Miss Cast

work by Emma Rossoff

May 15 – 31, 2026

On View Sundays
11 A – 2 P

Opening Reception
Friday, May 15
6 – 9 p

Join us in celebration of the opening of Emma Rossoff’s solo exhibition, Miss Cast. 

Like all good fairy tales, this show is a story of transformation. Objects are cast, as if by spell, into new, more permanent materials—freezing them in time and altering their purpose. They move from the domestic and mundane—a pair of old shoes, lint from the dryer—into the symbolic, just as repetitive household tasks such as sweeping the floor can become formative rituals.

Emma Rossoff invites you to think of Comfort Station as a portal: from a strange cottage in the middle of a traffic circle in Chicago to a witch’s home in the woods. Here, we can try on the role of the witch—an independent spirit who balances good and evil and carries her means of escape with her at all times.

The many transformations within the work suggest that we, too, can transform ourselves into the archetype of our choosing. The show as a whole functions as a ritual for personal transformation, and each piece plays a specific role, as alluded to in its title. The process of re-casting is simple. It will only cost you two left ears.

Emma Rossoff (b. 1992, New York, NY) is an artist based in Chicago. Working with wood, casting, and traditional crafts, she creates sculptures that act as portals into the viewer’s imagination through open-ended narratives rich with symbolism. Somewhere between devotional ritual and childhood play, her work unfolds as a trail of autobiographical fragments.

She holds an MFA in Sculpture & Extended Media from the University of Texas at Austin (2022) and a BA in Studio Art and Art History from Columbia University (2016). She also completed the foundation year at the Rhode Island School of Design and studied Fashion Design at Central Saint Martins. Rossoff has participated in residencies at Vermont Studio Center, Bunker Projects, Rockland Woods, and Stove Works. Her work has been exhibited nationally, including two solo exhibitions in Austin in 2023.

@emmalouiserossoff

Ghost Index

work by Curtis Miller and Megan Tan

June 6 – 28, 2026

On View Sundays
11 A – 2 P

Opening Reception
Saturday, June 6
4 – 7 p

Join us in celebration of the opening of Curtis Miller and Megan Tan’s exhibition, Ghost Index. 

Additional Artist Programming

Recursion - A Performance by Austen Brown for the Occasion of Ghost Index, Comfort Station
Saturday, June 20
2 – 5 p

Using analog synthesis to generate impulse responses and sound masks, Recursion is performed through a large speaker system directed at one of ShotSpotter’s acoustic sensors. The work takes on an exploration of rhythm, feeding the surveillance technology what it wants to the point of potential strain.

You look and see nothing at first, which is to say that you see what you expected. Later, someone points out a detail, “right there,” and something begins to form, or perhaps it was already there and now that there becomes available to you. In the nineteenth century, famed “spirit photographer” William Mumler made images of ghosts, most notably an image of Mary Todd Lincoln and her recently killed husband, though “made” is not quite right, since what mattered did not appear (emerge?) at the moment of exposure, only later, during development, or later still, when looking had time to adjust. Patience outstretched, contexts new but the image does not change. You do. Once an image has moved between screens enough it no longer belongs to a single moment but now lives in an act of returning to it. You look again, closer this time, enlarging, isolating, comparing. While looking at the images of Mumler you begin to suspect that what happens here happens with all images, that looking does not produce the image so much as meet it, that patience shifts scale, that time cannot be removed from perception.

Someone tells you where to look, or you tell yourself. The effort begins to carry its own weight. What is found feels less like interpretation than confirmation, as if what is discovered has been waiting there scattered and desiring. There is now more to see than can be accounted for. You gather fragments, replay them, test them against one another. You are the eye in “I am looking.” It is called attention, or sometimes research, we all do it now, don’t we? The instruction is simple: always look closer. The image holds something, or seems to, and you remain with it, trying to determine what has already, really, taken place.

Curtis Miller is an artist and educator working across film, video, photography, and publication. His work often takes the American Midwest as both site and subject. His films have screened internationally at the Alchemy Film and Moving Image Festival, Antimatter, Chicago International Film Festival, DMZ Documentary Festival, EXiS, IDFA, Mimesis Documentary Festival, and Visions du Réel, as well as the Hyde Park Arts Center, Indiana University Cinema, and the Renaissance Society, among others. In 2025, he was named one of Filmmaker Magazine's "25 New Faces of Independent Film."

@curtis___miller

Megan Tan is an image-based artist who works through painting, automated drawing, print media, live stream, conceptual art and readymades. The body of work tends to be preoccupied by or reliant on subjects navigating systems of accountability. When this is untrue of the work, it is busy evoking the filmic without engaging in filmmaking. She has shown in Australia (her country of birth) at Conduction, KINGS Artist-Run, Monash University, Fiona and Sidney Myer Gallery, Jugglers Art Space, Kudos ARC and Puzzle Gallery. Her essays have been published through Discipline and un Projects in Melbourne.

@ergonomic_cheeseboard