New American Paintings MFA Issue #177

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CONTENTS

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EDITOR’S NOTE Steven Zevitas

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COMMENTS Caitlin Chaisson Curatorial Assistant, The Museum of Modern Art, New York, NY

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NOTEWORTHY Juror’s and Editor’s Picks

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JUROR’S SELECTIONS MFA Annual Review 2024

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EDITOR’S SELECTIONS MFA Annual Review 2024

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PRICING GUIDE Asking prices for selected works

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Hua p68

Apr/May

EDITOR’S NOTE

Issue #177 was juried by Caitlin Chaisson, Curatorial Assistant at The Museum of Modern Art. Unlike our other annual, regional-based reviews, this, the MFA Annual, is the one issue of New American Paintings for which applicants must meet an educational threshold. While I am firm in my belief that formal training does not necessarily make great artists, that certain individuals simply have a natural gift for communicating visually, as the Masters of Fine Arts degree has become such a rite of passage for so many, I think it warrants a survey of its own. We were honored to receive nearly eight hundred applications for this issue; among the pool, more than one hundred art schools were represented. Caitlin did a fantastic job of winnowing down these applications to the forty gifted artists that you will find in the pages herein.

Last year is now behind us, and perhaps not too soon: 2024 was a strange year that pivoted on economic uncertainty, two wars, and an election cycle as bizarre as it was unsatisfying. Regardless of one’s political inclinations, it’s hard to deny that the narrative sucking up so much oxygen made it difficult to focus on much else. As I write this, Donald Trump has, once again, just been sworn into office. Though this does not make me particularly happy, I will not miss the melodrama of the last twelve months; I have been to this rodeo enough times to know that the next four years will bring its share of good and bad, but that we, collectively, will get through it.

Of course, the art world was also not immune to the vicissitudes of 2024.

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By all accounts, it was the most challenging year our fragile ecosystem has faced in more than a decade. Artists certainly kept making work, but the infrastructure supporting their efforts was put to a serious test. Over the past twelve months, we’ve seen non-profit institutions laying off workers and numerous commercial gallery spaces shuttering their doors permanently. I can’t tell you how many emerging artists I’ve spoken to who, until recently, were able to support themselves through the sale of their work but now must find alternative streams of income. The music may not have stopped, but the tempo has certainly slowed.

The music in question, of course, is the art market. For close to a decade, the market was ascendant, all boats rose and for those who have not experienced such a contraction before, the effects can be devastating. My sense is that things are now improving, but we are still in precarious times.

Speaking directly to our collectors here: This is the time when artists need you more than ever.

I want to wish our entire readership a healthy and prosperous 2025. Please take care of each other.

Enjoy the issue!

Steven Zevitas Publisher & Editor

Arrival Art Fair 2025 Exhibitors Abattoir Gallery (Cleveland) Abigail Ogilvy Gallery (Los Angeles) Anthony Greaney (Boston) Ben Ward (New York) Bockley Gallery (Minneapolis) Caira Art Editions (Boston) Catharine Clark Gallery (San Francisco) Charlie James Gallery (Los Angeles) Davila-Villa & Stothart (New York) Drive-by Projects (Boston) Dutton (New York) Fall River MoCA (Fall River) Gateway Arts (Boston) Geary Contemporary (Millerton) Jane Lombard Gallery (New York) Jessica Silverman (San Francisco) Ontopo (New York; Honolulu) Jonathan Carver Moore (San Francisco)

Library Street Collective (Detroit) Martha’s (Austin) Morgan Lehman Gallery (New York) North Loop West (Los Angeles) ODD-KIN (Providence) Powerhouse Arts (Brooklyn) Praise Shadows (Boston) R & Company (New York) REGULARNORMAL (New York) Sears Peyton Gallery (New York) SEPTEMBER (Kinderhook) Talley Dunn Gallery (Dallas) Tierra del Sol (Los Angeles) Ulterior Gallery (New York) Wassaic Project (Wassaic) Williams College Museum of Art (Williamstown) Wolfgang Gallery (Atlanta)

June 12-15, 2025 TOURISTS North Adams, Massachusetts arrival.art

COMMENTS

CAITLIN CHAISSON Curatorial Assistant, The Museum of Modern Art, New York, NY

There is an expression that goes something like, “When you have a hammer, everything starts to look like a nail.” The concept is a little brutish but I like the resourcefulness of the sentiment, especially when you replace “hammer” with “paintbrush” and “nail” with “painting.” When you have a paintbrush, everything starts to look like a painting.

I find it useful to remember that it can be a blunt instrument that taps into the way we see the world. Painting can be constructive even when it feels wholly unsuitable; yet, sometimes that’s when it does its best work.

Symbolism, realism, formalism, maximalism, and hard-edge abstraction are still good tools and virtuosity maybe isn’t the useless counterpoint to criticality that many critics still make it out to be. All of this feels especially prescient in the contributions of the MFA students and recent graduates in this issue. The artists’ approaches to process, form, material, composition, and the parameters of the discipline play out in infinitely diverse ways, engaging with the histories of painting while also constructing its future.

The sources of inspiration are clearly varied in the works featured in these pages, but one of the striking throughlines that emerged across the submissions was an express interest in familiar subjects and situated knowledge.

For many, painting begins with proximity. Kyler Pahang’s barbershop portraits of smocked figures, for example, are deliberately made soft through an extremely close focus, distinct from but perhaps related to Diego Pablo Málaga’s personal ode to his dutiful Honda Civic or Sanah Brown-Bowers’s

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altarpiece assemblages. Proximity can be intimate, but it can also be incidental. I can’t help but be intrigued when an artist decides to make a dustpan or a piece of tape an object of their study. It’s an attentiveness that feels anachronistic in these times of intensely saturated media. Either way, artists are looking to their surrounding environments and experiences as source material, a position from which many are seeking to understand wider systems, structures, and forces.

Representational painting is one way of establishing familiarity, and photorealism continues to be an important element of many artist’s aesthetic strategies as evident in this selection. The spontaneous framing of a snapshot, for example, can open into something more contemplative when translated by the medium of paint. This approach feels particularly apt in rendering the oddities and banalities of suburbia. The shard of broken glass in a garage door imbues the surrounding landscape in Paige DeVries’s Broken Tooth with a placid uneasiness, while Eva E. Foldy’s spectrally monochromatic Laundry Line flaps at twilight. A figure stands on the side of the highway in Miranda Pikul’s The Day After, arm cradled in a plaster cast tagged with signatures.

The loose and rippling brushwork of the landscape makes the graphic specificity of the handwriting all the more deliberate as an exploration of mark-making.

Mimesis is a part of many painterly strategies, but it is rarely so straightforward as the final goal. Interference is an idea that artist Laurent Le Bel-

“I can’t help but be intrigued when an artist decides to make a dustpan or a piece of tape an object of their study. It’s an attentiveness that feels anachronistic in these times of intensely saturated media.”

Roux uses to consider multiplicity in abstract compositions, and it’s an idea that I think applies to the work of many other artists presented here.

Imagery, genres, and even history, can be permeable. Dannah Mari Hidalgo finds ways to explore the fractures of domestic space through doubling, winking at Manet’s Olympia as a model for self-portraiture. London Pierre Williams’s sepia-toned canvases initially appear to belong to the archive but instead unfold as dramaturgical spaces for fictional Black, queer histories.

Juxtaposition can be another form of interference. Jana Marie Cariddi’s biomorphic-shaped panels are riotously gothic with colorful designs that could be read simultaneously as steel chains and cellular helixes; elsewhere, Diego Juarez’s hieroglyphic Angel Painting considers the everlasting on a ground of abrasive, exfoliating pumice.

The concerns and expectations of painting are always being reshuffled by the next generation of artists. In one of Daniel Cabrillos Jacobsen’s interior spaces, a pastel pink room recedes into the distance; a chair, throw rug, picture frame, and the arm of a sofa are plotted with such balanced symmetry that at first I didn’t notice a robbery was taking place. The thieves in Uninvited Guests are taking off with the lamp and the television set, the figure in the foreground standing with slumped shoulders but appearing rather indifferent to the whole affair. Even the robbers aren’t in much of a hurry. Maybe this is the real luxury of painting: There’s always somehow enough to rebuild.

Pahang DeVries Le Bel-Roux

p108 p45 p84

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NOTEWORTHY

JUROR’S PICK: YIXIAO ZHANG

p177

Yixiao Zhang’s portraits are atmospherically charged by chromatic spills that resemble light leaks on celluloid. If the documentary mechanism is designed to create a hermetic seal between the image and its conditions of making, Zhang’s luminescent paintings appear most engaged in the moments where such boundaries prove faulty.

The concentrated blurring of the figures further challenges the role of the image as a conclusive record, suggesting instead how the past and the present can be, and have been, mutually constitutive. Zhang’s subjects appear by turns timeless and transformed, figures that allude to borderlands, thresholds, and the subjectivity of memory.

EDITOR’S PICK: LONDON PIERRE WILLIAMS

p169

Art history is a powerful tool for addressing contemporary concerns.

When leveraged properly, it can allow artists to not only collapse time, but also to critique the past while simultaneously advocating for a more nuanced, inclusive future. Williams draws liberally from the Eurocentric canon of painting for the construction of his largescale tableaux that all have a distinct cinematic quality. As a queer Black man, Williams is particularly interested in the tension that be generated when long-established spaces, such as the home, are expanded upon to accommodate new narratives. The characters that populate his tender paintings display a range of emotions from joy to anguish, but ultimately, the work speaks to our deep need for connection and understanding.

SELECTED ARTISTS: MFA ANNUAL REVIEW 2024

JUROR’S SELECTIONS: ANA CLÁUDIA ALMEIDA SOPHIA ANTHONY SANAH BROWN-BOWERS PRINCETON CANGÉ JANA MARIE CARIDDI YUNA CHO PAIGE DEVRIES EVA E. FOLDY CALHAN HALE BENJAMIN HAWLEY DANNAH MARI HIDALGO RUOXI HUA DANIEL CABRILLOS JACOBSEN DIEGO JUAREZ LAURENT LE BEL-ROUX MADELINE LUDWIG-LEONE DIEGO PABLO MÁLAGA PAULINA MONCADA DANE NAKAMA KYLER PAHANG IN JUNE PARK SIHA PARK SUN-JAE PARK CHEN PENG MIRANDA PIKUL JOSHUA THADDEUS RAINER MARIEL ROLWING MONTES GABRIEL SANCHEZ JES SCARLETT WINNIE WEIYUN SZU PEDRO TRUEBA RAMÍREZ CATHERINE WANG LONDON PIERRE WILLIAMS XIANGJIE REBECCA WU YIXIAO ZHANG

EDITOR’S SELECTIONS:

KATAYOUN HOSSEINRAD ANTONIO VIDAL LASCURAIN ANNIKA TUCKSMITH RICKY VASAN JAM YOO

Anthony p24

JUROR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p209.

