New Visionary Magazine: Contemporary Art + Professional Development - Issue 13

NEW VISIONARY

CONTEMPORARY ART + PROFESSIONAL DEVELOPMENT

Our mission at Visionary Art Collective is to uplift emerging artists through magazine features, exhibitions, podcast interviews, and our mentorship programs.

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VICTORIA J. FRY, Distance (Closer to You) (detail), acrylic on wood,11x14in

EDITOR’S NOTE

VICTORIA J. FRY

Founder of Visionary Art Collective + Editor in Chief of New Visionary Magazine

Happy 2025!

As we step into a new year, I’ve been reflecting on an essential question: What do I want to create this year? This question invites us to dream bigger, embrace new possibilities, and approach our work with curiosity and courage. I encourage you to reflect on what you want to create this year—whether it’s deepening your creative practice, building meaningful connections, or exploring new directions in your art and career.

We’re thrilled to present our annual Women’s Issue, curated by the amazing Erin Schuppert, Director of The Affordable Art Fair NYC. Erin’s vision and dedication to uplifting artists have made this issue truly special.

Inside, you’ll discover an inspiring collection of work by women artists across the globe that celebrate resilience, creativity, and growth.

On behalf of the New Visionary Magazine team, I wish you a year filled with inspiration and new beginnings.

Xo

Meet the Visionary Team

VICTORIA J. FRY she/her Editor in

Chief

Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective and New Visionary Magazine. Fry’s mission is to uplift artists through magazine features, exhibitions, podcast interviews, and mentorship. She earned her MAT from Maine College of Art & Design and her BFA from the School of Visual Arts.

EMMA

HAPNER she/her

Director of Business Administration + Writer

Emma Hapner is a New York City based artist and educator working primarily in oil on canvas to create figurative works that reclaim the language of classical painting from a woman’s perspective. She graduated from the New York Academy of Art with her MFA in 2022.

VALERIE AUERSPERG she/her

Graphic Designer + Artist Liaison

Valerie Auersperg is a self-taught artist, illustrator and designer living in Auckland, New Zealand. She describes her work as a dose of optimism with a sprinkle of escapism. When she is not painting on canvases or walls she works as a graphic designer and illustrator for companies in New Zealand, Switzerland, Austria and the U.S.

victoriajfry.com victoriajfry valerism.com iamvalerism

www.emmahapner.com emmagracehapner

BRITTANY M. REID they/them Writer

Brittany M. Reid is a visual artist, creative strategist, and educator based in Upstate NY. Reid’s work explores the wide spectrum of nuanced human emotion through paper collages and acrylic paintings. When working with clients, they bridge the gap between art and technology, helping artists build digital fluency and develop sustainable creative practices.

brittanymreid.com brittany.m.reid

BLAIR BEUSMAN she/her Writer

Blair Beusman is a writer and editor living in Brooklyn. She graduated from Wesleyan University with a degree in literary theory. She has worked for a variety of cultural publications and organizations, including The New Yorker, Literary Hub, and PEN America.

CHUN PARK they/them Writer

Chunbum Park, also known as Chun, is an artist/writer, who received their MFA in Fine Arts Studio from the Rochester Institute of Technology in 2022. Park’s main area of interest or focus lies within figurative painting, but they are also enthusiastic about all types of art, including performance and photography. Park wishes to promote emerging and mid-career artists who pioneer strong, original visions and ideas.

www.chunbumpark.com chun.park.7

VERONICA PETTY she/her Director of Media Partnerships

Veronica Petty is a PR professional and art advisor in NY. With a decade of marketing experience, she’s managed successful campaigns for AAF, PULSE Art Fair, Create!, KUNSTRAUM, VAC, and many individual artists and exhibitions. Veronica champions Latinx artists through Domingo Comms; featured in artnet, House Beautiful, and more. She’s currently VAC’s Director of Media Partnerships.

SUSO BARCIELA he/him

Writer

Suso Barciela, an art historian and critic, specializes in curating and coordinating exhibitions. He was trained at the University of Seville and the NODE Center in Berlin. His expertise in art criticism and cultural dissemination is reflected in his collaborations with national and international magazines. He has worked with international artists and is renowned for his blog “El Espacio Aparte” where he analyzes art and exhibitions in Seville and Madrid. elespacioaparte.com forms.follow.function

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blair.beu

domingocomms.com domingocomms

VISIONARY INTERVIEWS

As part of our ongoing interview series, we chat with artists, curators, entrepreneurs, authors, and educators. Through these interviews we can gain a deeper understanding of the contemporary art world.

Michelle Brandt on Curating Inclusive Art Spaces and Evolving the Gallery Experience

www.brandt-gallery.com

brandtgallery

Michelle Brandt is the founder and director of Brandt Gallery in Columbus, Ohio, known for showcasing diverse contemporary artists and fostering connections within the art world. Her newest venture, Pecha Projects, focuses on culturally significant exhibitions, deepening the intersection of art and community

Michelle, can you share a bit about the journey of establishing Brandt Gallery and how your vision for the space has evolved over the years?

In 2010, I established Brandt Gallery, formerly BrandtRoberts Galleries, with a business partner who was actually a former employer of mine. He had a longstanding gallery in Columbus, and I worked for him upon my return to Ohio from Charleston, SC. We had a good working relationship, and it made sense to expand to a new space together with a more contemporary roster of artists. We set out to focus on contemporary and postwar art, but I admit our direction was not completely solidified in the beginning. Over the past decade, our programming goals have prioritized exhibitions from multi-generational and inclusive perspectives from regional and national artists working in a variety of styles and media. We have aimed to bring our audience contemporary works that are rooted in both traditional subject matter and, increasingly, works and ideas that address present-day social narratives. We don’t follow art trends but have certainly adjusted our curation to include works that have a broader appeal as our audience has expanded more nationally.

Although my former business partner is retired, I still consult with him on matters of the larger national art market and, of course, the gallery business. He was a great mentor to me and continues to be an important sounding board.

Michelle Brandt with artist Andrea Myers, Springfield Museum of Art

Your gallery is known for showcasing a diverse range of contemporary artists. How do you approach the curatorial process, and what qualities do you look for in the artists and work you represent?

Over the years, I have found that it is almost impossible to properly nurture a large artist roster. Managing a smaller, quality roster of artists of varying practices, mediums, and styles has been a vital element in running this business effectively. In my opinion, a gallerist and her team should be available to their artists. This includes not only working with them on exhibitions but also being available for studio visits, promoting their work with collectors and institutions, writing reference letters, etc.

Though it is my innate nature, I find it paramount to consistently be forthright with an artist about their work. I specifically look for artists who have a particular drive to focus on their practice. I have learned the hard way, but I refuse to work with an artist who does not work with me in partnership or lacks clear professionalism, no matter the remarkability of their work.

It is also necessary to be selective about the work I bring to my audience. When I work with an artist, I trust their ideas. I never dictate their creativity but do, at times, need to edit/select what is exhibited in the gallery. For years, I have come across artists who can render proficiently. I’m not looking for that skill. Sure, execution of technical skills can be important, but I’m interested in work that can make me think differently about a subject or has a compelling narrative. For me, that’s the mark of an exceptional artwork.

You’re currently expanding into a new building, which is such an exciting milestone. Can you tell us more about this move, what inspired it, and how you envision the new space enhancing the gallery experience for artists and visitors?

The impetus to move spaces was really fueled by discussions with our previous landlord about our rent doubling in price. This turned out not to be the case after the pandemic, but it did put me on a path to seeking a new and expanded space for the gallery. I was very fortunate to be introduced to a business/real estate developer, also an ardent arts supporter, who was creating a new vision for downtown Columbus.

Although the area is not currently an arts destination,

I am putting my trust in the fact that, in addition to us, several other galleries are moving to the neighborhood. The renovations made by the developer to a former historic department store, where Brandt Gallery will be housed, are simply more than I could have imagined in scope and appeal. In addition, new restaurants, retail businesses, and public artworks are beginning to blossom in the neighborhood.

Housing three galleries with a back common area (to be additionally programmed) and an outdoor sculpture area, the substantial renovation of two adjacent buildings will be a new arts experience for those living in and visiting downtown. Additionally, I am honored to relay that we are opening a new project space adjacent to Brandt Gallery, entitled Pecha Projects. This space is designed to feature culturally significant exhibitions with a curatorial focus.

*See more below.

As a gallery director in Ohio, how do you navigate the regional art scene while maintaining a national and even international presence? What role does your location play in shaping the identity of the gallery?

I make a conscious effort to stay connected to national art fairs, galleries, and exhibitions. This has enabled me to make connections with artists, clients, gallerists, and other arts professionals nationally, which has further allowed for international connections. I am delighted when new relational opportunities within the arts arise from these encounters.

Columbus is also quite a centralized city hub between Chicago and New York for many large company bases and headquarters. We have excellent academic institutions, including The Ohio State University, which attracts a diverse and expansive group of art appreciators, given it is the largest college campus in the country. Furthermore, one study from 2023 slated Columbus to be the fastestgrowing city in the country, and there can never be population growth without the arts.

I do marvel at times when I experience the arts scene of a city like Los Angeles or New York. Given we are a Midwest city, I find that our audience is naturally a bit more conservative. This isn’t to say that experimental art is frowned upon here or that artists aren’t pushing conceptual practices. However, we don’t generally see it in copious amounts.

Michelle Brandt hanging artists

Akeylah Imani Wellington and Christopher Burk

Over the years, you’ve worked closely with many artists. What has been the most rewarding part of fostering those relationships, and how do you balance supporting artists creatively while addressing the business side of the art world?

The most rewarding aspect of fostering relationships with artists is seeing them grow and push themselves further in their careers and practice. I greatly admire the work of artists and their abilities. In all honesty, I am still learning the art of balancing the business side with supporting our artists. I do know that there would be no business side at all if I didn’t put the time and effort into nurturing the artists. It really is a balancing act: nurturing collectors, nurturing artists, and nurturing the business. It can be quite challenging at times, and of course, sometimes it’s just downright impossible! I try to remind myself that I am just one person trying to make this all work (with two fantastic part-time staff members). I didn’t grow up with original art in my home and learned this business through a lot of grit and natural business instinct. So, sometimes it’s necessary to just give yourself some grace and trust that it will work out.

Beyond the exciting move, what upcoming events or projects are you most looking forward to in 2025? We’d love to hear about what’s on the horizon for you!

We are so looking forward to acclimatizing to the neighborhood and reintroducing our clientele to our artist roster as Brandt Gallery. Initially, we will feature new work from each artist on our roster in a two-monthspanning exhibition aptly entitled, “The Roster.” Our inaugural exhibition, opening at the beginning of April, will be a two-person exhibition with Columbus-based artist Christopher Burk and Madrid-based artist Alejandro Botubol. This will be a part of the grand opening we are planning in conjunction with our neighboring galleries. Furthermore, the new project space, Pecha Projects, will

be opened adjacent to Brandt Gallery around this same time. Pecha’s inaugural exhibit will feature Chicago-based artist Elsa Muñoz and will be curated by Michelle Ruiz.

Pecha Projects, your new curatorial-focused space, is opening in April. Can you tell us about the inspiration behind this project?

Pecha Projects, my newest endeavor, is a curatorialfocused art space that will prioritize culturally significant exhibits and projects. I’ve always envied spaces in which artists have the opportunity to expand on their mediums and create experiential components that broaden and contextualize their work. By giving artists and curators the opportunity to expand their artistic focus—including deepening how a medium is pushed and how an audience engages with an exhibit—I hope to broaden the connectivity of the arts both within our community and on a wider scale. By enhancing the artistic experience for our viewers with installations, performances, and elevated curatorial narratives, my desire is for Pecha Projects to leave a lasting imprint through a deeply rich cultural exchange.

Pecha Projects was born from a vision of creating a space that encapsulates all the connectedness and healing I have felt and lived in the arts. After visiting my mother’s birthplace in Michoacán, Mexico, and witnessing a cultural ceremonial festival of the Purépecha indigenous people, of whom I descend, I knew I wanted the project space to encompass all of the compelling elements I experienced. From the long satin ribbons braided into hair, the colorful and elaborate headdresses, the singing and dancing in unison, to the vibrant hand-embroidered textiles—it was a visual and auditory feast. In a moment of reflection, I realized that such an experience is what I desire Pecha to encapsulate: a place where the intersectionality of arts and culture can flourish

The Art of Connection: Perryn Ford Inspires

Reflection and Meaningful Engagement

resonancebydesign.com

perrynryanart

Perryn Ford is a NYC-based contemporary illustrator and painter whose minimalist, feminine works celebrate the beauty of the female form. Inspired by mediums like pottery, embroidery, and typography, Ford creates art that fosters connection, inspires reflection, and empowers her audience to feel seen.

You describe your work as feminine, minimalist, and thoughtful. How do these qualities guide your creative process, and how have they evolved over time?

Well, all of these qualities are dictated by my experiences as a woman who is deeply introspective and embodies ease in everything that I do. But there are other parts of me that are sometimes playful, humorous, and colorful. As a result, I am learning to allow levity to become a part of my creative process. This looks like using more vibrant colors, incorporating playfulness in the stories of my work, and experimenting with other mediums, from digital to linocut.

You’ve mentioned being inspired by the female figure and exploring other creative forms like pottery and embroidery. How do these influences shape your work, and have they led to any exciting new directions in your practice?

I love to try out and experiment with different mediums to discover which ones light me up the most. Experimenting with other mediums like pottery and embroidery has opened me up to using materials beyond paper and pastels to bring my works to life. It has also introduced the idea of collaborating with other artists, artisans, and makers who thrive in those mediums. I am definitely looking forward to collaborating with a more experienced embroidery artist (thank me!) to bring to life some of the new hand-lettered and typography art I’ve been creating recently.

You’ve shared that sketching is essential in your studio routine. How do your initial sketches inform your finished pieces, and what role does spontaneity play in your process?

I’m learning more and more to embrace spontaneity in my work. All of my work still starts at the sketch phase, but instead of preplanning my creations, I’ve been allowing myself to put down whatever comes up in the moment for me. I’ve also been spending less time looking at other artists’ work online, which I feel has created more room for my own imagination to take up space. I’ve been allowing more room for spontaneity in my day-to-day life as well. Holding myself to a strict work schedule often forced me to create at inopportune times — when inspiration wasn’t there. Allowing more play and downtime throughout my days has inspired me to be more creative and show up for my practice feeling calm and excited to create.

Community and connection seem to be central to your work, from collaborations with Pressed Juicery to celebrating Black female artists. How do you see your art as a way to foster connection, and what impact do you hope it has on your audience?

My hope is that my art cuts through all of the noise and speaks straight to the viewer’s soul — making them feel seen, sparking joy, or providing a moment to pause and reflect. I want people, specifically women, to feel inspired to slow down, tune into themselves, and perhaps share that connection with the world around them.

From your first artistic memory in 3rd grade to having your work featured in Jenna Lyons’ HBO special, you’ve had such a remarkable journey. What milestones have been most meaningful, and what goals are you excited to pursue next?

While all of my accomplishments are near and dear to me, one of the most meaningful has been the murals I created in partnership with Pure Leaf. Seeing my work on such a large scale was otherworldly and really solidified my desire to create more public art that can be used to uplift, empower, and celebrate community.

What projects or creative endeavors are on the horizon for you this year, and how do you envision your work evolving in 2025?

As an avid daily journal writer, I’ve come to appreciate my growing practice of expressing myself through prose. I’m looking forward to incorporating hand lettering and typography in my work to further express messages of empowerment and inspiration. Another project I’m excited about is the launch of my subscription postcard club, called Good Vibes Post Club, which will feature original new art each month, inspiring messages, and links to recommended books, playlists, podcasts, and other content. Lastly, I’m looking forward to jumping back into my commercial illustrator role. In 2024, I took a bit of a break from taking on new illustration projects, but in 2025 I’m looking forward to welcoming any new opportunities that come my way! I’m also excited about launching my new print studio, Resonance Design Project, which will house some of my new typography art and monthly postcards.

CJ Hendry on Pushing Creative Boundaries and Transforming HyperRealism into Immersive Art Experiences

cjhendrystudio.com

cj_hendry

CJ Hendry is an Australian-born, NYC-based hyperrealistic artist whose work explores themes of materialism, luxury, and the hidden potential of everyday objects. Known for transforming drawings into immersive, interactive art experiences, CJ’s work redefines viewers’ perceptions of art.

CJ, your hyper-realistic drawings have captivated audiences worldwide. Can you share your journey into art and what drew you to this particular style?

I started out studying architecture and finance at university, never thinking I would end up with a career as an artist—I just really enjoyed drawing. It got to the point where I was enjoying drawing far more than any of the subjects I was studying, so I dropped out to focus on art full-time. I began using Japanese ink pens, which I adored, but eventually felt restricted by their limited dimensionality. I thought to myself, How beautiful this would look in color, and that brought me to my current style. Making that shift was really difficult at the beginning, but I stuck with it.

What has been the most meaningful part of building this journey for you—whether it’s a specific milestone, a connection with your audience, or something more personal?

The milestones just keep coming. 2024 was a massive year that opened up so many new opportunities to create and work with incredible people. I count myself very lucky to be doing what I love every day. Choosing to make art every day is a privilege I don’t take for granted. Having an audience that has grown with me over the years is incredible, and watching them interact with the spaces we build is truly rewarding.

We had the pleasure of attending your recent exhibition, Flower Market, an immersive experience in New York City featuring a greenhouse filled with 100,000 plush flowers.

Vacuumed Mickey, pencil on paper, 36x45in

What inspired this concept, and how did the collaboration with Clé de Peau Beauté come about?

