Justin Chance (1993/m/USA)  justinbchance@gmail.com

Studio *

Station   (2021)
Low-Life (2021)
Long Distance (2018)
(Two Person) 
Better (2021)

Single Camera (2021)
Svak (2020)
Long Distance (2018) 


The Collaborative Center for Storm, Space & Seismic Research***



August 20 - September 20,  2021

A group exhibition co-curated with Amina Ross
Carris Adams, Cream Co., Bethany Collins, Angela Davis Fegan, Sabrina Granados, Terrell Davis, Deana Lawson, Kelly Lloyd, Shala Miller, Liz Mputu
January 26th – March 16th 2018
Arts Incubator part of Arts & Public Life | Chicago IL

For more information on the exhibition as well as the ECLIPSING festival, visit: eclipsing.info

Pictured left to right: Carris Adams, Shala Miller (installation behind curtain), Deana Lawson, Sabrina Granados (on floor), Bethany Collins, Deana Lawson

Deana Lawson

Bethany Collins

Bethany Collins

Deana Lawson

Pictured left to right: Carris Adams, Shala Miller, Deana Lawson

On monitor: Liz Mputu, mural by Kelly Lloyd

Pictured left to right: Terrell Davis, Kelly Lloyd, Liz Mputu

Pictured left to right: Cream Co., Terrell Davis, Kelly Lloyd

Pictured left to right: Cream Co., Terrell Davis, Kelly Lloyd

Cream Co.,

Cream Co., Kelly Lloyd (mural)

*More images available upon request
*All installation images courtesy of Sarah Poole

Press Release

On view at the Arts Incubator Gallery, the exhibition is a program of the ECLIPSING FESTIVAL that converges around the first lunar eclipse of January, 2018. Challenging assumptions of darkness, Eclipsing: the politics of night, the politics of light is a group exhibition that implicates the eclipse as a metaphor in order to explore conversations of power, landscape, language, space and visibility. The exhibition is a series of propositions organized and exhibited together in order to threaten, suspend, reshape and revision expectations and associations between light and dark.

From the newspaper front page (Bethany Collins, “The Birmingham News, 1963”) to the sidebar digital ad (Terrell Davis, “Untitled”) and from the hole in the couch (Deana Lawson, “Portal”) to a puddle in the ground (Shala Miller, “The Song the Seed Sings”), the works featured in this exhibition argue for, demand, suggest and encourage an interpretation of the world at large, beyond the binary of light and dark