Slow Blossoming is a modern and conceptual update on the 18th century social gatherings known as a Salon. This exhibition brings together art work in a variety of mediums along with a series of social events, and a gallery installation reminiscent of the traditional Salon experience. Guerrero-Maciá’s myriad of symbols, texts, materials and visual juxtapositions all combine for a cumulative effect that positions iconography as a still-valuable interpretive tool for understanding that which surrounds us. Through the use of semiotics, or the study of signs and symbols as elements of communicative behavior, specific themes such as gender equality, the tension between craft and fine arts, and references to both literary and scientific constructs are explored.

The original idea of the Salon revolved around participants exchanging ideas under the auspice of a cultural experience while in pursuit of intellectual stimulation. In an environment surrounded by exquisite tapestries, plush furniture and musical instruments, invited guests were introduced to new literature, musical compositions and partially moderated conversation. The historical and sociological impact of these events was tremendous and helped shape a societal changes related to a number of philosophical and cultural developments.

On view will be Guerrero-Maciá’s series of textiles that historically reference Flemish Mille-Fleur tapestries while introducing a multitude of symbols creating cumulative effects that relate to a personal iconography. Also included is Come Red, Come Yellow, Come Blue (2016), an interchangeable sculptural installation that is simultaneously interactive and functional as seating. Derived from a mathematical learning tool called Cuisenaire Rods, reference to modern design is coupled with a DIY aesthetic while relying on the non-objective truths that mathematics provides. Observing the spectacle of this exhibition is The Greek Chorus, a series of spectrally dyed Belgian Linen characters interspersed with their abstract counterparts.

A series of special performances organized by Joe Adamik, in collaboration with his partner Guerrero-Maciá, will take place over the course of the exhibition. A Transformation of Things utilizes a pair of specially fabricated drum – using Guerrero-Maciá imagery – sets as the setting for rotating call and response duets performed by Adamik and special guest drummers. The performances will aurally activate Slow Blossoming by inducing a form of dialogue that, once rendered, would expound on the overall premise of the exhibition: to create a more optimistic, user-friendly and inclusive future world for all of us to partake in.

*Please see additional press release for dates, performers and more information about A Transformation of Things.

Diana Guerrero-Maciá (b. 1966, lives in Chicago) has exhibited nationally and internationally, created several public art commissions, received multiple grants and residencies including a Louis Comfort Tiffany Foundation Award and two fellowships at the MacDowell Colony. Selected solo exhibitions include: The Museum of Contemporary Art, Chicago and The Contemporary Art Museum St. Louis. Additional exhibitions include: Elmhurst Art Museum (Chicago), Sonoma Valley Museum of Art (California), Loyola University Museum of Art (Chicago) and the Bronx Museum. Guerrero-Maciá studied and was awarded fellowships at both Skowhegan School of Art and Penland School of Craft. She holds an MFA from Cranbrook Academy of Art and BFA from Villanova University. She is currently an Associate Professor at the School of the Art Institute of Chicago.

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Tags: Carrie Secrist Gallery, Chicago, Diana Guerrero-Maciá, Joe Adamik, near west side, Slow Blossoming