We were thrilled when Clé de Peau Beauté initially reached out about the partnership because it immediately felt like they wanted to push the envelope. It seemed unheard of that a brand on their level would take on a concept like this, so we were ecstatic.

The concept grew out of discussions around Clé de Peau Beauté products and their ingredients. We started with the Radiant Lily, and that became the seed that grew into Flower Market. We always strive to build fantastical, artificial environments that subvert viewer expectations, and the scale of Flower Market is a testament to that vision.

Your exhibitions often transform spaces into interactive art experiences. How do you approach the relationship between your drawings and the environments you create for them?

I’ve always felt there was a disconnect between a piece of art hanging on the wall and the viewer’s experience of it. It was never enough for me to simply stand back and look at something—I needed to experience it with my other senses.

With my hyper-realistic drawings, it sometimes feels like the story is finished right there on the paper. So, I want to build a bigger world outside the frame for people to interact with. I’m always looking to create environments that take the audience out of their everyday experiences and allow them to engage with my drawings in new and unexpected ways.

Your work frequently explores themes of consumerism and luxury. How do you select the subjects for your pieces, and what message do you aim to convey through them?

It’s hard to avoid thinking about materialism when my subject matter is almost exclusively objects—from the everyday to extreme luxury. To me, every object makes a statement. The things we surround ourselves with become iconic, even if they started out as mundane. That’s where my inspiration comes from—finding the hidden potential of everyday objects to be sacred, and vice versa.

Your approach to marketing and self-promotion, including leveraging social media, has been a significant part of your success. What advice would you give to emerging artists on building their brand and connecting with an audience?

The biggest piece of advice I can give is to stop looking at what other people are doing—even me! You have a much better chance of finding your audience by being true to yourself and sharing your authentic work than by trying to fit the mold of what you see other artists doing. Authenticity is so attractive, and the right people will find you if you’re putting your genuine creativity out there.

Flower Market, Couresty of Cj Hendry

How Lisa Knight Found Healing, Inspiration, and Purpose Through Photography

lisaknightcreative.com

lisaknightcreative

Lisa Knight is a Tokyo-based photographer whose work blends mindfulness, storytelling, and emotion. After transitioning from corporate life to full-time photography, she now explores deeper narratives through her art and fosters community with her women’s photography collective, Ambient.

You took a slightly unconventional path to becoming an artist. How did you get here, and what made you decide to pursue photography full time?

Becoming a photographer was something that I never anticipated. I was always a fairly creative kid—I especially loved drawing—but after finishing high school, I chose to study law and psychology at university. After graduating, I moved to Melbourne with three hundred bucks to my name and applied for any and all jobs I could find. I ended up finding one in a call center at a bank. I thought I wouldn’t be there for long, but life happened, and after a few years, I was promoted to their dispute resolution team.

This job was stressful. Day in, day out, my whole life was about contract disputes, home loan complaints, and trying to de-escalate screaming people on the phone. This type of role was really incongruous with my personality, and I started to wonder if I’d gone down the wrong career path.

Then, after a long and brave battle with cancer, my beautiful, vivacious, adventurous aunt Julie passed away on a warm February morning. Two weeks later, my Nonna died of a broken heart. I was overwhelmed with grief, and my life transformed.

Grief is a funny thing, and it strangely emboldened me to start my life again. So, my husband and I quit our corporate jobs, and we moved to Tokyo. All of this backstory is important because it gave me the drive I

Umbrellas and Rainbows, Ginza, 2022

needed in Japan to control the narrative of my life.

This is around the time when I started taking photos; I was nearing my 28th birthday. I had an old Nikon D3200 with a kit lens, and I would take photos of the sunrise before work. I had no idea how to use it, but I tried.

Once in Tokyo, I wanted to document my experiences living in a new culture, so I started carrying that camera around with me more. Soon, it was a daily act, and I realized that I truly loved the act of taking photos. In fact, I almost needed it for my emotional and spiritual health. I practiced constantly, and over three years I developed a style. My Instagram grew alongside me, and I began to use this strategically to showcase my work. Then, five years after I first picked up a camera, my current boss discovered my work and offered me a full-time photography job at a magazine in Tokyo.

In a way, I really never imagined that becoming an artist was a possibility, but it almost feels like it was predetermined. I worked really hard for it, and I couldn’t imagine doing anything else with my life now.

Your photographs are really inspired by place. How does traveling inform your practice? How do you shift between capturing, for instance, Tokyo street scenes and the English countryside?

Growing up, I was often referred to as a “sensitive kid,” which I now know to mean that I feel things deeply; I’m guided by connection and experiences and have a strong intuition that often sits outside conscious reasoning. I also feel a desire to connect with others through shared experiences.

What this all means is that I try to understand and then reflect the essence of each place I visit, because I want to share its beauty or charm or uniqueness with others.

Whether it’s the Martianlike landscapes of Iceland or the warmth of a small pub in the Cotswolds, it gives me great satisfaction being able to communicate how a place feels through my photos. And I think that’s

why I think I could take photos no matter where I go.

I believe that photography is inherently emotional. The more that you can feel the soul of the subject, the more that you’ll notice the elements that make it special and weave them together into beautiful photos. You’ve spoken about photography as a kind of mindfulness. What has it taught you about yourself?

I took up photography while I was dealing with grief and quickly realized how soothing it is. When you look through the viewfinder, the world goes quiet. Every part of you is focused on creating the most beautiful photo you can take. When I was learning at the start, a lot of my mental energy was spent figuring out what shutter speed I should use or how to get the perfect exposure. My mind was taken off my stresses and was focused instead on what on earth aperture was!

Photography is so similar to meditation: they both cultivate present-moment awareness, observation without judgment, and the ability to find the spiritual in the mundane. I’m not very patient with traditional forms of meditation, but photography is the next best thing, and it’s taught me almost everything that I know about myself. I think the most important one for me is that it taught me that sensitivity and emotions can be a superpower, that mistakes help you grow, and that my quirky and often unusual way of seeing the world resonates with other people too, helping me feel more connected with others.

What role does narrative play in your work?

After a few years of taking photos, there comes a time when you stop capturing things that are simply beautiful or interesting and use the camera to document stories and feelings that transcend the subject in the image.

I used to visit popular photo spots and take photos of places or things that countless other photographers have taken photos of. But after a while, I didn’t want to take photos that other photographers had taken.

Higanbana, Kinchakuda Manjushage Park, 2023

One day, while researching female photographers, I came across the work of Aletheia Casey. She’s an Australian living in London, and her photography addresses issues such as the environment, family, culture, and post-colonial legacy. I had never seen work like hers before, particularly her series “A Lost Place,” about the Australian wildfires, and “Which Way is North,” about her loss of self after childbirth. I realized that a powerful image isn’t just about beauty or composition or colors but about addressing a deeper story or narrative within.

I’m still working on developing my sense of documentary photography, but my 2023 photo series documenting the rock ’n’ rollers of Harajuku was an exciting starting point. I spent countless Sunday afternoons at Yoyogi Park and at a nearby izakaya with Tokyo’s iconic rock ’n’ roll group, and even attended and photographed two rock shows. It was an insider’s look into their world, which I loved experiencing and sharing.

You recently launched a women’s photography collective called Ambient. What inspired you to start it? What is the importance of having an artistic community?

It’s no secret that the photography world remains dominated by male photographers, particularly in Tokyo. I have frequently attended galleries and shows in Japan where the percentage of female photographers was less than 30, or even featured no women at all. This both confused and frustrated me because I knew many incredible female photographers in the city.

I felt that if I could highlight the amazing female photographers, not only in Tokyo but around the world, then galleries or shows would have no excuse to have such a dismal gender ratio. As I was thinking about the project, the name “Ambient” popped into my head immediately. Ambience is a mixture of mood and light, which are two core elements that make a good photo. Over the course of a weekend, I made an Instagram and set up a website and made it my passion project.

I’ve featured 20 female and non-binary photographers from around the world so far, and we had our debut showcase in Tokyo in October. I’m always looking to hear from anybody who is interested in being featured, so please reach out if that sounds like you!

Having an artistic community can be so helpful. It’s a place to learn, to feel inspired, to feel connected, and to bounce ideas off others. It’s really important, though, that the community is collaborative and doesn’t have any sense of competition or gatekeeping. I really do believe that community will always trump competition.

What advice do you have for aspiring artists?

Make as many mistakes as you can early on. The best way to teach yourself photography—or any art form, really—is to practice, make mistakes, review, and try again.

Feel free to use other people’s styles to guide you while you find yours, but remember that the only style that will truly be sustainable is your own. It may take a while to find, but keep going.

Find your “why.” Understand your motivations and what drives you to create. Is it self-expression, a desire to tell stories, or because you simply enjoy the process? Experiment and explore, even outside the medium you’ve chosen. One of the best exhibitions I ever did wasn’t even about traditional photography; it was cyanotype printing.

Believe in your own creativity and potential. Listen to your gut and do what feels right.

Torinoichi Festival, Shinjuku Hanozono Shrine, 2022

Redefining Contemporary Art Beyond the City: Caitlin Kelly-McKenna’s Gallery Vision

kellymckennagallery.com

kellymckennagallery

Kelly-McKenna Gallery, founded by Caitlin KellyMcKenna and located in Spring Lake, NJ, combines the tranquility of a beach town with the energy of a contemporary art hub. Featuring both emerging and established artists, the gallery fosters meaningful dialogues, bridging the gap between the art world and the community by helping audiences understand art in both historical and contemporary contexts.

When you first envisioned Kelly-McKenna Gallery, what impact did you hope to make on the contemporary art world, and how has that vision evolved as the gallery has grown?

Kelly-McKenna Gallery was founded as an innovative experiment, both in its business approach and its unique location. We are a fine art gallery showcasing emerging artists through year-round exhibitions, as well as a fine art consulting firm offering tailored services such as collection building, management, and comprehensive appraisal and valuation services.

Located in a serene beach town just outside New York City, the gallery was designed to provide a calm and inviting environment—away from the bustle of the city—where visitors can experience and discuss art with a clear and open mind.

Being located near New York City yet nestled in a scenic town like Spring Lake offers a unique perspective. How has this setting shaped your gallery’s audience, operations, or approach to exhibiting art?

We chose Spring Lake for its slower pace of life, which has shaped how we approach our programming. Unlike galleries in New York City, we present fewer exhibitions each year, but they run for longer durations.

Installation of the winter exhibition The Sun, The Moon, The Stars. Image courtesy of Kelly-McKenna Gallery.

This approach allows us to focus on broad, universal themes that resonate deeply and address pressing contemporary issues. Our exhibitions explore topics like artificial intelligence, environmental challenges, and the enduring tension between science and religion—ideas that invite reflection and spark meaningful conversations.

Exhibitions like The Sun, The Moon, The Stars delve into the complexity of the human experience. How do you see Kelly-McKenna Gallery fostering conversations about culture, identity, and the transformative power of art?

This exhibition is inspired by one of my favorite quotes, often attributed to Albert Einstein:

“The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science.”

In a year marked by groundbreaking advancements in

space travel, the exhibition invites us to revisit the most elemental astronomical bodies—the sun, the moon, and the stars. It explores their roles in scientific innovation while reflecting on their ancient significance in religion and mysticism, encouraging a deeper connection to the mysteries that inspire both art and science.

The gallery bridges the work of emerging and established artists. How do you nurture emerging talent as they navigate the challenges of the art market while balancing the representation of seasoned creators?

Artists require different strategies to advance their careers at various stages. Early in their journey, the focus is on sparking interest among collectors and cultivating a dedicated audience for their work. As their careers progress, the priority shifts to ensuring the longevity of their art. This includes considering how future audiences will engage with their creations. While securing private collections remains essential throughout, institutional placements become increasingly significant as a means of preserving and showcasing their work over time.

Exterior image of the gallery taken during the solo exhibition Rob Ventura: Spira Mirabilis in October 2024. Image courtesy of Kelly-McKenna Gallery.

With such a diverse roster of artists, how do you approach selecting talent to represent? What qualities or stories do you look for to align with Kelly-McKenna Gallery’s mission?

There is no one-size-fits-all strategy for uniting an artist and an art gallery. In the case of my gallery, I am looking for artists whose work expands the conversation I am having with my audience. I am much more interested in the experience of an artwork as opposed to the narrative of the piece—is there an immediacy to your work?

Originality is key for me, but it must also be originality with purpose as opposed to originality for the sake of originality. All of this being said, I always have my eyes open for great art. I also pay attention to recommendations from curators, collectors, my artists, and other art advisors.

Are there any upcoming exhibitions, collaborations, or projects at Kelly-McKenna Gallery that you’re particularly excited about? We’d love to hear what’s on the horizon!

I am extremely excited about our upcoming guestcurated exhibition, Flyover. This show has been in the works for almost two years. It will feature a stunning and dynamic collection of artworks created in states spanning the space between New York City and Los Angeles.

Flyover aims to tell an often-overlooked American story, offering a genuine reflection of contemporary life in the Midwest. By challenging stereotypes, myths, and fables about this region, the exhibition captures the untamed spirit of America and invites viewers to connect with its wild beauty and imagination.

Installation of the winter exhibition The Sun, The Moon, The Stars. Image courtesy of Kelly-McKenna Gallery.

Kaylee Reynolds Explores the Intersection of Art, Identity, and Intentional Storytelling

kayleereynolds.com

kayleereynolds.art

Kaylee Reynolds is a multidisciplinary artist whose work spans painting, design, illustration, and animation, inspired by her Jamaican heritage and background in dance. Through thoughtful visual storytelling, Reynolds crafts intentional creative solutions that merge personal authenticity with universal impact.

Your work beautifully combines elements of art, design, and storytelling. How do you approach creating visual narratives that feel both personal and universally impactful?

With my art, I am prompted to consider more deeply the question of “why.” This, in turn, informs how I craft creative solutions with my design work, especially as I seek to accomplish specific goals. In my approach, I draw from both the artist and the designer in me—my art prompts me to think more emotionally, while my design work encourages me to think more functionally. When these two perspectives are combined well, they create wonderful visual stories. It’s my hope that this approach will broaden, deepen, and magnify the impact of my work on people from different walks of life.

Ultimately, it is a balancing act. Though I want my work to resonate universally, I focus first on telling stories that feel true to me and my experiences, trusting that they will reach the right people. While universal impact is important, authentic stories are incredibly powerful.

You mention that your Jamaican identity and dance training inspire your art. In what ways do these influences shape the movement, rhythm, and energy within your visual pieces?

I have always been intrigued by our bodies’ ability to tell stories through movement—whether choreographed, performative, or otherwise. My art practice serves as an outlet to combine this passion for dance with my experiences growing up in Jamaica. My visual pieces are shaped by the inspiration behind movement,

both in dance and in society, and how it is influenced by internal and external factors—culture, identity, and lived experiences—all within the context of my Jamaican upbringing.

In my process, I consider these influences as I explore the shapes we create with our bodies and how we may be perceived, setting these figures against varying backgrounds and spaces. My painting Xaymaca—the Taino-Arawak word for Jamaica, which translates to “Land of Wood and Water”—is a perfect confluence of my passion for dance and my Jamaican heritage.

As a multidisciplinary artist, you work across design, illustration, and animation. How do you navigate these different mediums, and how does each contribute to your storytelling process?

My background as an artist truly informs my design practice, as it pushes me to ask pertinent questions throughout the creative process and develop a deep understanding of the intended purpose and audience for a specific project. It also helps me evaluate how well different media lend themselves to telling the best story or accomplishing the project’s goals. For example, is a message better communicated with an abstract illustration, or does it need to be more representational? Would animation make a visual more engaging, or might it distract from the overall call to action?

In my experience, asking the right questions is especially important in design, where you’re often working

toward a specific objective or developing a solution to a problem. This approach has positively impacted my creative decision-making and, ultimately, my storytelling and conceptual development processes.

Your focus on crafting intentional creative solutions and identity systems is fascinating. Can you share an example of a project where your artistic vision helped shape a brand’s identity or message?

My artistic vision played a key role in shaping a holiday campaign for a video creation company, with the message of encouraging creators to use video during the season. This project remains one of my most enjoyable to date!

The campaign concept was inspired by the nostalgia of old TV commercials—establishing a connection to video creation—combined with the charm of decorated store windows during the holidays. Using this concept, we created a cohesive visual system that included playful illustrations and animations aligned with the brand’s personality. These visuals were then scaled across the company’s marketing channels, telling a story through emails, blog images, digital ads, and website banners.

A strong concept is paramount to developing intentional creative solutions, as it allows for more efficient execution, especially when collaborating with a team. With a strong concept, the story often unfolds right before your eyes, as it did with this holiday campaign. before___& after___, digital

With such a dynamic creative practice, what excites you most about the intersection of art and design today, and how do you see your work evolving in the future?

What excites me most is seeing how art and design influence each other in profound ways. Even more thrilling is how this influence shows up in unexpected places, like the animation on the splash screen of a daily app or a thoughtfully designed book cover. For

me, this opens the door to appreciating beauty in the smallest details, even in life’s most mundane areas.

As for how I see my work evolving in the future, I want to keep pushing myself to explore, try new things, and find fresh perspectives. Whether it’s discovering new stories to tell or new ways to tell familiar ones, I’m excited about continuing to grow and evolve my creative practice.

Kaylee Reynolds pictured with her work.

- The Art of Sho at the Tenri Cultural Institute in Lower Manhattan

VISIONARY WORDS

In this section we invite contributing writers to share their perspectives on contemporary art, education, and other notes of interest related to visual arts.

