Milo Christie, 𝘉𝘦𝘪𝘯𝘨 𝘭𝘢𝘵𝘦, 2023, Acrylic, marker, chalk Pastel, inkjet print, ballpoint pen and retro reflective tape on cardboard, acetate, paper, wood, masking tape and a penny held together with a strap. 10 𝘋𝘦𝘴𝘪𝘳𝘰𝘶𝘴 𝘈𝘥𝘫𝘶𝘴𝘵𝘮𝘦𝘯𝘵𝘴, May 2023, American Back Center. 𝘉𝘦𝘪𝘯𝘨 𝘭𝘢𝘵𝘦 is a pile of symbols and textures held together by a poem. Installed adjacent to the physical therapy area of the office, the strap reflected the various bands and tools hanging nearby imbuing it with a sense of physiological utility. On the surface of the piece a scrap of blue masking tape with a graphite rubbing matched the color of the wall almost exactly. While these elements follow or echo the logic of the space the remaining parts defy it. Conflicting arrows and symbols suggest direction without giving any and disparate materials come together with an unresolved specificity. Similarly, Christie rhymes “late” and “elate” on the tail of the strap which pools up on the floor in a paronomastic puddle. @father_john_christy Photos: @mikeymosher_photo

Robert Chase Heishman, 𝘗𝘰𝘪𝘯𝘵 𝘰𝘧 𝘝𝘪𝘦𝘸 (-7; -7; -7 𝘸/ 𝘧𝘭𝘰𝘸𝘦𝘳;_𝘐𝘔𝘎 𝘸/ 𝘣𝘪𝘬𝘦 𝘢𝘯𝘥 𝘘𝘙 𝘤𝘰𝘥𝘦; 𝘨𝘳𝘪𝘥𝘴 𝘶𝘯𝘳𝘢𝘷𝘦𝘭𝘦𝘥), 2022, archival inkjet prints on sunburnt yellow railroad board behind museum glass in frame [unique] 𝘗𝘰𝘪𝘯𝘵 𝘰𝘧 𝘝𝘪𝘦𝘸 (~6; ~6; _𝘐𝘔𝘎 𝘤𝘰𝘭𝘰𝘳 𝘤𝘢𝘳𝘥 𝘸/ 𝘺𝘶𝘤𝘤𝘢 𝘭𝘦𝘢𝘷𝘦𝘴; 𝘨𝘳𝘪𝘥𝘴 𝘶𝘯𝘳𝘢𝘷𝘦𝘭𝘪𝘯𝘨), 2022, archival inkjet prints on sunburnt brown railroad board behind museum glass in frame [unique] 10 𝘋𝘦𝘴𝘪𝘳𝘰𝘶𝘴 𝘈𝘥𝘫𝘶𝘴𝘵𝘮𝘦𝘯𝘵𝘴, May 2023, American Back Center. The photographs in Heishman’s framed pieces disclose his process in the margins of his perspective-skewing photographic collages. These scenes float on top of woolly mellow-colored railroad boards whose surfaces carry the faded impressions from previous light exposure. As a pair the collages struck an intriguing harmony with the variety of interior paints in the space. Their color palette allowed them to blend in while the asymmetrically clustered photographs interrupted the banal expectation of order. @robertchaseheishman Photo: Mikey Mosher @mikeymosher_photo

Lily Szymanski, 𝘭𝘪𝘬𝘦 𝘩𝘦𝘢𝘳𝘪𝘯𝘨 𝘢 𝘵𝘳𝘢𝘪𝘯 𝘩𝘰𝘳𝘯 𝘸𝘩𝘦𝘯 𝘺𝘰𝘶’𝘳𝘦 𝘩𝘢𝘭𝘧 𝘢𝘴𝘭𝘦𝘦𝘱 𝘵𝘳𝘺𝘪𝘯𝘨 𝘵𝘰 𝘧𝘪𝘭𝘭 𝘪𝘯 𝘵𝘩𝘦 𝘨𝘢𝘱𝘴 𝘰𝘧 𝘥𝘪𝘴𝘵𝘢𝘯𝘤𝘦 𝘪𝘯 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘺𝘰𝘶 𝘢𝘯𝘥 ______ (1 𝘰𝘧 3), 2022, cardboard, newspaper, papier-mâché and found objects. 10 𝘋𝘦𝘴𝘪𝘳𝘰𝘶𝘴 𝘈𝘥𝘫𝘶𝘴𝘵𝘮𝘦𝘯𝘵𝘴, May 2023, American Back Center. Szymanski brings together found objects sandwiched in acrylic and framed with papier-mâché, underlining the poetics of the collection with a touching request: “remember me.” A photograph of someone walking away from the camera on a pedestrian bridge, a tattered red Chinese knot, and a small handwritten note combine into an emotionally resonant fever pitch. Anecdotally, the piece induced tears among many first-time viewers. @funfactsaboutrats Photo: Mikey Mosher @mikeymosher_photo

