Field Guide Catalog

Field Guide

Instructions for living a life:

Pay attention. Be astonished. Tell about it.

—Mary Oliver

CURATORIAL STATEMENT

Field Guide is an exploration of the ways in which we discover and exchange knowledge that transform our experience of looking at the world. Field guides transfigure the invisible to the seen, the foreign to the familiar. A field guide helps us differentiate and identify what is valuable from what could be dangerous. In an era of ever-shortening attention spans, art can be a field guide to help us pay attention, to help us be astonished.

This collection of artworks offers unique instruction and insight that can help us both recognize and feel recognized. A field guide to

grieving, a field guide to home, to memory, to moving forward, to self recognition, to belief, and so on. Like compact manuals meant to be carried with us “out in the field,” these artworks invoke moments of empathy and wonder from our heads and hearts that we can carry with us out of this gallery, a field guide for living a life. Whether offered by experts or enthusiasts, these artists make familiar a lived posture of attention through which we can find everything astonishing.

Sarah Bernhardt

A Field Guide to Place

Michael Winters

ARTIST STATEMENT:

Blaze (Grid #01) is a single photographic print showing a collection of photographs of trail markers, also known as “blazes.” These trail markers were cut into these trees and painted so that hikers are assured they are on the right path. In that way, these images give a feeling of assurance. At the same time, drawing these various trail markers into one collection yields comparisons and reveals the individuality of each white diamond. These images can be thought of as photographs of paintings, but the paintings have been subjected to the weather and the growth of living trees.

Blaze (Grid #01)

Michele Heather Pollock

ARTIST STATEMENT:

This artist book was inspired by a walk I used to take daily in a woods near my home. I would walk the creek, observing the tiny changes that are apparent when you learn a place well. In 2018, I developed a rare chronic autoimmune disease, Scleroderma, which made woods-walking more and more difficult. Created to celebrate and remember my relationship with this one particular place, it is also a celebration of nature – part field guide, part nature journal, part scrapbook, part repository of memory.

Each page is a small original quilt, made of gel plate printed papers and fabric, machine quilted. Plants, animals and mushrooms I would find along the walk were drawn with the sewing machine, painted with acrylics, and hand embroidered. “Specimen tags” were typed on an old Royal typewriter I found

at an antique mall. The last page features an original poem. The book took more than two years to create and incorporates all my artistic identities – fiber artist, poet, hand bookbinder, amateur naturalist.

To Know This Place

To Know This Place (detail images)

Casey Lance Brown

ARTIST STATEMENT:

Originally trained as a landscape architect, I focus on disturbance in the Anthropocene. Economic decay, abandonment, toxic legacies and the fallout of past environmental failures erupt in the foreground in my digital and analog paintings. Built from a base of intensive research, my series juxtapose something foreign with something completely native, highly technospheric with something atmospheric, and/or something jarring with something reassuring. The contrasts help interrogate how we arrived at our current geotraumatic state.

In the “”Kudzilla”” series, I devise hyper-realistic tableaus from kudzu vine barrens in southern Appalachia and Depression-era landscapes. Extensively planted by private and public entities in the 20th century, the East Asian legume has become a kind of Rorschach test for landscape change. Kudzu’s quasi-mythic levels of aggressive, girdling growth make it analogous to another import from Japan—Godzilla. Both have become symbols of environmental destruction that we would prefer not to face. Instead, we relegate them to the environmental other box, pretending that these beasts are not born of our own environmental hubris. They exist on the hyperobject scale, too monstrously big to study, contain, or cohesively comprehend.

Rather than a tale of unintended consequences, kudzu continues to line the same roads and gullies it was planted to remediate last century. These novel species zones make visible the cycles of growth and decay that describe the Anthropocenic era. Our era is the palimpsestic build-up of previous environmental damage that we perpetually try to fix. Kudzu was the original biotech, evolved over generations in East Asia to provide food, fiber, and medicine in times of famine. In the U.S., we fed it our disturbance and it became Kudzilla, the ethno-botanical-evangelical-myth.

Kudzilla

Jennifer Colten

ARTIST STATEMENT:

Significant & Insignificant Mounds

Over the last eight years my work has concentrated in the region, known as ‘The American Bottom’. This nearly 65 mile stretch skirts along the Mississippi River from Alton, Illinois traveling south to the mouth of the Kaskaskia River. This is a landscape visually, socially, politically, and ecologically complex – a place spatially fragmented by both human and natural forces.

Layers of history exist in this landscape. Indigenous people lived on this land nearly 2000 years ago. The French occupied and settled in the 17th

century. The 19th and 20th century industrial expansion left visible scars and a residue of waste. Our 21st century contends with an uncertain ecological condition.

While this area is sometimes referred to as Mound City, the region is less often recognized by its historical relationship to the Native American Mississippian culture - the people who built the interconnected series of Mounds that straddled both sides of the Mississippi River. Some, not many of these ancient mounds still exist. Residing in ironic proximity to these Indigenous sites are parallel piles - the slag heaps, landfills, and toxic masses which reflect ambitions for progress and ownership.

Significant & Insignificant Mounds is an ongoing collaboration with writer, artist, architect Jesse Vogler. Our project marries current day photographs of this contradictory geography with experimental essays and texts gathered from diverse sources – historic and legal registers, literary content, land

surveys, vernacular archives, archeological and geographical notes. As our project intertwines these varied modes of representation, complex relationships between the multiple narratives of place, of history, and of culture are revealed. The project’s title alludes to expectation and value judgement contained within the slipperiness of language and questions about photographic representation.

To work with landscape is to embrace and to challenge a long history of representation. To work specifically with photography is to consciously choose a medium so ubiquitous that its imagery is often either overused or easily dismissed. Building upon the historic landscape photographs of the 19th century Westward Expansion, I draw inspiration and make reference to the views that express an open sense of promise. In contrast however, I am interested in portraying a depiction that challenges perceptions of space and raises questions about how value is measured within our collective cultural experience.

Mound 7771

Mound 8960

Mound 6330

Mound 1613

Mound 3867

Mound 4411

Mound 6097

Carlyn Forst

ARTIST STATEMENT:

“Three generations…” captures a key transition of the land the artist grew up on. The Forst family had occupied a large farm in Southwest Missouri since 1952. The 640 acre lot belonged to a banker on the West Coast. It had remained relatively unchanged during the Forst’s residency. When the banker decided to sell the pricey lot, significant changes were sure to follow.

This aerial painting documents the land as it existed before being sectioned and sold. It features key points of interest and the unique characteristics of every field and pond. Terraces and trails that the family installed are depicted through fine lines throughout the work. Even finer lines depict the direction the fields were worked. Colors indicate the quality of soil and the yields of those fields.

The top right of the painting is about 100 acres of old growth forest, mainly Ash and Hickory. Pettis Creek, though hidden, shapes the northern tree line. Another can be seen running through the bottom portion with its undulating lines.

The bottom right is the Forst’s homestead, a small portion they bought. It features the house, barn, shop and a fruitful pear tree that’s been there since the artist’s childhood.

This piece serves as a memento, map and storytelling guide.

Three Generations..

Sophia Hatzikos

ARTIST STATEMENT:

Themes of place, landscape, and the elsewhere are evident in my practice. The Tyson Research Center (TRC) project began in 2022 and is on going. TRC has rich historical layers of indigenous histories, mining activities, public spaces, eminent domain, World War II government, and Washington University’s environmental field station. To capture these historical layers, I combined a variety of archival materials that informed sculptures that I term artificial artifacts. These fragments, extracted from the landscape itself, are a form of caretaking for this place, and form a collective entity that resembles a field guide.

Echoing Filing Cabinet 1-52 (Tyson Research Center, Eureka MO)

Fragmented Bunker

Explosive Care (Tyson Research Center, Eureka MO)

How to Care for Explosive Care

Mike Roth

ARTIST STATEMENT:

Contrasting scene length and content overtly states the disparity between cultural landmarks of Colonial and Indigenous peoples in the common knowledge of local citizens within Greater St. Louis. The significance of Mississippians has literally been carved into the earth, but vastly overshadowed by monuments dedicated to conquerors and Westward expansion; their history being reduced to a blip and their land shoveled away beneath the feet of St. Louisans. ‘land marks’ intends to question the viewers’ own perspective of what came before and drive self-education to feel the power and reach of the Mississippians.