Lessons on Creativity from Children: A Series Exploration

written by Brittany M. Reid

As an adult artist raising a child artist, I find myself heavily influenced by my own child’s approach to creativity. Children interact with art differently from adults for many reasons – they lack the fear of judgment, are natural storytellers, and are less likely to be influenced by the likes of social media and their peers. It’s also widely known that over time, our imaginations shrink and atrophy like an unused muscle. Children’s imaginations are still in full bloom.

To explore this idea further, I sat down with my 9-year-old to ask about her creative process and what making art means to her. This is part of an ongoing series and these conversations will be discussed more in future issues. Here’s what she had to say:

B: Thanks for taking the time to speak with me today. Let’s start with the basics. How old are you and what grade are you in?

L: I am 9 years old and I am in 4th grade.

B: And how do you feel when you’re working on your art?

L: I feel like I’m in a story and whatever I’m drawing or painting is like a story to me. I think, ‘What kind of story do I want this to be? Do I want it to be a character story? Do I just want it to be with pictures? Do I want it to be with the words? Outside or inside?’ That’s what I think.

B: I love that. So it sounds like you’re kind of a storyteller through your art. That’s so interesting. Do you think your imagination helps you tell that story?

L: I would say so, yeah.

B: And what inspires you to tell these stories?

L: I read a lot of books, so sometimes I like to take a little bit of that idea and put it into my own story.

B: I love that you’re drawing inspiration from something that already exists, but you’re making it your own. Truly what artists have always done. Do you ever feel worried about what somebody else might think of your art?

L: No, not usually because I don’t really care if people don’t like my art. It’s my art. They can’t tell me what to feel about my art.

B: I love that. I love how confident you are in creating something that’s just for you. That’s very special. Last question. Do you have any advice for grown-ups who are really struggling with creating their own art, who might feel like their art’s not good enough, or like they don’t have enough time to make art?

L: I would say that here’s some advice for you grown-ups out there - just use your imagination and do whatever you want. It’s up to you if it looks wrong or right. Just do your best, and it’ll turn out really amazing eventually. Just keep practicing!

WHITNEY TRISLER CAUSEY , The World She Reveals, oil paint on canvas, 48x36in

The Power of Calligraphy Towards Abstraction and Prayer

written by Chunbum Park

In western culture, philosophy, and art, there is a heavy skepticism that simply writing or saying out loud a word or phrase achieves nothing. For example, we often question the street artists who write out the word “love” on the paintings that they claim to be about love. This is because we fear deception or the possibility of misalignment between the book cover and its content, between the artist and his/her/their creation.

In visiting The Art of Sho juried exhibition (“Sho” means “calligraphy” in Japanese), one can develop very different ideas about the power of words – specifically, in the form of prayer. Curated by Motoichi Adachi and Kyoko Sato at the Tenri Cultural Institute in Lower Manhattan, the exhibition features the calligraphic and abstract works of mostly Japanese artists, including Seiho Kurihara, Yumi Akiyama, Seongmin Ahn (a NYC-based Korean artist), Kurihara Goyou, Koho Kurihara, Yukei, Sogetsu, Yamato, and Shiryu.

For example, in Yukei’s work titled, “Inori” (2024), which means “prayer,” the word for love, which is “ai,” is repeated everywhere in every corner of the composition. What happens when the multiple layers of meaning align truthfully, between the signifier and the signified, and we can judge the book accurately by the sincerity of its cover? The artist explains that she prayed for world peace while making the work, in which words repeat like a Buddhist mantra or a meditative process. The abstract strokes and marks at the center perhaps represent the release of positive energy and the dissolution of the frustrations concerning humanity’s darkness, due to prayer. The prayer in the form of the repeated word “ai” is akin to an obsessive, brute force attack onto the evil and the negativity of the cosmos, erasing it and re-producing its antithesis, love and peace.

Seiho Kurihara’s work titled, “Tears and a Mole” (2024), is another interesting take on the repetition of words, which this time involves character for “gender.” The approach is not like a prayer but rather a conceptual play and the packaging and un-packaging of the word and its meaning. What is gender? What is a woman? Is she merely the masquerade of people who perform a made-up identity to survive in a maledominated society, as argued in her 1929 essay by the British psychoanalyst Joan Rivière? Or is she a social construct,

based on the repetition of gendered acts which create the illusion of stable gender identities within society, as argued by the American philosopher Judith Butler in her 1990 book, Gender Trouble? Perhaps Kurihara is arguing that gender is a simulation, just as the character for gender is repeated like a computer image throughout the composition as pixels with three levels of density or intensity, to form the image of Marilyn Monroe.

Yumi Akiyama, in her work titled “Glimmers Escaping from the Darkness” (2024), takes on the language of calligraphy with its mark making, abstract and thoughtful lines and washes, and the use of black ink on white paper, to create a truly abstract vision. The work refuses to directly reference any word or concept but uses the visual itself to convey the idea of glimmers of light and the darkness from which they escape. The image could be mistaken as a traditional re-translation of a supercomputer simulation of a black hole or the movement of the stars, from the computer image to the hand of the calligrapher with a brush, ink, and paper.

Seongmin Ahn’s work, “Ornamented Curse – GOF***AWAY 01” (2021), is another powerful take on calligraphy, which involves the modern calligraphic and/or traditional visual style of Japanese and East Asian art to represent words in English.

SEIHO KURIHARA , Tears and a Mole, black ink on paper and panel 27.2x26.8in

The image pretends to be East Asian on the surface but is in fact a hybrid transformation or convolution of the Eastern with the Western and vice versa. In her statement, Ahn describes these words possibly as hurtful insults and verbal attacks by the racist and unwelcoming populace, during her time as an immigrant artist living in America.

Lastly, we have Koho Kurihara, whose work titled, “Gazing” (2016), depicts a woman in the calligraphically abstracted, figurative style. Her attire is semi-traditional like a Japanese kimono and semi-modern like a western dress. Her shape is tall and voluptuous. Many ornamental patterns decorate her torso, arms, and legs. Her face consists of circular strokes, and the head is surrounded by her arms that form a box, as if to suggest the traditional character for the eye or the mouth. This is the gradual evolution of the traditional character that originates from the ancient Chinese writing system, which was born from more direct and less abstract pictographs.

So back to the question – does the very act of writing out the word “love” have the power and the quality of love? If one were to write the word “love” on a notebook or the computer, is it representative of real love? This exhibition shows that the very calligraphic act of writing a word or a concept thoughtfully and artfully in the moment requires consistency between the mind of the artist and the subject that the artist is trying to depict. In fact, the calligrapher must become the subject and emulate or simulate its parts and/or character, in the moment of making the mark with (sumi) ink on paper. Thus, in the case

SEONGMIN AHN , Ornamented Curse_GOF***AWAY_01, ink and color on mulberry paper, 36x72in

of calligraphy, the book can be judged by its cover because both sides of the equation are immersed in sincere intention. Where could we go as contemporary artists with this new kind of understanding excavated from an ancient art form like Japanese calligraphy? It is uncertain, but the unknown can be found in the uncharted territories of a hybrid art form that draws from both western and eastern philosophies and ways of thinking. The good and the bad, as well as the old and the new, alternate, and they flip and flip again, depending on how the context or the situation evolves. The power of calligraphy beckons us to go closer to it. It is the power of Sho that achieves both abstraction and prayer by the artist –simultaneously, expressively, and masterfully… in the moment of the act.

YUMI AKIYAMA , Glimmers Escaping from the Darkness, giclee print on mulberry paper, 21x17in

KOHO KURIHARA , Gazing, sumi-ink on paper, 157.4x39.4in

The New Americana: Samantha Joy Groff

written by Emma Hapner

When I picture red lipstick, cigarettes, and gingham, the first thing that comes to mind is Lana Del Rey and her glamorous, rural aesthetic, which has grown in popularity in recent years. I also envision the recent cinematic masterpiece Pearl, which zeroes in on this theme with an added element of horror. An amazing artist working today whose work falls into this Venn diagram of pastoral, feminine visuals is Samantha Joy Groff, known by her iconic Instagram handle, “redneckhotwife.”

Samantha Joy Groff’s recent solo exhibition, Prophecy of the End, at Nicodim Gallery stands as a profound exploration of her artistic themes, intertwining personal history with broader cultural narratives. This body of work delves into the lived experiences of Mennonite women, presenting them as both emblematic of their community and uniquely individual. The exhibition captures the tension between tradition and transformation, emphasizing Groff’s ability to reflect on a world steeped in ritual and the yearning for modernity.

The paintings in Prophecy of the End display Groff’s characteristic use of intricate detail and emotive expression. Each piece evokes a quiet intensity, as her figures seem to inhabit a liminal space between submission and rebellion. This duality mirrors themes in Lana Del Rey’s music, where characters grapple with the allure of independence while remaining tethered to nostalgia and societal expectations. Both artists engage with the idea of yearning—a universal human experience refracted through the lens of specific subcultures.

Groff’s work also resonates with Ti West’s Pearl, as her exhibition investigates the lives of women within rigid frameworks, much like Pearl’s struggle against the confines of rural life and societal norms. Prophecy of the End offers a visual dialogue on identity and transformation, portraying characters who balance the weight of their heritage with the desire for self-definition. This tension is central to Groff’s art, where the constraints of the Mennonite tradition are both a source of beauty and a boundary to be questioned.

The exhibition title, Prophecy of the End, underscores Groff’s contemplation of endings and beginnings, perhaps reflecting broader cultural shifts or personal reckonings within her subjects’ lives. This thematic exploration complements Del Rey’s lyrical narratives of longing and loss, as well as Pearl’s cinematic exploration of ambition and confinement. Together, these works create a multifaceted conversation about women’s roles in subcultures that are

both isolating and formative. Groff continues to illuminate the profound depths of subcultures, revealing their beauty, contradictions, and humanity.

Groff truly has her finger on the pulse of this new Americana—a cultural exploration that I expect will continue to grow in 2025.

ELEPHANT IN THE ROOM

written by Suso Barciela

There is a giant elephant in the room of contemporary art, so large that it is incredibly uncomfortable, and everyone seems to pretend it does not exist. This is the vivid image of the absolute disconnection between global reality and current artistic expressions, and it is time to address it. Art cannot be a mere decorative ornament; it cannot be limited to being a consumer object or a commodity that adorns the walls of galleries and museums. Art must be what it has always been: a cry, an expression, a testimony, an instrument of resistance against oppression.

In the meantime, wars, the threatening climate crisis, and innumerable systematic violations of human rights are shaking the foundations of our society. Yet a large part of the current art world takes refuge in the comfort of aesthetic contemplation, forgetting precisely its most powerful potential: to be a megaphone for social transformation. Today, however, we observe with concern how many contemporary creators seem anesthetized, more concerned with formal aesthetics than with the depth of the message, turning a deaf ear to everything happening in the world. The concept of “art for art’s sake” has become a comfortable zone that distances us from the most urgent realities. While the world is bleeding, many artistic expressions are reduced to exercises in meaningless contemplation, becoming irremediably passive accomplices to these inequalities.

The great injustices of our time—wars that devastate communities, a climate crisis that threatens existence itself, brutal economic inequalities, persecution of minorities,

systemic violence—must be shouted, denounced, and exposed through art. This cannot be done as simplistic propaganda but as a complex and profound expression that shakes consciences. Let us not forget that art has a unique power: it can transform the invisible into the visible, give voice to the silenced, and provoke empathy where there is only indifference. We are not asking for propaganda but for commitment—a commitment that engages critically with reality, that unsettles, questions, mobilizes, and raises awareness.

We need to return to a vindictive art, one that does not fear pointing out the open wounds of our society. An art that is a trench of resistance, that documents, questions, and proposes alternatives. An art that is not neutral, because neutrality in the face of injustice always ends up favoring the oppressor.

Creators have the responsibility to be chroniclers of their time—not only as witnesses but as activists who intervene, provoke, and generate awareness. Each discipline, each medium, can be a powerful instrument if used intelligently and with the right passion.

The invitation is clear: let us reclaim art as a space for social criticism. Let each work be a manifesto, each image a question, and each creation an act of rebellion against the established order. Art is not a luxury; it is a necessity. In times of darkness, we need it more than ever to illuminate the corners that power prefers to keep in the shadows. No more complacent art. No more aesthetics without depth. We want an art that bites, unsettles, and transforms.

RACHEL STEWART , Climate Disturbances II, hand-printed monotype, woodblock print, hand-cut stencils, graphite, and torn paper collage. 24x19in

ARTIST ANDREA MYERS

Rainbowbending (detail), machine sewn fabric collage, 132x144x36in

VISIONARY ARTISTS

This issue of New Visionary Magazine is curated by Erin Schuppert, Director of Affordable Art Fair NYC

After working for almost a decade in the auction and blue-chip gallery world, Erin Schuppert became the Director of Affordable Art Fair NYC in January 2022. With a mission to spread the joy of collecting art in an accessible and welcoming way, the fair holds two editions annually, in March and September. Each fair hosts over 75 galleries from around the world showcasing over 400 artists. Inspired by her vision to make a positive contribution to the vibrant NYC arts ecosystem, Erin began the Fellowship Program shortly after joining the fair. The Program invests in the long-term growth and success of local emerging galleries, inviting them to exhibit at the fair free of charge over three editions. Erin is also proud to work with local organizations such as Arts Gowanus, Materials for the Arts, FIT, and The Art Therapy Project to create joyful, engaging, and welcoming arts experiences. She holds a BA in Art History from Boston University and an MA in Museum Studies from NYU.

Evangeline Ang

evaneasel

You create layers of texture and colors that change depending on the viewer’s perspective. How do you decide what textures and colors to incorporate to achieve this dynamic experience?

My paintings consist of thousands upon thousands of strokes, some taking the form of pointed blobs and others as intricate linework—all done one stroke at a time. As an impressionist, I am captivated by how colors are reflected in the atmosphere. Each stroke involves a blend of multiple colors to capture this effect.

The result is a mirage of colors when viewed up close, while stepping back reveals convex and concave curves, often in cool hues. My fascination with colors is expressed through modern and contemporary abstract techniques, creating works that shift dynamically with perspective.

How do you balance small details and the bigger picture in your pieces, and what do you hope viewers take away from this juxtaposition?

My works are composed of countless strokes. Without these small, intricate strokes, the larger image wouldn’t take shape. While the sheer number of textures may seem chaotic at first glance, the overall composition is soothing, drawing viewers in and offering a sense of calm.

This balance reflects life itself—small details and the bigger picture are interconnected. To achieve a goal, one must start with the finer details, and similarly, when admiring any accomplishment, it’s important to remember the layers of effort that built up to it.

Having exhibited internationally and been selected for the prestigious Bergdorf Goodman gallery, how has your global exposure influenced your artistic journey and process?

Being an artist with global exposure has given me a deep sense of purpose and a mandate to share the message: Art Calms the Mind and Soothes the Soul. This phrase has always been my motto, and I use art to embody and communicate this belief. The experience of showcasing my work internationally reinforces the idea that art transcends boundaries and has the power to connect people on an emotional level.

Your artist statement mentions art as a calming force. How do you infuse this sense of tranquility into your creative process and the energy of your finished pieces?

The first impression many people have when viewing my work is, “That must have taken so much effort!” Surprisingly, creating these pieces is incredibly calming for me. I become fully immersed in the process, often losing track of time and finding joy in the act of creating.

That’s the magic of art—it can be viewed in multiple ways. The textures in my work might seem to burst outward, yet at the same time, they draw viewers inward. This duality engages both the visual and emotional senses, infusing a sense of tranquility into both the process and the finished pieces.

How has engaging with other artists and art communities shaped your work and perspective over the years?

Engaging, exhibiting, and interacting with other artists at international shows has helped me stay grounded. These experiences have affirmed that art knows no boundaries and has encouraged me to keep pushing myself creatively, psychologically, and philosophically.

Much like crystals, which are forged and refined over time, my work continues to evolve and grow through these exchanges and experiences.

Delightful Peridot, acrylic and mixed media on canvas, 35.4in diameter

Tegan Brozyna Roberts

teganmbrozyna.com tmbrozynar

How do you capture the essence of a place or moment in your work, and what elements are most important in this translation?

I used to be a more traditional landscape painter but struggled with the idea that the world is impossible to fully capture. I first articulated this feeling a few years ago when I visited the geothermal pools in Yellowstone. I was struck by the immensity of the landscape as well as the beauty of the vibrant colors of the geothermal pools, shifting from a rusty orange to an effervescent turquoise. I began to wonder how I could capture the essence of a specific place when the landscape feels so vast and unapproachable.

I started experimenting in the studio, and over time I developed a hybrid approach that incorporates weaving, painting, and collage. Although my woven collages appear abstract, they are grounded in reality. Each piece finds its genesis in the world around me, as I scour my neighborhood for unique physical marks and colorful artifacts that reflect the specificity of the landscape. This micro-investigation helps me break down the complexity of my environment, allowing me to relate to the world in a more intimate way.

You draw from the idea of healing and repair, deconstructing the world around you to create something new. How does this process of breaking down and rebuilding influence your creative and emotional journey?

One of the most amazing aspects of the natural world is that life can come from death. An animal dies, but its body decomposes to enrich the soil, bringing about new growth. Fire destroys part of a forest, but certain pine cones need that heat to release their seeds. I find this natural process both beautiful and galvanizing.

My art is process-driven as I repurpose paper fragments— pieces from old work and even paper drop cloths—into my compositions. I paint, cut, and dissect these scraps, then reassemble them into new landscapes suspended by threads. In this way, I redeem the paper remnants by giving them a second or third life. This process reflects a generative cycle of making, where each piece builds on and leads to the next.