ANA CLÁUDIA ALMEIDA

+552.199.962.5251 (Quadra) anaclaudiaalmeida.com Yale University

b. 1993 Rio de Janeiro, Brazil | lives in New Haven, CT Education

Ana Cláudia Almeida has always been in love with materials. As they are juxtaposed or pressed against each other, she seeks movement and multiple perspectives on situations, engaging with ambiguity and contrast to understand herself as a body in the world. Surrounded by the city, nature, and architecture and shaped by the social systems of gender, religion, and sexuality, these inputs are absorbed and transformed into something else as we seek for liberation in our minds. While going through painting, monotypes, sculpture, drawing, and video, Almeida often works with oil pastels, oil paints, plastic, paper, and more to build a conversation and an ecosystem.

2025

MFA candidate, Yale University, New Haven, CT

2018

BFA, Universidade do Estado do Rio de Janeiro, Rio de Janeiro, Brazil Residencies

2024

Sertão Negro, Goiânia, Brazil

2022

Atelier Mondial, Basel, Switzerland Solo Exhibitions

2023

Guandu, Paraguaçu, Piraquara, Fortes D’Aloia & Gabriel, Rio de Janeiro, Brazil

2018

Wasapindorama, Fundação de Arte de Niterói, Niterói, Brazil Selected Group Exhibitions

2024

A Joyner/Giuffrida Program, Nevada Museum of Art, Reno, NV Collections Instituto Inhotim, Brumadinho, Brazil Museu de Arte do Rio, Rio de Janeiro, Brazil Represented by Quadra, Rio de Janeiro, Brazil

Crosta oil, wax, paper glue, and pumice gel on canvas, 72 x 47 inches

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ALMEIDA

Ovas oil pastel and acrylic medium on cotton fabric, 57 x 53 inches

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O fim e o Início do Mundo oil pastel and acrylic medium on cotton, 102 x 177 inches

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ALMEIDA

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Umidade oil pastel, resin, and pigment on cotton fabric, 133 x 283 inches

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SOPHIA ANTHONY

972.804.7867 sophiaanthony@me.com sophiaanthonyart.com @sophiaanthonyart University of Chicago

b. 1997 Dallas, TX | lives in Dallas, TX Education

My current work depicts figures set amidst uncertain atmospheres and architectures in tightly constructed paintings. I draw upon a variety of sources, from poetry and literature, to found images, film stills, observational drawing, and art history. Synthesizing these references, I construct my paintings into horizontal, mid-shot compositions that frame the figures as characters moving through active spaces, from quiet domestic interiors to unknown domains.

I am interested in using a variety of styles within a single painting to heighten the ambiguity and psychological tension of the scene and to complicate the figure/ground relationship. Painstaking details in clothing and hair will appear next to expressive marks that describe motion or atmosphere, while architectural motifs are often rendered to the point of geometric abstraction. The multiplicity of my painting practice underscores the emotions of the figures and creates a sense of spatial and psychological interiority, while also suggesting that these narratives are open to multiple interpretations.

2022

MFA, University of Chicago (UC), Chicago, IL

2019

Southwestern University (SU), Georgetown, TX Solo Exhibitions

2023

Interior Motives, Ro2 Art, Dallas, TX

2019

Garden of the Laws, Sarofim Gallery, SU, Georgetown, TX The Speaking Silence, with DEASIL, Bermac Arts, Houston, TX Selected Group Exhibitions

2024

ART021 Shanghai, with Make Room, Shanghai, China EXPO Chicago, with UC Department of Visual Arts, UC, Chicago, IL Dallas Invitational, with Various Small Fires, Dallas, TX

2022

MFA Thesis Exhibition: Beautiful Snail, with UC, Logan Center Gallery, Chicago, IL

Off Work oil on linen, 30 x 48 inches

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ANTHONY

Flower, Further oil on canvas, 36 x 48 inches

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A Double Scene oil on canvas, 36 x 48 inches

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SANAH BROWN-BOWERS

817.913.2537 sanahnzlay@yahoo.com sanahbrownbowers.com @sanahbrownbowers Maryland Institute College of Art

b. 1978 Queens, NY | lives in Baltimore, MD Education

Sparked in high school by the photography of Gordon Parks, my art is driven by a lifelong passion for portraiture and realism. Over the past 25 years, I have fused photography and painting to create portraits that incorporate color, pattern, and fabric as integral elements.

Family is at the heart of my work, blending my personal experiences with a whimsical, maximalist approach. My art celebrates everyday family moments, reflecting universal stories that connect us all. I combine realism with fantastical elements such as cartoons, graphic text, and memories, inviting viewers to engage with their own experiences.

Through mixed-media, collage, film, and sound, I craft family altars as sanctuaries for reflection. These pieces honor ancestors and offer viewers a connection with their personal stories. My work challenges traditional portrayals of people of color, focusing on Black joy, empowerment, and unity, rather than trauma. My goal is to uplift and inspire, offering hope, healing, and connection through vibrant, dynamic artwork.

2024

MFA, Maryland Institute College of the Art (MICA), Baltimore, MD

2022

BFA, University of North Texas, Denton, TX Solo Exhibitions

2024

Bloodlines, VisArts, Rockville, MD Bloodlines, Touchstone Gallery, Washington, DC

2022 2020

Meraki, Gallery Guichard, Chicago, IL Unbreakable, Houston Museum of African American Culture, Houston, TX Selected Group Exhibitions

2024

MICA Grad Show, MICA, Baltimore, MD Discard and Reclaim, Banneker-Douglass Museum, Annapolis, MD

2023

Let the Right One In, CPM Gallery, Baltimore, MD Interlocked, Honfleur Gallery, Washington, DC Edward Bannister Exhibit, Providence Art Club, Providence, RI Collections Houston Museum of African American Culture, Houston, TX The Guess-Lawson Collection, Houston, TX

Covenant acrylic and oil paint with collage elements on wood panel in a shadowbox frame, 65 x 65 inches

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BROWN-BOWERS

Robo Nana acrylic and spray paint on wood, with collage and assemblage elements in the round, 72 x 72 inches

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Wisdom acrylic and oil paint, screen-printed fabric, and mixed media on wood panel in a shadowbox frame, 72 x 96 inches

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BROWN-BOWERS

The Kings Court Barbershop acrylic and oil paint with mixed media on wood panel in a shadowbox frame, 96 x 54 inches

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Second Chance Letter acrylic and oil paint, collage, and sculpted scooter on wood panel in a shadowbox frame, 96 x 52 inches

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PRINCETON CANGÉ

princetoncange@gmail.com princetoncange.com @princeton_cange Rhode Island School of Design

b. 1996 Langhorne, PA | lives in Providence, RI Education

I pull from Haitian history and vodou cosmology, Christian religious iconography, and contemporary life to create richly colored narrative paintings, drawings, and prints. Pulling from the rich tapestry of Haiti’s cultural heritage, I intertwine fact and fiction to allow room for speculation, contemplation, anger, and desire.

My practice delves into the spaces where mythology, history, and contemporary American life merge, creating opportunities to imagine what liberation, escape, surrender, and even doom might look like for Black people—and by extension, for humanity and our shared ecosystem.

The Haitian Revolution, one of the most significant and under understood events in global history, informs much of my work. C.L.R. James’s “The Black Jacobins” provides a foundation for examining the broader implications of Black liberation movements, while the history and practice of vodou expand my understanding of syncretism and creolization not only as modes of survival and evolution, but also as ways of making.

2025

MFA candidate, Rhode Island School of Design (RISD), Providence, RI

2019

BFA, Tyler School of Art and Architecture (TSAA), Philadelphia, PA Residencies

2020

Chautauqua School of Art, Chautauqua, NY Solo Exhibitions

2019

Hidden from View, TSAA, Philadelphia, PA Selected Group Exhibitions

2024

Second Sight, Sol Koffler Gallery, RISD, Providence, RI Collections The Fabric Workshop and Museum, Philadelphia, PA

Untitled (Altarpiece) gouache and ink on paper, 12 x 10.5 inches

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CANGÉ

The Last Shall be First gouache, ink, and graphite on paper, 14 x 34 inches

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The European Mission gouache and ink on paper, 16 x 16 inches

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JANA MARIE CARIDDI

janacariddi@gmail.com janamariecariddi.com @janamariecariddi University of Wisconsin-Madison

b. 1993 Rockaway, NJ | lives in Tallahassee, FL Education

I seek comfort in the corporeal. Through bodily motifs such as orifices, cellulite, and cystic pearls, I am interested in creating worlds that bring benign and malignant forces into harmony. My shaped panels are obscured and distorted to generate tension. The tension resides not only in the mysterious shapes, but in the exploration of bodily containment within these contorted forms and surfaces. The textural anomalies on the sleek surfaces of my paintings serve as points of seduction, adding another layer beyond form and color to unveil palpable, sensory realms.

My concept of growth is a non-linear, cyclical process that demands introspection within my relationships and surroundings. I reflect on personal growth cycles using my body, the natural world, and my internal state as both setting and protagonist. In this perpetual evolution, the worlds I create abandon logic, reject conventionality, and embrace cyclical transformation, celebrating the endurance of the female form and spirit. In my paintings, opposing forces, including decay and regeneration and desire and repulsion, govern simultaneously as metaphors for the complexities of our real world.

2024

MFA, University of Wisconsin-Madison (UW), Madison, WI

2015

BFA, Savannah College of Art & Design (SCAD), Savannah, GA Residencies

2025

ON::VIEW, with ARTS Southeast, Sulfur Studios, Savannah, GA

2018

Artist in ASO, Ubuyama, Japan Solo Exhibitions

2024

Swollen Hollow, Art Lofts Gallery, UW, Madison, WI

2020

If I Said I Had a Beautiful Painting, Would You Hold It Against Me?, Artipoeus Salon, Berlin, Germany Selected Group Exhibitions

2024

Painting Invitational, Abel Contemporary, Stoughton, WI Collections SCAD Private Collection, SCAD, Hong Kong, China

Infected Landscape acrylic, ground pumice stone, piping paint, and glass beads on custom wood panel, 33 x 25 inches

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CARIDDI

Cyclic Void acrylic and ground pumice stone on custom wood panel, 12 x 12 inches You In Reverse acrylic, oil, and glazed ceramic on custom wood panel, 32 x 44 inches

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YUNA CHO

yunaa.cho93@gmail.com @yunacho_studio Yale University

b. 1993 Seoul, South Korea | lives in New Haven, CT Education

My practice involves defamiliarization of everyday imagery that calls for identification. The everyday is presented in a new light as subjects are veiled in exaggerated lighting, observed at night, and captured in fleeting glances.

What do you see? What are the cues? When glancing at the details of unspecified images and objects, the viewer may fall into a reverie of imagined scenarios. My work, In Dark, You See Everything, invites the viewer to an enticing glimpse into a stranger’s window at night. Allured by the warm, dim glow behind the sheer curtains, anticipation builds for the unfolding of the next scene: Who is behind those curtains, and what happens next? The spectator becomes an unwitting participant in the silent drama.

When the familiar transforms into something foreign, the mind strives to identify and attribute meaning, thereby making it familiar once more. To bring about this transformation, I distort the original subject through dramatic light, cropping, desaturation, double imagery, and discomforting encounters.