Musical

arrangement by

Eric Lozano

land marks (still)

Lynne Smith

ARTIST STATEMENT:

A series of works were developed in response to a site, the National Building Arts Center in Sauget, IL. Once occupied by a steel foundry, industrial infrastructures such as concrete bunkers, metal ladders, and columns remain. The surrounding field is teeming with native prairie plants, yet beyond its boundaries is a maze of tubes and pipes, as the village was incorporated by Monsanto in 1926 and is still occupied by heavy industrial producers.

Toxic legacies persist above and below the horizon in Sauget, yet at every margin, nature is abundant and expresses its resilience. The oppositional axis of a weaving’s warp and weft is an appropriate metaphor for these contradictions. The woven cloth includes natural dyes of plants foraged

from the site, which were used on the horizontal ‘weft.’ Synthetic chemical dyes on the vertical ‘warp’ mimic the vibrant cadmium-yellow steel columns and neighboring Monsanto’s toxic PCBs. The reclaimed steel strapping references the bunker ladders and iron-oxide pigments made from railroad spikes from nearby tracks. The resulting sculptural work is an abstract material echo of the site and speaks to the industrial impact on the town and broader American Bottom region.

Ladders to Nowhere

Morgan Bakaletz

ARTIST STATEMENT:

I prefer solitude in nature over social interactions, finding them draining and overwhelming. Comments like “smile more” bother me, and I struggle with small talk, being cautious about sharing personal details. Raised in Northeastern Tennessee, surrounded by mountains, nature brings me profound comfort reflected in my art. Hiking reveals wonders like leaf veins, cicada exoskeletons, Bryozoans, and twigs. My passion extends to mycology, underwater life, and botany. As a masculine-presenting queer woman, solace is elusive. My work channels my own hardships, providing self-understanding. ‘Alone’ is my sanctuary, a place to be genuine. Recently venturing into illustration, I use humor to navigate my experiences, creating prints with fictional worlds, weird, funny, and specific plants.

Monk’s Thousand-Leaf

Monk’s Thousand Leaf grows like an ivy, sending roots into the land as it climbs and moves along the floor of Ethedris. It is most often a rich purple. When cut open, it will bruise very easily. One touch and the inside of this plant will turn a deep, warm red and start to heat up. You are advised not to eat it, as it causes specific hallucinations that result in death.

plant is incredibly invasive, yet it is rumored Monk’s Thousandjust one vine, continuously thriving off of nutrients in soil anywhere. It flowers occasionally, about every two three years and continues to rely on small insects to its seeds around and provide a checkpoint, so the knows where to grow to next.

The Very Important, Very Informative, Very Intricate Encyclopedia of Morgan’s Very Detailed Mind

Bort

Bort is usually a desaturated lemon yellow with deep maroon stems, related to the color palette of a deviled egg. This plant does not taste like deviled eggs and will cause serious gastrointestinal issues if consumed. It pops up all over the place, from Yonder to the Southeastern corner of The Howling Vale. It is resilient and toxic if touched. It blooms four times a year, and usually grows in thickets. Bort is usually around 4 feet tall, but not nearly as wide in diameter. The cups of its leaves make for a good seat, but one should not sit down on this plant. In addition to being toxic, it is crusted with a yellow dust that will follow whoever touches it.

it

A Field Guide to Time

Brittany R. Gilbert

ARTIST STATEMENT:

Building upon the history of observational landscape painting, I consider its relevance in an age of time-based media, mass imagery and instant information. Embracing human limitations, I explore the complexities of first-hand experiences and the definition of familiarity. Through sequential and perceptual landscape painting, my practice creates an archive of sustained engagement with perpetually fluctuating environments.

Outside, there is so much information and many variables beyond my control. How do these observations enhance my understanding and attune

my senses to the nuances of the scene? Standing in the same spot, I paint a space again and again. With each noticeable change in its appearance, I begin a new panel. I cannot and do not want to capture every detail. I am interested in shape shifts within my subject, as well as the immediacy of my response. The result of this process corresponds with the pace at which changes occur.

Sustained engagement through painting allows me to be open and ready to respond to the unexpected in seemingly mundane or cliché subjects. As

I work, I do not compare the current painting to the previous one. I am fully absorbed in the present. I have faith that the process will result in a genuine record of my experience however subtle or dramatic the visual shifts.

Painting the same size within a series guarantees that there is minimal disruption to the narrative flow and read when I present these landscapes in their entirety as a story of my encounters with a particular place. Series are installed chronologically as a singular piece - often in grid-like formats contrasting the irregularity of nature.

Image opposite : Hazard Avenue I

Adriane Honerbrink

ARTIST STATEMENT:

“Leaves” was crafted in the wake of my mother’s passing from cancer and serves as a personal exploration of temporality and the delicate nature of memories. Each sculpted leaf within this piece represents a distinct moment in time—an entry into the journal of my experiences, seamlessly deposited into the pages of my field guide. An attempt to hold on. These leaves stand as poignant reminders of the ephemeral quality of memories, echoing the finite nature of time and our own existence, akin to leaves bound to a shared fate. As I draw parallels to my own journey, finding solace and inspiration in nature’s example.

Leaves

Katie North

ARTIST STATEMENT:

As a multidisciplinary artist, my work evolves from a daily practice of meditative making, such as hand-stitching and drawing, as a means of selfcare and refuge from an increasingly digital time. Recurring themes include place, home, nature, and impermanence. In reference to quilts as “women’s work”, this new series questions the value we place on objects both in fine art and domestic spaces.

These quilted works were created using naturally dyed cotton. The dye materials come from a mix of locally foraged plants and kitchen scraps. Subtle aberrations appear on the fabric, creating a visual texture that is evidence of the plant matter and place from which the color came. Each hue is coaxed from various plants that have evolved over centuries, adapting to their surroundings or the preferences of humans. They tell a story of growth, decay, and resilience. Some colors are more lightfast than others, a result of

ongoing experimentation. The fleeting color echoes the impermanence of all things and the reverence for each day because of it.

Just as field guides invite us to look more closely, my work pulls viewers in to observe shifting colors, the saturation of pigment, and delicate hand stitching. From a distance, the work reveals inconsistent patterns and mismatched corners, quiet cues to remind us of the imperfections that are a result of the handmade. The choice to quilt with naturally dyed fabric is to challenge our consumer culture and the impact it has had on our planet. The everyday objects we interact with are often devoid of the materials and methods that they come from. Quilting is a slow craft imbued with story and place. Natural dyeing allows for an intimate connection with my local surroundings, observing the seasonal shifts by way of plants. These labors of love are humble reminders of a knowledge passed down through generations & the creative impulse to infuse functional objects with meaning. This impulse is in celebration of our short time together and the stories we may share.

Color Swatch

This Too Shall Fade

Kyle Brandt-Lubart

ARTIST STATEMENT:

The contours of being human invite endless opportunities to cultivate a poetic sensibility as we engage with the world around us. I think of poetic sensibility as the practice of embracing that which is intangibly poignant as we take in experiences, filtering them through the senses. Poetic sensibility is a way to find magic in the mundane, to build conduits from external stimuli to the emotional self.

Birdwatching depicts a curious engagement with an element of the natural world, one in which the realities of delight and despair co-mingle. Through the lens of poetic sensibility, it explores the act of looking closely. It exists at the confluence of whimsy, play, melancholy, and vulnerability, one small story told in shadow and light.

This piece embodies the multimodal character of my approach to artmaking, as it is a conversation between visual, poetic, musical, and movementbased expressive processes. The audio track for Birdwatching was created in collaboration and features Eggshell Emily (https://eggshellemily.bandcamp. com/) on synthesizer.

Image opposite : Birdwatching (still)

Maddie Aunger

ARTIST STATEMENT:

These paintings came out of the start of the pandemic. They focus on a single window in my home Lincoln, Nebraska, where I was living at the time. Being home for long stretches wasn’t a new experience for me; I’ve always been a homebody. But, the forced isolation made me take notice and pay attention to the dynamic shifts of light and color in this window. Through making this series, I felt more connected to the home.