Can you share more about how your family’s history with sewing and textiles informs your approach to collagemaking?

I come from a lineage of seamstresses, from my greatgrandmother to my mother. Although I’m trained as a painter, I’m fascinated by textile traditions and techniques such as sewing, quilting, and weaving. These techniques provide a rich terrain for exploration. On a personal level, incorporating textiles into my art connects me to my family while allowing my work to feel fresh and in dialogue with the past.

My maternal great-grandmother, Emily Bulow, was a professional seamstress in England before emigrating to the U.S. Like many women of her time, she was resourceful and embraced the tradition—often seen in quilting—of reusing fabric remnants to create something new. Emily repurposed worn clothes into garments for her children and even made whimsical animal toys from old coats and fabric scraps. My favorite piece of hers is a cushion cover made from discarded silk scarves, aprons, and men’s ties. This piece demonstrates how materials hold memory; the fabric fragments reflect their original use even as they are disassembled, combined, and rearranged.

Although I don’t work directly with fabric, I find that paper as a fiber holds the history of every mark, tear, and stain on its surface. In this way, my woven collages draw from and build on Emily’s artistic lineage.

You find beauty in overlooked details like sidewalk cracks or layers of paint on fences. How do these seemingly mundane elements reveal a deeper connection to time and place in your work?

I live in New York City, which is famously busy and fast-paced. We are constantly rushing from place to place. This perpetual movement, combined with our use of screens, makes it hard to appreciate our environment. We often miss the details and overlook the beauty that exists all around us.

My woven collages are inspired by explorations of my daily environment. The individual, organic forms I use are generated

from rubbings and tracings of physical “micro-terrains,” such as cracks in the sidewalk or the indexical marks left by flaking sycamore bark. Similarly, my color palettes are derived from artifacts found in my surroundings, like layers of paint and rust on a fence or an old bottle cap in the park. These overlooked marks and colors act as an index of time and human activity. For me, focusing on the smaller components of the landscape forces me to slow down and appreciate the beauty of my environment on a more personal level.

Your collages exhibit a rhythmic quality, with overlapping colors that create a sense of movement. How do you approach color and texture to evoke harmony and balance, particularly in a world that often feels chaotic?

Chromatically and compositionally, I approach my collages as I would a painting. However, instead of mixing and blending color on a palette or with a brush, I physically build up the surface with fragments of color. I liken it to the idea of small stones accumulating into a mountain.

Like many artists, my early foundation included the Impressionists, such as Monet and Degas. I’m inspired by their use of “broken color” to optically mix chroma on the canvas. Similarly, I’m drawn to Matisse’s ability to create harmony and rhythm within his compositions. Each piece of my work feels complete when the sum of its parts achieves balance.

I work intuitively, in dialogue with my materials. Fascinated by how colors interact, I add and subtract paper forms to see how they complement or play against each other. Because the forms are woven and suspended by thread, I also consider how the color of the string interacts with them. The thread changes the hue of the colored forms and visually pushes them forward or backward in the picture plane. Additionally, the layers of thread visually vibrate against each other to create a moiré effect, further adding movement to the work.

Byrne III, painted paper, thread, wood and nails on wood panel, 60x30in

Eliana Carvidón Cortazzo

elianacarvidon.com

eliana_carvidon_artista

Your work spans a variety of disciplines, from dance and performance to photomontage and mixed media painting. How do these diverse practices inform and enrich one another in your creative process?

The desire to explore and integrate new techniques and disciplines has been a constant in my artistic journey. I often conceive ideas for projects that require mastering new skills, which drives me to learn them. I deeply value the exploration of diverse forms of expression. Mastering multiple disciplines expands creative possibilities and offers the freedom to convey emotions and concepts from different perspectives. These creative languages naturally blend into my process, emerging as each artwork demands. Whether a creation arises spontaneously or as a preconceived project, each one requires its own language to fully express its essence.

The interaction between photography and painting, for instance, has been particularly fruitful in my work. Many of my photomontages incorporate details from my paintings, while my paintings occasionally include fragments of photographs I have taken. In some cases, these photomontages also integrate digital painting. Dance, on the other hand, has been a crucial influence in my life since I began studying at the National School of Dance in Uruguay at the age of 11. This connection with music is reflected in my creations, such as a recent solo exhibition at a museum where I presented paintings and photomontages alongside the music that inspired them. I have also performed dance pieces and exhibited audiovisual works where I dance alongside my paintings as part of my exhibitions.

Even on platforms like Instagram, I complement my works with words, creating new connections and dialogues with viewers. Recently, I created a painting in which I integrated literary prose, writing paragraphs spontaneously during the painting process. Later, I felt compelled to include sounds related to the painting, accompanied by a spoken reading of those texts. One day, that artwork will be exhibited with sound.

Can you share an example of how a specific element of nature has inspired or symbolized a particular aspect of the human condition in your work?

Deer are recurring animals in my work. Although they are commonly perceived as vulnerable due to being easy prey for predators, they are also strong, defending themselves with their antlers. For this reason, they symbolize, for me, a fusion of strength and vulnerability within the same being. This duality exists in all of us as well.

These animals appear mainly in my paintings but also in an audiovisual piece I co-created. The video consists of projecting images of deer onto my body while I dance, including images of the deer I painted. It is called The Conjunction. It arises from questions I have asked myself, such as whether it is possible to be stronger without losing our sensitivity. Often, vulnerability is a necessary step on the path to strength, and the video implicitly seeks to find an internal balance within this duality.

Your use of ecoprint and macrophotography highlights a deep engagement with natural materials and details. How does working with such processes shape the conceptual or emotional layers of your art?

My interest in ecoprint and macrophotography arises from my connection with nature and my desire to rediscover and decipher it through different perspectives, later reinterpreting and integrating it into my own language. Nature is my source of support, reflection, self-connection, and inspiration.

These processes become raw materials for creation. I link these findings to the themes and emotions I am experiencing at the time, which often turn out to be universal, such as the passage of time and how it makes us feel, or issues related to the essence of the human condition.

Having exhibited internationally and in your native Uruguay, do you find that the cultural context of a venue influences how audiences interpret your work?

The exhibitions I have shown abroad have included different artworks from my body of work Intrinsic Nature, which explores the relationship between nature and the human condition, reminding us that nature is our essence, despite the fact that humans sometimes fall into arrogance regarding our natural environment. This proposal questions the universal anthropocentric conception and promotes the idea that connecting with nature is our way of staying centered and in touch with who we truly are and what we truly need.

Intrinsic Nature has always been exhibited in cities (Manhattan, Rome, Montevideo), and in all of them, people have experienced a deep connection with the artworks due to the universality of the theme. Those of us who live in

urban settings, like myself, often feel more alienated, living in a rush and in greater need of a connection with nature. Furthermore, we are living in a global era of awareness regarding the importance of respecting and valuing our ecosystem.

As a Library Science graduate turned multidisciplinary artist, how has your academic background shaped your approach to research, narrative, or the conceptual depth of your projects?

My profession as a librarian has provided me with valuable tools for gathering information and conducting research on topics that interest me when developing ideas for art projects. It has also helped me express my ideas clearly, precisely, and deeply. Additionally, it has equipped me with skills for better planning and organizing my time and work.

Tangled. photomontage, 17.7x23.6in

Violet Curry

violet.ceramics

How do you balance the historical references with your own artistic identity in your pieces?

I begin by throwing a random shape and then researching art or relics from a specific time period that interests me. Rarely is anything planned from start to finish on paper. I find that if I “trust the process” and allow inspiration to flow organically rather than forcing it through detailed planning, the results are much stronger. To honor the past while maintaining my own artistic identity, I incorporate small symbols from specific paintings or clothing into my work and build around them.

You mentioned that daydreaming and the concept of lost historical relics play a role in your creative process. Could you describe how these elements manifest in your artwork?

The concept of lost historical relics gives me the freedom to imagine and create. I’ll watch a film or listen to music and envision what a person of high society might have used as decor, following a time period loosely but not replicating it literally. That’s the part I enjoy most—it feels like pretending I’m a woman of high standing from the past.

I daydream frequently, imagining myself in a beautiful dress adorned with exquisite jewelry. These daydreams feel nostalgic, almost like memories, as if I’ve lived in those moments before. This sense of imagined history becomes an emotional thread woven into my art.

Lace and drapery seem to be central motifs in your pieces. What is it about these materials and textures that resonates with you, and how do they contribute to the emotional depth of your work?

I fell in love with the way fabric moved during the Rococo and Regency eras—the extravagance of Rococo cloth compared to the softer, more restrained style of the Regency. I was captivated by how fabric draped on dresses or accentuated the pockets of suits, and I began replicating these textures in functional pieces.

The meticulous creation of lace fascinates me. When we see lace, we think, “Wow, how beautiful!” but we rarely consider the hands that spent months crafting it. Replicating textiles in a three-dimensional form became an exciting challenge, especially to ensure the textures remained visible after glazing. I love the challenge it presents, as it deepens the connection between my work and the history it draws upon.

How does your study of art history influence your interpretation of symbolism in your pieces?

The Rococo and Regency eras, as major influences on my work, are brimming with rich visual language. During these periods, elements like wallpaper, clothing, jewelry, music, and flowers weren’t just decorative—they symbolized themes like identity, social structure, and intimacy.

I aim to blend the ornate, grandiose qualities of Rococo with the more muted designs of Regency to express how culture and aesthetics evolve over time. These symbolic choices allow me to explore the intersection of historical beauty and personal narrative, creating work that feels both timeless and reflective.

As someone who seeks to preserve the beauty of the past through your work, do you feel a responsibility to ensure that your art stands the test of time, or is there more freedom in embracing the ephemeral nature of art?

While I see beauty in ephemeral art, I have a deep fear of being forgotten. That’s why I feel such a strong connection to clay—it holds a sense of permanence. One day, both my art and I will become part of history, and I hope that future art historians will study my work as I now study the past. This desire to be remembered drives me to create pieces that honor the timelessness of art and its role in shaping collective memory.

Korissa Frooman

www.korissa-frooman.com korissafrooman

Having a background in fashion design, how do textiles and pattern-making techniques shape your current artistic practice?

My focus on materiality and the body stems from the foundational mindset within fashion design. Pattern-making and textile exploration introduced me to the interplay of physical forms, tangible spaces, and ephemeral memories. In my Traces series, I use a traditional technique of creating patterns from old clothing—placing muslin fabric over the garment and gently rubbing graphite along the cloth to reveal details invisible to the naked eye. The interworking of the garment, such as seam allowances, and prominent features, like darts and seams, are presented as equals in the resulting pattern. This tracing process documents the garment’s history in the present, highlighting signs of wear and tear—stretched seams, loose buttonholes, and pocket tears—visible within the new pattern. The Traces series extends this technique to physical spaces, capturing the textural histories of painted-over fire doors, rotting bricks, and welded-shut sewage drains, creating a modern snapshot of historical objects and their flaws as artifacts in the contemporary world.

Your work often exists in the liminal spaces between mediums and explores the traces left behind by touch. How do you conceptualize and approach the interplay of presence and absence in your creative process?

The interplay of presence and absence in my work stems from my fascination with material memory and the residual energy within physical spaces. Inspired by Gaston Bachelard’s The Poetics of Space, I approach artistic creation as a way to sculpt fleeting, evanescent memories into tangible forms. This duality of time and space

is reflected in the materials I use, such as copper, which retains fingerprints when touched, and bioplastics, which grow diaphanous over time. In my Shred Skin series, I create sculptural tapestries using chiffon and bodily materials, forming portals into new dimensions. By situating these sculptures in marginal spaces—walls and corners—they physically manifest liminality, embodying the ghostly remnants of lived experiences within environments. You’ve described your work as curating objects as extensions of oneself. Can you share an example of how a particular object or material became a central part of a piece and the story it carries?

All works of art are self-portraits, just as the objects in one’s home reveal insights into their owner. Incorporating found objects into a piece merges the artist’s essence with the life story of another—a form of collaboration. In Congealed Memory, I used old photo slides sourced from both my personal family archive and flea markets. This merging of personal and external histories creates a collective past that feels as real in the present as the unknown actual history. The slides are encased in latex, which ages over time, darkening and becoming more brittle. This mirrors our evolving connections to the past, where the ability to see and understand becomes increasingly complex as we grow distant.

Your work often references ghostliness and the remnants of past lives. How do you balance the emotional weight of these themes with the visual and tactile elements of your pieces?

This balance is intuitive, guided by instinctual decisions. Materiality has its own voice, and as an artist, I aim to provide a platform for the medium to communicate. Balancing the emotional depth of themes like ghostliness and remnants

Leaking | Bioplastic, chiffon, thread, wood. 60x35x3in

of past lives with visual and tactile elements involves grounding abstract ideas in material exploration. I use ephemeral and transformative materials, such as latex and sausage casings, to evoke the transient nature of memory and existence. These materials invite viewers to engage both physically and emotionally, fostering an intimate connection that tempers the heaviness of the themes. Positioning these pieces in corners or on walls emphasizes their marginal presence, encouraging contemplation while maintaining a sense of lightness through their delicate, often diaphanous forms.

How do you decide which medium or combination of media best serves the story or emotion you’re trying to convey?

I uncover the story and emotion as I create. I rarely enter the studio with a fixed plan but instead trust the creative process to guide me toward authentic expression. This approach ensures every work is raw, genuine, and reflective of both my personal moment and the broader world. I often choose materials that inherently relate to the body, such as copper for its tactile memory or bioplastics for their transformative properties. The interplay between permanence and ephemerality also informs my choices, aligning with themes of memory, femininity, and domesticity. Combining materials allows me to craft layered narratives, where each medium contributes its unique texture, weight, and symbolism. This ensures that the chosen media function as both conveyors of meaning and immersive sensory experiences.

Ghost Chair, thermoplastic, acrylic, copper, 65x48x37in

Hannah Rose Garrido

In your most recent photographic series, how do you intend for the materials to amplify the emotional and philosophical themes you’re exploring?

The presence of leather in my photographic series highlights the cycle of consumption and the transformation of living beings into commodities. By placing cows and leather together in the same space, I aim to confront viewers with the reality that these animals face—their skin becoming a product, their life reduced to material use. This visual pairing emphasizes the inevitable outcome, encouraging viewers to consider both the living being and what it will become.

Your work addresses the objectification of both women and animals. How do you hope your art shifts the viewer’s perspective on the commodification of living beings?

I hope my art prompts viewers to question how society reduces both women and animals to their roles as providers, nurturers, and commodities. By visually pairing the cow with its leather or feminine symbols with domestic materials, I aim to expose how living beings are often valued solely for what they can offer, rather than their intrinsic worth. Through these juxtapositions, I encourage reflection on the cycles of consumption and objectification, inviting viewers to reconsider the systems that perpetuate this treatment.

Your practice involves repurposing materials like heirlooms and found objects. What role does sustainability play in your art, and how does it shape your creative process?

Sustainability plays a significant role in my art, both conceptually and materially. By repurposing heirlooms and found objects, I give discarded materials new life, emphasizing care, preservation, and the overlooked value of what is often deemed obsolete. This process reflects on cycles of consumption and challenges the idea of disposability, particularly in relation to feminine labor and natural resources. Working with these materials shapes

my creative process by encouraging me to embrace imperfection, history, and storytelling, allowing the objects’ past lives to inform the themes of my work.

While exploring themes of femininity and nurturing in your work, how do you see the intersection of these themes with the commodification of animals?

I see the intersection of femininity, nurturing, and the commodification of animals as deeply connected through societal patterns of exploitation. Both women and animals have historically been valued for their capacity to provide—whether through caregiving, reproduction, or nourishment—while their individuality is often overlooked. In my work, I aim to reveal how both are reduced to vessels of service and consumption. My work invites viewers to consider how systems of care can be distorted into cycles of extraction, where nurturing becomes a justification for control and commodification.

How do you hope viewers engage with the intimate photographs of cows in your series, and what kind of emotional or reflective responses do you want to evoke through this portrayal?

I hope viewers engage with the intimate photographs of cows in a way that fosters empathy and a deeper awareness of their vulnerability and individuality. By capturing the cows closely and focusing on their softness and presence, I aim to disrupt the typical detachment often associated with animals in agricultural and consumer contexts. I want to evoke feelings of tenderness, care, and perhaps discomfort, prompting reflection on the contrast between the living being and its reduction to a commodity. Through this portrayal, I hope viewers consider the complexities of care, consumption, and the value of life beyond its utility.

Scent Of Self, photography , 8.5x11in

Nykie Gibbs

www.nykiegibbs.com

nykiegibbs

Your work often explores themes of resilience and transformation. How do these themes inform your creative process, and what draws you to focus on the emotional landscapes of everyday people?

My art practice grows from a seed of emotion and exploration. When I experience intense emotions, I lean into them, often finding myself naturally drawn to resilience and transformation as central themes in my narratives. From there, I develop a concept that best conveys the story I’ve landed on, layering in elements like bold color or distinct body positioning to further express the work’s essence.

I’m drawn to emotional landscapes because, at my core, I identify as a storyteller. No one goes through life without encountering moments that challenge them at their deepest level. Yet, somehow, inevitably, we emerge on the other side— changed, a new version of ourselves, survivors. There is so much power and beauty in that experience, and I strive to capture and express it through my artwork.

You blend realism and abstraction, often incorporating symbolic layers and bold patterns. How do you decide on the balance between these elements, and what role does symbolism play in your storytelling?

I love exploring the tangible and intangible, so blending realism and abstraction allows me to bring those worlds together. Realism grounds my work and helps me convey emotion,

while abstract details create space for viewers to interpret deeper meanings and engage with universal themes.

