Reception: Saturday, July 9 5-8pm

Download Exhibition Brochure

DOCUMENT is pleased to present What Birds Can See, a group exhibition of works by James Collins, Rachel de Joode and Alwin Lay. The exhibition will open on July 9th with a reception from 5pm to 8pm, and will continue through August 27th.

In her 1956 essay “What Birds Can See,” French author Nathalie Sarraute defines the features of what would later be called the “nouveau roman,” a radically new approach to fiction writing. Sarraute’s main concern is a search for “the unknown, the invisible,” which assumes that plots and characters are composed of microscopic and parceled truths. The three artists in this exhibition share a desire to confound the viewer while at the same time investigating processes and searching for what lies beneath surfaces—the beyond of what we can see. They do so by intertwining the roles of analog and digital media in a manner that Charlotte Cotton, in a recent essay, has called “camouflage”: “Photographer, painter, sculptor, all three of these terms are highly abstracted and unfixed; they are forms of camouflage that provide artists with temporary positions and relationships within the history of art, but pointedly staged in the context of the present.”

James Collins (born 1972, lives in Detroit, MI) uses acrylic and oil paint to produce simulacra of distorted photocopies, scanned images and other types of reproductions, creating an illusion of dimensionality in highly graphic paintings. When it first appeared, photography troubled painting’s monopoly on the accurate transcription of reality. Collins reverses this achievement by copying the reproduced image, executing “mechanical reproduction” with a skilled hand and a precise chemistry of materials. On the surfaces of the canvases shown in this exhibition, the artist applied Tyvec, a house wrap material that is currently ubiquitous in his Detroit context.

Rachel de Joode (born 1979 in The Netherlands, lives in Berlin) works in rhizomatic flows between three-dimensional matter, its two-dimensional representation, and its ambiguous resemblance to human bodies. In this exhibition, de Joode presents an ensemble of digital photographs, abstract sculptures made of cut PVC board, and a ceramic sculpture that serves as a hook for another printed PVC sculpture. De Joode documents processes that may go into the finished object, experimenting fluidly across matter, media and their relationship to the artist’s hand.

Alwin Lay (born 1984 in Romania, lives in Cologne) examines the life of objects seemingly free of human presence. His contribution for this show is a ten-minute video of an invisible cube, placed on a pedestal of identical scale, gradually filling with blue dish soap. A digital photograph, shown alongside the video, shows us a paint roll fixed with a push pin, its handle suspended in the air. These works’ obsessive rationality makes them all the more absurd, in keeping with the artist’s characteristically dry humor, while touching on questions of perception and knowledge. It is ultimately autonomy itself—figured as images of illusory “objecthood”—that appears as a trompe l’oeil in his work.

Elizabeth Atterbury

Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include Kate Werble Gallery, The Portland Museum of Art, Mrs, The Colby College Museum of Art, Waterville, kijidome, Boston, Document, Chicago, TSA, Brooklyn, Bodega, Philadelphia/New York, KANSAS, New York, and The ICA at Maine College of Art, Portland, among others. In the Middle, An Oasis, a monograph of her work, was published by Bodega Press in 2013.

She received her BA from Hampshire College and her MFA from MassArt.

The Well, The Wall, 2016 Silver gelatin print 20 x 24 in

The Well, The Wall II, 2016 Silver gelatin print 20 x 24 in

Beach Woks (Marks of a Tool II), 2016 Silver gelatin print 20 x 24 in

Still Life with Popcorn and Pits, 2016 Silver gelatin print 11 x 14 in

Logogram III, 2016 Silver gelatin print 20 x 24 in

Logogram II, 2016 Silver gelatin print 20 x 24 in

Logogram I, 2016 Silver gelatin print 20 x 24 in

Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in

Sunny Side, FL (The Cut), 2016 Enamel paint, steel 13 1/2 x 28 1/2 x 1 1/4 in

Sunny Side, FL (Sunset Hedge), 2016 Enamel paint, steel 1 1/2 x 16 x 2 1/2 in

Sunny Side, FL (Small House), 2016 Enamel paint, steel 1 x 16 3/4 x 14 1/2 in

Sunny Side, FL (Bull Shark), 2016 Enamel paint, steel 2 1/2 x 18 x 1 1/2 in

Sunny Side, FL (Paper Cut / Hedge), 2016 Enamel paint, steel 10 x 9 x 1 3/4 in

Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016 Enamel paint, steel 11 x 9 1/2 x 9 1/2 in

