Liu Yang: Experimental Photography

Press Release

Project 1612 is proud to present Liu Yang: Experimental Photography on Sunday, October 20, 2024, from 3:00 to 6:00pm in Morton, Illinois.

From the press release: Yang is a Chinese freelance artist, currently is living and working in Peoria, Illinois.

Yang began exploring camera-less experimental photography in 2017. Her interest in experimental forms of photography was inspired by a life-size maternity photogram of her in 2015—an image made by her husband and artist Qingjun Huang. Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2024 residencies and exhibitions are sponsored by Big Picture Initiative.

Websites and Social Media

Jaci Musec: Hello Friend..

Press Release

Project 1612 is proud to present Jaci Musec: Hello Friend… on Sunday, September 29th from 3:00 to 6:00pm in the backyard location in Morton, Illinois.

From the press release: “Musec is a self-taught, female mixed-media artist living in Peoria, Illinois. She has worked with themes of infertility, depression, anxiety, human connection, play, and self-love since 2015 using acrylic and latex paint, fabric, thread, poetry, watercolor, found objects, canvas, and her imagination.”

Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2024 residencies and exhibitions are sponsored by Big Picture Initiative.

Websites and Social Media

Whitney Johnson and Hannah Songer: kind in the right stomach

Press Release

Project 1612 is proud to present Whitney Johnson and Hannah Songer: kind in the right stomach on Sunday, September 10th from 5:00 to 7:00pm in the backyard location in Morton, Illinois.

kind in the right stomach is influenced by a poem titled '“Eggs” in Gertrude Stein's Tender Buttons.

Kind height, kind in the right stomach with a little sudden mill. Cunning shawl, cunning shawl to be steady. In white in white handkerchiefs with little dots in a white belt all shadows are singular they are singular and procured and relieved. No that is not the cows shame and a precocious sound, it is a bite. Cut up alone the paved way which is harm. Harm is old boat and a likely dash.

Johnson and Songer will be working together to share an exhibition centered around painting. They are curious to see what kind of connections form between their painting practices during the residency.

Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2023 micro-residencies and exhibitions are sponsored by Big Picture Initiative.

Related websites and social media

Tyanna J. Buie: Self-Preservation

Press Release

Project 1612 is proud to present Tyanna J. Buie: Self-Preservation on Friday, July 14 from 5:00 to 8:00pm in the backyard location in Morton, Illinois.

From the press release: Tyanna J. Buie's (she/her) recent work utilizes video and print media combined with methods such as, painting, drawing, collage, screen-printing, and Deep-Fake technology. Buie’s work intersects between self-portraiture, personal narrative, pop-culture, Black cultural significant moments, social movements, and authorship. These intersections allow Buie to challenge her history through the retelling of past events, and the remaking of images as she reimagines the future.

Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2023 micro-residencies and exhibitions are generously sponsored by Big Picture Initiative.

Related Websites & Social Media

Colleen Itani: Bird's Eye

Press Release

From the press release: Colleen Itani (she/her) maintains an interdisciplinary practice that “explores domestic architecture through an abstracted lens.” She is inspired by everyday structures like row houses, semi-detached homes, and flats and states that, “the timelines of these sites situate themselves along histories of those who have lived within and around them.

Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2023 micro-residencies and exhibitions are sponsored by Big Picture Initiative.

Related websites and social media
Colleen Itani website and Instagram
Big Picture Initiative website and Instagram

Peytin Fitzgerald: what now?

Press Release

From the press release: Peytin Fitzgerald (they/them, she/her) has a background in traditional printmaking, however their work includes installation, journaling, music, and fiber arts. Fitzgerald says their work is “motivated by the longing to discover myself in order to live a life full of pleasure and understanding; to sit in the trials of my life and of those around me, pushing for growth.” 

Project 1612 exhibitions are organized by co-founders Jessica Bingham and Alexander Martin. The 2022 micro-residencies and exhibitions are sponsored by Big Picture Initiative.

Related websites and social media
Peytin Fitzgerald website and Instagram
Big Picture Initiative website and Instagram

The 4th Terrain Biennial

Terrain Biennial
October—November 2019

Press Release

Participating artists: Sage Dawson, Venise Key, Jam Rohr, and John Steck Jr.

This is the second time Project 1612 will be participating in the Terrain Biennial, this time splitting between the homes of co-founders Jessica Bingham and Zach Ott in Morton, IL, and Alexander Martin in Peoria, IL. Projects by four artists will be displayed at the Peoria location, including a participatory performance and sculptures by Jam Lovell of East Peoria; a window installation by Venise Keys of Chicago; a time-based installation by John Steck Jr. of Chicago; and an intricate woven carpet in Point 1612 by Sage Dawson of St. Louis. Sage Dawson will also exhibit a flag piece titled Everywhere Around Us at the Morton, IL location.