Finding the right balance can be tricky, but I let each story guide the process. I tend to lean into realism for intimate, personal narratives and abstraction for broader symbolic expressions.

Symbols have been powerful, mysterious vehicles for communication across cultures for centuries—conveying complex ideas, identity, and emotion. They are incredible tools for deepening storytelling, and I love layering meaningful elements into my work to expand the depths of each piece.

As a self-taught artist, how has your artistic journey shaped the way you approach your work? Are there any pivotal moments or lessons that have defined your path?

Being a self-taught artist has required a strong drive for selfmotivated learning, experimentation, and, ultimately, trust in my instincts.

I’ve always been immersed in the arts—through dance, music, theatre, and visual art—but a pivotal moment in my journey came when I owned and operated a paint studio in Manhattan for nearly eight years, teaching beginner art classes. That

acrylic on cork canvas, 15x18in

experience forced me to expand my knowledge across a wide array of artists and styles, as I had to create engaging, teachable content for my workshops. It fast-tracked my understanding of art history and pushed my technical skills, as I was constantly painting for a living. That period ignited the path I’m now on with my current art practice.

Your art invites viewers into a meditative space for reflecting on identity and self-empowerment. What do you hope people take away from engaging with your pieces on a personal level?

I hope my art creates a space where viewers feel seen, understood, and empowered. My work often explores universal themes like resilience and transformation, and I aim to evoke emotions and invite reflection through each piece. I love reminding people of their own strength and capacity for growth, fostering a dialogue between the subject’s story and the viewer’s personal experiences.

At its core, my work honors both the struggles and triumphs of life, encouraging people to approach their own journey with love, compassion, and understanding. Ultimately, I hope viewers walk away with a sense of comfort, courage, or even a shift in perspective. If my art sparks a moment of self-discovery or empowerment, I feel I’ve created something meaningful.

With your background rooted in both Nashville and Brooklyn, how do the cultural influences of these places shape your perspective as an artist? Are there specific elements of your heritage or experiences that frequently inspire your work?

Growing up in Nashville and later building a life in Brooklyn gave me a rich blend of cultural influences. Tennessee is both the birthplace of the KKK and a central stage for Black civil rights movements, while Brooklyn, where I moved in 2006, carries a spirit of boldness, innovation, and individuality—a tough exterior with a deep, warm heart.

I’ve thrived in the contrasts between these places, with Nashville instilling introspection and Brooklyn fueling my drive to explore identity’s complexity. I also draw from my African, Native American, and Irish heritage, weaving symbolic patterns into my paintings as a way of honoring history and storytelling. This fusion of influences shapes my voice, allowing me to create art that bridges personal narratives with shared human experiences.

Ira Hoffecker

www.irahoffecker.com

ira.hoffecker

What inspired your focus on blending abstraction and plant-inspired subjects in your work?

I am more interested in exploring imagined worlds than representing the real world or replicating objects and shapes exactly as they exist. My recent paintings extend organic shapes within abstracted spaces and imagined landscapes, playing with depth, lines, and layers. Organic material analysis and interpretation are central to my creative process. Before starting a painting, I often draw plants and organic shapes or take photos during garden visits or walks. I review these references before heading to the studio, but once I begin painting, I rely on what’s in my mind—what I envision.

In my Imagined Landscape series, I frequently create surreal landscapes (Arcadia, Beyond the Map, Shangri-La), incorporating plant-like organic shapes that emerge from my visual processing. These amalgamations explore the state and quality of being human through plant-inspired forms within imagined landscapes, offering visual and emotional abstractions. My focus on imaginary worlds diminishes the importance of replicating the real world or exact objects. Instead, I express meaning through color and forms. Juxtapositions evoke associations with ideas, which themselves are abstractions. By introducing plant-inspired subjects, I open a vast range of conceptual possibilities within abstraction.

How does your use of oil paint enhance your exploration of organic shapes and imagined habitats?

Oil paint has a fundamentally different application process compared to acrylic paint. I appreciate how oil paint allows for extended working time, enabling me to create subtle gradations in color and form. This capacity for nuance mirrors the tonal variations found in nature, evoking emotional connections and a spectrum of ideas.

Previously, when my work centered more on geographic lines and maps, I preferred acrylic paint because it dried quickly, facilitating precise, expedient work. However, for my current exploration of nature’s ideas, the slower drying time of oil paint is an enriching factor. It provides the

time and flexibility needed to fully immerse myself in painting the emotional and conceptual depth of organic forms and imagined habitats.

What role does your background in color theory play in shaping your compositions?

Color profoundly influences how I integrate organic ideas with abstract shapes on the canvas. During my fine art studies, I conducted in-depth research into color theory while also exploring contemporary art, filmmaking, and painting. Although my approach is inspired by color masters and theorists like Itten, Albers, and Goethe, I constantly test and challenge these theories in my practice.

Color conveys profound emotions and creates atmospheric states, enabling contrasts that give abstraction its scope. It allows for nonverbal expressions and implicit meanings to emerge. My ongoing contemporary art research informs and empowers my current investigations into color theory, propelling me to create new vistas of emotional and visual expression.

How do you approach balancing flatness and depth in your abstract landscapes?

I aim to create a push-pull interaction, a dynamic tension between features representing spatial depth and those signifying shapes as compositional elements. I work with flatness and depth both in the development of shapes and the spatial components of my paintings. Decisions around color, shape, and space energize the compositions, fostering a sense of harmony while maintaining visual complexity.

What draws you to explore imagined habitats as liminal spaces in your paintings?

Through my imagined plant vocabulary, I construct vibrant, imaginary places that offer solace and tranquility. In our chaotic world, I find myself drawn to create peaceful, colorful spaces where plant life thrives with vigor. My paintings express hope, suggesting that there is room for everyone to find and celebrate moments of serenity.

Beyond the Map, oil on canvas, 48x36in

Arcadia, oil on canvas, 48x36x2in

Kelsey Ann Horn

kannhorn.com

kelsey_horn

What draws you to focus on the sentimentality of ordinary moments in your work?

I am a bit of a hoarder—I keep every postcard, coaster, or program from any event. I’ve always felt a need to salvage and tuck away things that connect to a memory. In creating my current work, I’m holding onto moments that might later remind me of something I’ll miss. Perhaps I fear the passage of time, which makes it harder to remember who I was, what I had, and who was with me in those fleeting moments.

How do you use perspective and composition to create the “invasive” feeling in your paintings?

My paintings depict scenes from my daily life, viewed from my perspective. Sometimes, I paint from above my subject, and other times, I capture the view looking up at others. I aim to create a vantage point that places the viewer within

the space of the room—whether sitting on the floor or standing at a table. Some of the people I paint are unaware I’m capturing them, which is intentional. I want to preserve how it felt to be around them in an authentic way.

How has living in Brooklyn, after years in the Mountain West, shaped your recent work?

While living in Western Colorado during the height of COVID, I rarely left the house or saw other people. My work then focused on the immediate spaces I inhabited, exploring how to feel at home while moving frequently. I was far from the people I love most. Moving to New York has shifted my focus and temporarily fulfilled my longing for community. Here, I’m surrounded by friends, closer to family, and see both far more often. However, I’m keenly aware of how the past few years of isolation have altered relationships. I’m deeply sensitive to the fragility of connections and the ephemeral nature of stability and familiarity.

Turkey Roaster, oil on canvas, 20x16in

Walk Near Morgan, oil on canvas, 20x16in

Bowls Of Butter, oil on canvas, 20x16in

Denise Jones Adler

deniseadler.com

deniseadler123

You mention a desire to reveal the spirituality that flows through the human body. How does this concept shape the way you approach portraiture and landscape in your work?

The wonder of creativity lies in our ability to transcend reason and logic. The “rules,” so to speak, are fluid and malleable. When I’m working on a piece—whether it’s a face, a figure, or a landscape—I find myself both grounded in the world and separate from it, in a state of transcendence. The synchronicity that emerges in this space—between joy, work, and the story I’m telling—is where I believe the spiritual vision becomes clear. It’s the artist’s job to discover that vision and translate what they see and feel into their work.

How do you select the materials you use, and what do they symbolize in your pieces?

Words and images are symbols we use to communicate, and I am deeply influenced by the concept of the collective unconscious—a shared reservoir of experiences and archetypes that shape our understanding of ourselves and the world. With this premise, both conscious and unconscious, I select the subject matter, paint, words, pictures, and found objects that inhabit my work. These elements come together to create a syzygy, a sense of wholeness within the piece. The symbols and words serve to convey the emotions and thoughts I experience, allowing the work to communicate on multiple levels.

As a founding member of ArtSpeak Collective and the Pictor Gallery, you’ve played a key role in fostering artistic communities. How has your involvement in these groups influenced your work or approach to artmaking?

The idea behind our collective and gallery is to foster a community of like-minded artists. Among our members, there is a mutual appreciation and respect that is both inspiring and energizing. For me, the interplay among visual artists—observing their processes and creative evolution— has been profoundly illuminating. Curating group shows and exploring other artists’ interpretations of various themes has enriched my own practice. This dynamic exchange of ideas ensures that we are constantly learning and growing from one another.

Your pieces often incorporate elements from magazines and photographs. How do you think these familiar, contemporary images contribute to the timeless or mythical quality of your art?

“For it is the function of consciousness not only to recognize and assimilate the external world through the gateway of the senses but to translate into visible reality the world within us.” – Carl Jung.

Archetypes are not static; they evolve, overlap, and adapt to changing contexts. The feelings I express in my work are not fixed to a single story or interpretation. Humanity continuously changes and adapts, but the lessons embedded in our collective unconscious remain intrinsic to the human experience. While the specific situations may change, the symbols and their meanings persist, allowing them to remain both adaptable and transcendent. By incorporating contemporary, familiar images, I aim to bridge the present and the eternal, creating a dialogue between the fleeting and the timeless.

How do you balance personal expression with the desire for your work to resonate with a broader audience?

My feelings are deeply personal and driven by an internal need for expression. If I’m successful, I believe a natural balance emerges that resonates with others. That said, the process of creation is its own reward, and fulfillment often comes from completing the work itself. Whether or not it reverberates with a broader audience, each piece contributes to the greater body of work and may serve as an essential step toward something else. Every piece is necessary, whether as a standalone expression or part of a larger journey.

Finding the Horizon, mixed media on canvas, 40x30in

Mari Keeler Cornwell

www.daydreampilotstudio.com

daydreampilotstudio

Your creative process includes both traditional and modern techniques, such as sketching in pencil or Photoshop. How do these different methods come together to inform the final outcome of your paintings?

Lately, I’ve noticed an interesting push-and-pull in my art process. I deeply value the tangible nature of creating in a world that feels increasingly digital, yet I can’t deny the convenience and precision of Photoshop. I don’t prefer one over the other—I just use whatever feels right in the moment to bring my vision to life.

This dynamic also plays out on my canvases. Some areas are highly detailed, almost like Photoshop’s precision, while others are expressive and full of bold, thick brushstrokes. Instead of forcing one approach, I’ve embraced both, letting these contrasts add a dynamic quality to my work that excites me.

My process is just as fluid. If I don’t have a clear idea, I start with sketching to loosen up mentally and physically. If I already have a strong visual in mind, I’ll use the computer to flesh it out, sometimes building on scanned sketches in Photoshop.

When I bring ideas to the canvas, the results can be unpredictable—sometimes a perfect translation, other times the first layer of something entirely new. That unpredictability keeps things spontaneous and fun. Giving into it has been therapeutic, becoming an essential part of my creative process.

How do you feel your personal experiences and the stories of the remarkable women in your life influence the way you approach your art?

These experiences have given me a clear purpose as an artist: to help women who need a boost of confidence or self-esteem feel seen and heard. I try to reflect the confidence and strength I saw in the women I grew up around, giving my subjects that same air of determination and self-assurance. Thinking about their impact has also shaped the way I approach my work, helping me feel more confident and unapologetic in what I create.

You mentioned being inspired by artists like Mary Cassatt, Cindy Sherman, and Egon Schiele. How do their artistic styles or themes resonate with you, and how have they influenced your figurative approach?

Cindy Sherman—what a force! She’s unapologetically bold,

persevering, and fully owns her space as an exceptionally imaginative photographer. Her work explores and evokes womanhood and individuality in such a powerful way. I just love her guts.

Mary Cassatt inspires me with her impressionist style and her ability to earn respect and acceptance as an artist during a time when women faced countless barriers. She broke boundaries, and her technique is absolutely exquisite.

As for Egon Schiele, I’m drawn to his loose, bold style and the daring energy in his work. While his subjects often contrast with my perspective on celebrating women, I can’t help but admire his artistic techniques, line work, and compositions.

How do you find inspiration for your art while also dedicating time to teaching English to migrant students?

Every day, I’m inspired by the resilience I see in my family, friends, colleagues, and students. Working with migrant students, I’m constantly amazed by their strength, determination, and ability to adapt in the face of challenges. This feeling is amplified by my responsibility to guide and support these young minds as they navigate a new language and culture.

Their stories and perseverance genuinely influence my art. They remind me of the importance of resilience, hope, and humanity—all themes that naturally find their way into my work. My students are a significant part of my mission, both as a teacher and an artist. I want them to see their potential, understand their worth, and feel empowered. At the end of the day, it’s love and passion that drive me, and I try to pour those into everything I do—whether in the classroom or on the canvas.

Given that many of your works focus on the untold stories of women, what message do you hope to convey to viewers?

If my paintings give someone even an ounce of pride—whether it’s pride in a woman in their life, in themselves, or in the woman portrayed on my canvas—I feel I’ve achieved my goal. I aim to highlight the untold stories of women, celebrating their strength and resilience. By doing so, I hope to inspire viewers to recognize and appreciate the powerful narratives that might otherwise go unnoticed.

Mary, acrylic on canvas. 36x56in

Hannaleah Ledwell

www.hannaleahledwell.com

hannaleah_ledwell

How does the influence of cubism enhance your exploration of multiple perspectives in a single moment?

When I first saw Les Demoiselles d’Avignon, it felt like something clicked inside me. The way the forms were fragmented—creating both a flatness and a departure from realism while diving deeper into the essence of form— absolutely captivated me.

That fragmentation and the exploration of multiple perspectives resonate deeply with my practice, where memory and mutable narratives play significant roles. Memory is often fragmented and pieced together, and these cubist principles allow me to layer and juxtapose different elements. By showing multiple perspectives within a single moment or image, I aim to capture the messy, jumbled nature of memory—imprecise, yet rich and complex.

How does living with chronic illness shape your artistic approach and themes?

Living with chronic illness has profoundly shaped the way I create. I was diagnosed with type 1 diabetes when I was three, and since then, every moment of my life has been spent monitoring how I feel and what I eat. This constant state of vigilance has naturally influenced my practice, making the body a central subject in my work. That heightened awareness has become a tool, enabling me to translate a multitude of feelings into my art.

Recently, chronic illness has become a larger theme in my work. I started a project called Where We Go to Heal, where I collaborate with others living with invisible illnesses and disabilities. I illustrate the spaces they go to recenter, self-soothe, and heal. Working on this project has been a beautiful experience. People with invisible diseases often feel like part of them remains unseen, and this project sheds light on what it’s like to live with chronic health conditions and disabilities. It’s been a meaningful way for both myself and the participants to share and connect.

Why do you choose fluid narrative structures to guide your work, and how do they shape your images?

During my undergraduate studies, I took a course on Inuit art history, which introduced me to the oral tradition’s emphasis on stories being shaped by the narrator’s experience, memory, and imagination. This acknowledgment and celebration of mutable stories resonated deeply with me and continues to influence my work. I believe it’s fundamentally important to recognize that every narrative comes with multiple perspectives.

To emphasize this flexibility, I intentionally fragment parts of my images so they’re not entirely straightforward. For instance, instead of depicting a clear scene of two people having a picnic in the park, I might show two figures eating but with too many arms, too many feet, and shifting perspectives within the figures. This approach creates a more dynamic and imaginative image. To me, the magic happens when there’s room within a piece for viewers to construct their own narratives.

What role does memory play in your creative process when working without visual references?

Memory plays an integral role in my creative process, rooted in the self-awareness I developed growing up with a chronic illness. Managing my health required me to remember tiny, life-or-death details, which helped me develop a particularly strong sensory memory. While it’s been both a blessing and a curse, it’s a huge asset when it comes to painting.

My ability to summon images and sensations from memory means I’m not reliant on photos or live models. I can work purely from memory, blending it with imagination to create something entirely new. When I paint, I often construct an image by combining what I see in my mind’s eye—whether recalled or imagined—with muscle memory. This helps me capture how my body feels in certain poses or spaces, giving more depth and movement to my work.

Because my process embraces the fragmented ambiguity of memory and fluid, adaptable narratives, it allows for a lot of freedom and exploration in my art.

How do you hope viewers connect with the themes of vulnerability and healing in your work?

Painting is an intensely personal process for me—it’s where I go to dig deep and process emotions. Because of that, my work often reflects intimate and vulnerable experiences.

I believe there’s something profoundly human about sharing these emotions with others. People crave connection and want to know they’re not alone in their experiences. Seeing parts of their own lives reflected in someone else’s work can be deeply comforting. By sharing my experiences through my art, I hope to create a space for others to connect with themes of vulnerability and healing in their own way.

Aux doigts de Rose, oil on canvas, 48x36in

Moonbeams, oil on canvas, 30x36in

Aura Lewis

auralewis.com

auralewis

Your work often engages with feminist themes and social activism—how do these influences manifest in your art, and how do you hope to inspire change through your visuals?