I capture instances that pull me out of the day and bring me into the moment, a moment of peace. Light that only briefly touches a specific spot,

shadows that stretch and disappear within minutes, and colors reflecting from unknown sources highlight and bring my attention to the spaces that might normally fade into the background or go unnoticed. There is both care and respect in quiet contemplation.

My work encourages the viewer to slow down, step into my space, and recognize that these moments can be found within their own worlds.

A Field Guide to Other Kin

Ernst Heinrich Philipp

August Haeckel

(1834 – 1919) Was a 19th century German Renaissance Man. A physician, zoologist, professor, and artist (among many other complicated things), Haeckel illustrated a remarkable volume titled Kunstformen der Natur or Art forms in Nature published between 18991904. A 2008 edition is on view for this exhibition.

100 color Lithography prints were selected from over 1000 illustrations Haeckel created during the course of his career.Enthusiastically received by scientists, artists, architects, and amature naturalists, Art Forms in

Nature had a significant influence on the Art Nouveau movement of the early 20th century.

Haeckel’s fantastical and lyrical aesthetic approach could be a field guide to identification, but mostly to absolute wonder and awe at the beauty and interconnectedness of life forms from large ecosystems, down to microscopic organisms.

Hollie Regalo

ARTIST STATEMENT:

My eye seeks complexity. My fingers seek texture. In both the music I listen to as I create, and the images I transform into embroideries, I’m fascinated by tiny details, intricacies that repeat to form a larger work. I challenge myself to unpick the layers, to discern the essence of the piece without getting lost in simple replication. When the piece finally finds its voice and tells me what it wants to become, I can hardly work fast enough. The lines of thread want to twine and curl their way through the image, reaching out for purchase in order to spawn more of themselves.

These pieces are both based on images of lichen, but they could hardly be more different. By editing the original photos, I found compositions and colors that each told their own story, further embellishing the tales as I stitched.”

Feverish

Foliose

Christopher Reiger

ARTIST STATEMENT:

As a natural history nerd, I often think about how we humans classify and catalog life. The social implications of our evolved human impulse to categorize are generally grim, but the same proclivity allows us to better appreciate evolution and the relationship between species, subspecies, and ecological races (or ecotypes).

For the Field Guide project, I consider birds from one angle – literally, birds viewed in profile. I then breakdown each bird by color (plumage, legs, beaks/bills, and eyes) and create the column shown in the center of each poster. The colors in each column are stacked according to the percentage

of a given color observed, with the largest share at the column’s top and the smallest share at the column’s base. The bird’s English common name and its scientific binomial are noted on the poster’s base, along with information on the bird’s sex, and, if relevant, plumage variation.

The resulting posters are visually compelling tributes to each featured species. Exhibited together, the posters can also be organized into a loose color taxonomy, providing an alternative, aestheticized approach to classifying or grouping these species.

I hope that the “”Field Guide”” posters will be appreciated by bird nerds, designers, and lovers of Josef Albers, but the project is also a playful way for me to both celebrate and critique the necessarily imperfect science of taxonomy.

European Starling Carolina Wren House Finch (Male)

Eastern Bluebird (Male)

Painted Bunting (Female)

Northern Cardinal (Male)

Brown-headed Cowbird

Indigo Bunting (Male)

Pain ted Bunting (Male)

Northern Cardinal (Female)

Hooded Warbler (Male)

Killdeer

Xavi Bou

ARTIST STATEMENT:

Xavi Bou’s admiration for nature, especially birds, arose during his childhood, thanks to unforgettable long walks with his grandfather. This passion has continued to grow over a lifetime, eventually becoming the focus of his project Ornithographies. Making visible the invisible, and unlike other motion analyses which preceded it, Ornithographies moves away from the scientific approach of chronophotography used by photographers like Eadweard Muybridge and Etienne-Jules Marey to study movement and time. Art and technology walk hand in hand to create a visual poetry, which bear witness to past, present, and future all at once, offering an invitation to perceive the wonder of the world with the curiosity and astonishment of a child.

#242, Common Starling, Castello D’Empuries, Catalonia

Scott K. Adams

ARTIST STATEMENT:

My work is inspired by the landscapes of the North. I use a gestural approach and directness of mark-making, that leads to the creation of new forms to be exploited and built upon.

CURATORIAL NOTE:

Translating a way of noticing from one form into another can help us pay attention differently and more deeply. Adams’ translation of bird call, an auditory experience, into these energetic, visual script like marks, helps us conceptualize bird call as a wondrous “foreign” language. Whooshing colors streaked across the background bring to mind a flock taking flight,

blurred in their murmuration, with layered myriad calling, a punctuation of discernible unique voices rising to the forefront as we learn to hear and identify individual bird calls.

Wild Bird Calls

Anna Schenker

ARTIST STATEMENT:

My work captures my tactile interaction with trees, plants, seeds, and weather that I regularly encounter and cherish. These moments of touch – wrapping, tracing, sorting, staining, and stretching – lead to indexical traces of my subject’s physicality and my handling of them. I create these impressions to pay tribute to the earthly beings and environments that surround me. I attempt to preserve my beloved beings, creating a state of stasis that contradicts their inherent fleetingness. These physical acts of making are simple gestures of play – as I collect snowballs, trace tree roots, and sort thistle seeds. It is during these tangible moments, a present reality and active participation, that I find wonder, curiosity, and awe. As I honor my

subject’s existence, I am also aware that time may give way to their decay.

Through these intimate gestures expressing both love and loss, I seek to create space for sensitivity, kindness, and care.

Sky Containers

Jessie Donovan

ARTIST STATEMENT:

This print illustrates a poppy, one of the oldest plants used for medicine, food and recreational drugs, with use dating back 5000 years to the ancient Summarians, Egyptians, and Greeks. The text surrounding the illustration is a combination of song lyrics describing the respective drugs, and botanical anatomy descriptions. I pair these to show the range in the way we consume and disseminate information and understand the world around us, from a structured scientific perspective to colloquial expressions via music or sharing of street knowledge.

I used Google translate to obscure the language and turn it into bastardized Latin, giving the impression that all the text on the prints is “scientific” questioning about how we respect certain kinds of knowledge or the presentation of information more than other kids.

Study 7

Aaron Ellison

ARTIST STATEMENT:

Seeing double. Double take. Take two.

Imaging devices record single glances of the world—Crack!—trees fall, shutters snap, photographs are captured. But the immediately obvious and apparent simplicity of the interactions between the subjects and the observer—and between the subjects themselves—are belied by repeated glances. What we see is constrained by our visual processing systems and conditioned by our expectations. Our eyes see “color,” but ultraviolet and infrared are invisible to us. The objectif-icity of our vision is undermined by

+ Eric Zeigler

different analog film emulsions, digital imaging systems, and post-processed color mappings that expose different worlds full of constant growth and decay occurring right before our eye, yet invisible to our sense of time.

Stop. Look. Look away. Look again. Repeat.

Lichens

A Field Guide to the Sacred

Ned Bustard

EVERY MOMENT HOLY is a series of books by Douglas McKelvey that brings new prayers and liturgies that from a Christian framework, for the ordinary events of daily life. These prayers are a guide, a way of reminding us that our lives are shot through with sacred purpose even when, especially when, we are too busy or too caught up in our busyness to notice. The prayers are accented with linocut illustrations by Ned Bustard.

Consuming Media

+ Every Moment Holy

Awkward

Coffee

Regrets

April Parviz

ARTIST STATEMENT:

February, 2024 - For about a year and a half now, I’ve been reworking through a concept which I call Sleepers ‘wake . I completed the first iteration in 2015, after almost dying from diabetic ketoacidosis. Through a slow progression of declining health, I reached a point where I actually wanted to die, and then almost did. My heart stopped for ten seconds. But then I didn’t die. Within weeks I was thrust, like a cannonball, into a small chapter of my life, during which I suddenly loved myself, and others, more than ever in my life. I couldn’t contain my joy. I was so alive! At the end of this chapter, I entered back into a fairly regular lifestyle consisting of the typical ups and downs of being a human. Then in the fall of 2021, after being diagnosed with ADHD, I found myself experiencing the same phenomenon, a bright new chapter of extreme joy and love for others. I began looking deeper into myself and the visible + invisible world to uncover how I could live in a constant state of love for others and myself. At this point I believe

the answer is to consistently read the bible and seek to know God as a real personlike taking Him out to coffee.

