Imi Hwangbo




Imi Hwangbo's exhibition composes of methodical 3-D sculptural compositions of geometric patterns and flower motifs stemming from Korean decorative patterns. Her artworks draw viewers in to experience these pieces up close to notice the intricate layers in the cut paper reliefs. The precision in her works create an optical illusion that play with light and shadow. Her tightly rendered Constructed Drawings transition into her Constructed Prints with a looser compositional cut paper relief. The media itself opens up a conversation to the subject matter's delicacy. Hwangbo translates how a drawing can become sculptural.


Jenny Lee - Spring 2022 intern  


Imi Hwangbo's body of work tackles moments of dematerialization of a modern lifestyle and how detached one may become due to digital influences. This work creates objects of meditation in hopes to bring viewers back to ones body. The idea of meditation through the work continues through the large amount of energy expended in creating as each piece shows high levels of precision that is created predominately by hand. Hwangbo has previous sculptural training that she uses as a preparatory step along with drawing, however this also connects to her personal metaphor about space and its ties to freedom. Allusions to space are also contemplated through Hwangbos influence of Buddhist Temples, as the patterns reference infinity while allusions to three dimensional forms become a transformative space that one must decide weather or not they are willing to enter. 


Raegan Glaser - Fall 2022 intern 




Writing Forms





In Caroline Kent’s exhibition “Writing Forms”, she takes her viewer on a journey through her own curiosity. This curiosity entails the exploration of language, abstraction, painting, and where those lines may blur. Kent carefully considered the layout of Hawthorn, responding to the space in a way for the viewer to “consider language as a form not to be translated but deciphered”. 


The show consists of a series of four paintings joined by frames made specifically to invite the viewer to intimately engage with the work, a largescale painting accompanied by a wooden sculpture, and a form painted directly on the wall of the gallery with two smaller wooden sculptures on each side. The artist has subtly blurred the lines of language and painting throughout the installation where as a viewer, those blurred lines greeted me, sometimes unexpectedly, as I explored her abstractions. 


An example of this is in her wooden sculpture where it takes on the similar shape of a podium. As you step up to it, you feel as though a speech is to be made. Another is her two small wooden sculptures on each side of the form married to the wall. They resemble quotation marks. Kent is already blurring those lines where a line may exist no longer as she continues on her expedition of curiosity.  

TAYLAR GERGEN - Spring 2020 intern

Caroline Kent’s Writing Forms is a careful curation of work that explores language through painting and sculpture. Viewing Caroline’s work was a very engaging and thought-provoking experience for me. The interaction felt similar to a conversation in the sense that there is a back and forth between the viewer and the paintings. As I spent time with each work, I would continue to find new things that I hadn't noticed before. 


In her four-part series of paintings on paper in this exhibition, it is evident that she considered engaging the viewer through the design of the display as well as the content of the work itself. The paintings are housed in frames that are constructed in a way that partially obstructs the image unless the viewer is directly in front of it. This design sparked my curiosity and encouraged me to look closer. 


Writing Forms also features a large-scale painting on unstretched canvas, a wooden sculpture, and a form painted directly on the wall of the gallery.

DOM MILLER - Spring 2020 intern



oil and cement



Chambers & Weinberg




The Dominic Chambers/Samuel Weinberg exhibition provides a nuanced glimpse into the human experience. Within this show, paintings serve to explore the impact of community and environment on the perception of the individual. Figures cast around the room capture interactions between humans and otherworldly forces, transforming the otherwise mundane into a fantastical narrative. Through a combination of unexpected mediums, the subject matter carries a sense of universality which allows the viewer to connect to a concept in a variety of ways. This exhibition demonstrates the remarkable versatility of each artist. Their ability to combine seemingly lackadaisical mark making with purposeful and precise rendering inspires my own approach to art-making.  

REAGAN MULVEY - Fall 2019 intern

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Ocean Objects




Experiencing Sarah FitzSimons' Ocean Object has given me a number of perspectives on both the process and the concept of art making. The importance of research in the creative process and how that translates a message to the viewer. Every ocean current reflected in the stitching and specific topography of the water, dignified by the different values and temperatures of blue, show how information can be as vast and significant as the Pacific Ocean. In combination with the credibility of replicating the Pacific Ocean, the intimacy of the material choices also captured Sarah's intended concept. Each inch, representing 25 miles, is felt in every joint of the connected materials. The placement of the quilt finalized the concept, for me. Every time I stepped in the gallery, the quilt maintained its presence as both a vast ocean of obstacles while ironically wrestling with an invitation for comfort. 

MEGAN DUERLINGER - Summer/Fall 2019 intern


Akin to nature itself, Pacific Quilt is both organic and free flowing, while also being meticulously designed and mathematically crafted. This precise attention to detail is present not only in the work, but also in Sarah’s thoughtful utilization of the space. Assisting Sarah throughout the installation process allowed me to gain insight into the decisions that go into how visitors interact with and perceive artwork in a space. For example, the placement of Pacific Quilt in the gallery makes visitors aware of their location in the room, and encourages them to consider themselves in relation to the locations represented in the piece. Working with Sarah provided me insight into how to effectively display work as well as the artistic process as a whole.


BEN HERBERT - Summer 2019 intern




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Pink Sky, Red Sea

Expressive, atmospheric and rich in texture, Ghuluom pulls from her everyday experience in her studio and its surroundings. Working intuitively, she navigates these internal and external environments; she writes, “The ways in which one sees, feels, recalls, and absorbs an experience fascinate me and I consider how this can be translated and transformed through painting.”





Proliferative Calamity

The artifice of Miller’s sculptural environments reminds us that the illusion is fleeting. She writes: “The sculptural aspects of the work, created through simple manipulation of mundane materials, play with the precariousness of our perceptions and the fallibility of infrastructure. While at the outset the works seem elaborate, closer inspection reveals the precarious nature of their construction and the mundane materiality that comprises the elaborate façade.”





The Mess You Made

For The Mess You Made, Chung focuses on “the legacies of tools and their unintended use in the hands of the colonized.” Each tool, made and cast from sugar, is hung and cast in overwhelming amounts to create an enveloping installation. These objects are not only symbolic of a much larger story, the material sugar also speaks volumes.




Stayin' Alive

Stayin’ Alive features a variety of work including: Gramophone, a 12ft3 installation, two assemblages titled Chief Wonder and KOKA, as well as a variety of prints. Encompassing the nostalgia of sound and place, Gramophone is built with its own disassembly in mind. The piece comments on the temporality of shelter and refuge as it hangs from the center of the gallery, creating a tent-like structure. The assemblages made of fishing line and rope come from Chavez’s memory of time spent fishing in Mexico as a kid. Chavez recalls how his line used to get tangled. Now, as line and rope entangle within each assemblage, a connective thread of human migration, adaptability, and influence within the urban sphere appear. Binaries of dystopia versus utopia, tension versus suspension, and human needs versus wants are symbolically played out.




Relics, Fibs, Trash, and Treasures

Relics, Fibs, Trash, and Treasures includes an expansive installation titled Salvage as well as six prints from López’s Urban Transformation series. Salvage, a continuously evolving index of the artist’s semiotics, incorporates prints, photographs and drawings intermingled with found objects. Bits of chain link fencing, orange mesh barriers, barbed wire and scaffolding are systematically taped and pinned to the wall. With specific attention to the individual materials, we are able to examine their history and reimagine the salvaged item’s future.