2015: Liz McCarthy & Soo Shin @ Heaven Gallery

Above: Artists Soo Shin, left, and Elizabeth (Liz) McCarthy, right, candid at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Elizabeth McCarthy and Soo Shin
"The Height Below"
February 6 - March 15, 2015
Heaven Gallery
1550 N. Milwaukee Avenue
Chicago, IL 60622

http://liz-mccarthy.com/

http://sooshin.org/

http://www.heavengallery.com/

“The body is our general medium for having a world.” - Maurice Merleau-Ponty

"How do we move forward in the world where there is no definite answer or direction ahead? Often we have to reason and grasp at reality through the debris of our own darkness in which we cannot see our path. The exhibition The Height Below presents Chicago-based artists Liz McCarthy and Soo Shin’s recent works that explore the fear of uncertainty, and the struggle in having faith in something we cannot prove. This collection works reference body and ritual as mediums in search for small epiphanies in the unknown path ahead of them."

Quotation above from: http://www.thevisualist.org/2015/02/elizabeth-mccarthy-soo-shin-the-height-below/

Above: Proprietors of Heaven gallery, David Dobie, left, Alfred, center, and Alma Wieser, right, standing before "The Ecountering" 2013, by Elizabeth McCarthy, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Elizabeth McCarthy's Untitled 2014, archival inkjet prints on wood, 18x38 inches, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Soo Shin's "Da Capo" 2015, wood, conduit, paint, resin, 56x30x30 inches, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Front-to-back, (1)  Elizabeth McCarthy's "Um Um"  2015, digital sound, wood, paint, dimensions variable; (2) Soo Shin's "Awaited" 2014, wood, paint, 26x84x20 inches; (3) Elizabeth McCarthy's "The Ecountering" 2013, archival inkjet print, 36x28.5 inches; (4) Soo Shin's "Parallel Hikes" 2015, wood, paint, epoxy, wire, 74x24x70 inches;all at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Elizabeth McCarthy's Untitled 2014, archival inkjet prints on chiffon and wood, 38x32 inches, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Soo Shin's "The Height Below" 2014, wood, leather, aluminum pipe, chrome clips, 80x24x5.5 inches, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Elizabeth McCarthy's "Calendars (Altars)" 2014, archival inkjet prints on chiffon, wood, charcoal, wax, dimensions variable, at the opening reception for "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: An overview of "The Height Below," second room, at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above: Exterior window facing northeast, across Milwaukee Avenue, during "The Height Below," at Heaven Gallery, 1550 N. Milwaukee Avenue, Chicago, IL, on February 6, 2015.

Above:
Images (1-10) February 6, 2015;
Copyright Paul E. Germanos

2014: Liz McCarthy @ Comfort Station

Above: Liz McCarthy's untitled photographic installation in "Partitions" at Comfort Station on February 1, 2014.

Liz McCarthy and Nora Nieves
"Partitions"
February 1 - 14, 2014
Comfort Station
2579 N. Milwaukee Avenue
Chicago, IL

Presented by High Concept Laboratories.

http://liz-mccarthy.com/

http://highconceptlaboratories.org/

http://comfortstationlogansquare.org/

"Liz McCarthy works through a process of submerging herself in naturally occurring landscapes in attempt to alter and document her own durational experience. Whether it be a migration to central Wisconsin or a walk in an abandoned overgrown lot in the middle of the city, she explores places where the environment looses ridged boundaries of space and the limitation of formal time. She uses photography to document these environments, and then in the studio, reinterprets the images through the building of corresponding material structures. McCarthy considers most of these structures to be alternative calendars and new representational frames for experience."

Above: http://highconceptlaboratories.org/ai1ec_event/nora-nieves-and-liz-mccarthy-partitions/?instance_id=

"The perception of time and space is fluid, one moment bleeds into the next. In the physical world we create more clear boundaries with objects, barriers, and frames to more clearly define and navigate our experience. In 'Partitions' Nora Nieves and Liz McCarthy both document environments by making structures that tentatively define the way in which they experience particular spaces."

Above: http://www.thevisualist.org/2014/02/nora-nieves-liz-mccarthy-partitions/

Above:  Liz McCarthy's untitled photographic installation in "Partitions" at Comfort Station on February 1, 2014.

Above: Liz McCarthy, left, and Nora Nieves, right, in press image for "Partitions" at Comfort Station, February 1-14, 2014.

Above:
Images (1-2) February 1, 2014;
Copyright Paul E. Germanos.
Image (3) Press image advertising "Partitions" at Comfort Station;
Copyright Liz McCarthy, left; Nora Nieves, right.