I’m constantly meditating on this concept, and I will most likely be creating these images for the rest of my life in an attempt to “stay awake.” I’m essentially writing my own field guide on how to love God, and others, and myself, using my art practice and doing my best to listen for His direction within it.

It’s constantly changing and moving. Like a river. For example, as I write this, it is Friday, but just on Sunday, I went into diabetic ketoacidosis for a second time.

It wasn’t as terrifying as the first time, and I didn’t even need to go to the hospital, but it has put my mind on an interesting path this week. I’m having trouble feeling hope or joy. But I continue to know and believe that God loves me and is taking care

of me. I’m interested to see what happens next in my Sleepers ‘wake meditation, with the various difficult events that happened to me over the past year.

There are currently 74 works in this series.

I’m the person designing this catalog. Like right now, as I write this. #meta. Several of the statements that I’ve read here, just now, have given me little sprinkles of joy and hope. Joanna Hoge’s, in particular, speaks directly to my heart and my moment. I am thankful for community and artists who help me to stay awake and pay attention during some of the most difficult times in my life. And I’m thankful to Sarah Bernhardt for taking flight, and then inviting us all to murmurate through this exhibition with her. Sleepers ‘wake LXII

ABOUT MY AESTHETIC LANGUAGE:

In order to “read” the pieces in this series, you need to understand the meaning of the three repeating parts.

1) The bottom part is simpler than the top.

2) The top part is active with more movement and/or colors.

3) At one point, occasionally more, the bottom goes up and almost touches the top part, but there is a small break between the two parts.

Sleepers ‘wake XVI

The bottom part symbolizes a person who is “asleep.” The top part symbolizes a person who is “awake.” And the small break between the two parts symbolizes the moment when the sleeper wakes up.

Are you awake?

Sleepers ‘wake XXVII

Sleepers ‘wake XXXV

David Lancaster

ARTIST STATEMENT:

I depict religious figures in gray scale behind a grid of colored dots, a visual metaphor for the literal spectrum of ways a religious figure or faith tradition can be experienced by believers and non-believers alike.

Image opposite : Saint Michael the Archangel 1

Bryce Holt

ARTIST STATEMENT:

As an artist, I am a storyteller. This painting is about an astronaut looking down from the ISS to see the lights of North America. He remembers the Flammarion engraving (1888), in which a man peered beyond the atmosphere and into the heavens to observe the cosmic machinery. The astronaut realizes that every night we leave all the lights on in our house, showing any passing benevolent extraterrestrials that we are home, we are awake, and we are busy little beings.

CURATORIAL NOTE:

The Flammarion engraving is an image created by an unknown artist and first published in Camille Flammarions 1888 book, The Atmosphere: Popular Meteorology . The text surrounding the illustration explores a myriad of historical conceptions of the atmosphere, from the Ancient Greeks perceiving it as a crystalline structure, to the Renaissance astronomers supposing it was more like a solid curved glass plate. The text also recalls the mythological divinities of Olympus holding court above the vault of earth, and the Christian Trinity and heavenly hosts of the middle ages residing in the empyrean. The illustration so imaginatively conceives of the meeting of science and faith, the human quest for understanding what is between and beyond the boundaries of this world.

Do you not know? Do you not hear?

Has it not been told you from the beginning?

Have you not understood from the foundations of the earth?

It is he who sits above the circle of the earth,

and its inhabitants are like grasshoppers; who stretches out the heavens like a curtain,

and spreads them like a tent to dwell in

- Isaiah ben Amoz

North America at Night

A Field Guide to Identity

C. Annie Hart

ARTIST STATEMENT:

As a physical chemist, my understanding of the natural world is based not only on my day to day experiences, but also on systematic investigations in the lab. During the course of my graduate studies in a gas-phase spectroscopy lab, I learned extensively about imaging 3D distributions using 2D photography. The subject material is beautiful, but its accessibility is limited. To mitigate this issue, I make creative work that explores data visualization and imaging techniques.

The Cylindrically Symmetric Portrait was created by taking a photo of a face and adapting the lab’s image analysis procedure to produce a cylindrically

symmetric distribution. This distribution looks like a face from any side, as can be seen by walking around the sculpture. By using this novel method of visualization on such a familiar image, the work facilitates a new and unique view of the everyday.

Cylindrically Symmetric Portrait

T. Joy Hitchcock

ARTIST STATEMENT:

Artmaking guides my self-discovery, echoing the reflective practice of journaling. Each piece becomes a tool for introspection and celebration, embodying the influences of relationships and places that have shaped my worldview.

Rural Missouri roots instilled in me a DIY tradition, which inspires my exploration of ‘place.’ Through snapshots, I merge rural and urban experiences, fostering a sense of belonging. These creations honor the innate ‘home’, helping me remember that it is and always has been, in me.

Here and There (3-parts)

This collection delves into my origins, extending compassion to the relationships and places that define me. Using cyanotype, quilting, and ceramics, I capture moments, inviting contemplation of my growth. Infused with compassion, these reflections embody resilience.

In My Back Pocket

Thomas Kiefer

ARTIST STATEMENT:

El Sueño Americano / The American Dream is a photographic documentation of the personal belongings carried by migrants and those seeking asylum that were seized by U.S. Customs and Border Protection at a processing facility near the U.S./ Mexico border in southwest Arizona.These belongings, necessary for hygiene, comfort and survival, were deemed “non-essential” or “potentially lethal.”

CURATORIAL NOTE:

These simple images and objects are a field guide to empathy, compassion, and connection with those who are not so other, those who wear deodorant, and eat candy, and play games, and have children. This collection of objects is a guide to

our humanity, illustrations of normalcy and desperation of those who risk their lives crossing the desert into the United States seeking refuge or opportunity.

Fair Play

Jaguares

Baby Shoe

St. Jude

Wallet with Family Photo

Motorola

Two Crosses, One Crucifix Dino

Heart Assembly

Nickel and Tin

Contraceptive, Lavender

110

Eyelash Curler

Virgen de Guadalupe Frequent Customer

111

Diary All In

5 Minutos

Courage Expiry Feb 14

Panda Oral Care

Disney Princesses

Rabbit Foot Fob

Sophia Mason

ARTIST STATEMENT:

Welcome to the Ida Emmeline Wells Visualization of Feminism. This exhibition examines hyperspecific feminist movements by visualizing aspects of its data as an ecosystem. The artifacts, species, and models you’ll see here are fabricated, but bring form to the parts of this intertwined community that compete with, rely on, and contradict each other.

Please find a Field Guide if you have any questions.

20th C. Illustration Print (edition 1 of 3)

113

Native Species Alive/Dead Fish (edition 1 of 4)

Sealed

Parasite Lapis Ecclesiae

Patricia Palmer

ARTIST STATEMENT:

My work explores language, legacy, and immigrant identity. These images come from a series of 300 works in which I use stencils to employ patterns, color, shape, forms, with repetition in layered composition that represent a type of language to me. The stencils can leave multiple impressions, responding to previous layers in mini-conversations, creating visual poems or thoughts on the canvas. Often using wax and spray paint because of the way they dry quickly, this fast monoprinting process mimics the pace of conversation with parts from my past and people in my family. Like a game of telephone where messages are passed along but shifting with each person’s interpretation, these stencils and images create a field guide to histories that are absorbed and evolve over time.

The stencils come from a range of sources connected to my personal history. My family used to own a nursery and I have collected dozens of plant trays and garden fencing from with unique designs where I think about cycles of nurturing and creating boundaries. The other side of my family comes from a military background and was involved in factories and design work, so I use mechanical and die-cut pieces as a vocabulary for exploring this side of my history. I also use many domestic items such as placemats, cutlery, glassware, as the home is an important symbol and sign of significant achievement in an immigrant family.