2026

MFA candidate, Yale University, New Haven, CT

2015

BFA, Rhode Island School of Design (RISD), Providence, RI Residencies

2017

KulttuuriKauppila Art Centre, Ii, Finland Selected Group Exhibitions

2024

Jimin Park & Yuna Cho, Ray Projects Seoul, Seoul,

2023

Asian Students and Young Artists Art Festival, Hongik

South Korea University Museum of Art, Seoul, South Korea Nameless City, Keep In Touch Seoul, Seoul, South Korea Spotted, Gallery Jiha, Seoul, South Korea 2016

Summer Salon Show, Greenpoint Gallery, Brooklyn, NY

In the Dark, You Can See Everything, Close up oil, paper mache, plaster, and foam block on panel, 65 x 106 inches

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CHO

In the Dark, You Can See Everything oil, paper mache, plaster, and foam block on panel, 65 x 106 inches

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I’m Scared, Encountered ceramic stucco, clay, LED light, oil, acrylic, modeling paste, plaster, paper mache, and foam block on canvas, 68 x 26 inches

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PAIGE DEVRIES

devriespaige@gmail.com paigedevries.org @devries.paige University of New Orleans

b. 1990 Anchorage, AK | lives in New Orleans, LA Education

My work highlights the mundane visual language of the suburbs. These paintings begin with observations of my neighborhood: home exteriors, plants, and animals that make up my local landscape. I look for subtleties in these spaces, which point to how we inhabit and effect our environment. Starting with my own reference photographs taken on long walks, I use unconventional paint colors and distorted light to explore the line between the banal and the sublime.

Though people are not the explicit subject of the paintings, the impact of the human hand on our habitat is always present. People are intrinsically connected to the nature they cultivate; in turn, nature adapts and asserts itself back into the spaces around us. My paintings attempt to understand this relationship of beauty, nature, and the uncanny in these ordinary spaces.

2024

MFA, University of New Orleans (UNO), New Orleans, LA

2013

BFA, Rhode Island School of Design (RISD), Providence, RI Residencies

2024

Joan Mitchell Center, New Orleans, LA

2023

New Orleans Museum of Art, New Orleans, LA Solo Exhibitions

2025

Nothing in Nature Pretends to Love You, Good Children Gallery, New Orleans, LA

2024

Blind Spot, St. Claude Gallery, UNO, New Orleans, LA Selected Group Exhibitions

2024

Sweet Sixteen, Good Children Gallery, New Orleans, LA Camp, Carroll Gallery, Tulane University, New Orleans, LA

2023

A Room With a View, Vardan Gallery, Los Angeles, CA Louisiana Contemporary, Ogden Museum of Southern Art, New Orleans, LA And Now for Something New, LeMieux Galleries, New Orleans, LA Gentling, Sibyl Gallery, New Orleans, LA

Statue of a Man oil on canvas, 36 x 24 inches

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DEVRIES

Broken Tooth oil on canvas, 24 x 18 inches Forever Always Elsewhere oil on canvas, 24 x 18 inches

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EVA E. FOLDY

414.339.6106 eefoldy@gmail.com eefoldy.com @ev4foldy Virginia Commonwealth University

b. 1994 Cleveland, OH | lives in Richmond, VA Education

I was raised in the Midwest and have since lived in a number of cities throughout the continental U.S., all of which have left their traces in my paintings. When my paintings aren’t navigating cultural and personal narratives relating to anxiety and looking for hope, they focus with reverence and dignity on subjects existing in the material world of the regular and overlooked. I aim to capture the struggle with a quiet but intense craving to connect with another person, the planet, and the divine and the vulnerability that comes with doing so. There is often fear and violence, but moments of peace and beauty still linger if we can bear to continue to look.

2025

MFA candidate, Virginia Commonwealth University, Richmond, VA

2016

BFA, Rhode Island School of Design (RISD), Providence, RI Residencies

2023

Aquarium Gallery, New Orleans, LA

The Native oil on panel, 14 x 11 inches

48

FOLDY

49

L+E In The Garden oil on panel with relief, 22 x 14 inches You Gotta Hold Her like This oil on panel, 14 x 11 inches

50

FOLDY

51

Laundry Line oil on panel, 12 x 18 inches

52

CALHAN HALE

512.695.1437 (Martha’s) calhanhale@gmail.com calhanhale.com @calpaca Columbia University

b. 1994 Houston, TX | lives in New York, NY Education

If naming something is the first step of dealing with what is not yet known, then I am interested in the inverse. In my work I explore what is possible when what is familiar becomes something other than what is initially expected. By recontextualizing imagery pulled from my surroundings via collage and painting, I play with relationships between image and object and familiarity and strangeness to subvert assumption and prompt surprise.

2025

MFA candidate, Columbia University, New York, NY

2016

BA, The University of Texas, Austin, TX Residencies

2022

LTK ENTERPRISES, Marfa, TX

2021

Wrong, Marfa, TX Casa Lü, Mexico City, Mexico Solo Exhibitions

2022

Hot Concrete, Martha’s, Austin, TX

2021

The Things I Heard Were True, Martha’s, Austin, TX Selected Group Exhibitions

2024

Columbia MFA Summer Show, SK Gallery, New York, NY First Year MFA Exhibition, Wallach Art Gallery, New York, NY

2023

Echo, Martha’s, Austin, TX

2021

NO ESTACIONAR / NO PARKING, Casa Lü, Mexico City, Mexico Easy Does It, FLAT PACK Albany, TX Represented by Martha’s, Austin, TX

Untitled (Rock) oil on linen, 16 x 20 inches

54

HALE

Paperweight II oil on canvas, 40 x 48 inches Rattle oil on canvas, 56 x 60 inches

55

56

BENJAMIN HAWLEY

207.245.5732 (Grant Wahlquist Gallery) benjaminhawleyart.com @bjhawley Boston University

b. 1995 Wilson, NC | lives in Boston, MA Education

A word’s meaning can shift or be lost the more you say it. An object’s purpose can start to wane the longer you stare at it. My paintings are the result of mulling over familiar sources, layered with ephemeral phenomena to elevate and transform them from their original states.

2022

MFA, Boston University, Boston, MA

2017

BFA, Barton College, Wilson, NC

I constantly return to the same forms: a cherished little bowl, a mysterious mound of snow, an ornamental column, a leaf. They reveal something new every time I revisit them, whether it’s a way of altering their identity, a buried memory, or an odd connection between two things that seem unrelated.

By reducing and adapting the forms, they serve new functions or ask new questions. These ever-evolving, sacred forms are combined with subtle color gradients taken from observing fleeting moments. These gradients create an atmospheric and ethereal quality to the liminal spaces inside the paintings.

I strive to make quietly seductive work that demands a long look and invites the viewer to question what they are seeing.

2023

Solo Exhibitions All this and not ordinary, Grant Wahlquist Gallery, Portland, ME Selected Group Exhibitions 2024

Phantasmagoria, Markel Fine Arts, New York, NY

2022

Break of Day, Edge of Night, The Painting Center, New York, NY Armory Park, Morgan Lehman Gallery, New York, NY Represented by Grant Wahlquist Gallery, Portland, ME

From Above oil on paper, 12 x 8.5 inches

58

HAWLEY

Sky Mound oil on canvas, 10 x 10.5 inches

59

Whenever I see it, I still think about what you said and I laugh a little. oil on canvas, 32 x 48 inches

60

DANNAH MARI HIDALGO

dannahmarih@gmail.com dannahmarihidalgo.com @dannahmari_art University of California, Santa Barbara

b. 1994 Honolulu, HI | lives in Santa Barbara, CA Education

Dannah Mari Hidalgo creates figurative paintings highlighting tension and intimacy against the backdrop of family dynamics. Born in Hawaii to Filipino immigrant parents, Hidalgo draws influence from her relations and utilizes double imaging and painterly techniques. In her work the concept of the double image reinforces dichotomous relationships between the abstract and representational; the severe and humorous; the depth and flatness; and the tension and resolution.

As both the nude model and artist, Hidalgo subverts concepts of individualism versus collectivism within the prism of patriarchal structures, forcing the viewer to question how these structures assume positions for femmepresenting individuals.

Her work is an unapologetic femme exudation in the unsettling and direct.

Rooted in personal experiences and lore, Hidalgo’s paintings make tangible the collective ruminations felt in exploring the fringe nuances and complexities of what it means to exist as an individual apart from a family system and fraught memory.

2024

MFA, University of California Santa Barbara (UCSB), Santa Barbara, CA

2019

BFA, University of Hawai’i at Mānoa, Honolulu, HI BA, University of Hawai’i at Mānoa, Honolulu, HI Selected Group Exhibitions

2024

The New Salon: Arte Del Pueblo, Museum of Contemporary Art, Santa Barbara, CA MFA Thesis Exhibition: Incandescent, AD&A Museum, UCSB, Santa Barbara, CA GLAMFA24, California State University, Long Beach (CSULB), Long Beach, CA

2023

Positive Exposure: Southern California Asian American Art, TAG Gallery, LA Project Art Space, Los Angeles, CA Flourish and Flow, Atrium Gallery, Ventura, CA In Deep, CSULB, Long Beach, CA

Self Portrait (King Kongiana) oil on canvas, 48 x 48 inches

62

HIDALGO

Pamily Portrait With the Porsche That Never Was acrylic and oil on canvas, 72 x 96 inches

63

It’s In the Garage acrylic and oil on canvas, 72 x 96 inches

64

HIDALGO

65

Self Portrait (Dannah Mari Olympia Hidalgo, Venus of Wahiawā) oil on canvas, 60 x 72 inches

66

RUOXI HUA

jarvis_hua@outlook.com ruoxihuastudio.com @bullockbefriendingbard School of Visual Arts

b. 1999 Jiangsu, China | lives in New York, NY Education

I am a representational painter whose works focus on landscape, interior, and figures in urban settings that are often disregarded. I am interested in the tension between illusional space resulting from chiaroscuro and perspective and the pictorial space, including composition and the materiality of the surface. My paintings typically feature the interaction between architectural or industrial structures and geometrical shapes of the jointed physical panels.

My current body of work is inspired by the concept of non-places, such as public bathrooms, elevators, and city streets—transient, and therefore overlooked, spaces of passage. Through figures and/or cropped perspectives, my works offer a narrative about the experience of traveling through spaces with bleak industrial structures or abandoned mundane objects. By inviting my viewers’ attention to these places, I seek to reflect the feelings of alienation, solitude, and boredom that haunt the psyche of many contemporary dwellers.

2025

MFA, School of Visual Arts (SVA), New York, NY

2022

BS, William & Mary, Williamsburg, VA Selected Group Exhibitions

2024

Marks, A Space Gallery, Brooklyn, NY THIRD PLACES, Manifest Gallery, Cincinnati, OH GODZILLAS, LatchKey Gallery, New York, NY Echoes of Presence: Trace, Paris Koh Fine Arts, Fort Lee, NJ

2022

Rites of Passage: 18th Annual Emerging Artists Exhibition, Manifest Gallery, Cincinnati, OH Being Seen, The Artists Gallery, Frederick, MD Collections President’s Collection, William & Mary, Williamsburg, VA

Orion oil on panel, 18 x 10 inches

68

HUA

69

Dusty Corner Flying V oil on panel, 28 x 11 inches Is Anybody Out There? oil on panel, 12 x 52 inches

70

HUA

71

Portrait of Mme H Flower in the White Room oil on panel, 38 x 82 inches

72

DANIEL CABRILLOS JACOBSEN

daniel.cajacobsen@gmail.com @dc.jacobsen Georgia State University

b. 1996 Copenhagen, Denmark | lives in Atlanta, GA Education

By using painting as a tool for self-exploration, play, and storytelling, my work is often rooted in figurative imagery and explores themes that are central to my identity. I find inspiration from my Danish and Filipino heritage as well as from the mundane aspects of daily life and long gone memories, As a painter, my intention is to stimulate moments of introspection that resonate across cultures and embrace the human condition within an increasingly globalized world, posing the question, What does it truly mean to be human in today’s society?

