No Barrier to Entry


March 2nd - April 27th 2018

Opening/Artist Talk March 2nd 6-9pm


Artists: Alejandrina Herrera, Henrique de Franca, Catherine O'Donnell, and Ana Zanic


No Barrier to Entry opens our borders to artists from Brazil, Mexico, Croatia, and Australia for an engaging multi-lateral conversation.  This exhibition is an opportunity to consider the universality of art through the vernacular of pencil and paper. Before Damien Hirst taxidermied sharks, before Jean Claude and Christo wrapped Chicago's MCA, before Jackson Pollock dripped paint, even before Marcel Duchamp's readymade urinal, there was  pencil and paper for the creation of artistic ideas.  Historically, drawing served as the foundation upon which other skills were built.  Drawing was the initial render, a casting off, a preparatory study, leading to a masterwork in a more highly regarded medium.  Contrary to some opinion, this does not marginalize drawing, this elevates it.  Without that two-dimensional proposition of visual thought, the transition to something more fully conceived might never happen. To express ideas-humble and complex-through line, shading, proportion, and placement, is to master the consummate universal language.  Unlike a readymade urinal, the works on paper of the four artists presented here require no esoteric lecture or didactic to understand it.  Put simply, this exhibition reaffirms the ability of works on paper to awe and inspire.

Artwork by: Henrique de Franca


Artwork by: Zane York

Moved To Stillness


May 4th through June 29th

Opening/Artist Talk May 4th 6-9pm


Artists: Alice Hargrave, Zane York, And Vito Stramaglia

artwork by: Alice Hargrave

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Catherine O'Donnell walks us through an Australian suburb of  public housing via mechanically precise graphite images.  "I see the suburbs as full of connection and disconnection, sameness and difference.  In short, my drawings examine suburban living as a site of complexity. I am particularly interested in the way that the vernacular architecture and general street scapes of the places we regularly inhabit become recessed into our minds like wallpaper.  My drawings whilst uninhabited, still capture traces of human intervention with narrative elements embedded in the commonplace structures: an open window, a door ajar.  While my drawings are clearly representational, the realism in my work is not merely a reproduction of the visible. It is the elevation of the abstract form, the underpinning geometry and the distillation of the spatial composition that interests me. To this end, I extract the building from its surroundings, deleting extraneous information, in order to emphasize the simplified form and obtain the final image. I use representation as a catalyst to revisit these spaces imaginatively, and find the aesthetic poetry embedded within the suburban landscape, while, at the same time, disrupting cultural prejudices which prevent people from seeing the underlying elegance of these simple buildings."  Catherine O'Donnell has an MFA in Drawing from the National Art School Sydney and a BFA from University of Western Sydney. Her exhibitions and residencies have taken her across Australia, Paris, Rome, Venice and London.  Exhibition highlights include  Close to Home: Dobell Australia Drawing Biennale, a solo exhibition at Sydney Contemporary, and many others.  She has won numerous awards and commendations, and her work is held in numerous public and private collections, locally and internationally. (Currently represented by Mayspace Sydney, Australia.)

Alejandrina Herrera creates and recreates the curious and the banal with a hyper-realism that defies pencil and paper.  Herrera offers her work as a contrepoise to the rapidly changing digital world in which we live.  "By using pencil drawing, nostalgia and broad white spaces in my work, I invite the spectator to slow down, observe and contemplate themselves and the beauty in life. With our minds also working in a digital way, I tend to go back to an "analogue" form using non-digital techniques such as pencil drawing, which is a meticulous and slow-paced process." Herrera creates scenarios questioning how life and social relationships have changed over time.  She incorporates the notion of memory by using old photographs as source material for her work.  "The process of creating memories is usually quick, imprecise and abstract. By drawing in miniature, I also try to maximize details to recover an experience that we may have thought was forgotten."  Herrera's exacting diminutives create an intimacy with the viewer akin to the narrative beauty of Albrecht Durer's Renaissance prints, or the illuminations found in a medieval book of hours.  Alejandrina Herrera earned her BFA from Universidad de Monterrey, and attended drawing and sculpture workshops with artists Ramiro Martinez Plasencia and Miriam Medrez. Her work has been shown at the Dallas Art Fair, and has also been published in local (La Peste, México) and international magazines (INDIGO, Colombia, Rare Magazine, Australia). She was born and raised in Monterrey Nuevo León, where she currently lives.