In my work, I center women in intimate, everyday scenes, aiming to highlight their beauty and strength in moments that are often overlooked. I believe the personal is political, and by portraying diverse women in familiar scenarios, I seek to promote inclusivity and inspire empathy.

How does your background in illustration influence your approach to creating fine art pieces on a larger scale, such as with acrylics on canvas?

My illustration work is narrative-driven, detail-oriented, and often playful or metaphorical. I’m interested in applying these

elements to my large-scale pieces, aiming to create art that tells a story. I hope this fusion of illustration and fine art enables my work to be both visually striking and meaningful.

What draws you to explore the theme of memento mori, and how does it shape your understanding of the human experience?

My fascination with and fear of life’s transience has been with me since I first discovered the concept of death as a young child. By exploring the theme of memento mori, I invite viewers to confront their own mortality and cultivate a greater appreciation for the present moment. I weave elements of memento mori into otherwise vibrant scenes to highlight the beauty found in the fragile nature of life. By addressing this theme, I aim to create works that are both deeply personal and universally relatable.

Broken, acrylic on canvas, 17.7x7.9in

How does your interest in fashion and cultural history influence the imagery and symbols you use, especially when exploring complex themes like life, death, and decay?

I draw inspiration from various visual influences, including historical art and fashion. The theme of memento mori, for instance, has a rich history in art, and I reference these works and their themes to inform my own exploration of mortality. Meanwhile, I see fashion as a celebration of life. It influences my color palette, aesthetics, and sense of play, which I hope adds vibrancy to my pieces.

Your work has appeared across many mediums, from children’s books to murals. How do you adapt your artistic approach when transitioning from one medium to another, and what do you enjoy most about this diversity in your practice?

I love the creative challenge of making art for diverse mediums and audiences. Whether crafting children’s books or murals, I strive to bring similar elements of playfulness, vibrant color, and storytelling to each project. This versatility allows me to grow as an artist, pushing the boundaries of my style while maintaining a consistent thematic and stylistic thread throughout my work.

Memento Mori, acrylic on canvas, 29.9x23.6in

JOVANITHA LE LONG

jovanitha.com jovanitha_oilartist

Your journey from law to art is incredibly inspiring. What was the pivotal moment that led you to pursue art fulltime, and how has that decision transformed your life?

In 2018, I started taking evening art lessons, and it completely changed my life. I couldn’t stop—it felt like I had freed the little girl inside me, a part of myself I didn’t even know was there. I began sharing my paintings on Instagram, and to my surprise, people started asking if they were for sale. In 2020, a Japanese gallery reached out to me, and that’s when I decided to give the artist’s life a shot.

Art has revealed my true self to me. I always felt a little different, but I was ashamed of it and worked hard to fit into the box. It was as if I had been living under a safety blanket, and art removed it, saying, “Hey, little weirdo, get out there and shine your bright light. The world needs it now!”

Bold colors, simple lines, and playful compositions define your artistic style. What initially sparked your interest in this approach, and how did you develop such a distinctive creative voice?

As a lawyer with no prior interest in art, I began exploring it by attending museum tours— it was like an accelerated art history course. My goal was to “find my style.” I also read extensively, but it was during an art therapy session that everything clicked. It taught me to stop thinking from my brain and start feeling with my heart, trusting my intuition. At first, it was difficult, but over time it became easier as I gave myself permission to simply be me.

My art teacher noted that my drawing style leaned toward pop art, and I found myself drawn to artists like Keith Haring, Roy Lichtenstein, and Niki de Saint Phalle. These influences, combined with my

journey of self-discovery, helped me develop my distinctive creative voice.

Food often takes center stage in your paintings. What role does it play in your creative process, and how do you choose the subjects for your still-life compositions?

Food has always been a significant part of my life, thanks to my father, who was a chef. My love for food even influenced my decision to move to France at eighteen. In the studio, I draw inspiration from my daily life and the things that bring me joy. Early in my painting journey, I focused on retro toys because of my vintage soul, but one day, I painted a plate of lemons and had so much fun that it sparked a new direction.

Since then, I’ve been creating an ongoing series featuring fruits and vegetables. Sometimes, I’m drawn to tropical fruits that remind me of my home country, Mauritius, while other times, it’s the shape of a vegetable that captures my attention. I also love painting desserts because of my sweet tooth. Painting food makes me incredibly happy—it’s the perfect blend of my passions.

You’ve mentioned that painting helps you quiet your mind and break the cycle of ruminating thoughts. How has creating art influenced your relationship with neurodiversity, and what does achieving stillness mean for you?

In addition to being on the autism spectrum, I was diagnosed with ADHD, which means my mind is often overwhelmed with thoughts, making it hard to focus. Painting grounds me. When I paint, I’m fully present, and it feels amazing. The world becomes silent, almost like a prayer. I feel deeply connected to the divine and my soul.

Vanilla And Strawberry, acrylic and beads on canvas, 8x12in

Art has also helped me embrace my neurodivergence. Growing up, I never knew how to behave in social settings and was often labeled as “too much.” It was painful, but seeing how much joy my art brings to me and others has made me view my neurodivergence as a gift.

Your work has been exhibited internationally and featured in several prominent publications. What has been the most meaningful milestone in your career so far, and what goals are you excited to pursue next?

Exhibiting at the Superfine Art Fair in New York City in 2023 was one of the highlights of my life. It was my first time

in the United States, and seeing people light up as they approached my booth was magical. I was initially anxious about being overwhelmed by the crowd, but the joy of connecting with people replaced my fear. I was able to be my authentic, “weird” self, and it felt amazing.

My immediate goal is to find beautiful homes for the beaded ice creams I’ll be exhibiting at the Superfine Art Fair in San Francisco this March. My ultimate dream is to open a cookie shop in Paris and have a solo show in NYC for my 40th birthday next November.

Citrons, oil on paper, 16x12in

Karen Mainenti

karenmainenti.com

kmainenti

What draws you to spaces like suburban landscapes, especially malls and highways, and how do you find beauty in what many consider mundane?

As a New Yorker, I’ve often wanted to hide the fact that I grew up in suburban New Jersey. Notorious for being unsophisticated, trashy, and full of strip malls, I feared my roots would somehow reveal me as an imposter. But I’ve recently started to suspect that my childhood, surrounded by brand names, signage, and consumer products, might hold more value and depth than I once realized. My research revealed that I grew up near some of the earliest malls built in the United States—initially regarded as ambitious and innovative civic architecture designed to foster community in the suburbs. In other words, these are not low-brow monstrosities at all.

In my Garden State series of paintings, I simplify the structures and shapes to emphasize the modern geometry of malls, stores, and signs, while reinventing them with a palette of pastel hues to highlight the optimism with which they were originally conceived.

Your work often reimagines the familiar through consumer products and advertising imagery. How do you decide which elements to appropriate, and what is the intention behind these choices?

I often frame the familiar within a new context to reveal deeper meaning. In this series, I retained store logos to signify a specific time—the 1980s and 1990s—and the ubiquity of chain department stores across the United States. Set against the simplified forms of the buildings and otherworldly colors, I want the viewer to look more closely at these structures that are often dismissed as eyesores today.

Some of the mall architecture I chose to represent was so unexpectedly majestic that I omitted all signage to draw more direct associations with the monumental buildings we now regard as cultural icons.

How does humor shape your message and connection with viewers, especially when addressing themes of consumerism and design?

I can’t help but notice the hilarity or absurdity—often both!— in particular products or advertisements, realizing they inadvertently reveal essential truths about our society beyond what they are trying to sell. These moments frequently inspire me to delve into a new series of work.

I also incorporate humor into my art to make challenging ideas more accessible for viewers. By presenting these ideas with humor, I aim to invite contemplation without confronting audiences too directly, allowing the themes to resonate more easily.

Having exhibited in notable spaces like SPRING/BREAK Art Show and The National Arts Club, how has your exposure to different art communities influenced your artistic practice and approach to storytelling?

Every exhibition offers a chance to view my work from a fresh perspective. Sometimes,

Lord & Taylor, Fashion Center, flashe on panel, 12x16in

the space itself dictates what I create. For example, the SPRING/BREAK Art Show provided an opportunity to focus on audience engagement and create a “spectacle.” They provided the blank slate—a 10-foot-square booth—that my curators and I filled with an immersive installation of a feminist beauty boutique exploring masculine and feminine archetypes. We even produced a special edition of No More Lip Service lipsticks to sell at the fair, inviting attendees to participate by trying on the lipstick and taking selfies at a mirrored vanity station.

On the other hand, most group shows don’t allow for this level of customization. Instead, it’s about my work being in conversation with other pieces and creating new connections for viewers. My story becomes part of the larger narrative the curator wants to tell. As an artist, seeing my work viewed through a different lens can be revelatory and often leads me down unexpected paths in my own practice.

You explore the intersection of architecture, idealism, and place. How do you see your role as an artist in engaging with these cultural concepts and offering new interpretations of our surroundings?

My Garden State series began as an exploration of something personal: how the oft-maligned visual landscape I grew up in shaped my design aesthetic. Viewers have shared how they hold similarly powerful associations with the department stores and malls of their youth, especially now that so much shopping has moved online.

I’m interested in how consumer spaces don’t just sell products but also an unattainable idealism. They promise a perfection that subtly shapes our desires and identities in profound ways. Much of my art speaks to the impossibility of attaining this perfection while still honoring the inherent value that lies within these spaces and their nostalgic associations.

Stern’s, Bergen Mall, flashe on panel, 11x14in

Shawn Marshall

shawnmarshallart.com

shawn_marshall_art

In what ways does your background in architecture and design shape your approach to mixed media art and collage work?

My approach to collage and mixed media art is deeply influenced by my background in architecture and design. This foundation shapes how I think about space, structure, and composition, as well as how I use materials and techniques. My architectural studies taught me to consider spatial relationships, balance, and the interaction of elements within a framework. I approach my collages in a similar way, treating them as constructed spaces where layers of imagery and textures are carefully arranged to create depth, dynamic interplay, and ambiguous narratives.

Design adds another dimension to my process, informing my attention to detail, proportion, balance, and material choices. It influences how I juxtapose colors, patterns, and textures to create visual tension and harmony. Together, architecture and design provide the tools and perspective I use to deconstruct and reconstruct spaces in my collages, inviting viewers to explore new interpretations of the built environment and its relationship to the natural world.

Your work explores the connection between the built environment and the natural world. What interactions between these two realms do you aim to highlight in your pieces?

My work often examines the imprints of human presence on the natural world and how these realms influence and reshape one another. I aim to highlight both the tension and harmony that arise from these interactions, focusing on how we construct and consume space, as well as domestic imagery and objects. By layering architectural elements with organic or domestic imagery, I explore themes of permanence, fragility, and transformation, inviting viewers to reflect on the marks we leave behind and the fleeting coexistence of built and natural environments.

Additionally, I sometimes incorporate feminine imagery to challenge societal perceptions of women’s roles and how they are often portrayed. This allows me to question traditional narratives and stereotypes associated with femininity and gender roles, encouraging viewers to consider these depictions and their broader implications.

Repurposing materials plays a key role in your art. What impact does this have on your artistic vision and your message about consumption and waste?

Using discarded, found, and gifted materials is both a practical and conceptual choice. It aligns with my concerns about waste and consumption while offering a tactile connection to the themes of my work. Repurposing materials transforms the work into narratives that challenge viewers to find beauty and meaning in the overlooked and discarded.

Repurposing old materials and imagery also allows me to play with dated and nostalgic ideas of domesticity, space, and gender roles, questioning stories and perspectives of the past. This practice mirrors the cyclical nature of consumption, creation, and waste, reinforcing my message about the environmental and societal consequences of our actions and ideas.

When combining contrasting elements in your collages, what guides your choice of images, and what emotions or ideas do you hope to evoke in your audience?

My choices are guided by an intuitive response to space, texture, color, and form, as well as my desire to disrupt familiar narratives. I seek out imagery that contrasts yet complements, layering architectural and domestic spaces with organic or abstract forms. I also look for images with strong perspectives and shadow elements to enhance depth, often evoking spaces that feel immersive and dream-like.

By shifting the orientation of spaces or objects within the composition, I create unexpected juxtapositions that invite viewers to question their perceptions. I aim to evoke a range of emotions—from intrigue and nostalgia to unease—while encouraging deeper reflections on themes of memory, identity, and our relationship with the environments we inhabit.

It’s important to me that these narratives remain abstract and open to interpretation, allowing the audience to engage with the work and uncover their own personal meanings within the fragmented yet cohesive visual language.

Attending the Venice Biennale and participating in artist residencies must have been inspiring experiences. How have they shaped your artistic journey and influenced your approach to new projects?

My artist residency at the Jen Tough Gallery provided invaluable time to focus on exploration and growth. It strengthened my confidence in pursuing ambitious projects and deepened my commitment to pushing the boundaries of my practice. Santa Fe, with its unique cultural and natural environment, inspired an entirely new series of work, encouraging me to experiment with fresh ideas and approaches. Immersing myself in the city’s rich artistic community and stunning landscapes challenged me to think differently about my process and subject matter, resulting in a body of work that reflects both personal growth and a renewed sense of creative direction.

The Venice Biennale exposed me to a wide range of artistic practices, pushing me to think more critically about my work’s conceptual depth, materiality, and meaning. Experiencing the works of hundreds of artists from around the world, all centered around shared themes, was profoundly powerful and meaningful.

For example, the layered, narrative-driven approaches of artists like Julie Mehretu and Beatriz Milhazes resonated deeply with my process, inspiring me to further experiment with abstraction, depth, and narrative in my collages. The Biennale encouraged me to continue weaving together complex layers of imagery and meaning to create compositions that are visually dynamic and conceptually rich.

Chapel, collage on cradled Panel, 12x12in

Julie Mostafa

portraitsandcranes.com portraitsandcranes

How has your heritage and early travels influenced the way you photograph cities?

Being biracial and having the opportunity to travel and learn about my roots in their respective lands and languages has given me a deep appreciation for diversity. I feel this fuels my curiosity for places—knowing that each one is, in its own way, as complex and important as the places I come from. I love photographing what makes them unique but also strive to capture views that the everyday person sees and that tourists might overlook. I also come from a family of thinkers—a civil engineer and a builder—so I am naturally inclined to capture projects they would have found interesting, as those were the things we grew up discussing.

As both an architect and a photographer, how do you balance the technical precision of your architectural training with the playful framing and storytelling that define your artistic style?

As an artist, my job is to present something that makes you feel and think. That is what all artists aim to do. Because of my background, when I photograph places, I do so with a technical understanding of why certain elements are designed in a particular way—why a curve in a road is implemented, how load is transferred from one side of a building to another, why specific materials are chosen, and so on. These reasons, these truths, draw me in, and I try to capture them. I work heavily with focal points and focus my lens on just enough of the frame to highlight these elements in a way that honors them while telling a larger story. I aim to make viewers’ eyes move around an image, layering multiple stories where possible, to create a rich visual experience.

What guides your choice of stories or educational themes in your photo essays?

As a storyteller, I focus on stories and concepts that make the history

of architecture more accessible and engaging. I highlight the historical significance of structures—how they were revolutionary for their time, how they were technically built, and how they were used. I also focus on universal concepts that can be applied to and observed in cities everywhere. This approach makes architectural theory more relatable and comparable to the reader’s own city. The decision to present a single image or a full series with an essay depends on how specific or universal the story is. For example, when I visited Mexico City, I was drawn to a particular structure because of its design and materiality. After photographing and researching it, I discovered its history, stylistic influences, and the fact that it is entirely mobile and had been relocated from another country. This process—starting with curiosity and leading to deeper discovery—reflects how I layer my work: the more one searches, the more one finds. The depth of the story determines how much I choose to share.

Can you share a time when your work sparked curiosity or inspired a member of your audience to think differently about their environment?

Yes! In 2023, I started printing my work and attended a few markets with prints of photographs from my travels. I observed how people were drawn to different prints and would share the backstory or point out specific elements in the images.

I loved seeing their reactions and engaging in thought-provoking dialogue. Many people shared their travel stories or dreams with me. In nearly every interaction, I found a print that resonated with them, whether by place or theme, and encouraged them to share more about what they had brought up. I noticed a shift in their body language, a glow in their eyes, or a moment where their minds seemed to wander. Many told me they had never considered thinking about places in this way and promised to visit certain locations in the future. While I wasn’t the best salesperson, I valued these conversations and believe I helped a few people see Place in a new light.

What’s your vision for your photography studio and its focus on teaching?

The decision to open a space happened somewhat haphazardly, thanks to several factors aligning at the right time. I was doing editorial and clothing brand photoshoots in a vacant shop when I started considering opening a brick-and-mortar studio. I had always planned to conduct educational workshops in the countries I visit, so I already had the framework and materials for teaching. Then, the vacant shop became available—it happens to be on the same city block as an elementary school in my hometown,

close to where I grew up and went to school. The opportunity felt inevitable.

The studio will feature a workspace for photoshoots, childfriendly interactive photography equipment, a photobook nook, and an exhibition wall showcasing work by myself and others. All of this will be accessible to the public, encouraging community involvement with photography and architecture education. The space is scheduled to open this spring, and you can learn more about it by visiting the website, PortraitsandCranes.com.

Damnation, digital photography, 16x20in

Andrea Myers

www.andreamyersartist.com andreamyersart

Your practice involves deconstructing textiles to create new forms. Can you share how this process is a metaphor for your personal experiences or cultural observations?