2027

MFA candidate, Georgia State University, Atlanta, GA

2023

BFA, Royal Academy of Art, The Hague, The Netherlands Solo Exhibitions

2024

Art Island, Dürst Britt & Mayhew, Amsterdam, The Netherlands Moonlight Bunny Napping, Dürst Britt & Mayhew, The Hague, The Netherlands Wanderlust, CHAxARTxAMS, Amsterdam, The Netherlands Selected Group Exhibitions

2024

Royal Award for Modern Painting Exhibition, Royal

2023

OYO 7, Haagse Kunstkring, The Hague, The Netherlands

2022

To Give a Dog a Name, Billytown, The Hague,

2021

Act II: The Observatory, Ombrella, Copenhagen,

Palace Amsterdam, Amsterdam, The Netherlands

The Netherlands Denmark Collections AkzoNobel Foundation, Amsterdam, The Netherlands

Uninvited Guests oil on linen, 16 x 12 inches

74

JACOBSEN

75

Into The Future oil on burlap, 75 x 47 inches Yellow Home oil on collaged book covers, 54 x 36 inches

76

JACOBSEN

77

Dwellers of the Forest oil on burlap and canvas, 52 x 111 inches

78

DIEGO JUAREZ

juarezcdiego@gmail.com diegojuarez.com @diego_c_juarez Tyler School of Art and Architecture

b. 1997 Harbor City, CA | lives in Philadelphia, PA Education

I work between painting, sculpture, and poetry, incorporating found material from my immediate surroundings to depict the landscape through the social, political, and economic systems that produce it. Gravitating toward sites of transition, I form deep relationships through observation and time spent writing. To prioritize the material realities of these sites, I incorporate poetic gestures of care, such as sewing, collaging, and gestural abstraction, into my process. The resulting work embodies landscapes as sites of hidden labor, political upheaval, and environmental disruption. My sentimental feelings toward a place symbolically tie material to process.

2025

MFA candidate, Tyler School of Art and Architecture

2023

Weir Farm National Historic Park, Wilton, CT

I paint with material as an active collaborator, creating space for accidents to guide the final result. Abrasion, staining, and rubbing fully incorporate all my materials into incongruous, abstract surfaces, each holding a distinct record of time. My surfaces resist illusionistic space in favor of process, material, and touch. Fixed subjectivities and ideas of value are reconfigured, enabling more expansive and poetic forms of meaning.

2022

School of Visual Arts, New York, NY

(TSAA), Philadelphia, PA 2023

Post Baccalaureate Certificate, Brandeis University, Waltham, MA

2020

BoA, University of California, Irvine, Irvine, CA Residencies

Solo Exhibitions 2022

I will continue to write to you from the grave,

2020

If the Sky Were Any Bluer, It Would Sing,

Pollack Projects, Waltham, MA Catalyst Gallery, Irvine, CA Selected Group Exhibitions 2024

Fuzzy Forms, Stella Elkins Gallery, TSAA, Philadelphia. PA

2023

Fresh Faces, Abigail Ogilvy Gallery, Boston, MA

2022

High Beams #6: Convoy, Rocky Mountain College of

2021

NOMAD, Torrance Art Museum, Torrance, CA

Art + Design, Denver, CO

Nothing to See Here acrylic, recycled drawings, and aluminum tape on canvas, 48 x 36 inches

80

JUAREZ

(Timeout) Blinds ink, acrylic, paper, paper pulp, clay, and glass on canvas, 12 x 9 inches Angel Painting ink, acrylic, and pumice on groundcover, 12 x 9 inches

81

82

LAURENT LE BEL-ROUX

lebelrouxlaurent@gmail.com laurentlebelroux.com @laurent.lebel_roux University of Texas at Austin

b. 1994 Montreal, Canada | lives in Austin, TX Education

My practice is defined by an intuitive approach to painting. I use this medium as a channel to reflect on the phenomenological experiences of sight and hearing. Through abstraction I investigate how we access and interact with our immediate environment using these sensory receptors. Themes of perception, cognition, expression, and translation emerge in my work, introducing the human condition. I draw inspiration from elements that embody the notion of interference—such as camouflage, signal waves, meshes, grids, and stencils—to suggest the conscious and unconscious human filter.

My creative process involves an experimental engagement with materials, where methodologies intersect and evolve as the work progresses. Layers of interventions accumulate sequentially, disappear, and merge to reveal varying rhythms of work. Using a multiplicity of tools, I establish formal dialogues to bring forth structures and tensions that inform subsequent actions.

Paradoxically, by imposing constraints, invoking serendipity, and maintaining an openness to potentialities, I navigate mastery and accidentality to resolve and create new visual problems.

2025

MFA, University of Texas at Austin, Austin, TX

2021

BFA, Université du Québec à Montréal, Montreal, Quebec

2013

AEC, Sound Technologies, Cégep de Drummondville, Drummondville, Quebec Residencies

2022

Ateliers REDA, Valcourt, Quebec Solo Exhibitions

2023

The Room is Listening, Galerie Nicolas Robert, Montreal, Quebec SIDE B, Occurrence, Montreal, Quebec SIDE A, SKOL, Montreal, Quebec Selected Group Exhibitions

2023

B&W, Galerie Duran Mashaal, Montreal, Quebec

2022

Domestic, Cache Gallery, Montreal, Quebec Collections Scotiabank Collection

Hot Landscape acrylic gel and burned enamel paint on aluminum , 25 x 20 inches

84

LE BEL-ROUX

Untitled acrylic, oil pastel, and photo transfer on canvas, 70 x 90 inches

85

Untitled acrylic, latex, and photo transfer on canvas, 70 x 90 inches

86

MADELINE LUDWIG-LEONE

mludwigleone@gmail.com madelineludwigleone.com @mludwigleone ArtCenter College of Design

b. 1994 Newport, RI | lives in Los Angeles, CA Education

The process of painting a landscape is inherently one of framing. The artist controls what is included in the scene, but what is excluded often says just as much. In my work, I employ structures of spatial control, such as frames, walls, hedges, and moats, in a paradoxical mode. Although the spaces within the paintings are spare and starkly geometric in form, they do not present themselves as places that can be entered, claimed, or fully comprehended.

Flat planes seem to warp and recede, and nonsensical structures create confusion between inside and outside, natural and manmade.

2024

MFA, ArtCenter College of Design, Pasadena, CA

2015

BA, Yale University, New Haven, CT

If nature is a reflection of us, and vice versa, then our desire to control nature is indicative of a desire for control over ourselves. However, I believe that this mirrored relationship is an active one in which each party can effect the other. My hope is that through the process of making these paintings, I can develop a vision of an alternative world that resists illusionism and Cartesian perspective and challenges the notion of human mastery over nature.

2024

Clear Mirror, ArtCenter College of Design,

2019

Girl Fantasy/Weepy Weather, Co Creative Center,

Residencies 2024

Cuttyhunk Island Artists’ Residency, Gosnold, MA Solo Exhibitions Pasadena, CA New Bedford, MA Selected Group Exhibitions

2024

Mirror Mirror, Gattopardo, Glendale, CA

2023

MFAs of LA, Good Mother Gallery, Los Angeles, CA Friend of a Friend, with WAVE Contemporary, Carnation Contemporary, Portland, OR Collections The Aster Art Initiative, Los Angeles, CA

Radicles oil on linen, 54 x 72 inches

88

LUDWIG-LEONE

89

Green Projection oil on linen, 60 x 80 inches Water Feature oil on linen, 50 x 64 inches

90

DIEGO PABLO MÁLAGA

malagadiegopablo@gmail.com diegopablo.com @diegopablo.m Virginia Commonwealth University

b. 1999 Lima, Peru | lives in Richmond, VA Education

My work examines the American automobile, a symbol of class and desire.

Cars themselves consume vast resources, often obtained through imperialistic practices, while also being one of the leading causes of death. For some, our ever-larger trucks and SUVs turn driving into a militaristic playground; yet, driving also creates a unique interiority and mental space that is unavailable to many of us anywhere else.

Despite these contradictions, I love my car. My compact Honda Civic, Guadalupe, is far from perfect: Her A/C is broken, her seats are stained, and she needs repairs. I’ve become my adult self in her interior, however; I’ve decorated Guadalupe with countless bumper stickers and hung pink fuzzy dice from her rear view mirror. In my work, my car embodies the way marginalized communities engage with hegemonic symbols. I paint Guadalupe over and over again in an attempt to demonstrate how minority cultures can reclaim and redefine oppressive symbols by transforming them into sites of personal expression.

2025

MFA, Virginia Commonwealth University (VCU), Richmond, VA

2021

BFA, University of Central Florida (UCF), Orlando, FL Selected Group Exhibitions

2024

Caminos Por Andar, Campus Commons Gallery, University of Northern Colorado, Greeley, CO Con Pasión y Alma, The Anderson, VCU, Richmond, VA

2023

All Twelve Sides, Joseph H. Seipel Gallery, VCU, Richmond, VA ArtFields Art Competition Exhibition, ArtFields, Lake City, SC

2022

True Colors, Orlando Museum of Art, Orlando, FL Self Portraiture, with VAE, Dock 1053, Raleigh, NC

2021

BFA Exhibition: Severance, UCF Art Gallery, UCF, Orlando, FL

Jesusito Take The Wheel oil, 14 x 14 inches

92

MÁLAGA

Presenting Guadalupe oil and acrylic ink, 30 x 40 inches Que Dios Te Bendiga oil and acrylic ink, 40 x 30 inches

93

94

PAULINA MONCADA

maria.moncada@yale.edu paulinamoncada.com @paulinamoncadar Yale University

b. 1998 Caldas, Columbia | lives in New Haven, CT Education

Moncada’s practice is rooted in the Andean mountains and the tropics, a type of landscape that folds and unfolds, hosting multiple semiotic processes. This environment expands the world by reflecting, multiplying, and transforming signs, a process that has bled into Moncada’s artistic practice. By creating staged and constructed images, she proposes self-aware scenarios that reveal the double nature of things, thereby opening up to other ideas of how the world could be.

Her images—interior spaces that look like exteriors; still lifes that resemble astronomical entities; machines that draw mountains—sit comfortably in the frontier of abstraction and representation while blending them together as well. This dual nature allows Moncada to oscillate between the precise and the accidental, using mediums that reveal or distance themselves from the artist’s hand. By drawing inspiration from non-human life, which silently teaches us how to dwell on mystery, her aim is the decantation of the invisible, not by inventing anything new, but rather, by pointing out what exists in the world already.

