︎︎︎Exhibition documentation (link)

One flattens space in order to open it up. Abstraction, extraction, making new out of the old, giving form to things lost and dematerialized. To create spaciousness inside flatness, one has to wander under, among, and between folds or layers. Where layers overlap and two sides meet, making new worlds becomes possible.


Lindsey Dorr-Niro received her MFA from Yale University-School of Art (2008) and BFA from the University of Wisconsin-Madison (2006). Dorr-Niro is a trans-disciplinary artist who aims to make art a practice of critical consciousness, calling viewers deeper into themselves and relation with the world. Her installations disrupt and reorganize our vision and being in a way that enable us to see, imagine, and be differently -- facilitating embodied, contemplative, and ecstatic détournement. Lindsey currently lives and works as an artist and educator in Chicago, Illinois. Her most recent (solo) exhibition object / coda was held at Regards, Chicago (2020). Other upcoming exhibits in 2021 include a residency/exhibition at Wedge Projects, Chicago.

Nazafarin Lotfi received her MFA from the School of the Art Institute of Chicago in 2011 and her BA from the University of Tehran in 2007. Combining drawing, painting, and sculpture, Lotfi creates transitory spaces to explore the temporal and spatial experience of bodies out of place. Recent solo exhibitions include: Subtle Time, University Galleries at Illinois State University, Normal, IL; Become Ocean, Soon.tw, Montreal, QC; Negative Capability, Regards, Chicago, IL, among others. She is currently a resident at Artpace International Artist-in-Residency program. In 2015–16, Lotfi was awarded an artist residency from Arts + Public Life and Center for the Study of Race, Politics & Culture at the University of Chicago. She is the recipient of Phoenix Art Museum’s Contemporary Art Grant, stArt Grant from the Arts Foundation for Tucson and Southern Arizona, and CAAP Grant from the Department of Cultural Affairs and Special Events at the city of Chicago.

A Good Way to Invent the Future

(group exhibition at ︎︎︎Ditch Projects)

Curated by Mike Bray and Marissa Lee Benedict

︎︎︎Exhibition documentation (link)

Part archive, part reading room, part installation, A Good Way to Invent the Future hosted the work of thirteen artists, and a series of programmed events, from November 16, 2019 to Jan 18, 2020. Structured as a “show within a show,” the 2,000 square foot exhibition featured a partial reconstruction of Ditch Projects’ original gallery space (active from 2008 - 2011) hosting works by founding members of the artist collective – Jared Haug, Dave Siebert, and Jesse Sugarmann – alongside a large installation of works by John and Wonhee Arndt, Tannaz Farsi, Ron Jude, Rainen Knecht, Young Joon Kwak, James Lavadour, Donald Morgan, Lisa Radon, and Stacy Jo Scott. Used books, re-printed texts and images, and sonic intervals punctuated the exhibition, circulating in and around the installed pieces. Visitors were asked to slow down, and to spend time with, and alongside, the works in the exhibition.

Pausing to reflect on Ditch Project’s decade-long trajectory as an artist-run project space in Springfield, OR, A Good Way to Invent the Future jumped off to land sideways in a pool of designed objects and works of visual art that speak, in glances and meandering gazes, to Oregon’s history as a ‘white utopia’ and a frontier state, with its particular libertarian leanings, punk sensibilities, and hippie counter-cultural romanticism. Sitting with these histories of the Pacific Northwest, the exhibition critically addressed the impulses of self-determine communities, sorting through the projections of desire, ownership and belonging within the landscape of Oregon. Boundaries between individual and collective, object and environment, space and place become queerer as the exhibition mapped an entangled sense of the future, with a vanishing point in the trailing fog of the past.


The exhibition was generously supported by a Documentation and Exhibition Grant from the Ford Family Foundation.

When the water comes to light out of the well of my self
︎︎︎Amina Ross

(solo exhibition at ︎︎︎Ditch Projects)

Curated by ︎︎︎Kemi Adeyemi,
organized and produced by Marissa Lee Benedict

︎︎︎Exhibition documentation (link)

An undisciplined creator Amina Ross creates boundary-crossing works that embrace embodiment, imaging technologies, intimacy and collectivity in physical and digital spaces. Amina has exhibited work, spoken on panels and taught workshops at venues throughout the United States. Amina's intention within a media-centering practice is to engage sensuality and sense-perception as modes of reclaiming the body. Amina is currently a 2018-2019 Artist-in-Residence at Arts & Public Life and the Center for the Study of Race, Politics, and Culture at the University of Chicago.

As an educator Amina is currently an adjunct lecturer in the Contemporary Practices department at the School of the Art Institute of Chicago and Co-lead artist of Teen Creative Agency at the Museum of Contemporary Art.

As a curator and cultural organizer Amina is curator of ECLIPSING, a multi-media festival celebrating darkness.


Exhibition support by the Springfield Arts Commission Heritage Arts Grant.

Return to the Great Mother’s Infinity
︎︎︎Jovencio de la Paz

(exhibition at ︎︎︎Ditch Projects)

Proposed and organized by Marissa Lee Benedict

︎︎︎Exhibition documentation (link)

Return to Great Mother's Infinity is a traveling exhibition and blanket lending library created by Jovencio de la Paz.

The library’s installation at Ditch Projects included contributions by:

Cathy Barnes
Seah Choo Fen
Yana McClinton
Jeanne Medina
Jovencio de la Paz
Marilyn Robert
Joan Swift
Kokking Ying


Exhibition support by the Springfield Arts Commission Heritage Arts Grant.

︎︎︎Exhibition documentation (link)

A man is swallowed alive, his spectacles fall from his face, yet he opts to stay inside. This extraordinary incident is recounted in F. Dostoevsky’s short story ‘The Crocodile’.

The crocodile rose to the surface over the course of several months in which images and words were exchanged between Anastasia Douka in Athens, Greece and Angharad Davies in London, UK. In response Davies and Douka created a series of drawings and paintings addressing landscape perspectives through the eyes of a human and the eyes of an animal. These landscapes fluctuate between architecture and anatomy, or in other words, how one chooses to remain inside the crocodile.


Angharad Davies
Angharad Davies’ interests lie in notions of consensus, continuity, restraint and intervention involved in and with architecture. She studied at the Glasgow School of Art (UK), the School of the Art Institute of Chicago (USA),  and the School of the Architectural Association (UK). She currently lives in London, UK.

Anastasia Douka
Anastasia Douka believes that everything constructed can break, be reconstructed and then break once again (or at least it has the potential to). She studied at the Akademie der Bildenden Kunste (Austria), the Athens School of Fine Arts, (Greece) and the School of the Art Institute of Chicago (USA). She lives and works in Athens, GR.