Friday, July 11th, 2014
Mutual Ruins presents recent work by Daniel Luedtke, Sarah Mosk, and Nicole White. Through collage, sculpture, and photography, each artist creates work that emphasizes the elimination of a previously held idea of space. Through both literal and conceptual destruction, the work repositions elements, often abstracting the pictorial plane. Taking seeming neutral surfaces, such as walls, corners, and windows, theses works use geometric composition to illuminate and embrace this previous life, creating insightful ruins in their wake.
Daniel Luedtke lives, labors and loves in Chicago and makes art between several mediums such as drawing, sculpture, video and music. He received his MFA from the School of the Art Institute in 2013 and has exhibited work nationally and internationally in spaces such the Walker Art Center - Minneapolis, Devening Projects - Chicago, the Tom of Finland Foundation - Los Angeles, Sue Scott Gallery - New York and NP3 Gallery - Netherlands.
Sarah Mosk was raised in the suburbs of Chicago and received her BFA from Northern Illinois University. Her work has exhibited internationally and in Chicago at the the Midway Art Fair, The Hills Asthetic Center, Western Exhibitions, Ben Russell, Andrew Rafacz Gallery, Roxaboxen, Nudashank in Baltimore and Nada art fair in Miami.
Nicole White is a photographer, curator, historian, and writer. She currently works as Assistant Director of Schneider Gallery, Adjunct Faculty at Wilbur Wright College, and equal operator of 3433, an experimental arts space in Old Irving Park. She holds a BFA from Massachusetts College of Art (2002), an MA in Art History from the University of Connecticut (2010), and an MFA from the School of the Art Institute of Chicago (2012). Recent selected exhibitions include: High Tide, Dossier Outpost, New York, NY (2014), Chicago Style, David Weinberg Photography, Chicago, IL (2013), and Process of Subtraction, Chicago Art Department, Chicago, IL (2013), Homeward Found, Wassaic Project, Wassaic, NY (2013).
TJ Proechel and Daniel Shea present an exhibition which explores notions of history, landscape and mythology. Their installation of objects, images, and texts considers landscape's ability to create national and social identities. Proechel's project reimagines the historical process of translation by considering it as a site of colonization. His project traces the first Spanish missionaries in the San Francisco Bay, the character, "Worf," from Star Trek: The Next Generation, and his grandfather, Reverend Glen Proechel's, translation of The Bible into the Klingon language. Shea's photographs explore the meaning and social value of post-industrial debris and conditions as told through the narrative of a fictional coal town, Blisner. The work is extracted from a forthcoming monograph that focuses on the facade of Blisner's downtown area and the city's attempts to maintain the veneer of a former and more prosperous moment. Anchored by two opposing landscape photographs that establish sites of locality and research, the exhibition presents a collaborative selection of objects and individual works that compile recent projects and possible new directions.