2025

MFA candidate, Yale University, New Haven, CT

2020

BFA, Andes University, Bogotá, Colombia Residencies

2024

SOMA Summer, México City, Mexico Solo Exhibitions

2024 2021

Volver dos veces, Policroma, Medellín, Colombia Imbalance of a Fictional Landscape, Andes University, Bogotá, Colombia The Mistake of the Prophecy, Cachorra, Bogotá, Colombia Selected Group Exhibitions

2024

WHY BE LONELY, Cinema Supply, New York, NY

2023

Faraways, Essex Art Center, Lawrence, MA

2022

Salón ACME No. 9, México City, Mexico Youth Art Biennial, Comfenalco, Medellín, Colombia

2019

Autonomous, Bogotá Museum of Modern Art, Bogotá, Colombia

Nominales oil on canvas, 12 x 16 inches

96

MONCADA

97

Fortunate conditions of being oil on wood, 48 x 36 inches Tropical Eclipse oil on wood, 12 x 16 inches

98

MONCADA

Belly Button oil on wood, 36 x 48 inches

99

Ecosystem of looking oil on wood, 36 x 48 inches

100

DANE NAKAMA

bydanenakama.com @bydanenakama University of California, Los Angeles

b. 1999 Honolulu, HI | lives in Los Angeles, CA Education

At what point do our histories turn into mythology? Do our ancestors become characters in stories we tell our children before they go to sleep? At what distance do our homelands become dreamlands? Does our blood begin to speak a different language? Or, do our bones turn to milk?

2026

Dane Nakama is a fourth-generation Japanese Uchinanchu ceramicist, painter, and educator raised on the island of O’ahu. Throughout their childhood, Nakama’s father, a retired Hawaiian history teacher, lulled them to sleep with bedtime stories about Hawaiian gods and family history, while their grandmother read them Japanese fairy tales (or, mukashi-banashi.) These stories served as a catalyst for the dreamy, multicultural lexicon that make up Nakama’s work today. Through what they refer to as an “island dream journal” style of making, Nakama often explores themes of cultural hybridity, settler colonialism, indigeneity, and ancestral knowledge

2020

MFA candidate, University of California Los Angeles (UCLA), Los Angeles, CA Residencies BoxJelly, Honolulu, HI Solo Exhibitions

2024

Bumbai, Kaiao Space, Honolulu, HI

2022

NeNe Time, Kaiao Space, Honolulu, HI Hanabada, Aupuni Space, Honolulu, HI Selected Group Exhibitions

2023

Hawai’i Craftsmen Statewide Exhibition, Downtown Art Center, Honolulu, HI

2022

Queer Arts Festival, Hawaii State Art Museum, Honolulu, HI

“eh! U Da Kine, Ah?” acrylic paint, mother of pearl, and pearls on wood panel, 16 x 12 inches

102

NAKAMA

the crackseed diaries crackle medium, pumice, sand, sumi ink, li hing mui powder, and laser engraving on wood panel, 5 x 7 inches (each) Night Fishing at Pu’uloa sumi ink, graphite, sand, mother of pearl, opihi shells, pumice, gloss medium, and crackle medium on wood panel, 24 x 60 inches (each)

103

104

KYLER PAHANG

253.653.9315 kylerpahang@gmail.com kylerpahang.com @kylerpahang_art University of Washington

b. 1998 Renton, WA | lives in Seattle, WA Education

I create representational and figurative paintings that emanate from ethnographic practices and focus on interpersonal relationships. I want to reconnect with my roots by creating artworks that are based on Filipinx art and traditions.

My art employs multiple processes and artistic choices that cohere with my desire to represent the people with whom I share my culture.

My paintings bring to light the various complexities of gender performance in very gendered spaces. I deploy high-key color palettes to signal contradictions between the feelings and observations that I paint, such as those between hypermasculinity and intimacy seen among men at barber shops who physically touch each other in defiance of heteronormative expectations. I apply thin passes of paint to create an ethereal, almost ghost-like depiction of my subjects because, in these spaces, I do not reveal their full selves; rather, I paint fragmented versions of them. By splitting realities between the physical world and the mirror world, my work reveals the subjects’ inner psyches.

2025

MFA, University of Washington (UW), Seattle, WA

2021

BA, University of Washington, Seattle, WA Selected Group Exhibitions

2024

Lost & Found: Searching for Home, Wing Luke Museum, Seattle, WA A Regular Profusion of Certain Unidentified Roses, Jacob Lawrence Gallery, UW, Seattle, WA

2023

Kent Summer Art Exhibit, Centennial Center Gallery, Kent, WA Collections Kent Art Commission, Centennial Center Gallery, Kent, WA The HUB Permanent Art Collection, UW, Seattle, WA

Stay oil on panel, 20 x 16 inches

106

PAHANG

Golden Child oil on panel, 14 x 11 inches From the Back oil on canvas over panel, 14 x 11 inches

107

108

IN JUNE PARK

injunepark@gmail.com injune.cargo.site @injunee Columbia University

b. 1996 Seoul, South Korea | lives in New York, NY Education

My painting practice is an ongoing collection of images that closely mirrors my life experiences. These personal reflections are captured with varying degrees of proximity and relevance and are brought to the surface from a distance. Collaged and cropped—techniques that our generation is particularly familiar with—these images are highly specific, mirroring the precision of memory and reflecting its fragmentary nature.

I am attracted to painting as a medium for its ability to single out a subject from its existing context for interpretation and dissection. Ranging from religious icons to household items, my subjects are often drawn out of their environment to engage with other works in the series and form a collective narrative. Through my process, I want to explore the role of a painter as an eager observer.

2025

MFA, Columbia University (CU), New York, NY

2021

BFA, Rhode Island School of Design (RISD), Providence, RI Solo Exhibitions

2024

Beyond Boundaries: The Space Between Us, Dawn Eleven Contemporary Art Foundation, New York, NY Currents: MFA Summer Exhibition, with CU, SK Gallery, New York, NY Columbia University First Year MFA Exhibition, Wallach Gallery, CU, New York, NY Ecphoric Wonderland, with AUTOMAT Collective, Sotheby’s Institute of Art, New York, NY Cheol Sae (Ave Migratoria), Espacio Azul Petróleo, Santiago, Chile

2022

Flame Casts No Shadow, Subtitled NYC, Brooklyn, NY

2021

Senior Exhibition, Woods-Gerry Gallery, RISD, Providence, RI Unseen, Memorial Hall, RISD, Providence, RI

Smuggler acrylic on canvas, 22 x 22 inches

110

PARK

111

On the Mound acrylic on canvas, 30 x 25.5 inches There is No Crying in Baseball acrylic on canvas, 9 x 12 inches

112

SIHA PARK

parksihaa@gmail.com @siha__park Pratt Institute

b. 1982 Seoul, South Korea | lives in Brooklyn, NY Education

Creating a pictorial space that mirrors the world, my abstract paintings use forms and colors as materials to articulate the invisible aspects of life. The forms come from familiar places, such as my studio, my apartment, and my desk; when I combine and remove parts of them, they inevitably take on a strange shape, becoming more inherently uncomfortable, abstract, and organic. The contrast between earthy and vibrant colors, along with marks that are either spontaneous or built up over time, repeatedly generate contrasting elements like anxiety and humor, conflict and absurdity, and seriousness and playfulness. This serves both as a process of finding balance within the invisible conflicts present in all relationships and as a purpose, in itself, to convey these dualities.

2025

MFA candidate, Pratt Institute, Brooklyn, NY

2005

BFA, Hongik University, Seoul, Korea Selected Group Exhibitions

2019

Poster Town x Monochrome Show, with Weltformat,

2010

Asian Students and Young Artists Art Festival,

KF Gallery, Seoul, Korea with the Ministry of Culture, Sports and Tourism x Chosun Daily, Seoul, Korea 2004

BFA Thesis Exhibition, Gallery Hyundai, Seoul, Korea

Untitled acrylic on canvas, 60 x 52 inches

114

PARK

Untitled acrylic, oil, and graphite on canvas, 30 x 38 inches

115

Untitled acrylic and mixed media on canvas, 40 x 54 inches

116

SUN-JAE PARK

601.586.7641 spark950615@gmail.com @sunjaepark95 Cranbrook Academy of Art

b. 1995 Suwon, South Korea | lives in Bloomfield Hills, MI Education

I firmly believe that the power in the act of creating should be pure, joyful, and without limitations—much like how children freely express themselves through art. I left my home country of Korea for the United States at the age of fifteen and while I have lived here ever since, Korea has remained in my mind as an object of longing. That is why the influence of Korean art is inseparable from my work.

The unique characteristics of Korean art are in its lyricism and simplicity.

The pursuit of simplicity is an important part of my practice. As much as possible, I utilize materials that are easily available, such as acrylic paints, pens, paper, and everyday materials, to offer viewers an easy approachability before completing my paintings with simple lines and shapes.

2025

MFA candidate, Cranbrook Academy of Art, Bloomfield Hills, MI

2022

BA, Belhaven University, Jackson, MS

Swimming with Fishes paper and acrylic on wood panel, 13 x 11 inches

118

PARK

119

Flower and Bird paper and acrylic on canvas, 24 x 20 inches Joy of Life acrylic on canvas, 24 x 42 inches

120

CHEN PENG

studiochenpeng@gmail.com chenpengstudio.com @chenpenguinn Boston University

b. 1989 Hsinchu, Taiwan | lives in Hoboken, NJ Education

As an immigrant from Taiwan, I have found comfort in the U.S. by setting up bookshelves in every home in which I’ve lived. I arrange fluffy animal figurines in front of my books, as well as framed photos of loved ones and objects or drawings inspired by my dogs. This act of arranging and rearranging decorations still provides me with a sense of grounding and belonging.

2022

I explore this personal ritual through my paintings. My still life displays incorporate everyday objects, ceramic sculptures, drawings of mine, nature-themed fabrics, and animal shaped trinkets, transforming them into miniature surreal landscapes where real and imaginary scenes coexist. Using distinct borders or frames, I create multiple worlds within each painting, employing diverse painting techniques like flatness, trompe-l’œil, and thinly applied paint to allow each world to offer its own truth or reference to reality. This interplay generates humor, tenderness, healing, and a sense of companionship and admiration for animals. My work celebrates the connections we share with our surroundings, nature, and the animals in our lives, highlighting the joy and tenderness they bring.

MFA, Boston University, Boston, MA Residencies

2024

Wassaic Project, Wassaic, NY

2019

Vermont Studio Center, Johnson, VT

2018

The Studios at Mass MoCA, North Adams, MA Selected Group Exhibitions

2024 2023

On Intimacy, Abattoir Gallery, Cleveland, OH Meandering North, Hopkins Hall Gallery, Ohio State University, Columbus, OH

2022

Amory Park, Morgan Lehman Gallery, New York, NY Collections Case Western Reserve University, Cleveland, OH Cleveland Clinic, Cleveland, OH

Early Dinner Prep watercolor and oil on canvas, 40 x 30 inches

122

PENG

Apple Time watercolor and oil on canvas, 40 x 30 inches

123

Almost Asleep oil on canvas, 40 x 30 inches

124

PENG

125

Enjoying the Nature acrylic and oil on canvas, 30 x 40 inches

126

MIRANDA PIKUL

mirandapikul.art@gmail.com mirandapikul.com @mirandapikul Boston University

b. 1995 Tucson, AZ | lives in Boston, MA Education

I gravitate toward narrative tropes and archetypes; both serve as conceptual frameworks for generating imagery. Layers of paint, ranging from thin to thick, work to inform the figures’ emotions; the materiality of glazes, stains, and opaque passes of paint parallel the emotional layering of people and place.