Because my history is somewhat fragmented, and I did not know a lot of my family personally, these stencils are generalized ideas, stand-ins, for the lack of material objects and artifacts from my family. What are the connections between those family members who worked on a farm or in a factory or served in the military? How is this living in me now? I place these objects in conversation, in hopes to discover something about myself in these imagined conversations.

taco cat

tenet

Natalie Schorr

ARTIST STATEMENT:

The Mixed Breed series is an exploration of identity. Our tendency is to put people into easily identifiable boxes – black or white, male or female, straight or gay - but in reality, the world is a lot more nuanced than that. We want for ourselves to be seen, fully, in all our beautiful contradictions. This particular piece incorporates masculine and feminine, human and animal, hip and disturbingly weird elements. Their pronouns might be who/what.

Mixed Breed

The Mothers series explores all things domestic and relates directly to my experience growing up in the 1960s. Many elements are taken from the large format magazines of the time – McCall’s, Ladies’ Home Journal, and Vogue – and reflect the impossibility of the ideal image that was neatly delivered to our mailbox monthly. This piece reflects the dizzying array of household duties one would be expected to pull off flawlessly while dealing with a crush of kids and the expectation that dinner would be on the table at 5:30. No wonder all the mothers I knew growing up were “running for the shelter of their mother’s little helper.”

What a drag it is getting old.

Mother 5

Joanna Hoge

ARTIST STATEMENT:

For many of us, the internal workings of our bodies are unfamiliar territory. The complex and interdependent processes that keep us alive bubble under the surface of our beings, unseen and unacknowledged.

My current collection of work aims to bring these hidden realities into view. Indexing medical illustration, I create imagery that speaks to the many facets of self: spirit and psyche, flesh and bone. Thread pierced into the paper surface of these drawings evokes human fragility in the face of traumatic events. Indeed we must sometimes be hurt in order to properly heal.

It is my hope that these compositions encourage the viewer to reflect on both the beauty and burden of what it means to inhabit a physical body. We can move beyond a fragmented conception of the body’s parts and into one that embraces the ineffability of our lived experience.

Heart Outside Your Chest

Joe Cory

ARTIST STATEMENT:

In my artistic practice, I explore the intricate intersections between nature and technology. My recent work focuses on creating compositions using black and white photocopies of cut flowers arranged on a traditional copy machine. Beyond the aesthetic appeal, this process serves as a metaphorical exploration of the profound impact of technology on the human psyche, emphasizing the multifaceted layers of displacement in our perception and understanding of reality.

The deliberate act of removing flowers from their natural contexts symbolizes a deeper psychological significance in this exploration. Isolating these organic elements and subjecting them to the mechanical reproduction of the copy machine aims to highlight the transformative power technology wields over our collective human experiences and explore the boundaries where the authentic and the replicated become blurred. The photocopying process echoes the broader implications of our evolving relationship with the natural world in an era increasingly dominated by digital interfaces and artificial intelligence. The displacement of these floral subjects symbolizes the cognitive shifts and perceptual recalibrations that occur in the human mind as we navigate a world saturated with technological mediation and augmentation.

Essentially, the black-and-white compositions serve as visual artifacts and embody the psychological landscapes of this augmented space. The tension from combining organic beauty and mechanical reproduction encourages viewers to ponder the interplay between nature’s authenticity and technology’s transformative power, prompting reflection on our evolving connection to the world and the intricate relationship between our experiences and the shaping forces of technology.

Images opposite : Artificial Light: Black Bouquet and Artificial Light: Mother’s Day

Adams, Scott K.

Wild Bird Calls : $700 | 2023 | 17.5 x 23 inches | Acrylic and mixed media on paper

BFA painting and drawing, University of Minnesota, 1986. Studied with Herman Somberg, Hank Rowan, Guy Baldwin, Raymond Hendler and David Feinberg. Recent Exhibitions 2023 Juried Exhibition, Carnegie Art Center, Mankato, MN

October 5-21, 2023. Grand Prize Winner. 2023 Texas National, Stephen F. Austin State University, The Cole Art Center, Nacogdoches, TX. April 14-June 30, 2023.

Absolutely Abstract, MVA Art Gallery, Bethlehem, PA April 30-May 27 2023. Environments, Fine Line Creative Center, The Kavanagh Gallery, St. Charles, IL

March 30-May 12, 2023. Roots: New Growth, Center for the Visual Arts, Wausau, WI

September 2-October 29, 2022.

Website : ScottKAdamsArt.com | Instagram @ScottKAdamsArt

Aunger, Maddie

10:15 pm : NFS | 2020 | 11 x 14 inches | Acrylic on Panel

3:20 pm : NFS | 2020 | 11 x 14 inches | Acrylic on Panel

8:00 pm : NFS | 2020 | 11 x 14 inches | Acrylic on Panel

11:45 am : NFS | 2020 | 11 x 14 inches | Acrylic on Panel

Maddie Aunger is representational painter and educator from St. Louis, Missouri. In 2022 she earned her Master of Fine Arts from the University of Nebraska-Lincoln. Maddie’s paintings mirror her experience of the domestic spaces in her life, and the peaceful moments she encounters. The work evokes feelings of comfort found in the small elements of delight sprinkled throughout an average day. The paintings are quiet, crisp, orderly, and controlled representations of places around her home executed at an intimate scale in acrylic on panel.

Instagram @Maddie.Aunger

Bakaletz, Morgan

The Very Important, Very Informative, Very Intricate

Encyclopedia of Morgan’s Very Detailed Mind : NFS | 2023 10 x 20 inches | Silk screen, artist book

Morgan Bakaletz is an artist from Norris, Tennessee that graduated from East Tennessee State University with a Bachelor of Fine Arts in Painting. Bakaletz’s work has been exhibited in several shows throughout Northeastern Tennessee. She won Faculty Choice Award in 2023, the Student-Faculty Collaborative Grant in 2022, and Honorable Mention for the Congressional Art Competition in 2018. She is currently an Artist in Residence at East Tennessee State University and plans to get her MFA in the Fall of 2024. Her work investigates themes of heartache, grief, and refuge through psychological, invented spaces.

Website : MorganBakaletz.weebly.com | Instagram @MorganBakaletzArt

Bou, Xavi

#242, Common Starling, Castello D’Empuries, Catalonia : NFS 2022 | 23.5 x 16.5 inches | Long exposure photograph Xavi Bou became interested in natural sciences at a young age, during walks with his grandfather in the wetlands of the Llobregat Delta. He graduated in Geology from the University of Barcelona and went on to complete his studies

in photography. He dedicated 15 years to advertising and fashion photography, which not only helped him to master techniques, but also to acquire the aesthetic sensitivity that would eventually define his particular perspective. After that, he was able to apply this knowledge to his true passion: nature.

Currently, Xavi Bou has initiatives underway that explore other resources, such as video, and other study subjects, such as insects. Therefore, the raw material of his work continues to be nature, and the challenge is to show it in an innovative and aesthetic way that helps the public get closer to art and, above all, raises environmental awareness.

Website : XaviBou.com | Instagram @XaviBou

Brandt-Lubart, Kyle

Birdwatching : NFS | 2023 | 2:32 minutes | Video

Kyle Brandt-Lubart (she/they) is a multidisciplinary maker, integrative mental health practitioner, and community arts organizer. Their creative work incorporates visual art, poetry, video, sound, movement, and installation. Their independent therapy

practice, Tiny Postcards Counseling & Creative Arts, focuses on offering holistic mental healthcare to queer, trans, and non-binary folx, neurodivergent individuals, and lower-income community members. They feel passionately about reclaiming and deinstitutionalizing wellness spaces, and believe that the arts are a powerful vehicle for fostering both personal liberation and community mental health. They are the recipient of a St. Louis Regional Arts Commission Artist Support Grant (2023-2024), was a Dear Butte writer-in-residence (2021), a Community Arts Training Institute fellow (2017-2018), and is Co-Chair of the Dutchtown Main Streets Design Committee.