Sunny Side, FL (Lawn), 2016 Enamel paint, steel 9 x 9 in

Sunny Side, FL (Big House), 2016 Enamel paint, steel 16 x 18 x 6 in

Sunny Side, FL (Palms), 2015 Enamel paint, steel 17 1/2 x 11 x 16 in

Relief (China White), 2015 Plywood and paint 33 x 48 x 1 3/4 in

Moonlight on the river, 2014, chromogenic print 14 x 11 in

Slow Song, 2014, chromogenic print 14 x 11 in

Marks of a tool, 2014, silver gelatin print 11 x 14 in

Rake, 2014, Silver gelatin print 24h x 20w in

Ghost Tracks, 2014, Silver gelatin print 24h x 20w in

Black Beach, 2014, silver gelatin print 14 x 11 in.

Bones, 2014 Silver gelatin print 11 x 14 in

Glyphs II, 2014 Silver gelatin print 11 x 14 in

Glyphs, 2014 Silver gelatin print 11 x 14 in

Site, 2014 Silver gelatin print 11 x 14 in

Sculpture Park, 2014 Silver gelatin print 11 x 14 in

Bricks, 2013, chromogenic print 14 x 11 in

Harry, Henri, Sal, 2013, chromogenic print 14 x 11 in

Blue runner, 2013, chromogenic print 14 x 11 in


Julien Creuzet


On view: November 23rd, 2017 – February 15th, 2018

French Caribbean artist Julien Creuzet presents Mañana Vapor, his first solo show in Colombia at SKETCH.  He composes an intuitive and fertile encounter, composed by poems, installations and visual and sound assemblages. Fragments of poems and photographs are superimposed and printed on to polished surfaces, feverishly wanting to escape from the video that contains them and whisper magic stories into your ears. From his collages he creates powerful visual narratives, erasing the borders between documentary, fantasy and reality; a reverse that lets us go beyond the thinkable, between the occult and the visible. Through his hybrid works Julien Creuzet recovers objects and myths that history has, to date, left aside to make its own agenda prevail. Then and only then Julien Creuzet stories reveal themselves as possible: they shine in silence waiting for our hands to embrace them.

Julien Creuzet lives and works in Paris. He has participated in numerous solo shows including DOCUMENT, Chicago (2017),Galerie Doyang Lee, Paris (2016), National Superior School of Art and Design, Nancy, France (2016), Contemporary Art Regional Funds, Normandy, France (2015), Juvisy-sur-Orge Contemporary Art Centre, France (2013) and Sandretto Re Rebaudengo Foundation in Turin, Italy  (2012). His upcoming shows for 2018 are Ricard Foundation and Bétonsalon Art Centre, Paris.

He participated recently at The Lyon Biennial and Hors Piste Festival at  the  Pompidou Center, Paris (2017), No. XII  Contemporary Art Biennial, Dakar, Senegal (2016), II Kampala Art Biennial, Uganda (2016 and the 30th International Artists Studio Program Exhibition at the Regional Fonds of Contemporary Art of Pays de la Loire, France (2016) amongst others.


Click here for the press release.

Aron Gent
Sibylle Friche
General Inquiries

Gallery hours:
Tuesday-Saturday: 11am-6pm

Private Works Login
DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 30 solo exhibitions since its opening in 2011 and actively promotes the work of emerging national and international artists. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. At this time we do not accept unsolicited submissions.