Exhibition Info:
Artist Statements and Bios
Peoria Journal Star

Kiley Brandt: ¿should i use the first person here

Brandt’s art is political. It is derived from a deep concern and needs to be involved in the discussions that have preceded me. Feminist, phenomenological, and post-modern theories have influenced her work. The conceptual nature of her practice means that the majority of the pieces she produces span mediums such as video installations, legal forms, soundscapes, and poetry. In her practice, she tries to maintain honesty and emotion while also seeking to disrupt comfort. Brandt wants her work to compel uncertainty in the space that people occupy, whether that is the gallery space or their own bodies. She feels the urgency in the need to create in the wake of the 2016 election, which has displaced not only progressive policies but also human lives.

Artist Website:
Kiley Brandt

ZW Buckley: Climate Changes! (Peoria)

Composer R. Murray Schafer believes that we should all try to hear the environment as music. More audaciously, he suggests that we should all take responsibility for its composition. This is the foundation of Acoustic Ecology, a discipline that attempts to understand the world around us not through what we see but instead through what we hear. It is at once both art form and conservation effort. It implies that there are changes that can’t be seen but, oh, they sure can be heard.

But what if this composition isn’t the cohesive brilliance of a symphony but instead hot, sweaty jazz? Everything that’s making sound around you is improvising — environmental bebop. It’s fast, it’s exciting, and we don’t always understand it. But, ask any good jazz musician, and they’ll tell you that half the fun is figuring out what’s being played. It’s about learning the changes - the way the harmony shifts from one place to the next. Once you understand that, the music opens up for you. So, maybe, we need to start there. We don’t often have names for the sounds around us; we just say “the sound of a helicopter” or “the sound of the river.” But, how can we understand something that has no name? And if we don’t understand the thousands of nameless sounds around us, do we really understand our environment? Instead, let’s think about that helicopter over your head, let’s think about the river that runs through your town, and let’s give their jazz a name. It’s active listening as music critique! It’s music critique as climate justice! So, from now on, the cow goes “Moo!”, the helicopter goes “Skabridash!”, and the river goes “Ropliga!”

Climate Changes! is a new series of site-specific installations by composer ZW Buckley that exists at the intersection of climate justice, soundscape composition, and community-engaged art.

Artist Website:
ZW Buckley

Haley Funk & Dylan Pashke: Grey Area

Haley Funk & Dylan Pashke: Grey Area is a body of work that emphasizes the void, or lack thereof, ‘grey area’ within myself. After talking to a former professor, I realized that my life is captured in either black or white, there is no in between. That’s what sparked the idea for this series. These works encompass an array of subject matter such as my life experiences, the people I’ve come in contact with, and how this molds the world into meaningful interactions. My paintings utilize design elements and principles of art such as line, color, value, and repetition as I’ve found some of the most basic building blocks of art, to be the most inspiring. Line in my work conveys connectivity, causality, direction, movement, my content, and is an overall unifying element you’ll see throughout my work. All of my paintings, except for Progression of Greys like a Funeral of Sanity, which is made from hung slats of masonry board, are oil on stretched canvas.

My content thrives off of the frustration, beauty, and liberation of being a person with no ‘grey area’. It’s quite the paradox, really. Works such as Obsessive, Compulsive; Repetition; Recluse; with their counterparts; I am the Catapult; I am the String and the Hand; and I can Read Between the Lines, further solidify the message. We are meant to have grey area as human beings, so perhaps this is a bridge-way to begin my next series, Searching for my In Between.

Artist Website:
Haley Funk

Until recently I’ve had always thought that art needed all sorts of layers. Art always seemed to need many complex reasonings and explanations for the world’s unknown. That each impression on a canvas or layer of media needed more than a, “I did it, because I liked it”. Artists always seemed to have a comprehensive “why” to their art. It’s not until this show, where I figured out my “why” as an artist ... which is creating art that I am drawn to.

No complex reasonings, just creating work that I want to create.

As an artist, I have always been drawn to a minimalist aesthetic. I am drawn to portraiture, abstraction, pattern, repetition, typography, and interactions between both color and mediums.

In this show, I wanted to depict what I am drawn to as an artist, but overall I wanted to try something new. As a continuous learner of life, I always hope to explore and charge into unknown waters. For example, utilizing a polymer plate and metal type, on a printing press, is something I would have never imagined I would have had the opportunity to test out.

Artist Website:
Dylan Pashke

Rachel Hausmann: 12 oz. Lounge

12 oz. Lounge is an exhibition of works by Milwaukee-based artist Rachel Hausmann. Her paintings will introduce a midwestern sensibility through the past-time of “throwing one back” or “crackin’ open a cold one,” remind us that any good beer slogan may also be words to live by.

Artist Website:
Rachel Hausmann

Derek Clem: Bodyguard Binge

Derek Clem: Bodyguard Binge asks, you know how you want to make a dessert for people you love? How do you do this for someone who’s passed? Since the unexpected passing of my stepfather, Byron, in 2012, a facet of my studio processes have shifted toward themes of mourning, reconnection, and tribute. I felt a deep urge to make something for my stepfather; something to express my love and to honor him and his unique life. I can’t make him a dessert; he’s not here to eat it.

While saving up for medical school in Los Angeles during the 1980s, my stepfather worked as a security specialist/bodyguard to various celebrities and as an extra in films and television. While growing up I tried to bring these stories up as often as I could with him. His life in Hollywood and movies, in general, were some of our biggest conversation topics. Renting and going to the movies was one of our most frequent activities.

