Formation of Iridescent Structures, Grant Gill
January 17th, 2020 – February 29th, 2020
January 17-February 29, 2020
Installation view
Installation view
Installation view
Installation view
Archival pigment print
Edition of 5
Image 6″ x 4″ on 18″ x 12″ paper
Plastic, stainless steel, spray paint and thermochromic ink
21″ x 25″ x 18″
Plastic, stone, spray paint and thermochromic ink
52″ x 58″ by 30″
Detail
Installation view
Archival pigment print
Edition of 5
20″ x 16″
Archival pigment print
Edition of 5
24″ x 16″
Installation view
Installation view
Plastic, spray paint, thermochromic ink, water and fabric dye
13″ x 33″ x 28″
Archival pigment print and diffraction grating film
30″ x 20″
Archival pigment print and diffraction grating film
30″ x 20″
Archival pigment print
Edition of 5
20″ x 16″
Archival pigment print
Edition of 5
20″ x 16″
Archival pigment print and washi tape
Edition of 5
30″ x 20″
Archival pigment print and washi tape
Edition of 5
30″ x 20″
Installation view
Archival pigment print
Edition of 5
Image 6″ x 4″ on 18″ x 12″ paper
Archival pigment print
Edition of 5
20″ x 16″
Installation view
Instant Film
3-1/4″ x 4-1/4″
Plastic, rubber, spray paint and thermochromic ink
42″ x 19″ x 19″
Plastic, rubber, spray paint and thermochromic ink
42″ x 19″ x 19″
Detail
Archival pigment print
Edition of 5
20″ x 16″
Installation view
Installation view
Archival pigment print
Edition of 5
30″ x 20″
Archival pigment print
Edition of 5
30″ x 40″
Installation view
Installation view
Archival pigment print
Edition of 5
6″ X 4″ on 18″ x 12″ paper
Installation view
Archival pigment print
Edition of 5
20″ x16″
Plastic, spray paint and thermochromic ink
22″ x 19″ x 19″
Installation view
Archival pigment print
Edition of 5
Image 6″ x 4″ on 18″ x 12″ paper
Installation view
Archival pigment print
Edition of 5
30″ x 20″
Feb 8, 2020
Feb 8, 2020
L to R, Grant Gill, Michael Lagerman and Vaughan Larsen
Installation view
Formation of Iridescent Structures, Works by Grant Gill
Iridescence, as a natural phenomenon, is an old form of magic that is in a constant state of shifting—as a surface it optically manipulates light in prismatic ways, observed differently in both time and space. It also has formed culturally as a symbol of queerness. In his first solo exhibition at The Alice Wilds, Grant Gill uses this ideation of iridescence to further exhibit his understandings of queerness, magic, and their synonymous applications within his practice. Formation of Iridescent Structures presents a selection of objects and images that shift between states of flexibility, desire, and play as queer magic.
Grant Gill is a Milwaukee-based photographer and artist working within themes of magic, queerness, sexuality, and the archive. He uses objects and images to reflect on both social and personal relationships to iconography specific to the visualization of secular and spiritual magic as a way to navigate queerness. Gill received his BFA from the Milwaukee Institute of Art & Design and his MFA from the University of Cincinnati. His essay, “Cinematic Light in a World of Blue: Projection and Reflection,” was included in the University of Cincinnati’s CVSN biennial, Surface: CVSN Anthology. His work has been shown in galleries and institutions both nationally and internationally such as the Cincinnati Contemporary Arts Center (OH), in group shows at The Alice Wilds (WI), The Neon Heater Gallery (OH), SÍM Gallery (REK), and Osnova Gallery (MSK).