Real Windows Birmingham

Space One Eleven’s Real Windows program is designed to expand access to arts and cultural opportunities by working with artists to transform vacant storefronts into public exhibition spaces. By breaking out of the traditional gallery space, Real Windows expands its reach into the community to make art accessible to a broad audience.

This project is supported, in part, by The National Endowment for the Arts, The Community Foundation of Greater Birmingham, and the Alabama State Council on the Arts. Additional support comes from Space One Eleven’s Board of Directors, friends of Space One Eleven, corporate and individual donors and volunteers.


Gaby Wolodarski

1914 3rd Avenue North


In the context of downtown Birmingham, with its empty buildings and defunct signage (witness “Jeans Glory” across the street, which I first misread as “Jean’s Glory”) these absurd spinning signs are intended to disrupt a viewer’s/passerby’s visual and spatial experience in a way that is humorous and surprising, but that would also raise questions about inclusion and notice-ability, about what we perceive as common-place, about how nature (bio-nature) is shaped by and subordinated to human civilization, about the pervasiveness of signifiers in our every encounter, and hopefully, ultimately, about perception itself, with attendant mysteries of know-ability and existence. In attempting to stage a binary of recognition-mediation (now you see a figure/now you see a sign), I’m pursuing a notion of the incompatibility that the poet Francis Ponge observed between the “real-idea” and the “idea-word.” If knowledge can only be a sort of on-off flicker, in which certainty comes at the expense of experience and vice-versa, then possibly the layering of one repetition over another within this flicker may hold potential for something else – maybe sinister, maybe light? I intend for “pigeon” to come across as a playful metaphor for “person” – with attendant implications (sinister or light) around “other” birds. This is a divisive time in America. My hope is to use humor and beauty in the service of inclusion and empathy (my highest hope for art).

P is for –
Gaby Wolodarski

1807 3rd Avenue North

The “subject matter” of the P-p-piece would at first glance seem to be typography.  But underlying the surface-fascination (which one sees today manifested in a revival of mid-century styles of commercial art, a sort of neo-50’s wave in graphic design) is, for me, a desire to grapple with the underlying conundrums regarding Form and Meaning that motivated early modernists such as Malevich, Lissitsky, Mondrian, and Hilma of Klint (not to mention the later endeavors of Sigmar Polke, Ed Rusha, Joan Brossa, etc.)

I have a hunch….I have a hunch that there’s great potential in human perception of the intersection of the basic tensions.  How do light and dark operate in terms of surface and depth? How do weight and levity operate in terms of sympathy and antipathy?  How do color relationships inform a sense of presence vs. absence? And how can the mind be made to see its own complicity in the on-off flicker of knowledge, wherein certainty comes at the expense of experience, and vice-versa? How can eyes be taught their complicity in the vicissitudes of mind? In the perpetual crafting and re-crafting of language?