Jill Dryer has a background in architecture and design (she worked at Architectural Digest for seven years), so it’s a no-brainer that elements of those worlds show up in her current work as a fine artist and illustrator. The Chicagoan will be having a one-night showing tomorrow from 6 – 9 at a loft space in the building that houses Avec, easily one of my favorite restos in the city (get the chorizo-stuffed dates and the garlicky whipped brandade, when you stop in for a snack after the exhibition). “My friend owns the building, and currently doesn’t have a tenant so she offered me the space,” explains Dryer of the somewhat unorthodox venue. “It’s a nice open white loft with wood floors, high ceilings, big windows…perfect for a show, and ideal for my purposes!” She’ll be showing paintings and prints from the series she calls “Design Meets Nature” and I call clever, colorful, and not a little silly. The lamps In “Flamingo” are Castore Suspension by Artemide, the cup in “Sandpiper” is Russell Wright, and, in one of my favorites, “Robinson Zanuso,” a bird perches on a Marco Zanuso chair in front of a Vernor Panton lamp. As a bonus, Jill’s design is well within reach—signed prints are $30, and original paintings under $1,000.
—BRADLEY LINCOLN
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Jill Dryer has a background in architecture and design (she worked at Architectural Digest for seven years), so it’s a no-brainer that elements of those worlds show up in her current work as a fine artist and illustrator. The Chicagoan will be having a one-night showing tomorrow from 6 – 9 at a loft space in the building that houses Avec, easily one of my favorite restos in the city (get the chorizo-stuffed dates and the garlicky whipped brandade, when you stop in for a snack after the exhibition). “My friend owns the building, and currently doesn’t have a tenant so she offered me the space,” explains Dryer of the somewhat unorthodox venue. “It’s a nice open white loft with wood floors, high ceilings, big windows…perfect for a show, and ideal for my purposes!” She’ll be showing paintings and prints from the series she calls “Design Meets Nature” and I call clever, colorful, and not a little silly. The lamps In “Flamingo” are Castore Suspension by Artemide, the cup in “Sandpiper” is Russell Wright, and, in one of my favorites, “Robinson Zanuso,” a bird perches on a Marco Zanuso chair in front of a Vernor Panton lamp. As a bonus, Jill’s design is well within reach—signed prints are $30, and original paintings under $1,000.
—BRADLEY LINCOLN
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Jill Dryer has a background in architecture and design (she worked at Architectural Digest for seven years), so it’s a no-brainer that elements of those worlds show up in her current work as a fine artist and illustrator. The Chicagoan will be having a one-night showing tomorrow from 6 – 9 at a loft space in the building that houses Avec, easily one of my favorite restos in the city (get the chorizo-stuffed dates and the garlicky whipped brandade, when you stop in for a snack after the exhibition). “My friend owns the building, and currently doesn’t have a tenant so she offered me the space,” explains Dryer of the somewhat unorthodox venue. “It’s a nice open white loft with wood floors, high ceilings, big windows…perfect for a show, and ideal for my purposes!” She’ll be showing paintings and prints from the series she calls “Design Meets Nature” and I call clever, colorful, and not a little silly. The lamps In “Flamingo” are Castore Suspension by Artemide, the cup in “Sandpiper” is Russell Wright, and, in one of my favorites, “Robinson Zanuso,” a bird perches on a Marco Zanuso chair in front of a Vernor Panton lamp. As a bonus, Jill’s design is well within reach—signed prints are $30, and original paintings under $1,000.
Jill Dryer has a background in architecture and design (she worked at Architectural Digest for seven years), so it’s a no-brainer that elements of those worlds show up in her current work as a fine artist and illustrator. The Chicagoan will be having a one-night showing tomorrow from 6 – 9 at a loft space in the building that houses Avec, easily one of my favorite restos in the city (get the chorizo-stuffed dates and the garlicky whipped brandade, when you stop in for a snack after the exhibition). “My friend owns the building, and currently doesn’t have a tenant so she offered me the space,” explains Dryer of the somewhat unorthodox venue. “It’s a nice open white loft with wood floors, high ceilings, big windows…perfect for a show, and ideal for my purposes!” She’ll be showing paintings and prints from the series she calls “Design Meets Nature” and I call clever, colorful, and not a little silly. The lamps In “Flamingo” are Castore Suspension by Artemide, the cup in “Sandpiper” is Russell Wright, and, in one of my favorites, “Robinson Zanuso,” a bird perches on a Marco Zanuso chair in front of a Vernor Panton lamp. As a bonus, Jill’s design is well within reach—signed prints are $30, and original paintings under $1,000.
—BRADLEY LINCOLN
March 24, 2009, 11:22 pm
Jill Dryer has a background in architecture and design (she worked at Architectural Digest for seven years), so it’s a no-brainer that elements of those worlds show up in her current work as a fine artist and illustrator. The Chicagoan will be having a one-night showing tomorrow from 6 – 9 at a loft space in the building that houses Avec, easily one of my favorite restos in the city (get the chorizo-stuffed dates and the garlicky whipped brandade, when you stop in for a snack after the exhibition). “My friend owns the building, and currently doesn’t have a tenant so she offered me the space,” explains Dryer of the somewhat unorthodox venue. “It’s a nice open white loft with wood floors, high ceilings, big windows…perfect for a show, and ideal for my purposes!” She’ll be showing paintings and prints from the series she calls “Design Meets Nature” and I call clever, colorful, and not a little silly. The lamps In “Flamingo” are Castore Suspension by Artemide, the cup in “Sandpiper” is Russell Wright, and, in one of my favorites, “Robinson Zanuso,” a bird perches on a Marco Zanuso chair in front of a Vernor Panton lamp. As a bonus, Jill’s design is well within reach—signed prints are $30, and original paintings under $1,000.
