structures and those who inhabit them. Producing digital models of the exhibitions he participates in, Alfredo ensures the shows live forever, outrunning the restrictions of fixed physical spaces.

Alfredo Salazar-Caro

Deb Sokolow's Fictionalized Blueprints

Deb works with the mysteries weaved into her own life, the bizarre misalignments that others might overlook. Fact informs fiction, mixing the two elements into a strange connection that cannot be untangled. Deb's sunny studio in the far West Loop provides a perfect location for her endless people-gazing, large windows providing the vantage point for the train tracks and travelers who traverse on them below.

Deb Sokolow

Tony Balko's Flicker Fetishism

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.

Tony Balko

Betsy Odom's Feminization of the Hide

Betsy's studio is located in Andersonville, a space filled with materials from giant chunks of cork to freshly sewn leather. Betsy's practice spins masculine materials into feminized works, decorating hides with floral patterns and placing the practice of sport into objects that seduce the viewer into the desire to touch, hold, and feel.

Betsy Odom

Max Garett's Large-Scale Isotypes

Max shares a studio with several other artists, his own space located directly within the center. His sculptures stand erect around his workspace, a small army protecting his casting process inside. As a replicator for the Field Museum, Max allows his job to largely influence the materials and processes he uses within his private practice.

Max Garett

Heidi Norton's Resin-Coated Instability

Heidi uses glass, wax and resin to encase plants, often giving her pieces the appearance of microscopic slides or photographic wet plates. Once worried about the inevitable death that would consume her plant-driven pieces, Heidi has since let go of her grasp on the plants' continuous existence. The darkening of leaves and decay of root systems is now an accepted force, gradually altering the aesthetic appeal of her nature-based work through its own sculptural life cycle.

Heidi Norton

Robert Burnier's System-Driven Folds

Robert creates work that forces him through a journey of material, physically recreating images originally formed on the computer with aluminum. Working with and against the strict form, Robert creates objects with emphasis on the fold, a sculptural map of his physical process.

Robert Burnier

Paul Erschen's Culled and Rust-Covered Castings

Paul's studio is filled with the remains of years of sifting through the city for discarded objects, pieces dually considered memory-laden and easily forgotten. Stacked high in blue tubs, the findings are organized as neatly as the many molds for his castings, delicate drawings grace the side of each to distinguish which casting is their match. Through collections Paul has explored the throwaways of Chicago's inhabitants, creating narrative exhibitions he purposefully leaves incomplete.

Paul Erschen

Kate Ruggeri's Personally-Bound Sculptures

Kate's studio is large and open, objects and paintings clinging to the walls and floor in an array of completion. Often requested to make larger sculptural objects for shows, Kate places her own items inside, giving personal objects a newly enshrined existence.

Kate Ruggeri

Adam Scott's Liquid Hedonism

Adam's studio takes up the majority of his rehabbed Wicker Park home's basement, stacks of paintings and carefully curated collages scattering the bright space. Addressing American paranoia through thickly poured paint, Adam warps imagery that dually seduces and repulses his audience.

Adam Scott

Claire Ashley's Bright Bodily Blobs

Claire's studio is located behind her Oak Park home, a space often too small for her large, inflatable creations that tend to spill out into her backyard between plots of tulips. Like the flowers speckling her yard—vibrant yellows, pinks and blues splatter her amorphous objects inciting the innate desire for touch and play.

Claire Ashley

Eric Fleischauer: The Stability of Ephemeral Media

Eric places his work in two realms—moving and still images accessed both online and in person. Intrigued by dying and dead media, he plays with the non-literal use of past media objects and meshes old forms of media production with the new.

Eric Fleischauer

Kirsten Leenaars's Operatic Coordinations

Kirsten is a Dutch artist whose minimal and open studio is found within her home on the north end of Humboldt Park. Crafting childlike sets, Kirsten creates spaces where her participants often play themselves in collaborative narratives.

Kirsten Leenaars

Assaf Evron's Overlooked Aesthetic

Assaf is an Israeli artist and former photojournalist who traded his motorcycle for an art practice. Assaf's studio is located in the Hyde Park Art Center, a large second floor studio packed with sculptures layered from door to window, a byproduct of his recent move from 2D to 3D.


Leslie Baum's Hydradic Appetite

Leslie's studio is a storefront in Logan Square, a vast white space and former bodega a 1/2 block from her home. Utilizing all surfaces including the floor, Leslie works on several pieces at once to feed the many heads of her Hydra-like practice.


Melanie Pankau's Geometric Meditations

Melanie's studio overlooks the skyline, a bright loft divided between her and her husband. Strands of tape litter one wall, pickings of her purposeful procedures in line and geometric form. Focusing intently on palette and drawings, Melanie's paintings go through several preliminary rounds before finally ending on a finished product.


Jeroen Nelemans: Deconstructing the Life Form of the Digital Image

Jeroen's studio in the West Loop is tucked in the same space as ASPECT/RATIO, his husband's video art gallery. As a Dutch artist Jeroen is obsessed with light, using his work to pick apart its use in lasers, classic paintings and the digital image.


Andy Hall: Interrogating the Glass Object

Andy's studio resides in the basement of his Bucktown home, a floor below his family who frequently visit his space. Dedicating time to fully exploring a variety of materials, Andy consciously combines the ageless with the new to create varying materialistic depths in his sculptural pieces.