By compiling various types of donated and repurposed fabrics into reconstructed soft surfaces, I gather fragments of time, places, people, and experiences. Colors, textures, and densities fuse as I use a sewing machine and handstitch line work repeatedly over a variety of textiles, creating new cloth from disparate remnants. Metaphorically, the color choices reflect passing emotional states, as I intuitively place color and line each day I work in the studio, embedding my shifting moods and feelings. The resulting panoramic patchworks combine my own lived experiences with deconstructed garments that hold the lives and stories of a diverse range of people.

How do you decide which materials or fabrics best represent the themes you’re exploring in a particular piece?

In many of my works, my material and fabric choices echo the sites and communities where I gather textiles through collection, donation, and repurposing. At times, a specific fabric, such as denim or T-shirt material, inspires the concept of my works and installations. Other times, I begin with a collection of colors that I respond to as I build the surfaces. My works reflect an interplay of intuition and gesture, combined with initial sketches and designs. I intentionally leave space in my process for the pieces to shift and change as I work, allowing for happenstance and improvisation.

Zickzack, machine sewn fabric collage installation, 15x22in

With a focus on reclaiming “women’s work” and pushing the boundaries of painting, how do you see your art challenging traditional gender roles or expectations in the art world?

I position my work as a hybrid of craft and fine art, dissolving the perceived boundaries between the two. Growing up with a mother who sewed quilts and clothing for me, I was inspired by the materiality of sewing but less interested in the notions of perfection and symmetry tied to quiltmaking and garment construction. As I developed as an artist, I began to approach fabric as a painter approaches tubes of paint, selecting colors to collage and form painterly compositions with soft, rectangular strips of fabric. For me, reclaiming “women’s work” means engaging with fiber art in a more rebellious and unapologetic way—making my own rules around sewing and construction while expanding my practice into immersive installations that take up space as a female artist.

How does your time spent in different residencies, like those in Latvia and New Orleans, influence your work?

My wide-ranging experiences through domestic and international residencies have profoundly impacted my view of the world and provided rich inspiration for my work. At every residency, I seek out local fabric stores and incorporate textiles from the area into my pieces. The color sensibilities of specific landscapes also inform my work, responding to the architecture, design, and fashion of each community. Residencies have been a crucial component of my growth as an artist, granting me the invaluable gifts of time, focus, and exposure to new ways of seeing and living. They allow me to step away from the familiarity of my

daily life and see the world in new, often humbling, and lifechanging ways.

Currently, I am in Tokyo for three months as part of the USJapan Creative Arts Fellowship. Here, I am struck by the diffused, pastel quality of light and the soft tones of tiled buildings, as well as the neutral palette of fashion, including creamy shades of gray, beige, white, and black. Immersion in Japanese culture and its visual environment is already influencing my work and will continue to do so.

In your large-scale works, such as your “gesture quiltmaking,” you combine colors and textures to create abstracted landscapes. What role does abstraction play in your exploration of memory and personal experience?

To me, abstraction creates space for the viewer to become my co-author. Working abstractly allows for multiple interpretations, giving the audience room to bring their own emotional responses to the colors, patterns, and scales in my work. I see abstraction as an accessible art form—one that invites diverse perspectives to coexist.

Over time, the scale of my work has grown into immersive textile installations composed of donated and repurposed fabrics. These site-specific, large-scale spaces feature soft, textured walls and surfaces made from familiar, utilitarian materials. The installations evoke a haptic experience, creating a sense of familiarity akin to wearing a favorite T-shirt—a known second skin—amplified into an architectural color field. This interplay of texture, scale, and abstraction transforms personal memory into a shared, embodied experience.

Moonlet, Eclipse Echo, Shadow from the Sun, machine sewn fabric collage triptych, 67x201in

Yooyeon Nam

yooyeonnam.modoo.at yooyeon_nam

How has your move from South Korea to New York influenced your exploration of alienation and belonging in your art?

Moving from South Korea to New York deeply shaped my exploration of alienation and belonging. In Korea, I painted without formal training, focusing on technical skills and discovering my artistic preferences. My transition to Pratt Institute in New York—a city rich with artistic opportunities—shifted my focus to self-expression. Being an outsider in both Korea and New York heightened my awareness of alienation. In Korea, transitioning from studying business to pursuing art set me apart, while in New York, differences in gestures and behaviors reminded me of my foreignness. This dual experience led me to reflect on historical and structural alienation, especially from the perspective of a Korean, whose country transformed from dictatorship to democracy through collective efforts. Paradoxically, leaving Korea deepened my understanding of my identity and inspired my work. My art now depicts fantastical, eerie worlds where the alienated belong, capturing the paradoxical tension between exclusion and inclusion.

What inspired the creation of your characters, and how do they represent your cultural heritage and personal displacement?

The creation of my characters stems from my fascination with paradoxes and the uncanny nature of the world that is full of alienation. Everyone, at some point, experiences otherness— whether due to culture, gender, race, or simply the human condition. Yet, even in estrangement, there remains a connection to the surrounding world, creating a paradoxical in-between state. I aim to capture this tension in my work, embedding it into the essence of my characters. They exist at the boundary between human and monster—familiar yet unsettling, evoking fear and cuteness simultaneously. Their baby-like, noseless faces convey innocence but also raise questions about survival, adding a layer of eeriness.

These characters reflect both my cultural heritage and personal experiences of displacement. As a Korean, I became acutely aware of cultural differences when engaging with people from other countries. While I strive to maintain eye contact and smile in such interactions, I am reminded of Korean norms where politeness involves avoiding direct eye contact, focusing on the philtrum instead, and expressing emotions subtly. These cultural traits inspired my characters’ features: downcast eyes, neutral expressions, and, in some cases, a lack of pupils. Even when

pupils are present, they avoid direct eye contact, and strings emerging from their eyes obstruct the view. By combining these cultural nuances with universal themes of alienation, I try to make my characters transcend personal experiences, embodying the tension between familiarity and otherness.

Your characters’ juxtaposition of cuteness with suffering and violence creates a powerful sense of uncanniness. What drives you to explore these paradoxes, and how do you want viewers to interpret these emotional contrasts?

My exploration of paradoxes, such as the juxtaposition of cuteness with suffering and violence, reflects my interest in the world’s complexities. From a young age, I was drawn to politics and structural violence, intrigued by how cruelty operates on a national or systemic level—often beyond individual control. While I have not directly experienced traumatic or historical violence, I have symbolically expressed these themes through metaphors. Early in my artistic journey, my work leaned heavily on horrifying imagery. Over time, I recognized the counterforces to violence—humor, beauty, and resilience—shaping my focus on paradoxes and dualities.

I aim to depict these opposing forces simultaneously, creating images that embody both grotesque and familiar qualities. My characters, such as cute, blank-faced figures with unsettling features, represent this tension. Their calm, under-expressive faces symbolize acceptance of extreme situations, much like one recalling a tarot reading or oracle with detached understanding. These figures reflect the world’s dual nature—violent and tragic yet also beautiful and laughter-inducing.

I encourage viewers to interpret these emotional contrasts through their own perspectives, applying personal narratives to my symbolic works. My hope is that they approach their contradictions with greater flexibility, finding resonance in the strange yet relatable. By exploring the duality of beauty and uncanniness in my work, I aim to inspire reflection on life’s paradoxes and the acceptance of its complexities.

In what ways does your admiration for Buddha sculptures and their idealized forms influence your work? Are there other artistic traditions that also shape your practice?

My admiration for Korean Buddhist sculptures significantly influences my work, particularly their abstracted, idealized forms.

These sculptures simplify and refine features, such as smooth fingers without visible joints and flowing drapery that transcends natural fabric folds. I apply similar distortions in my characters, whose sharp-edged eye sockets and nearly round faces evoke both humanity and otherworldliness. This abstraction allows me to create figures that feel both familiar and strange, echoing the serene yet surreal qualities of Buddhist art.

Color also plays a crucial role in my practice. While I draw inspiration from the reds, greens, and indigo blues in Korean Buddhist art, my color palette also reflects the influence of Post-Impressionist painters like Gauguin, Vuillard, and Munch. I embrace intense, vibrant hues to build fantastical worlds and often explore rich dark tones to vividly depict dimly lit scenes.

I also incorporate Post-Impressionist techniques, such as rough brushstrokes and impressionistic lines, while juxtaposing them with areas of detailed rendering. This combination adds depth and complexity to my work, allowing viewers to engage with different styles within a single piece.

With your recent residencies and artist visa, how do you see your art evolving? Are there new themes or collaborations you’re excited to explore?

With my artist visa, I have gained stability in New York, which has allowed me to collaborate with galleries and secure more

exhibition opportunities. This sense of stability has provided me with the mental space to focus on my art, and I have set a goal to create new works for each upcoming exhibition. During my residencies, spacious studios and ample time have allowed me to experiment with varied compositions in a more open and relaxed environment. I used to feel compelled to make dynamic, maximalist works, but through these experiences and by meeting artists from diverse backgrounds, I have freed myself from those constraints. I now believe I can explore a wide range of ideas simply by painting more.

In my latest series, “In the Face of”, I have simplified my compositions to entirely focus on my characters’ large faces with strings, which marks a shift from my previous work. Additionally, creating smaller works, like those for the “5x7 Show,” has allowed me to execute quick ideas that I previously left undeveloped.

Looking ahead, I am excited to expand the “In the Face of” series, exploring the hidden emotions between two or three closely connected individuals—such as a mother and daughter, sisters, or lovers—and including interactions between characters in dynamic poses. I am also looking into Egon Schiele’s dramatic poses for inspiration.

GRACE NGUCHU

www.gracewnguchu.com

gracewnguchu

Your journey from Nairobi to Austin has been so inspiring. How has your upbringing in Kenya influenced your creative vision, and how has your artistic perspective evolved since moving to the United States?

I grew up surrounded by lush green forests, expansive mountain ranges, savannah grasslands, and a pristine coastline, which inspired me to create art that celebrates nature and landscapes as a way of honoring my childhood memories. Since moving to the United States, my perspective has shifted, particularly because I no longer live permanently in Kenya. I now visit once a year to see family, and during these visits, I’ve noticed dramatic changes to the landscape. Areas that were once untouched natural spaces are now being overtaken by development and urbanization, leading to increased conflict between humans and wildlife. It’s heartbreaking to witness these parts of the country vanish. Living in the U.S., a place with a strong emphasis on environmental awareness and climate change, has further influenced my art, prompting me to include humans in my work to highlight our role in preserving the natural world as a form of environmental activism.

Nature plays such a prominent role in your work. What draws you to the natural landscape as a central theme, and how do you convey its beauty and significance through your visual storytelling?

I’m drawn to portraying the natural world as a central theme for a few key reasons. First, I want to highlight the beauty of the Kenyan landscape, inviting viewers to appreciate it and perhaps even inspiring them to visit the country one day. Second, my work serves as a means of raising awareness about the critical issue of environmental preservation, acting as a form of environmental activism. I aim to capture the beauty and significance of these themes through bold colors, which represents the striking beauty of the landscape. Additionally, I select specific landmark features to paint because of

the rich history they carry and the sense of adventure they evoke.

Your art is both personal and universal in its exploration of environmental themes. How do you balance personal memories and larger environmental concerns in your work, and what message do you hope to convey to viewers?

Balancing personal memories with larger environmental concerns is a delicate process, as I try to bridge the individual and collective. It’s a case of where my personal experiences intersect with broader issues, and I’m trying to use my personal stories to evoke a deeper understanding of the environmental issues.

When it comes to my personal memories, they can act as a miniature representation of a larger universal. For example, when I highlight a particular landmark area, for me it’s tied to exploring the nostalgic longing of being close to my family and how that place invokes a sense of wonder and adventure but also drawing attention to the fact that the place is endangered or under threat of disappearance. The message that I would hope to convey to viewers is that we all have a relationship with the environment, and that it’s not just a distant issue but something that touches all of us, in big and small ways. The changes in our surroundings, whether through climate change, urbanization, or the loss of nature, are deeply personal, and yet they reflect a shared global struggle. My hope would be to inspire reflection—about how our memories, stories, and actions are all part of the larger tapestry of the world’s environmental future.

You’ve mentioned that comic books were an early source of inspiration for you. How has that early love of narrative and illustration shaped your artistic style and approach today?

My early love of comic books introduced me to the power of

Move Mountains, I See It Through, acrylic on canvas, 30x40in

narrative combined with illustration, showing me how visuals could tell a story in a way that words alone sometimes can’t. The bold lines, and colourful expressive characters in comics inspired me to think about how I could use these elements to communicate emotions, ideas, and themes in my own work.

My approach to color and composition is also influenced by the bold, graphic style of comic books, but I have combined this with the natural landscapes and environmental themes that are central to my work.

Since launching your art career in 2018, you’ve developed a distinctive voice and exhibited your work in various spaces. What has been the most meaningful milestone in your career so far, and what are you excited to create or accomplish next?

The most meaningful milestone in my career so far, has been the opportunity to exhibit my work in places that engage a diverse audience whether online or public. I was surrounded by viewers who were not only connecting with the visual elements but also the environmental message behind it which was incredibly validating. It confirmed to me that, my art was speaking to something larger than myself, and it has fueled my passion to keep creating.

Another significant moment was when I did Artist Talks through Visionary Art Collective online artist community, Women & Their Work and a podcast through The Artist Advisory. It felt great to share my art work and point view with other fellow artists and collectors, who understood the deeper themes in my work, particularly around environmental activism and the intersection of personal memory with global issues. This kind of recognition has pushed me to refine my voice and broaden the scope of my projects, encouraging me to take more creative risks.

I am looking forward to incorporating more portraiture in my works and exploring different mediums and colors. I will continue to also create pieces that encourage viewers to not only appreciate the beauty of landscapes but also reflect on their role in preserving them. I would love to collaborate with environmental organizations just to continue to enhance global environmental awareness education.

I would love to collaborate with environmental organizations and to continue working on expanding my work internationally, sharing stories and perspectives that will bring attention to urgent environmental issues from a personal, yet globally relevant, point of view.

Look! For Your Dreams Are Out There, acrylic on canvas, 18x24in

Barbara Owen

www.barbaraowen.net

babsowen

Color plays a central role in your practice. How do you approach color selection, and what emotions or thoughts do you hope to evoke through your use of vibrant hues?

Color evokes powerful memories for me. Growing up in Maine, I spent a lot of time outdoors. I hiked through dense viridian forests, skied on crusted, milky snow sparkling with silver, stretched my body on black stones warmed by the sun, and swam in rivers and lakes every shade of blue. These experiences have formed memories of landscapes with me in them. I feel most alive when I am in these beautiful places. The challenge lies in translating the awe and beauty of these moments and my own sense of self into my artwork. The best way I know how to achieve this is through the use of color.

Your work blurs the boundaries between painting and sculpture. Can you share how this duality influences your creative process and the viewer’s interaction with your art?

My practice is guided by metaphor, material exploration, and abstract thinking. These are not just tools but are at the very essence of my work. They allow me to challenge the traditional boundaries of painting and sculpture in terms of their intrinsic qualities and historical context. I have moved away from categorization and prefer to think of painting and sculpture as equal mediums, allowing me to explore their unique qualities. A recent series I am developing (Night Window and It is not a Stone That Disrupts Equilibrium) combines a painted surface with an object. They have been made in relation to each other; I start with an imagined scenario, and then I search for a material or process to fully express the idea.

You emphasize layers and repetition in both the physical and conceptual aspects of your work. How do these techniques reflect your exploration of themes like time, identity, and experience?

Many artists, consciously or not, incorporate layers into their work. Saying that layering is a metaphor for time passing may sound like a cliche, but this fact holds a deeper truth when we consider the influence of time and experience on everything in life. Repetition, and by extension, layering, become significant techniques for metaphor exploration like identity and time. In my artist statement about the Portal and Cut Paper series, I explain how layers and repetition are the contextual and conceptual foundation of my practice. Those two words describe the work’s physical properties and the very act of creating them.

It is my natural inclination to repeat and layer. Sometimes, I go into the studio and spend the day repeating some action, like cutting paper or making marks on a page, without a clear plan. The Portal series (which “Point in Line” is part of) began that way. Until then, I had been constructing shaped surfaces with rounded edges that resembled windows. The metaphors that the shape of a window could convey, such as the idea of looking in or looking out, interested me.

At some point, the shape became oblong, echoing an earlier series in cut paper called “necklaces,” where an initial shape is cut and contoured until it becomes too small to exist. One day, I cut an oblong shape and saw this time that its yonic reference resonated beautifully with the concept of a female body in space. It also preserved the metaphor of a window or a portal. I realized that the color could interact with the shapes in a way that either draws the viewer’s eye in or pushes it away.

You describe your work as requiring effort and perspective for full comprehension. How do you hope this process of observation impacts the viewer’s engagement with your art?

The challenge is how to engage the viewer and communicate the idea or what I experienced while making the work. (At times, I wonder if this is even possible) I like art that takes time to reveal itself, makes me work, and is open to interpretation.

One effective way to do this is by creating objects that invite the viewer to look from various angles - whether mounted on a wall or free-standing. When a piece has a front, sides, and back, all the surfaces work create an experience. In this way, the viewer has to engage!

While addressing themes of femininity, beauty, and landscape, how do you navigate these ideas through abstraction, and what draws you to represent them in non-traditional ways?

The foundation of my work is built on those three themes; femininity, beauty, and landscape.

I’m exploring how those three things can be symbolized with color and materials. A landscape can’t help but be beautiful even in decay, the same goes for the body. It interests me when the surface is three-dimensional vs a flat canvas- it could suggest a lot of things - maybe the shape of a body, and as the maker, it would represent my feminine body. Abstraction allows me to be very free, to create things that I may not fully understand or control, and at the same time explains things in ways that words cannot.