Character development emerges from internal transformations, the identity crisis of the protagonist mirroring the identity crisis of culture itself.

2025

MFA candidate, Boston University (BU), Boston, MA

2022

BA, University of California, Los Angeles (UCLA), Los Angeles, CA Residencies

2024

Hewnoaks, Lovell, ME Selected Group Exhibitions

2024

Just Passing Through, Commonwealth Gallery, BU, Boston, MA Amalgamy, Piano Craft Gallery, Boston, MA Fresh Faces, Abigail Ogilvy Gallery, Boston, MA

2023

Practical Jokes!, Ramp Collective, Boston, MA Arts to the Rescue, AFA Gallery, Scranton, PA

2022

Walking in the Wrong Direction, Broad Art Center, UCLA, Los Angeles, CA Overflow, The Little Gallery, UCLA, Los Angeles, CA Still, Stay Home Gallery, Paris, TN Undergraduate Juried Exhibition, New Wight Gallery, UCLA, Los Angeles, CA

Vacancy oil on canvas, 48 x 60 inches

128

PIKUL

129

Motor Lodge oil on canvas, 50 x 54 inches Summer oil on canvas, 18 x 24 inches

130

PIKUL

131

Chick’s Diner oil on canvas, 60 x 60 inches The Day After oil on canvas, 50 x 55 inches

132

JOSHUA THADDEUS RAINER

347.665.7011 (M Contemporary Art) josh@joshuarainer.com joshuarainer.com @jaw_shwa Cranbrook Academy of Art

b. 1996 Pontiac, MI | lives in Detroit, MI Education

I am a hyperrealist oil painter. I carefully apply thin layers of different colored paint the consistency of room temperature butter on top of and beside one another. Through this technique and by thoroughly scrubbing wet paint onto thin layers of dried paint, I piece together an image that can appear more photographic than painted.

2025

In my work, I paint doubles of a single figure in conflict with one another, like Jacob wrestling himself in lieu of an angel; I paint my surreal dreams of carjackings or being stuck in a runaway elevator as clearly as I can remember them; I paint the hands of different people caught in moments of embrace, confrontation and reflection.

2024

I am fascinated by the real and imagined boundaries that distinguish the self from both the unconscious and the other. I am fascinated by things’ unknowability and the ubiquity of the unknown. My work is at once a meditation on these phenomena, an exercise in self-transparency, and an invitation for us to better understand ourselves and each other.

MFA candidate, Cranbrook Academy of Art, Bloomfield Hills, MI

2018

BFA, College for Creative Studies, Detroit, MI Residencies International Studio and Curatorial Program, Brooklyn. NY Solo Exhibitions

2022

Archenemy, M Contemporary Art, Ferndale, MI

2021

Prerequisite for a Great Commandment, Harper Galleries of Art & Interiors, Detroit, MI Selected Group Exhibitions

2024

How We Make the Planet Move: Detroit Collection

2023

Skilled Labor: Black Realism in Detroit, Cranbrook Art

Part I, Cranbrook Art Museum, Bloomfield Hills, MI Museum, Bloomfield Hills, MI Collections Cranbrook Art Museum, Bloomfield Hills, MI Represented by M Contemporary Art, Ferndale, MI

Becoming Israel oil on canvas, 65 x 50 inches

134

RAINER

The Dream of Ascension and Apprehension oil on canvas, 65 x 50 inches The Dream with a Wayward Freight (The Elevator Dream) oil on canvas, 65 x 50 inches

135

136

RAINER

137

The Dream Wherein Flight’s Unsurprising (The Flying Dream) oil on canvas, 46 x 102 inches

138

MARIEL ROLWING MONTES

marielrolwingmontes@gmail.com marielrolwingmontes.com @maaaaarmz Hunter College

b. 1994 Brooklyn, NY | lives in Brooklyn, NY Education

My paintings explore forms of myth-making. Family photographs, moments captured from a car window, or collected screenshots serve as a point of departure. Contemporary delusion is embraced. The paintings are constructed through distinct layers. Hard walls become slippery surfaces that give way to thick impasto. A transmutation occurs, allowing space for contradictions, multiple timelines, and a precarity of physical space. I think of painting as a process of amalgamation; like the aftermath of a calamity, the process becomes a sort of sifting through of what is left washed up on the shore, from porcelain angels and foliage, to tightly wrapped cellophane and ghosts.

I question our capacity for sentimentality in a culture saturated with banal symbols. I am interested in our new collective relationship to images and how we use them to construct our realities—in particular, a distortion of our way of looking, perceiving, and remembering. The point of collapse between history and myth is what drives my paintings; this instability as it relates to memory is their subject.

2025

MFA candidate, Hunter College, New York, NY

2017

BFA, Parsons School of Design, The New School, New York, NY BA, Eugene Lang College of Liberal Arts, The New School, New York, NY Selected Group Exhibitions

2024

A Tablecloth at High Altitude (online), Hyacinth Gallery, New York, NY Good Bones, 191 Henry Street, New York, NY Whiplash, 193 Henry Street, New York, NY Trad Medium, ZXY Gallery, Brooklyn, NY There is a Velvet World, 544 Park Ave, Brooklyn, NY

2023

Terrible Terrible, 205 Hudson Gallery, New York, NY

2022

Threshold (online), tchotchke gallery, New York, NY The Subject of Extra Scrutiny, 205 Hudson Gallery, New York, NY Interstices, VillageOne Art, New York, NY

2020

Self Portrait (online), Serving the People Foundation

2019

Growing Pebbles, SLEEPCENTER, New York, NY

Nightwatch (Santa’s Lament) oil and cyanotype on canvas, 66 x 85 inches

140

ROLWING MONTES

Partygirl oil on canvas, 48 x 48 inches

141

Paradox Lost oil, airbrush, and latch hook rug on canvas, 72 x 84 inches

142

ROLWING MONTES

143

Mississippi Maelstrom and the Angels oil, airbrush, gouache, acrylic, seeds, glitter, and drywall repair tape on canvas, 64 x 96 inches

144

GABRIEL SANCHEZ

213.395.0762 (Luis De Jesus Los Angeles) gabrielsancezart@gmail.com gabrielsanchezstudio.com @gabriel.alejandro.sanchez New York Academy of Art

b. 1993 Miami, FL | lives in Brooklyn, NY Education

Cuban American artist Gabriel Sanchez creates deeply personal works inspired by the narratives of young artists and creatives. Influenced by his upbringing in a diasporic, Catholic culture shaped by his Nicaraguan mother and Cuban father, Sanchez’s paintings blend subconscious and allegorical themes with timeless expressions of contemporary life. Using models and friends, his work reflects an ongoing journey of self-discovery and a return to his roots. Living between Havana and New York City, Sanchez explores identity, unity, and resilience in his art.

2025

MFA candidate, New York Academy of Art, New York, NY

2018

BFA, University of Colorado, Boulder, CO Solo Exhibitions

2024

Helter Swelter, Mindy Solomon Gallery, Miami, FL

2023

The Devoured Everything, David B. Smith Gallery,

2022

Silencio, Luis De Jesus Los Angeles, Los Angeles, CA

2021

Mirando al Mundo, Luis De Jesus Los Angeles,

Denver, CO

Los Angeles, CA Selected Group Exhibitions 2023

In Spiritual Light, Mindy Solomon Gallery, Miami, FL Represented by Luis De Jesus Los Angeles, Los Angeles, CA Mindy Solomon Gallery, Miami, FL

Laura en La Ventana oil on canvas, 40 x 40 inches

146

SANCHEZ

Muerte Colonial oil on canvas, 46 x 30 inches

147

Looking Glass oil on canvas, 46 x 35 inches

148

SANCHEZ

149

Holding on to Nothing oil on canvas, 30 x 40 inches

150

JES SCARLETT

jscar704@gmail.com jesscarlett.com @jesscarlett_ Maryland Institute College of Art

b. 1995 Chicago, IL | lives in Baltimore, MD Education

On the floor of my studio lie piles of pages torn from magazines, textbooks, novels, children’s stories, poems, and thick heaps of print material that I find and collect. Gifts from friends, a lucky find on a walk, hours spent scouring nearly abandoned bookstores—like a deck of cards, these shuffled fragments order and reorder, making their way into otherwise abstract paintings on thin, reflective aluminum panels.

My practice is driven by improvisation and play, automatic drawing, and unconscious associations. I am interested in the search for a ‘contemporary image’ and the confusion and surprise of recognition, a destination only revealed in the process of making. For me this starts from a state of dislocation, of loss and meaning in constant flux, and of heightened emotional states and cycles of information. I begin with the material relationship of paper on aluminum held in place both structurally and expressively with colored paint. My current series takes the theme of our rapidly changing relationship to the natural world. I search in faith that the right image offers help.

2024

MFA, Maryland Institute College of Art (MICA), Baltimore, MD Solo Exhibitions

2023

Where the Sidewalk Ends, spare room gallery, Baltimore, MD Selected Group Exhibitions

2024

OBJECTS HAVE A DOUBLE LIFE, ARTING GALLERY, Baltimore, MD Twelve, or Some Final Hour, Decker Gallery, MICA, Baltimore, MD

2023

Conjure, Sheila + Richards Riggs Leidy Gallery, MICA, Baltimore, MD Belongings/Belongings, spare room gallery, Baltimore, MD

2022

We Are Not Similar, Sheila + Richards Riggs Leidy

2021

Creativity in Captivity: Responses to Covid-19,

Gallery, MICA, Baltimore, MD Kauffman Gallery, Shippensburg University, Shippensburg, PA

The Well acrylic and mixed media on aluminum composite panel, 48 x 36 inches

152

SCARLETT

Between You and Me acrylic and mixed media on aluminum composite panel, 32 x 24 inches Bluebird acrylic and mixed media on aluminum composite panel, 47 x 36 inches

153

154

WINNIE WEIYUN SZU

312.483.0620 winnieszu0608@gmail.com winnieweiyunszu.com @winnie.szu School of the Art Institute of Chicago

b. 2001 Taipei, Taiwan | lives in Chicago, IL Education

I am a third culture artist caught between worlds where identities blur and meanings shift. My work often emerges from the bilingual ambiguity of words and images, exploring the spaces in how we perceive, interpret, and connect.

This perpetual state of in-betweenness shapes a practice rooted in introspection—a reflection of the elusive search for belonging and resonance.

Growing up I found solace in the eternal rhythm of nature, staring at the sun and moon, feeling the quiet pull of something greater. These moments, timeless and tender, linger in my work as abstractions of the bird’s eye perspective I carry within, becoming metaphors for the layered emotional terrain of existence.

I intertwine logographic and phonetic language with abstraction, creating a hybrid visual language that loosens the rigid ways we read and interpret. This interplay invites a poetic dialogue where words and strokes blur boundaries and reveal new ways of understanding. My work seeks not to resolve these ambiguities but to revel in their vitality, offering glimpses of connection within the fragmented world.