Since I can’t make him a dessert, I made him a movie franchise—The Bodyguard Franchise. This film series is an exaggerated account of his experiences working in Hollywood. I don’t make films for this franchise but instead focus on making artifacts and objects that share relationships with naive fan art, film marketing and memorabilia, and film criticism. The making process creates a reconnection point with my stepfather. The objects, like engravings or flowers on a headstone, memorialize his life as well as aim to provide an access point to encourage playful world-building or mental screenwriting by the viewer.

Artist Website:
Derek Clem

Eric Anthony Berdis: Hey is for Horse and Hook ups

Derived from childhood fantasies Eric Anthony Berdis’ work explores the metamorphosis of becoming. Set among plush, embellished objects, and playful faux-fur sculptures, Berdis transforms into a nonviolent homophobia fighting superhero. Their non-violent performance practices seek to simulate the jarring experience of being stereotyped while simultaneously examining the ways we navigate towards and create safe spaces. Of course, the only non-violent way to fight homophobia is no other than with a trusty hobbyhorse sidekick? Why not have 12 of them? Why not a race?!

Eric Anthony Berdis is a visual artist and curator whose work explores masculinity, narrative, and subversion through live and video performances. Berdis’ work and performances have been exhibited at Bunker Project, Pittsburgh, Pennsylvania; Random Access Gallery, Syracuse, New York; The Second Floor, Karachi, Pakistan; and Little Berlin, Baltimore, Maryland, among others. Berdis has been a visiting artist at Syracuse University and participated in “Abandoned Practices” at the School of the Art Institute of Chicago. Berdis received their BFA from Slippery Rock University in 2013 and their MFA in Craft & Material Studies from Virginia Commonwealth University.

Artist Website:
Eric Anthony Berdis

Joey Knox: I Take The Weight From Your Hands

Joey Knox: I Take The Weight From Your Hands (August 10, 2018) exists in a created space where Masculinity is merely a shield not an institution of strength. Grainy pictures of muscle cars and muscle boys blown up to a physically imposing scale shows the graphic breakdown of images--while glowing neon charges the space in saturated color that feels vivid and urgent.

Artist Website:
Joey Knox

Alex McKenzie: Carousel

Alex McKenzie: Carousel presents the idea that a word repeated 100 times breaks down phonetically. As auditory perception changes, meaning is separated and a word as simple as “dog” can sound foreign. This semantic satiation acknowledges that repetition is not always sameness but can be understood as a form of change. Much of McKenzie’s practice focuses on this tension. Through the creation of sound pieces, screensavers, physical performances, and other media, his work investigates the structures of repetition and change in memetic culture, information dissemination, and systems as a whole.

Artist Website:
Alex McKenzie

Mona Gazala: Given the Circumstances

Mona Gazala: Given the Circumstances is about memory, place, and justice. It examines the aesthetics and politics of abandonment and gentrification through the remnants of Franklinton's Bellows School, an abandoned school building that is currently being gutted in anticipation of conversion into condominiums or some other new use. The struggle between preservation and progress, what is to be discarded, and who decides is an analogy for how we perceive the people in marginalized and low-income communities.

Gazala is a resident of Franklinton, an inner-city neighborhood of Columbus, Ohio; and her home is just across the street from the Bellows School. Mona navigates her art with the aesthetic of an "urban archaeologist," assigning value to discarded items that others may consider of little worth. Her artworks often go the extra step and address social justice issues surrounding under-served communities and their overlooked human value, particularly as real estate speculation, gentrification, erasure, and displacement become growing concerns.

As an American-born artist of Palestinian descent, Gazala often draws on the mystique of ancient ruins and artifacts that were the normal environment of her parent's upbringing to make parallels with aged and decaying structures in modern American cities. Her Palestinian heritage also imbues her with a keen sense of spatial justice in issues of colonialism and displacement.

Artist Website:
Mona Gazala

Chintia Kirana: Through the Cracks

Chintia Kirana’s formative years were surrounded by geographical and spiritual duality: East/West and Buddhist/Christian. These aspects of duality are evident in an ever-changing multicultural society. Specifically, they influence her interest in life and death, absence and presence. In her process, the act of art-making is to generate possibilities and questions, because, naturally, things are uncertain. In this possibility, she can start seeing a renewal in ideas, concepts, and emotions. She explores the versatility of drawing, painting, and installation.

Chintia Kirana's work has been featured in solo and group exhibitions throughout the United States and abroad, in venues such as ISE Cultural Foundation, New York; Zhou B. Art Center, Chicago; National Art Gallery Dhaka, Bangladesh; Sienna Art Institute, Sienna, Italy; Gallery Aswara, Kuala Lumpur, Malaysia; and The Whitney Museum, New York City, among others. Kirana is the founder, editor-in-chief for Expose Art Magazine.

This exhibition and programming is part of Peoria's 3rd Citywide Celebration of Women in the Arts.

Artist Website:
Chintia Kirana

Programming:
November 11
Exhibition Opening and Artist Talk