I\W: Do you feel like your objects are performing, even without a body inside?

Claire Ashley: Right. That’s what I love about the static ones, the non-dancing ones. There is so much less pressure on them, and they don’t rip as easily. I don’t have to organize people. I am in much more control of them, and I do like the breath of them, or the pressure that people can put against them. A lot of people engage with the work because of the color and the playfulness. I love when people are engaged in a way that they want to touch and get up close and personal unlike most contemporary artwork where you do not touch. I am intellectual in some ways, but I totally appreciate that immediacy that people to respond to the work as well. It becomes an important part of how the work is existing.

(Claire’s studio is located behind her Oak Park home, a space often too small for her large, inflatable creations that tend to spill out into her backyard between plots of tulips. Like the flowers speckling her yard—vibrant yellows, pinks and blues splatter her amorphous objects inciting the innate desire for touch and play.)


The exhibition will consist of over 50 photographs drawn from Weston’s fifteen published portfolios, as well as unpublished images from his different subject matter including, White Sands, San Francisco, Baja, Alaska, Hawaii, nudes, abstractions, along with several iconic images including Holland Canal and Garrapata Beach. By looking at the breadth of Weston’s seventy year career, from child prodigy to photographic icon, you see how his work developed overtime and also how his eye remained consistent. 

The exhibit will also illustrate that Brett was a master print maker who took the creation of his prints as seriously as the image itself. This exhibition will illustrate the importance of his work in the canon of photography, and the uniqueness of his modern minimalism.

Opening reception is September 6, 6-8pm.