Website : Tiny-Postcards.com | Instagram @TinyPostcards

Brown, Casey Lance

Kudzilla (the Hyperobject) : $1200 | 2023 | 32 x 32 inches | Digital Collage Archival Print in Walnut Frame

Casey Lance Brown is a landscape futurist who studied at Duke University, Harvard Design School, and as a fellow of the American Academy Rome Prize. Originally

trained as a landscape architect, he digitally combines hyper-spectral imagery to dramatize the Anthropocene environment and its hyperobjects. His works have been awarded by Photoville (2016) and Photolucida’s Critical Mass (2020). His series have been exhibited at Miami Art Week, on the Atlanta Beltline, and in the U.S.

Fifth National Climate Assessment. Brown frequently publishes work on landscape futures in Volume, LA+ SPECULATION, and others. He also works as a creative mapping consultant on novel environments for Colossal Biosciences (de-extinction geographies).

Website : CaseyLanceBrown.com | Instagram @case_xx_

Bustard, Ned

Consuming Media : NFS | 2023 | 6 x 9 inches | Linocut

Awkward : NFS | 2023 | 6 x 9 inches | Linocut

Coffee : NFS | 2023 | 6 x 9 inches | Linocut

Regrets : NFS | 2023 | 6 x 9 inches | Linocut

Ned Bustard is a graphic designer, children’s book illustrator, author, and a printmaker. He is the creative director for World’s End Images, Square Halo Books,

Inc., and curates the Square Halo Gallery. He also serves on the boards of both the Association of Scholars of Christianity in the History of Art (ASCHA) and The Row House, Inc.

Website : WorldsEndImages.com | Instagram @NedBustard

Colten, Jennifer

Mound [6330] : $1100 | 2017 | 24 x 36 inches | Archival Pigment Print

Mound [1613] : $1100 | 2020 | 24 x 36 inches | Archival Pigment Print

Mound [8960] : $1100 | 2021 | 24 x 36 inches | Archival Pigment Print

Mound [6097] : $1100 | 2021 | 24 x 36 inches | Archival Pigment Print

Mound [4411] : $1100 | 2023 | 24 x 36 inches | Archival Pigment Print

Mound [3867] : $1100 | 2018 | 24 x 36 inches | Archival Pigment Print

Mound [7771] : $1100 | 2019 | 24 x 36 inches | Archival Pigment Print

Jennifer Colten is a photographer whose work examines the representation of landscape, embedded cultural geographies, and environmental implications of land use. Her work examines patterns of cultural erasure and is invested in multiple

forms of collaboration with communities, local histories, and public spaces. For the past seven years, Colten’s work has been primarily centered within the American Bottom region, a continually enigmatic and compelling 65 mile stretch along the Mississippi River in Illinois.

Website : JenniferColten.com | Instagram @J_Colten

Cory, Joe

Artificial Light: Black Bouquet : $450 | 2023 | 12 x 17 inches

Digitally Manipulated Photocopy

Artificial Light: Mother’s Day : $450 | 2023 | 12 x 17 inches

Digitally Manipulated Photocopy

Joe Cory (b. 1978) uses digital and analog materials to explore the intricate intersection of nature and technology. His process symbolically delves into the transformative power of technology on human experiences and emphasizes the blurred boundaries between authentic reality and artifice. Actively participating in national and international seminars and workshops, Cory contributes to the

ongoing dialogue on the evolving relationship between humanity and the natural world in our digitized era. He holds an MFA from the University of Chicago and teaches at Samford University.

Website : JoeCory.com | Instagram @JoeCory

Donovan, Jessie

Study 7 : NFS | 2015 | 7 x 6.5 inches | Etching and collage

Jessie Donovan is a St. Louis based multidisciplinary artist, working primarily in printmaking, drawing and text. Jessie’s practice explores topics of anthropological categorization, the bounds of human language, and the dissemination of information. Her experience working and researching in printmaking, linguistics, German literature, and computer science, help inform her art practice. She has exhibited in national, and international group and solo shows; served as guest curator at the Contemporary Art Museum St. Louis; was selected as the Sister City Exchange Artist in Residence awardee in Stuttgart, Germany; and exhibited in the Luminarys 2020 “I watch for good news...” billboard exhibition.

Websites : JessieDnvn.store | Instagram @Jessie.Dnvn

Ellison, Aaron + Zeigler, Eric

Lichens : $2,500 | 2023 | 18 x 40 inches | Archival Pigment Prints

Eric Zeigler + Aaron Ellison explore unknown worlds beyond our current understanding. Their joint work currently centers on non-anthropocentric/posthumanist aesthetics and creative photodocumentation of forests and deep time.

Websites : UnbalancedEcologist.net and EricZeigler.com

Instagram @EricZeiglerPhoto

Every Moment Holy

Websites : www.EveryMomentHoly.com

Instagram @EveryMomentHoly

Forst, Carlyn

Three Generations... : $440 | 2023 | 12 x 15 x 1.25 inches | Watercolor on paper

Carlynn Forst is an interdisciplinary artist whose work primarily includes installations and sculptures. She explores memory, time and transitions as it relates to the human

experience. The content deeply informs the material and modality, with natural materials and the human form often being prominent elements.

Websites : CarlynnForst.com | Instagram @CarlynnForst

Gilbert, Brittany R.

Hazard Avenue I : $1,900 | 2020 | 34 x 63 inches | Oil on individual panels

Brittany earned her MFA from the University of North Carolina at Greensboro with a concentration in painting. Her MFA thesis exhibition was grounded in direct observations of changes in specific landscapes. She was an artist-in-residence at Vermont Studio Center in Johnson, Vermont in 2022.

Grounded by outdoor experiences, she has explored diverse terrains from the coastline of Rhode Island to the mountains of Colorado.

She is currently Assistant Professor of Fine Arts at Francis Marion University in Florence, SC.

Website : BrittanyRGilbert.com | Instagram @BrittanyRGilbert_Artist

Hart, C. Annie

Cylindrically Symmetric Portrait : NFS | 2023 | 48 x 19.5 x 19.5 inches

Aluminum ball chain, stone beads, steal mesh, wood, acrylic paint

C. Annie Hart is a self taught artist with a background in Physical Chemistry. She struggled to choose between the arts and the sciences in early childhood, and eventually realized she could pursue both. Her creative work explores scientific themes that she studied while earning a Bachelors from SLU in Chemistry and Applied Mathematics, and a PhD in Physical Chemistry from WUSTL. Her studio practice is based in and Peoria, IL, and her work has been displayed at galleries in Saint Louis and Chicago.

Website : ClaraHart.com | Instagram @ClaraAnnLouise

Hatzikos, Sophia

Fragmented Bunker : NFS | 2023 | 1.5 x 5 x 8 inches | found study, concrete

Explosive Care (Tyson Research Center, Eureka MO) : $550 | 2023 8 x 8 x 4.5 inches | steel, foam

How to Care for Explosive Care (Tyson Research Center, Eureka MO)

$230 | 2023 | 11 x 14 inches | blender, rhino 3D, digital file

Echoing Filing Cabinet 1-52 (Tyson Research Center, Eureka MO) : NFS | 2023 | 11 x 17 inches | 52 sound files, transposed map

Sophia Hatzikos work reimagines elsewhere by translating place. Connecting human experience with landscape Hatzikos questions current practices and acceptance of infrastructural systems. In the way that design prevents nature from having an innate relationship. Hatzikos is currently a MFA candidate in Visual Art from the Sam Fox School of Art & Design at Washington University in St. Louis, MO.

Website : www.SophiaHatzikos.com | @SophiaHatzikos

Hitchcock, T. Joy

Here and There (3-parts) : $150 | 2022 | 10 x 10 x 2 inches | cyanotype on cotton, gold thread

In My Back Pocket : $1200 | 2018 | 76 x 55 inches | cyanotype on cotton quilt Joy, a maker, art therapist, and educator, calls Saint Louis her home. With roots in rural Missouri, Joy’s creative endeavors revolve around the process of discovering

a sense of belonging within relationships, structures, and communities. Their work delves into the ebb and flow inherent in the quest for a meaningful ‘home.’