2025

MFA candidate, School of the Art Institute of Chicago (SAIC), Chicago, IL

2024

BA, Chelsea College of Arts, University of the Arts London, London, England

2023

BFA, Taipei National University of the Arts, Taipei, Taiwan Solo Exhibitions

2022

A Clean Well Lighted Place, South-North Gallery,

2019

Come Take the Test with a 97-point Bento, Haiton Art

Taipei, Taiwan Center, Taipei, Taiwan Selected Group Exhibitions 2024

EON, Keelung Museum of Art, Keelung, Taiwan

2023

Missed Letters, Making Space Gallery,

2021

Cross Border: Love for Freedom Calligraphy Art

London, England Festival, Taipei Artist Village, Taipei, Taiwan

Sprout acrylic on canvas, 56 x 44 inches

156

SZU

Look Into the Sky encaustic and oil on panel, 9 x 12 inches

157

Ribbons encaustic on panel, 9 x 12 inches

158

PEDRO TRUEBA RAMÍREZ

312.918.6293 ptruebar@gmail.com pedrotruebaramirez.com @estaeslacuentadepedrotr School of the Art Institute of Chicago

b. 1999 Mexico City, Mexico | lives in Chicago, IL Education

Using a range of media that includes painting, drawing, sculpture, fiber work, and found objects, my work is a playful and surreal synthesis where reality mingles with imaginative absurdity to reframe the familiar. I construct narratives that blend personal and collective memory, weaving lessons and stories from friends and family with my life experiences.

Each work serves as a scene displayed on an intimate stage, an everyday setting where something unscripted might happen, even in stillness. The figures and objects are familiar fragments from life, reimagined in vivid detail. Working from memory, I distort dimensionality and color to capture moments that feel like close-up glimpses of larger narratives. Each scene becomes a symbolic fragment or synecdoche of an experience—a snapshot that invites the viewer to wonder at the world when it’s reframed through my distinct perspective.

2025

MFA candidate, School of the Art Institute of Chicago (SAIC), Chicago, IL

2023 2022

Post-Baccalaureate, SAIC, Chicago, IL BA Comm, Universidad Iberoamericana Ciudad México, México City, Mexico Solo Exhibitions

2021

Común cotidiano, Casa Equis, México City, Mexico Selected Group Exhibitions

2024

YAWN SIGH!, MAYFIELD, Chicago, IL Auto Portrait Spectacular, National Museum of Mexican Art, Chicago, IL Geographies Of The Self (online), Pastel Co

2023

Post-Baccalaureate Annual Exhibition, SAIC Galleries, SAIC, Chicago, IL

Primo encaustic and colored pencil on panel, 12 x 12 inches

160

TRUEBA RAMIREZ

Escándalo acrylic and oil on canvas, 24 x 30 inches

161

Alta Noche acrylic and oil on canvas, 54 x 60 inches

162

CATHERINE WANG

catherine.wang339@gmail.com catherinewangstudio.com @c_y_uu California Institute of the Arts

b. 1998 Lakewood, CA | lives in Los Angeles, CA Education

Coming from a Chinese immigrant family, I am interested in the narratives we attach to places and what makes a place feel like home. I see my practice as a way to build a sense of belonging that is not rooted in settler colonial possessiveness. My work centers around Southern California, where I grew up.

The saturated, emotionally charged paintings combine personal connections to place with more recognizable characterizations of the region. My paintings also speak to how built and wild spaces are inextricably entangled, particularly in Southern California. Plants and insects spill into rooms, while landscapes hold traces of text and construction. These entanglements carry over into the brushwork, where loose strokes share space with delicate details. Through my work, I advocate for more nuanced and deeply felt relationships with the places we inhabit, especially in these times of ecological crisis.

2025

MFA candidate, California Institute of the Arts, Santa Clarita, CA

2022

BAS, Stanford University, Stanford, CA Solo Exhibitions

2024

Walk Slow, 121 Art Space, Taipei, Taiwan Selected Group Exhibitions

2024

MFAs of LA: All Things Equal, Good Mother Gallery, Los Angeles, CA New Wight Biennial: Social Sediment, University of California, Los Angeles, Los Angeles, CA SoCal MFA Exhibition, East Gallery, Claremont Graduate University, Claremont, CA

2023

MFAs of LA, Good Mother Gallery. Los Angeles, CA

Thursday Afternoon oil on canvas, 30 x 24 inches

164

WANG

165

Two Horses oil on canvas, 48 x 60 inches When the stars threw down their spears oil on canvas, 30 x 40 inches

166

WANG

167

Trying Not to Scratch oil on canvas, 60 x 96 inches

168

LONDON PIERRE WILLIAMS

londonpierrewilliams@gmail.com @londonpierrewilliams Carnegie Mellon University

b. 1998 Milwaukee, WI | lives in Pittsburgh, PA Education

The tableau is a liberating love letter through the lens of my Black queer utopia. Through my own language rooted in painting, I build a fictional, multidimensional world that emerges through different materials. Large scale figurative paintings point towards a vision contemplating joy, love, and turmoil expanded through staged characters and scenes. Often in these paintings, ambiguity is found in the negative space, creating distance from the viewer, similar to that between my Blackness and the Eurocentric canon of painting.

2024

MFA, Carnegie Mellon University, Pittsburgh, PA

2021

BFA, Kansas City Art Institute, Kansas City, MO

The home is a portal into a fabricated documentation of a history not yet lived. I am having a conversation with gay and queer Black men at home. I am not painting models; they are guests. Cinematic moments found within the compositions aim to establish a connection with my brothers. Motion is activated through repetition, rendering time as a malleable tool and breathing life into an evolving fiction. I sound the echoes of Black men loving Black men and meditate on potential, fantastical scenarios that render an escape as I question where fantasy can emerge from.

2023

Residencies 2024

Brew House Arts, Pittsburgh, PA Selected Group Exhibitions Crusading The Specter, Yossi Milo Gallery, New York, NY Black Being, Charlotte Street Foundation, Kansas City, MO

2022

No White Wall, Edgewood Gallery, Yale School of Art, New Haven, CT

2020

In Truth, Black Angels, Haw Contemporary, Kansas City, MO

The Veil of an intimate whisper oil on canvas, 36 x 48 inches

170

WILLIAMS

The consequence, memories of letter from the saints oil on canvas, 84 x 106 inches

171

The veil of a saint, leaving a note, oil on canvas, 84 x 106 inches

172

XIANGJIE REBECCA WU

rebecca0708wu@gmail.com @rebeccawuuuu Pratt Institute

b. 1998 Jiangyin, China | lives in Brooklyn, NY Education

Drawing on themes of memory, time, and contemplation, I convey in my paintings the personal yet uncanny moments of mundane life that often go unnoticed. They are a recollection of bitterness and freedom from my childhood in the Yangtze River village, as well as a sense of solitude and anxiety in the present. Rather than depicting a specific story, these figurative paintings seek to evoke the experience of gazing at and meditating on things as we go about our lives. The references to memory both create and alienate the contemplative object, suggesting again and again that the distance between the past and the present is the place where meaning is made. Gazing at the objects in my paintings becomes a self-imposed gaze of existence and a perpetual meditation on love and loss. With fragmentary references to life in unclear time and place, the works evoke a yearning for introspection about oneself and existence. The mingling of memory and the present with image and reality awakens the tender and melancholic sentiments we experience in our spiritual longing.

2024

MFA, Pratt Institute, Brooklyn, NY

2022

BA, The College of Wooster, Wooster, OH Solo Exhibitions

2024

Blue Murmur, Marvin Gardens, Brooklyn, NY Selected Group Exhibitions

2024

Mason Hunt + Xiangjie Rebecca Wu, 1969 Gallery, Manhattan, NY Dream Archives, Eleventh Hour Gallery, Brooklyn, NY ART021 Shanghai Contemporary Art Fair, with LATITUDE Gallery, Booth #W02, Shanghai, China Collections College of Wooster Art Museum, Wooster, OH Represented by 1969 Gallery, Manhattan, NY Eleventh Hour Gallery, Brooklyn, NY LATITUDE Gallery, Manhattan, NY

Cigarette oil on wood panel, 14 x 11 inches

174

WU

175

Either Or oil on canvas, 60 x 48 inches Fish Tank oil on canvas, 36 x 48 inches

176

YIXIAO ZHANG

730.230.0030 yixiao.z@wustl.edu @yixiao_zhangart Washington University in St. Louis

b. 2001 Qiqihaer, China | lives in St. Louis, MO Education

Yixiao Zhang began his artistic journey with classical painting and sculpture during childhood. After relocating to the United States to pursue his MFA, Zhang’s current artistic practice primarily revolves around painting and involves sculpture and installation. Through magical realism paintings rooted in the influences of traditional Oriental culture, rapid societal changes, and his international experiences, Zhang explores the traces that social changes leave on different individuals.

His work, inspired by dreams, memories, and family photographs, blends classical techniques with contemporary forms to depict human and animal portraits, special objects of life, and distant landscapes from memory. The paintings depart from a specific point of view, offering instead a unique lens through which to engage with the world. Behind documentary images of his works lies a deeper dialogue with complex and weighty issues, often addressing themes of identity, memory, and societal shifts.

2026

MFA candidate, Washington University in St. Louis, St. Louis, MO

2024

BFA, Central Academy of Fine Arts, Beijing, China Residencies

2023

Xiye Workshop, Zibo, China Selected Group Exhibitions

2024

Double Take: Reimagining Duality, Des Lee Gallery, St. Louis, MO 13th Seoul International Sculpture Festa, Coex Convention & Exhibition Center, Seoul, South Korea

2023 2022

WaterCube, National Aquatics Center, Beijing, China AIIB Young Talent Exhibition, Asian Infrastructure Investment Bank (AIIB), Beijing, China Collections Thinker Art, Beijing, China

Your frontier #1 oil on canvas, 92 x 55 inches

178

ZHANG

Northern Gaze oil on canvas, 50 x 72 inches The blue and green of memory oil on canvas, 50 x 35 inches

179

180

Tucksmith p195

EDITOR’S SELECTIONS

Artists are presented in alphabetical order.

Artist biographies have been edited to prioritize recent highlights.

Pricing Guide can be found on p209.

KATAYOUN HOSSEINRAD

214.533.8263 (Gallery 12.26) @katayoun__rad Texas Christian University

b. 1996 Tabriz, Iran | lives in Fort Worth, TX Education

My paintings draw from personal memories, migration, and the universal experience of disconnection to explore the profound emotions of longing, absence, and solitude. Through dreamlike landscapes and evocative interior spaces, I aim to capture the tension between presence and void, inviting viewers to reflect on the weight of what is lost or unseen.

2025

Layered compositions and symbolic imagery are central to my work; they address themes of nostalgia, loss, and the search for belonging. As someone shaped by migration, my art reflects the fractured sense of identity and home that such experiences bring. Memory and loneliness weave through my visual language, creating intimate yet universal narratives that resonate with a shared human yearning.

2024

My work offers a space for viewers to connect with their own experiences of solitude and disconnection, contemplating how absence reshapes relationships, memories, and our sense of place in the world.