Birdie Brachbill, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘕𝘰𝘵𝘩𝘪𝘯𝘨 (𝘓𝘦𝘵𝘵𝘦𝘳𝘴 𝘵𝘰 𝘖𝘵𝘵𝘰), 2023, 8½ x 11 Xerox paper 𝘸𝘩𝘢𝘵’𝘴 𝘳𝘦𝘴𝘵𝘪𝘯𝘨, March 2023, On the Metra platform “Soon after my third nephew was born, I tried to write him a letter. After many failed attempts and finding every word insufficient, I realized that what I wished to say to him could not, in fact, be said. Because of his infancy, which is to say, his inability to read, any language I had to write would have to sustain time and encapsulate the weight of my emotion through the passing of the years. The impulse to write him a letter, to warn him about the world, to bestow upon him what I had learned in the twenty-three years between our beginnings, could not pacify my desire to speak to him in that present moment. As a response to this, I decided on the language of sculpture, nailing four holes into a stack of Xerox paper. With each turn of the page, the hole becomes less legible, eventually returning the letter to its unpunctured state by the end of the stack. This is all to say that I was writing a wound, but with time, just like words, each puncture heals, weighing less than it did in the beginning, each becoming nothing. (b.b.)” @xaeaxii.ii Photo: Luca Klauba @lucaangeloklauba

Sam Oh, 𝘚𝘱𝘪𝘭𝘭𝘴, 2023, plaster and gouache. 𝘸𝘩𝘢𝘵’𝘴 𝘳𝘦𝘴𝘵𝘪𝘯𝘨, March 2023, On the Metra platform. Sam Oh’s installation 𝘚𝘱𝘪𝘭𝘭𝘴 settled on windowsills and benches, mimicking the overflow of a mid-commute snack. A variety of nuts, cast in plaster and painted in bright pastel colors, were scattered across the surfaces. Their delicate and enticing color transformation was reminiscent of the spring flowers that were soon to emerge, or the chalky candy hearts now on clearance. @ssemoh Photo: Luca Klauba @lucaangeloklauba

Portrait of the Artists, Installation view. 𝘸𝘩𝘢𝘵'𝘴 𝘳𝘦𝘴𝘵𝘪𝘯𝘨 (March 2023) Just over three years ago, Switch-Hook invited three artists to install artwork in a warming booth on the platform of the Metra at the Univ. of Chicago/59th St. station. Birdie Brachbill @xaeaxii.ii Sam Oh @ssemoh Dai-Ruei Yang @nnneedtochangemyname Photo: Luca Klauba @lucaangeloklauba

𝙄𝙩 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙋𝙖𝙨𝙨 final open hours this 𝗦𝘂𝗻𝗱𝗮𝘆 𝟰/𝟮𝟳 𝟭𝟮-𝟯 ………………… 3216 W Augusta Blvd. Chicago, IL 60651 Photo by Eugene Tang @eugenetangible

It Comes to Pass will be on view tomorrow with Ruby Que hosting open hours at the gallery 12-3pm Or next week by appointment

Please join us for a conversation with the artists @rubyq.ue and @raychelcarrion moderated by @_sugarm0mmy_ this 𝗙𝗿𝗶𝗱𝗮𝘆 𝟰/𝟰 𝗮𝘁 5:30pm in the gallery. Carrión, who lives in Spain, will be joining us virtually. Link in bio to reserve a spot Zoom link on the S-H website 3214 W Augusta Blvd Open hours: 𝗙𝗿𝗶𝗱𝗮𝘆 𝟰/𝟰 1-5pm 𝗦𝘂𝗻𝗱𝗮𝘆 𝟰/𝟲 3-6pm 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝟰/𝟭𝟮 12-3pm or by appointment. Photo by @eugenetangible

Thank you! to everyone who joined us at the opening of 𝙄𝙩 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙋𝙖𝙨𝙨 No open hours this weekend, there is a furniture/clothing sale at the warehouse @pilsenvintagechicago We are hosting a conversation with the artists 𝗻𝗲𝘅𝘁 𝗙𝗿𝗶𝗱𝗮𝘆 𝟰/𝟰 𝗮𝘁 5:30pm in the gallery Link in bio to reserve a spot Open hours: 𝗦𝘂𝗻𝗱𝗮𝘆 𝟰/𝟲 3-6pm 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝟰/𝟭𝟮 1-4pm or by appointment.

See you soon! 𝙄𝙩 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙋𝙖𝙨𝙨 featuring Ruby Que and Raychel Carrión opens tonight 6-9pm At @bodock_account ………………… 3216 W Augusta Blvd. Chicago, IL 60651

Opening this 𝗦𝘂𝗻𝗱𝗮𝘆, 𝗠𝗮𝗿𝗰𝗵 𝟮𝟯𝗿𝗱 𝟲-𝟵𝗽𝗺 S-H is very grateful to @bodock_account for lending their new space to host our latest exhibition 𝙄𝙩 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙋𝙖𝙨𝙨, featuring video and light installations by Ruby Que and graphite drawings on paper by Raychel Carrión. ………………… 3216 W Augusta Blvd. Chicago, IL 60651 March 23-April 23 ………………… 𝙄𝙩 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙋𝙖𝙨𝙨, a temporal inversion of the biblical phrase, is both a declaration of the inevitable—each outcome following the next—and a description of a locomotive finding its way, not toward a destination, but to more rail. In a surreal rumination on the aesthetics of traversing an unknown landscape, travel appears as the means of worldly displacement and the host for apparitions of the uncanny.