Website : TheresaJoyStudio.com

Hoge, Joanna

Heart Outside Your Chest : $600 | 2022 | 14 x 11 inches | Ink, embroidery on colored paper

Joanna Hoge (she/they) is a queer artist and designer based in Denver, Colorado. She applies her background in psychology and interest in medicine to create works that explore the dynamic between subjective identity and objectifiable body. Hoge received a Bachelor of Arts from Saint Louis University in 2011 and a Master of Fine Arts from Southern Illinois University in Edwardsville in May 2016. Their work has been exhibited both locally and nationally at galleries and venues including Reese Gallery (MO), Art Saint Louis (MO), The Edwardsville Art Center (IL), Next Gallery (CO), and The Drawing Room (CT).

Website : JoannaHoge.com | Instagram @JoannAllyson

Holt, Bryce

North America at Night : $4,280 | 2023 | 48 x 36 inches | Acrylic on canvas

In 2021, after 20 years in the software industry, Bryce Holt made a career shift and started painting full-time. Bryce is a self-taught artist focused on figurative and representational pieces with a story behind each one. Storytelling is at the heart of his work. Each painting he creates has a narrative behind it before it is started.

Website : ThePatrons.com | Instagram @ThePatrons

Honerbrink, Adriane

Leaves : $500 | 2023 | 30 x 30 inches | Ceramic

Adriane Honerbrink is a multidisciplinary artist with a profound passion for ceramics, photography, and the natural world. With a Master of Fine Arts degree with an emphasis in Ceramics from the University of Mississippi, a Bachelor’s degree in Art and Marine Biology from the University of Alaska, and a Bachelor of Arts in Still Photography from the Brooks Institute of Photography, Adriane’s artistic journey has been fueled by a deep connection to both the visual arts and the environment.

Through ceramic hand-building and wheel-throwing techniques, she strives to embody nature’s transformative power and the human spirit’s resilience in the presence of loss. This has fueled an exploration into the themes that begin to address aspects of transformation and metamorphosis. Attempting to find a sense of stillness and balance that exists within the imbalance, tension, and weight of life’s experiences

Website : AdrianeHonerBrink.com | Instagram : @ahonerbrink

Kiefer, Thomas

St. Jude : $750 | 2018 | 10 x 10 inches | Digital Print

Frequent Customer : $750 | 2020 | 10 x 10inches | Digital Print

Dino : $750 | 2018 | 10 x 10 inches | Digital Print

Contraceptive, Lavender : $750 | 2018 | 10 x 10 inches | Digital Print

Disney Princesses : $750 | 2018 | 10 x 10 inches | Digital Print

Diary : $750 | 2018 | 10 x 10 inches | Digital Print

Courage : $750 | 2018 | 10 x 10 inches | Digital Print

5 Minutos : $750 | 2018 | 10 x 10 inches | Digital Print

Motorola : $750 | 2016 | 10 x 10 inches | Digital Print

Fair Play : $750 | 2022 | 10 x 10 inches | Digital Print

Wallet with Family Photo : $750 | 2020 | 10 x 10 inches | Digital Print

Jaguares : $750 | 2018 | 10 x 10 inches | Digital Print

Rabbit Foot Fob : $750 | 2019 | 10 x 10 inches | Digital Print

Expiry Feb 14 : $750 | 2019 | 10 x 10 inches | Digital Print

All In : $750 | 2019 | 10 x 10 inches | Digital Print

Panda Oral Care : $750 | 2019 | 10 x 10 inches | Digital Print

Baby Shoe : $750 | 2018 | 10 x 10 inches | Digital Print

Two Crosses, One Crucifix : $750 | 2018 | 10 x 10 inches | Digital Print

Virgen de Guadalupe : $750 | 2018 | 10 x 10 inches | Digital Print

Eyelash Curler : $750 | 2017 | 10 x 10 inches | Digital Print

Nickel and Tin : $750 | 2020 | 10 x 10 inches | Digital Print

Heart Assembly : $750 | 2018 | 10 x 10 inches | Digital Print

Born in Wichita, Kansas, fine art photographer Tom Kiefer was raised primarily in the Seattle area and worked in Los Angeles as a graphic designer. Kiefer moved to Ajo, Arizona in December 2001 to fully develop and concentrate his efforts in studying and photographing the urban and rural landscape and the cultural infrastructure of the United States.

Beginning in July 2003, he started working part-time as a janitor at a nearby U.S. Customs and Border Protection processing facility. A few years later when given permission to collect the food migrants and asylum seekers carried with them when crossing the desert he also found personal belongings seized and discarded by officials. Kiefer resigned in August 2014 to work on photographing and documenting these items full time.

The migrants’ belongings, necessary for hygiene, comfort, and survival, were deemed “non-essential” or “potentially lethal.” Kiefer commemorates the untold stories these objects embody in photographs akin to portraits, preserving traces of human journeys cut short.

Website : www.TomKiefer.com | Instagram : @TomKiefer.Photographer

Lancaster, David

Saint Michael the Archangel 1 : $1,000 | 2021 | 36 x 36 inches

Acrylic and charcoal on panel

I have been making art all my life, before and after attending the Washington University School of Fine Arts. My work has been exhibited and collected through six solo shows and nearly thirty group shows around the U.S., mostly in St. Louis. I seek always to make art that is both visually and mentally engaging.

Website : DavidLancasterSTLArt.com

Mason, Sophia

Native Species Alive/Dead Fish (edition 1 of 4) : $400 | 2023

18 x 21 inches |

Silkscreen and relief print

20th C. Illustration Print (edition 1 of 3) : $400 | 2023 | 12 x 8 inches

Relief print

Atraditional : $600 | 2023 | 10 x 10 x 2 inches | Openwork embroidery, cotton, and relief print

Sealed : $600 | 2023 | 10 x 10 inches | Openwork embroidery, cotton, and relief print

Parasite Lapis Ecclesiae : $3,000 | 2023 | 30 x 38 x 4 inches | Silk, cotton, linen, 1.9 oz rip stop, ceramics and plaster

Visitor’s Guide : $5.00 | 2023 | 4.25 x 2.75 inches | Digital print

Sophia Mason is an MFA candidate at the University of Memphis. Her soft sculptures, performance, and 2D works explore the layered messages of religion that translate with mixed results. Her work has shown at Intersect Art Center, St. Louis, MO, the Dayton Society of Artists in Dayton, OH, and most recently at Artfields, Lake City, SC.

Instagram @SophiaMasonArt

North, Katie

This Too Shall Fade : $1,200 | 2023 | 51 x 61 inches | Hand-quilted cotton & naturally dyed with indigo, woad, gallnut, pomegranate, and cutch

Color Swatch : $300 | 2023 | 27.5 x 16.24 inches | Hand-quilted cotton

& naturally dyed with cutch, avocado, onion skins, carrot tops, rosemary, lavender, eucalyptus, nettles

Katie North (b. 1987, Philadelphia, PA) is a multidisciplinary artist who currently resides in Portland, Oregon. Recent works include naturally dyed, hand-quilted textiles that explore themes of place, home, and impermanence. North graduated with a BA from Portland State University in 2011 and MFA from Temple University in 2016.

Website : Katie-North.com | Instagram @KatieNorthMakes

Palmer, Patricia

tenet : $800 | 2023 | 19 x 22 inches | Mono print

level : $800 | 2023 | 19 x 22 inches | Mixed media mono print

taco cat : $800 | 2023 | 19 x 22 inches | Mixed media mono print

Patricia Palmer is an artist and arts educator based in Cambridge, MA, working out of Miller Street Studios. Patricia explores language and meaning in her art-making practice. Her mixed media works and monoprints focus on the body and mind and the rhythms and patterns that lead to awareness of their connection as a source

of intuition and knowledge. Drawings, paintings, collages, prints, sculptures, and digital works explore a personal vocabulary of abstract imagery associated with the themes of relationships, communication, and systems.

Website : Patricia-Palmer.com | Instagram @SquareDot11

Parviz, April

Sleepers ‘Wake Artist Book : NFS | 2024 | 9 x 5.5 inches | Art book

Hello there! My name is April Parviz. I come from studio 316 here at Intersect. I also work for Intersect and Holy Cross doing a number of various graphic design things. For example, I’m the one designing this catalog (hi)! I’m a mother to two sweet little girls and wife to Ben. He is currently working toward a doctorate in bioethics at SLU, so he brings home all kinds of interesting topics for us to think and talk about. I believe that his work has moved me forward in my work, to some degree. He thinks and talks about hope a lot, with regards to the medical world. This has allowed me to reflect more on my experience with despair in the year 2014 which brought me so close to death.

