Tiger Strikes Asteroid Greenville (TSA GVL) is excited to announce our next exhibition, Living Things, a group art exhibition curated by member Alex Schechter and exploring the boundaries between human and non-human entities, this exhibition brings together four works by Hannah Chalew, Michael Evans, Manuel Alejandro Rodriguez Delgado, and the artist collective Kosmologym. The exhibition will run April 5 to May 3, 2025 at our gallery located in The Lofts of Greenville and Monaghan Mill. Please join us for an opening reception on Saturday April 5th from 6-8pm.

Each of these artists' work intersects ecology, cultural histories, and the material consequences of humans on the surrounding world, challenging the notion that humans exist apart from nature, instead emphasizing the entangled relationships that shape our world. Each artist asks us to reconsider the hierarchies that have long dictated our interactions with the environment—whether through industrial extraction, colonial legacies, scientifi c manipulation, or cultural narratives. By foregrounding organic matter as both subject and collaborator, these works suggest that rather than asserting dominance over nature, we must embrace a more reciprocal, adaptive, and attentive way of being in the world.

Hannah Chalew’s practice is deeply rooted in the landscapes of the Gulf South. Her work interrogates the material legacy of the petrochemical industry, exploring how extractive economies have physically and culturally altered ecosystems. Rather than resisting natural processes, Chalew’s work embraces them, mirroring the precarious balance between destruction and renewal. Her ephemeral installations highlight the impermanence of human interventions.

Michael Evans’ Yearbook project provides yet another perspective on the ways in which human intervention shapes the natural world. His photographic series investigates the aesthetics of cultivated hot peppers, highlighting the human desire to manipulate and enhance nature to meet specifi c cultural and commercial expectations. Through the lens of agricultural selection, visual branding, and regional identity, Evans’ work underscores how human infl uence extends beyond industry and infrastructure into the very DNA of the plants we consume.

Manuel Alejandro Rodriguez-Delgado’s work reveals how histories of extraction, displacement, and ecological destruction have shaped the landscapes of the Caribbean and continue to reverberate in the present. His practice brings attention to how land itself holds history—how soil, plant life, and even discarded industrial materials bear witness to cycles of exploitation, resilience, and adaptation, incorporating tropes from science fi ction and speculative genres and reimagining post-industrial ruins as potential sites of regeneration, where nonhuman and human actors might collaborate in ways that defy capitalist and colonial logics.

The Kosmologym project Pickles and Concrete extends these inquiries by engaging with fermentation, material transformation, and urban landscapes. Blurring the distinction between artist studio, gallery space, and laboratory, Pickles and concrete asks the audience to contrast the processes of pickling—where organic materials break down and reform—with the ossifying of concrete. This project explores themes of preservation, decay, and adaptation.