Meredith Dytch


West of Goose Island; Oil on panel; 36×72 inches


I am interested in how our built environment co-exists, often uneasily, with the natural world. In my art, I often explore the way in which we seem embedded within our structures, leading our lives surrounded by looming steel and concrete. Other times I often focus on how, with the passage of time, man-made structures start to become congruent with the nature around them. I like to explore themes of impermanence, loneliness and mystery as expressed by the forgotten and crumbling structures around us.

My background in architecture has influenced my art in ways that I didn’t anticipate when I began painting in earnest. As an adolescent I was drawn to wild scenes in nature – the Hudson River school painters were favorites – but my current work can sometimes have a certain formalism that I attribute to my architectural training. I attended the Illinois Institute of Technology, where the Bauhaus tradition took root, and students of architecture spent their first year learning how to draw a line, how to divide a rectangular piece of paper, and how to arrange shapes. Today, I can see the way in which these exercises still influence how I compose a painting.

I am currently working on a series of Chicago cityscapes done in limited palettes, either burnt sienna and pthalo blue, or ultramarine blue, Venetian red and yellow ochre. I believe that these limited palettes perfectly capture the moods and colors of the City.


Traffic on Damen; Oil on panel; 18×24 inches


An Alley in Gary; Oil on panel; 24×24 inches


Path to Nowhere; Oil on panel; 24×24 inches


From the Water Taxi; Oil on panel; 36×36 inches


Down the Tracks; Oil on panel; 12×12 inches


Logan Square Alley; Oil on panel; 30×20 inches


Deserted City; Oil on panel; 12×12 inches