Life is wonderful. I have an odd case of late-onset type-1 diabetes, diagnosed at 24, which spiraled me into a place of despair, believing my life wasn’t worth living. But it is. At that time, I could not have envisioned my wonderful life now. I have the most amazing job that is so incredible, it would have been impossible for me to imagine. I have a sweet little house, with a garden where my little girls run and dance and sing, and my husband loves me very much and is constantly offering me encouragement and support in my chronic illness. So if you or someone you know is in a state of despair, know that God loves you and even though you might not understand the plan right now, He is working for your good. Also, if you need someone to talk to about it, feel free to reach out. I love encouraging people and offering support. I know all about the darkness.

Website : AprilParviz.art | Instagram @AprilParviz

Pollock, Michele

Heather

To Know This Place : NFS | 2023 | 12.5 x 8.5 inches x up to 6 feet | Artist book, quilted paper pages, acrylic paints, embroidery

I am a fiber artist and poet who lives and works in the woods of Southern Indiana. I combine paper, fabric and stitching to explore my fascination with the natural world and the difficult subjects of illness and grief. I machine quilt paper and eco-dyed fabrics, then add hand embroidery, beading and sculptural elements to create 2D and 3D artworks that explore and try to translate for others the often unseen natural world around us.

Instagram @LostLakeStudio | Facebook @LostLakeStudioMichelePollock

Reiger, Christopher

Field Guide : Brown-headed Cowbird : $36 per print | 2022

18 x 18 inches | Archival print on matte paper

Field Guide : Carolina Wren : $36 per print | 2023 | 18 x 18 inches | Archival print on matte paper

Field Guide : Eastern Bluebird (Male) : $36 per print | 2022

18 x 18 inches | Archival print on matte paper

Field Guide : European Starling : $36 per print | 2023 | 18 x 18 inches

Archival print on matte paper

Field Guide : Hooded Warbler (Male) : $36 per print | 2022

18 x 18 inches | Archival print on matte paper

Field Guide : House Finch (Male) : $36 per print | 2021 | 18 x 18 inches

Archival print on matte paper

Field Guide : Indigo Bunting (Male) : $36 per print | 2022 | 18 x 18 inches

Archival print on matte paper

Field Guide : Killdeer : $36 per print | 2022 | 18 x 18 inches | Archival print

on matte paper

Field Guide : Northern Cardinal (Female) : $36 per print | 2021

18 x 18 inches | Archival print on matte paper

Field Guide : Northern Cardinal (Male) : $36 per print | 202

18 x 18 inches | Archival print on matte paper

Field Guide : Painted Bunting (Female) : $36 per print | 2022

18 x 18 inches | Archival print on matte paper

Field Guide : Painted Bunting (Male) : $36 per print | 2022

18 x 18 inches | Archival print on matte paper

Whether exploring an abandoned city lot or a tract of forest far from an urban center, he still feels the same excitement he felt as a boy, when he found many of his experiences in the “natural” world similar to those of Lewis Carroll’s Alice. Carroll’s premise that “things get curiouser and curiouser” guided Christopher through many an outdoor adventure. As an adult, his love of the outdoors has evolved into a fascination with natural history, conservation, and ecology, and his visual art, illustration, design, and writing projects wrestle with contemporary constructions of nature, and the human relationship to nonhuman animal species. Christopher lives in Northern California with his wife and two young sons.

Website : ChristopherReiger.Art

Regalo, Hollie

Foliose : $325 | 2023 | 8 x 10 inches | Cotton thread on linen

Feverish : $500 | 2024 | 14 x 11 inches | Silk thread on linen

I am a fiber artist focusing on embroidery. I have spent seven years as an art teacher and all my life as a maker. I spent my childhood surrounded by women

who sewed and embroidered, so the process feels very natural to me. I typically begin with photographing items from nature, altering and editing the photos, then transferring the images to fabric for stitching.

Website : HollieRegalo.com | Instagram @Hollie_Regalo

Roth, Mike

land marks (Bring Me Back) : available as NFT on OpenSea | 2023

2880 x 2160 / 0.35ETH | Digital video

Mike Roth (b. 1986) is a video artist from St. Louis, Missouri specializing in capturing and documenting the history of the area as a means of uncovering nearly-forgotten narratives, being an ally against systemic racism, and empowering St. Louisans to find the beauty around them.

My frames are intended to be approachable, contemplative, a source of conversation in learning how my city directs Americanism with the past informing our shared future.

Website : mrva.online | Instagram @mrva_stl

Schenker, Anna

Sky Containers, Nov 22 : NFS | 2023 | 48 x 21.5 x 7.5 inches | Seeds, plastic containers, acrylic paint, and wood

Anna Schenker was raised in Charlotte, Vermont and lives in St. Louis, Missouri. She earned an MFA in Visual Art from Washington University in St. Louis and a BS in Art and Psychology from Skidmore College. Anna makes paintings, rubbings, and sculptures that record direct interactions with trees, plants, and weather within her immediate surroundings.

Website : AnnaSchenker.com | Instagram @AnnaSchenkerArt

Schorr, Natalie

Mixed Breed 5 : $1,000 | 2023 | 24 x18 x 2 inches | Mixed media collage

Mother 5 : $1,000 | 2023 | 24 x18 x 2 inches | Mixed media collage

Born into the waning days of the Eisenhower administration, Natalie’s work is often influenced by her memories of the 1960s and 70s, and is usually based on people and emotions rather than places or things.

Natalie holds a BFA in Costume Design from the University of North Carolina Greensboro, and an MFA in Scene Design from Carnegie Mellon University. Her studio includes a large printing press and an embarrassingly comprehensive supply of old magazines, wallpapers and ephemera.

Website : NatalieSchorr.com | Instagram @natalieschorrart

Smith, Lynne

Ladders to Nowhere : NFS | 2023 | 56 x 12 x 16 inches | Cotton, natural and synthetic dye, iron oxide, reclaimed steel Lynne Smith is an artist, designer, and educator. Her work spans fiber, sculpture, and installation. She often uses humble, discarded and reclaimed materials to echo the beauty and fragility of humanity, the precarious nature of our entanglements, and the resilience of the human spirit. She will be receiving her MFA in Visual Art at the Sam Fox School of Design & Visual Arts in 2024. Smith brings an interdisciplinary background and an empowering philosophy to both making and mentoring. Her background, which spans graphic design, design/

build, and art offers breadth and depth for professional practice and also serves in guiding students on a variety of creative and professional paths. She hopes her trajectory is an example of how design and the visual arts instill skills that promote adaptability, collaboration, connection, and resilience.

Website : LynneSmithStudio.com | Instagram @LynneSmithStudio

Winters, Michael

Blaze (Grid #01) : $400 | 2023 | 30 x 30 inches | Photography

Michael Winters is an artist and arts organizer living in Louisville, KY. His artwork has been featured in galleries such as Kentucky Museum of Art & Craft and Biola University (LA, CA). His work has also been featured online on Vice and in print in CIVA’s Seen Journal. He’s director of Sojourn Arts, a project of Sojourn Church Midtown where he has curated exhibits and facilitated artist groups since 2007. In addition to his self-published artist books, Michael is the author of Filling Blank Spaces: How to Work with Visual Artists in Your Church.

Website : MichaelTWinters.com | Instagram @MichaelTimothyWinters ,

Zeigler, Eric + Ellison, Aaron

Lichens : $2,500 | 2023 | 18 x 40 inches | Archival Pigment Prints

Eric Zeigler + Aaron Ellison explore unknown worlds beyond our current understanding. Their joint work currently centers on non-anthropocentric/ posthumanist aesthetics and creative photodocumentation of forests and deep time.

Websites : UnbalancedEcologist.net and EricZeigler.com

Instagram @EricZeiglerPhoto

Bernhardt, Sarah : CURATOR

Website : SrBernhardt.Art | Instagram @SrBernhardt

Let me keep my distance, always, from those who think they have the answers.

Let me keep company always with those who say “Look!” and laugh in astonishment, and bow their heads.

—Mary Oliver from Mysteries, Yes

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