In Progress: Omar Kholeif with Paul Heyer–
- The CommonsSecond Floor, East Side220 E Chicago Ave, Chicago, IL 60611map
Featured image
of
Text
Join Chicago Works artist Paul Heyer and exhibition curator Omar Kholeif in the Commons for a discussion on the work and process of creating Heyer’s exhibition.
In Progress is a new series of public programs that gives visitors a glimpse into the working practices of artists, curators, and creative thinkers.
Related content
Exhibitions
- Chicago Works:Paul Heyer–
- Long In this vertical painting, the background consists of a rich, saturated blue mottled with areas of both lighter and darker blue. Extending vertically across the background are three thin, dark brown branches. From these branches sprout small leaves of various reds, blues, pinks, and purples. The branches also bear three ghostly, translucent apples distinguished from the background only by white outlines. The most dominant element of the painting are five large white orbs, each with a faintly translucent white glow. Three of the orbs are aligned vertically on the left half of the painting, while the other two are arranged vertically starting at the upper-right hand corner. This leaves the background of the bottom right corner fully exposed.
- Long In this vertical painting, the background consists of a rich, saturated blue mottled with areas of both lighter and darker blue. Extending vertically across the background are three thin, dark brown branches. From these branches sprout small leaves of various reds, blues, pinks, and purples. The branches also bear three ghostly, translucent apples distinguished from the background only by white outlines. The most dominant element of the painting are five large white orbs, each with a faintly translucent white glow. Three of the orbs are aligned vertically on the left half of the painting, while the other two are arranged vertically starting at the upper-right hand corner. This leaves the background of the bottom right corner fully exposed.
- Long In this vertical painting, the background consists of a rich, saturated blue mottled with areas of both lighter and darker blue. Extending vertically across the background are three thin, dark brown branches. From these branches sprout small leaves of various reds, blues, pinks, and purples. The branches also bear three ghostly, translucent apples distinguished from the background only by white outlines. The most dominant element of the painting are five large white orbs, each with a faintly translucent white glow. Three of the orbs are aligned vertically on the left half of the painting, while the other two are arranged vertically starting at the upper-right hand corner. This leaves the background of the bottom right corner fully exposed.
- Long In this vertical painting, the background consists of a rich, saturated blue mottled with areas of both lighter and darker blue. Extending vertically across the background are three thin, dark brown branches. From these branches sprout small leaves of various reds, blues, pinks, and purples. The branches also bear three ghostly, translucent apples distinguished from the background only by white outlines. The most dominant element of the painting are five large white orbs, each with a faintly translucent white glow. Three of the orbs are aligned vertically on the left half of the painting, while the other two are arranged vertically starting at the upper-right hand corner. This leaves the background of the bottom right corner fully exposed.
- Long In this vertical painting, the background consists of a rich, saturated blue mottled with areas of both lighter and darker blue. Extending vertically across the background are three thin, dark brown branches. From these branches sprout small leaves of various reds, blues, pinks, and purples. The branches also bear three ghostly, translucent apples distinguished from the background only by white outlines. The most dominant element of the painting are five large white orbs, each with a faintly translucent white glow. Three of the orbs are aligned vertically on the left half of the painting, while the other two are arranged vertically starting at the upper-right hand corner. This leaves the background of the bottom right corner fully exposed.