Andy Hall

Sofia Leiby's Nostalgia for the Future

Sofia's studio is within her Logan Square home, just beyond a make-shift wall that physically separates her studio from her bed. Casually entering and exiting the room's divide, Sofia focuses on her painting practice which has increasingly begun to lean toward the personal.

Sofia Leiby

Danny Giles: The Utility of Synthetics

Danny works from the home studio he shares with his partner in Rogers Park, a zen-filled apartment with lightly-colored walls and plush floor cushions. Creating work from florescent lengths of synthetic hair, Danny stretches the material's ability to point both away and towards the human body.

Danny Giles

Meg Noe's Witchy Kitsch

Meg recently graduated from Columbia College and moved into a minimalistic studio she shares with three others in Pilsen. Picking through cemetery refuse, Meg satiates her necromantic obsessions while dually finding inspiration for her digital and film photography.

Meg Noe

Alex Tam: Mark Making and Meditating the Void

Alex is a recent graduate of Columbia College Chicago, and founder of South of the Tracks, a project he curates out of his studio space in Garfield Park. Alex focuses on creating image with more than the traditional modes of photography—focusing on the experiential rather than latent image.

Alex Tam

Ben Marcus's Power Culture

Ben is an artist and DJ living in Humboldt Park—the same home he first began hosting parties adorned by the colorful objects that now live within the realm of Total Therapy hosted at Berlin Nightclub. Ben curates late-night experiences, creating environments both visually and audibly.

Ben Marcus

Edra Soto's Grafted Relationships

Edra is a conceptual artist working out of her home in Garfield Park surrounded by two dogs, several masks and an array of work that her and her husband have collected over the years. It was this collection that was a major piece of inspiration for The Franklin, an exhibition space and free-standing structure existing just behind their home.

Edra Soto

Samantha Bittman's Patterned Prototypes

Samantha has traditionally created weavings and paintings out of her West Loop studio, but has recently moved her practice to incorporate small, unfixed tiles. The tiles remain separate, coming together to create site-specific patterns originally inspired by the weavings that she still creates on her in-studio loom.

Samantha Bittman

Steven Husby's Slowly Rotating Gestures

Steven is a painter and obsessive Tumblr curator living and working in Rogers Park. Through selective restriction, Steven produces meditative graphics with absolute precision.

Steven Husby

Alberto Aguilar's Momentary Monuments

Alberto uses found objects to construct sculptures—creating meaning between objects otherwise unnoticed. His studio, untied to the physical, exists within home, office, and transit.

Alberto Aguilar

Joseph Rynkiewicz: Suspending Disbelief
for the Intangible

Joseph is an archivist and sculptor who encourages his audience to participate further than a momentary observation of his work. From his studio in Garfield Park, Joseph subtly manipulates materials to share experiences that cannot necessarily be seen.

Joseph Rynkiewicz

Renee Robbins's Macro-Biotic Breeds

Renee generates minute and magnificently detailed lifeforms in her home and studio a short walk from the California Blue Line. By exploring both the macro and micro, she creates hybrid environments not found in the world or known cosmos.

Renee Robbins

Karolina Gnatowski's Tactile Narratives

Karolina currently works out of a second floor studio in Garfield Park, but her beadwork, weavings and sculptures exist somewhere in the 1990s. With influences ranging from Led Zeppelin to horror films, Karolina seeks to expose the drama that lies behind her taut textiles.

Karolina Gnatowski

Sabina Ott's Liminal Functionality

Surrounded by an extensive library, dog Alice, and endless cans of spray foam—Sabina creates sculptures from her studio just steps away from her home and exhibition space, Terrain.

Sabina Ott

Sarah and Joseph Belknap's Celestial Synchronicity

Sarah and Joseph have created their own orbit at the far end of the pink line. Looping effortlessly back and forth between their Cicero home and studio located in the backyard, the couple balance their love for 1000-year-old skulls and 1,000,000-year-old meteorites.

Sarah and Joseph Belknap

Vincent Uribe's Wearable Works and Work-Centered Spaces

Vincent is an artist, curator and director, balancing all three in his third floor gallery/apartment/studio in Wicker Park. Although Vincent's own practice took a back seat to LVL3 in the past, a recent jewelry inspiration draws his focus back to the studio.

Vincent Uribe

Stephen Eichhorn's Meditative Flora

Stephen Eichhorn's studio is on the second floor of his home in Ukrainian Village. Upstairs Stephen crafts collages that feature cacti, and sometimes cats. Downstairs Stephen's home features both.

Stephen Eichhorn

Sarah Leitten's Earth Juice

Sarah is a comic artist, sculptor, musician and turtle owner living and making art in Humboldt Park. In addition to wood-burning, comic creation, and mud monster molding, Sarah also uses her studio for sleeping, spying on the neighbors and white magic.

Sarah Leitten


Charlie pulls inspiration for his work from childhood pow wows, societal rituals and a lifetime of skateboarding. His delicately devised tribal universe can be found in his studio and gallery, The Peanut Gallery, in Humboldt Park.

Charlie Megna

Clay Hickson's Knick-Knacks
and Artifacts [and Tits]

Clay gave us a tour of his studio and home in Pilsen. It used to be a funeral parlor, but is now home to a live man, Risograph and three-legged dog.

Clay Hickson