MFA candidate, Texas Christian University (TCU), Fort Worth, TX

2021

BA, Gallery 12.26, Dallas, TX Solo Exhibitions Realm of Absence, Gallery 12.26, Dallas, TX Selected Group Exhibitions

2023

Annual Juried Exhibition, Moudy Gallery, TCU, Fort Worth, TX Represented by Gallery 12.26, Dallas, TX

Untitled oil on canvas, 9 x 12 inches

184

HOSSEINRAD

Untitled oil on canvas, 9 x 12 inches

185

Untitled oil on canvas, 9 x 12 inches

186

HOSSEINRAD

Untitled oil on canvas, 9 x 12 inches

187

Untitled oil on canvas, 9 x 12 inches

188

ANTONIO VIDAL LASCURAIN

929.280.8654 av3168@columbia.edu antoniovidallascurain.com @antonio.vidal.l Columbia University

b. 1996 Mexico City, Mexico | lives in New York, NY Education

My work delves into the intersections of myth, religion, and personal narrative by using archetypal symbols to navigate these connections. The paintings blur the boundaries between abstraction and figuration, allowing forms to emerge intuitively and giving space for ideas of identity and storytelling to unfold naturally. I am drawn to themes like the interplay between the sacred and the profane, the playful and the serious, and the mythic and the real.

Childhood games and memories ground my work in personal experience, creating a dialogue between the past, present, and simulations of possible futures.

2025

MFA candidate, Columbia University (CU), New York, NY

2020

BFA, California College of the Arts, San Francisco, CA Solo Exhibitions

2024

Liquid Thicket, MAMA Projects, New York, NY

2024

Hidden Narratives, ModA, Los Angeles, CA

Selected Group Exhibitions Currents, SK Gallery, New York, NY EAST COAST PROJECTS, FURIOSA, New York, NY First Year MFA Exhibition, Wallach Gallery, CU, New York, NY 2023

URP Painting (online), The Wrong Biennale TREMOR, MAIA Contemporary, México City, Mexico Arte Vivo, Museo de Arte Moderno, México City, Mexico

2022

ReA! Art Fair, ReA! ARTE, Milan, Italy Emergencias Emergentes, El Palmar, México City, Mexico Artroom19, CLAVO, México City, Mexico

2021

Corpus/Morbus, Studio Croma, México City, Mexico Represented by MAMA Projects, New York, NY

Icaro acrylic on canvas, 86 x 60 inches

190

LASCURAIN

Comite acrylic on canvas, 46 x 89 inches

191

Peso Ligero acrylic on canvas, 66 x 84 inches

192

ANNIKA TUCKSMITH

annikatucksmith@gmail.com annikatucksmith.com @annikatucksmith Columbia University

b. 1995 Newton, MA | lives in Chatham, NY Education

The natural world harbors hidden forces that shape us in ways we cannot fully grasp. In the quiet, watchful corners of the Hudson Valley, with its dense forests and fog shrouded waters, where time seems warped and the landscape hums with unspoken truths, my work reflects the notion that coming of age is not just about growing older, but also about confronting the unseen forces that shape us as we move through the dark.

Blending realism with distortion to convey the unreliable nature of capturing experience, young figures nestled in nocturnes are caught in unguarded rituals, mischievous and solemn in the dark. Tender, quiet, and carrying an indeterminate sense of unease, these narratives are stolen scenes. We don’t know the outcomes of these rites of passage. My paintings consider how we are all shaped by the landscapes we inhabit, and in turn, how those landscapes are shaped by us. They remind us that growing up is not simply a passage of time, but rather a series of complex, intertwined moments where innocence and experience coexist, sometimes uneasily, in the spaces between.

2025

MFA candidate, Columbia University, New York, NY

2017

BFA, Connecticut College, New London, CT Selected Group Exhibitions

2024

Umarell, Prentis 315, New York, NY Understories, Carrie Haddad Gallery, Hudson, NY Currents, SK Gallery, New York, NY First Year MFA Exhibition, Wallach Art Gallery, CU, New York, NY

2023

Cover Story: 30 Years of Chronogram, Time and Space Limited, Hudson, NY Farewell Show, The Greenhouse Cidery, Chatham, NY

2022

The Summer Show, Carrie Haddad Gallery, Hudson, NY -scapes, Albany Center Gallery, Albany, NY

2021

Invitational Exhibit, Carrie Haddad Gallery, Hudson, NY

2020

Art of the Hills: Narrative, Berkshire Museum, Pittsfield, MA

The Rabbit oil on panel, 40 x 30 inches

194

TUCKSMITH

195

The Outskirts oil on panel, 48 x 36 inches The Tightrope oil on panel, 36 x 48 inches

196

TUCKSMITH

197

The Turkey in the Late Afternoon oil on panel, 40 x 48 inches 198

RICKY VASAN

+91.982.004.8002 (Galerie ISA) studiorickyvasan@gmail.com rickyvasan.com @rickyvasan_art Rhode Island School of Design

b. 2001 Dehradun, India | lives in Providence, RI Education

My work is a quiet celebration of the minutiae of life. I find inspiration in intimate moments and private spaces. The figures I choose to paint are often significant people in my life; it is through this autobiographical lens that I attempt to tell a story. Inventive color relationships and geometric shapes act as artifacts of our connection to culture based recollection and our individual cognizance. I am interested in creating a surface that is full of history, each mark recalling cherished experiences. Spaces collapse, figures vibrate and objects are superimposed on top of one another. The resolution of these paintings comes from searching the lines and swatches of color that are the revelatory instruments. The goal is to tap into a tender moment bereft of logical perception of time, accuracy, and space in a way that resembles our perception of memory and is faithful to our way of remembering.

2024

MFA, Rhode Island School of Design (RISD), Providence, RI

2023

BFA, Massachusetts College of Art and Design (MassArt), Boston, MA Residencies

2023

Galerie ISA, Mumbai, Maharashtra Solo Exhibitions

2024

Just A Little While Longer, Galerie ISA, Mumbai, India Selected Group Exhibitions

2024

Now Streaming, Rajiv Menon Contemporary, Los Angeles, CA India Art Fair, New Delhi, Delhi Miracle of Absence: The Embrace of Time, Art Exposure, Kolkata, India Collections Kiran Nadar Museum of Art, New Delhi, Delhi Represented by Galerie ISA, Mumbai, India

Sleep Well, Goodnight Love oil and wax on canvas, 60 x 58 inches

200

VASAN

201

Rice & Beans oil on canvas, 48 x 36 inches Last Call oil and wax on canvas, 60 x 86 inches

202

JAM YOO

jamy.cargo.site @jam.yoyoyo Yale University

b. 1993 Baton Rouge, LA | lives in New Haven, CT Education

My initial images of selfhood were defined by uncertainty, repression, and bad faith. All around me, Confucian morality and Christian mythology laid bare a rigid social fabric, shaping my perception of power, salvation, and social responsibility. Image making became a tool of self-preservation, sustaining my queer sexuality and awakening in me the liberatory potential of figuration.

Through ornamentation and narrative, my work reckons with fractured allegories to contend with the power dynamics that shape my origins and future.

2025

MFA candidate, Yale University, New Haven, CT

2016

BFA, Cornell University, Ithaca, NY Solo Exhibitions

2024

Principal Veins, Chilli Art Projects, London, United Kingdom

Rain (Aubergine) acrylic, gouache, colored pencil, and holographic sheet on wood, 14 x 11 inches

204

YOO

American Sycamore. Summer. Feed me and give me a purpose. acrylic, colored pencil, graphite, acrylic medium, and grommets on canvas, 59 x 85 inches

205

Summer. Cicadas. Listen, I don’t know what to say, but I can feel it. acrylic, latex paint, colored pencils, glitter, and grommets on canvas, 56 x 102 inches

206

YOO

207

Winter. Snow. Folds. acrylic, grey quartz sand, clear glitter, colored pencil, and collage on laserjet prints mounted on canvas, 95 x 180 inches

208

PRICING GUIDE New American Paintings is not intended to be a catalog of offerings per se, but, given that many of our readers are collectors, it has been a tradition to offer pricing information for the artists included in each issue. The ranges published below offer guidance as to the current retail pricing for each artist’s work. Works reproduced herein may or may not be available for acquisition. For information on a specific work, we encourage you to reach out to the artist and/or gallery via the contact information provided in each artist’s spread.

The pricing of artwork is, perhaps, the most enigmatic component of the art market. For artists who have a record of secondary market sales that the public can easily view, arriving at an appropriate price point becomes somewhat easier. For emerging artists, such as the majority of those featured in New American Paintings, determining price points can involve a number of considerations, including: the scale and medium of a work; an artist’s exhibition history and the collections in which their work is held; and an artist’s educational background. Layered on top of these factors is the subjective notion of an artwork’s perceived “quality.” All of these elements will ultimately determine the demand for a given artist’s work and help inform pricing.

209

ANA CLÁUDIA ALMEIDA

DANNAH MARI HIDALGO

IN JUNE PARK

PEDRO TRUEBA RAMÍREZ

p15–20 NFS

p61–66 NFS

p109–112 $2,000–$5,000

p159–162 $550–$2,500

SOPHIA ANTHONY

RUOXI HUA

SIHA PARK

CATHERINE WANG

p21–24 NFS

p67–72 $900–$5,000

p113–116 $1,500–$7,000

p163–168 $2,000–$8,000

SANAH BROWN-BOWERS

DANIEL CABRILLOS JACOBSEN

SUN-JAE PARK

LONDON PIERRE WILLIAMS

p25–30 $5,500–$12,500

p73–78 NFS

p117–120 $1,000–$5,000

p169–172 NFS

PRINCETON CANGÉ

DIEGO JUAREZ

CHEN PENG

XIANGJIE REBECCA WU

p31–34 NFS

p79–82 NFS

p121–126 POR

p173–176 $750–$6,500

JANA MARIE CARIDDI

LAURENT LE BEL-ROUX

MIRANDA PIKUL

YIXIAO ZHANG

p35–38 $950–$3,000

p83–86 $1,000–$8,000

p127–132 NFS

p177–180 $400–$7,000

YUNA CHO

MADELINE LUDWIG-LEONE

JOSHUA THADDEUS RAINER

KATAYOUN HOSSEINRAD

p39–42 $3,000– $12,000

p87–90 NFS

p133–138 NFS

p183–188 $1,200–$1,600

PAIGE DEVRIES

DIEGO PABLO MÁLAGA

MARIEL ROLWING MONTES

ANTONIO VIDAL LASCURAIN

p43–46 $1,600–$4,000

p91–94 NFS

p139–144 $1,500–$10,000

p189-192 $2,600–$10,000

EVA E. FOLDY

PAULINA MONCADA

GABRIEL SANCHEZ

ANNIKA TUCKSMITH

p47–52 $500–$1,200

p95–100 $3,000–$8,000

p145–150 $4,500–$15,000

p193–198 NFS

CALHAN HALE

DANE NAKAMA

JES SCARLETT

RICKY VASAN

p53–56 NFS

p101–104 NFS

p151–154 POR

p199–202 $3,800–$9,000

BENJAMIN HAWLEY

KYLER PAHANG

WINNIE WEIYUN SZU

JAM YOO

p57–60 $1,800–$10,000

p105–108 $300–$1,440

p155–158 NFS

p203–208 NFS

210

$25