I want to share a favorite quote: “We never look at just one thing; we are always looking at the relation between things and ourselves.” -John Berger, Ways of Seeing.

Point in Line, acrylic paint, wood, mdf, 17.5h x 8w x 2d in

Carla E. Reyes

www.carlaereyes.com carlacrafts

How do your Colombian and Italian-American roots influence your exploration of motherhood and women’s issues in your art?

Growing up with an Italian-American mother and a Colombian father, I experienced a traditional view of domestic life. While they encouraged me to pursue education and career goals, they modeled a household where my mother managed caregiving and domestic tasks, while my father handled repairs and traditionally “male” roles. After their divorce, these dynamics shifted, but I was still expected to cook and do laundry, while my brothers took out the trash and did yard work. As a full-time working mom, I’ve internalized many of these roles, though my husband and I are striving for balance. My father’s resourcefulness, shaped by a society where selfreliance is crucial, also influences my artistic approach. In my Motherwhelm Series, this dynamic interplay of tradition, resourcefulness, and personal narrative is woven into the physicality and themes of the work.

What draws you to the interaction between the manmade and natural worlds, and how do you express that in your mixed-media work?

Living in New York City, I’m constantly surrounded by the interplay of human-made structures and natural elements. I’m captivated by aged and deteriorated surfaces and the beauty of patinas created by weathering and time. My

background in restoration and scenic art, where I replicated these processes, has deeply influenced my practice. Texture, relief, and finishes are central to my mixed-media work, allowing me to express this dynamic interaction as an integral part of my artistic vision.

Can you elaborate on how the Motherwhelm Series addresses the complexities of motherhood through texture and materials?

The Motherwhelm Series explores motherhood not only through daily-life narratives but also through the visceral treatment of materials. The textures and objects overwhelm the surfaces, mirroring the sensory and emotional overload of a mother’s environment. This tangible approach conveys a deeply personal perspective, inviting viewers to feel the work rather than simply observe it.

How do you balance the exploration of humor and irony with the more serious, often unspoken aspects of motherhood in your work?

Humor and irony act as entry points into the more profound and often unspoken realities of motherhood in my work. Playful elements—such as colorful messes of toys and patterned laundry piles—are juxtaposed with subtle nods to struggles, like a scale reading “fail” or a pint of beer tucked into a stroller scene. These details highlight fleeting thoughts about self-care, postpartum challenges, and the juggling of personal needs within the chaos of parenting.

What role do everyday, seemingly mundane moments play in your creative process, and how do you capture their deeper significance?

I take countless photos of daily life, scrolling through them to find inspiration. It could be the way light catches the folds of crumpled fabric, the colors in a mess of toys, or the quiet beauty in a fleeting moment. When something resonates, I know it needs to be captured and preserved. These ordinary moments are fleeting, but in their transience lies their preciousness—a theme I strive to convey in my work.

Endless Cycle, acrylic and mixed-media on panel, 24x36in (1 1/2in depth)

Shower/Bath (Multitask), acrylic and mixed-media on panel, 9x12in (3/4in depth),

Esther Rosa

www.estherrosa.com

theestherrosa

Your work is rooted in the transformative power of art and change. How has your personal journey of reinvention influenced your creative process and the themes you explore?

My personal journey of reinvention has been transformative, deeply shaping both my creative process and the themes I explore in my art. Moving to New York with my family in 2006, leaving behind a successful career in human resources, and initially feeling lost and disconnected, made me realize that change, though uncomfortable, holds immense potential for growth. I had to pause and ask myself, “What do I do now? Who am I?” This questioning, which mirrored my internal struggle, became the foundation for my art. Themes of resilience, embracing imperfection, and navigating the unknown stem from my own journey of self-discovery. I hope my work shows others that transformation is possible at any stage of life and that embracing vulnerability and uncertainty can lead to profound growth and beauty.

How do natural materials like paper clay and untreated wood symbolize the interconnectedness of mind, body, and the process of self-discovery?

The natural materials I work with, such as paper clay and untreated wood, reflect the interconnectedness of the mind, body, and the ongoing process of self-discovery. Paper clay is a malleable and aesthetically fragile material—much like the mind, which can bend, break, and be rebuilt through life’s challenges. These materials embody the complexity of life, with all its shifts and impermanence. Wood, in its raw and untreated form, symbolizes the unpolished, vulnerable parts of ourselves, much like how I felt when I left my corporate career and had to rediscover who I was.

Sometimes, I include metallic pigments to add another dimension to this process. Metals change over time, reflecting nuances and richness. This serves as a metaphor for how we evolve and mature, highlighting the idea that we all shine from within. The more we tap into our authentic selves, the more we find the answers that guide us forward.

These materials—paper clay, natural wood, and pigments— serve as visual reminders of the natural ebb and flow of our inner and outer worlds. Through introspection, we can uncover new depths of self-awareness and understanding. By embracing these materials, I convey how our emotional and cognitive experiences are intertwined and how every

layer—every crack and flaw—tells a story of growth, resilience, and the ongoing transformation we all undergo.

Your art embraces both light and shadow, reflecting the complexity of the human experience. How do you approach representing these dualities in your compositions?

In my art, light and shadow are not just aesthetic choices— they’re deeply symbolic of the complexities of the human experience. I’ve experienced firsthand how difficult moments, like the transition from my corporate life to becoming an artist, can feel like being in the dark. But those very moments of shadow are where growth happens— where light can enter. The light and dark parts of ourselves both have value. They illustrate how the layers of our experiences, both good and bad, ultimately help us shine more brightly from within. Each shadow is necessary for light to emerge.

In my series Where the Light Gets In, for example, I focus on the idea that flaws and cracks—whether in clay or in life— are opportunities for light to enter, much like how I found new opportunities for personal growth after feeling lost. I hope my compositions invite others to see that light and shadow coexist, and that it’s through embracing both that we find balance and meaning.

As a life coach with a background in psychology, you bring a unique perspective to your art. How do you see the relationship between art, personal growth, and emotional healing in your work?

As someone who transitioned from a career in human resources to becoming a life coach and artist, I see art as a deeply transformative process—much like the journey of personal growth and emotional healing. My work is a reflection of my own path of reinvention. Art became my way of reconnecting with myself after feeling lost. I like to say that I coach through my art. Just as I’ve helped clients navigate transitions and embrace their own growth, I hope my art does the same for others. It’s an invitation to pause, reflect, and explore new perspectives.

Whether through the process of creation or by simply engaging with the artwork, I believe art has the power to heal, transform, and inspire personal growth. Personal growth and emotional healing are deeply intertwined with

the creative process. When we look inward—much like I aim to do through my art—we tap into our inner light. This process of reflection and transformation is at the heart of emotional healing. It’s about recognizing the value in every phase of our journey and using that wisdom to continue evolving.

You’ve worked in both the corporate world and as an artist. How do you view the role of creativity and reinvention in professional and personal lives, and how do you hope your work inspires others in this regard?

Creativity and reinvention have been essential in both my professional and personal life. When I left behind my corporate career and came to New York, I initially felt disoriented and unsure of my path. I had spent 17 years

in human resources and suddenly faced a new chapter. At first, I interpreted this change as a loss, but after a personal process of accepting change, letting go, and opening myself to new opportunities, I embraced the possibilities ahead and allowed myself to reinvent.

In my art, I see the same process—an ongoing journey of self-discovery, acceptance of imbalance, imperfection, growth, and evolution. I hope my work encourages others to take ownership of their own transformations, to recognize that it’s never too late to reinvent yourself, and to embrace creativity—whether in art or life—as a way to open doors to new possibilities. Through my art, I want to inspire others to embrace change, be open to the unexpected, and trust in the beauty of their own evolving journeys.

Meghna Sharma

artbymeghnasharma

How do you approach capturing the emotional depth and narrative in each of your portraits?

Observing people in their natural settings is an essential part of my process. I’m drawn to unguarded moments when individuals are simply being themselves—lost in thought, interacting with the world around them, or revealing a fleeting emotion. These moments, though ordinary, carry a quiet poetry that I find endlessly inspiring. My goal as an artist is to translate these nuances onto the canvas, preserving the essence of my subjects while inviting viewers to engage with their stories.

When I begin painting, I don’t just focus on accuracy or technique; I strive to create a connection between the viewer and the subject. Through color, texture, and composition, I aim to evoke emotions that resonate universally, even when the subject is deeply personal. It’s a delicate balance—capturing my subject’s individuality while allowing space for the viewer’s interpretation.

Each portrait is a challenge, but it is also an opportunity to grow as an artist. It pushes me to explore multiple perspectives and

question how we perceive and connect with one another. Ultimately, I hope my work not only reflects the beauty and complexity of human life but also reminds us to see the extraordinary in the seemingly ordinary.

Your work is deeply inspired by moments in everyday life. How do you choose which ordinary scenes or faces to depict, and what do you hope to reveal through these seemingly simple subjects?

When choosing scenes or faces to depict, I rely on intuition and emotional connection. A particular moment might strike me because of its vulnerability, its stillness, or the story it seems to whisper. I observe people in their natural settings, paying attention to the subtleties of their expressions, gestures, and interactions with their surroundings. These unguarded, raw, and authentic moments captivate me the most.

At times, I take a different approach by composing my own scenes to guide the storytelling. This allows me to shape the narrative intentionally—whether to communicate a specific message or to leave space for the viewer’s interpretation. By doing so, I invite viewers into a dialogue with the painting, encouraging them to uncover their own meanings and emotional connections.

Your creative process involves introspection and external observation. How do you balance your internal dialogue with the world around you when working on a new piece?

Balancing observation and introspection is a dynamic process. There are times when external observation takes precedence, especially as I study the nuances of my subject. At other times, introspection leads the way, allowing me to reinterpret and shape the narrative of the piece.

This balance isn’t always easy. Sometimes, I step away from the work to recalibrate, ensuring that neither observation nor introspection overwhelms the other. Ultimately, my goal is to create harmony between the two, producing art that reflects both the tangible reality of the world and the intangible emotions it evokes within me.

Lazy Afternoons, , oil on canvas, 20x24in

What are some examples of how you’ve succeeded in highlighting subtle moments or emotions that others may overlook?

I am from India, and my cultural background has had a profound influence on my art. Indian street scenes and people are some of my favorite and recurring themes in my paintings. Growing up in a small town in India, I was never deprived of inspiration. In the crowded streets and bustling family gatherings, I found many willing subjects who were happy to have their portraits drawn by me.

At my first solo exhibition in Bangalore, India, in 2021, some visitors remarked on how my paintings of tea vendors and flower sellers resonated with them. They were touched by my focus on everyday individuals from the streets who are often overlooked.

My mother has also had an enduring influence on my art. She encouraged me to follow my passion from a young age and pushed me to explore and improve constantly. Diagnosed with Alzheimer’s a few years ago, she is now a frail image of the independent and strong woman she once was. This experience has taught me to appreciate and savor the mundane moments in life—finding beauty in the ordinary. My painting Memory captures a moment from my childhood, showing me and my sister with my mom in front of the house where we grew up.

As a member of various art organizations and participant in multiple exhibitions, how do you feel your connection to the artistic community has influenced your growth as an artist?

After moving to California, I’ve felt deeply inspired by the contemporary art space. Over the past few years, I have been part of a cooperative art gallery, had my painting Lazy Afternoons selected for The de Young Open 2023, and participated in various juried exhibitions across the San Francisco Bay Area. Engaging with local artists and actively participating in events has been incredibly enriching. These experiences have exposed me to fresh perspectives, diverse themes, and dynamic creative environments, all of which have deeply influenced and inspired my artistic journey.

My art has transitioned from traditional portraiture to a more contemporary style. I strongly believe that art has the quiet power to create profound and far-reaching change. As I evolve as an artist and incorporate new themes and techniques into my work, I aim for my art to continue evoking emotions and telling meaningful stories.

Memory, oil on canvas, 48x36in

Jennifer Small

www.jensmallart.com jensmallart

Your use of color and texture adds depth to your paintings. How do you approach these elements in relation to the emotional tone of your work?

My use of color and texture is often directly related to the observations I collect that inspire my compositions. These elements are either amplified or toned down as the piece evolves to ensure the composition feels balanced and engaging. I don’t deliberately use color and texture to evoke a specific emotional tone. Instead, my hope is that viewers experience an emotional reaction or a “light bulb” moment when engaging with the finished piece. I want them to form a personal connection to the time, place, or objects I reference—or to consider the value of slowing down and seeing their own surroundings in a new way.

How do you balance personal and universal experiences in your work, and have you been surprised by how others relate to your art?

My work always begins with personal experiences. However, through the creative process, these personal starting points often evolve into something more universal. Viewers frequently recognize elements in the work that resonate with their own experiences, which are often hinted at in my titles.

When transforming mundane objects into important elements in your work, how do you choose which details to highlight, and why are they significant to you?

When collecting elements to inspire my work, I shift my perspective to view objects purely in a formal sense—

unrelated to their function or significance. I focus on details that capture my attention, such as contrast, pattern, color, texture, line, and space. During this process, I also consider how these elements might work together within a composition, which medium and substrate would suit the piece best, and the level of representation or abstraction I want to achieve.

Your art blends abstraction with memory and place. How do you ensure each piece invites broader emotional or intellectual connections?

By referencing elements that feel almost tangible in my abstract paintings, I aim to create a broader connection with both the work and abstract art as a whole. My titles often nod to the original place, memory, or object that inspired the piece. Because my work straddles the line between representation and abstraction, I hope viewers gain a heightened awareness of the visual discoveries available in their daily lives—and an understanding that abstract art can be deeply rooted in reality.

How do drawing and collage influence your work and shape the abstract worlds you create?

I usually begin by creating drawings based on the photos I collect. These drawings help me simplify or isolate the elements I want to emphasize. I often cut up the drawings to create collages that serve as the basis for my compositions. For the work in this edition, I made color collages to determine how the parts of each painting would be arranged.

Minimalist Line Overlapping History, acrylic on canvas, 48x36in

Shapes Created By The Light Are Changing, acrylic and spray paint on canvas, 48x36in

Jingqi Steinhiser

www.jingqisteinhiser.com/new-gallery-3 jingqi_wang_steinhiser

How have your experiences living in different countries influenced your approach to art and themes of identity?

A nomadic lifestyle has set the tone for my ambiguous, approachable, and adaptive visual language. I’ve learned about various cultures by listening to their folk tales and sketching local patterns, and these experiences have enriched my practice both physically and internally. However, while embracing this diversity, the alienation that comes with constant movement has made my own identity harder to find, define, and anchor.

Animal symbolism and shamanism are central to your work. How do these themes relate to your experiences of displacement?

Through my travels, I’ve developed a deep friendship with solitude. Whether by the lake or amidst a crowd, I find myself alone yet connected to the world around me. I observe birds flying and hunting, wait for cows to cross the road, feed carrots to horses, and pet them goodbye. My frequent transitions—between countries, cities, and forests—echo the movements of the animals I watch.

It’s the spirit of the animals that ties together the fragmented parts of my life and grounds my sense of displacement. In shamanism, every living being has its own spirit and totem. Totems symbolize a tribe’s stories and traditions, embodying ways of life that I strive to recreate in my work.

Your work often challenges traditional narration. How do you use surface, environment, and humor to engage viewers?

I play with familiar tropes and the stereotypes often portrayed in propaganda—like the sly fox, dumb rabbit, or evil snake. By reimagining these narratives, I create surreal virtual environments: birds woven into hollow castles, trees sprouting rabbit heads, streetlights crowned with tiger heads.

Through techniques such as spraying, wiping, layering, gluing, and wetting down, I build textured surfaces where uncanny animals emerge. These unexpected juxtapositions engage viewers, encouraging them to question traditional storytelling and its implied meanings.

How do you address or subvert the power structures behind pop culture and capitalism in your paintings?

I reveal power structures through layered geometric shapes and personal stories. My work reflects the problems and scenarios I observe, presenting these issues as questions for viewers to explore. By engaging with these images, viewers are invited to have conversations, find meaning, and discover their own sanctuaries within the complexities of modern reality.

In what ways does your work reflect the tension between global modernity and the cultural heritage you grew up with?

Globalization often erases cultural specificities, creating a homogenized world that paradoxically fosters complexity. It shapes new ideas about personal freedom, class, identity, and taste, often under imperialist influences.

Adapting to different education systems, languages, and lifestyles has been a challenging process. However, I believe my heritage is deeply rooted in my family and the people around me—from the nursery rhymes my mother sang to the stories of how hieroglyphs were invented.

To navigate these tensions, I’ve chosen to merge techniques from Western cartoons with Eastern subjects and narratives. My paintings provide a space to explore this balance, inviting viewers to reflect on the cultural roots we each carry. It’s not a battle or a conflict but rather a pursuit of harmony and the cultivation of shared heritage.

Dusk At Dawn, mixed media on canvas, 30x40in

Laura Stewart DeRosa

www.lstewartderosa.com

lstewartderosaart

How do you approach capturing the tactile qualities of fabric, and what does this process reveal to you about the emotions they embody?

The process of painting these garments serves as a way to honor each garment, its wearer, and the experiences that shaped their memories. Many of these garments are old and tattered, while others are lost and painted only from old photos. The very first painting in the series was of my own sweatshirt. The simple presence of this article of clothing evoked painful memories for me. I began the series out of a personal need to process and honor what I had been through—a physical and emotional experience inextricably tied to this piece of clothing that I loathed but could not part with.

Your work focuses on garments as vessels of personal history and emotion. How do you choose the garments you paint, and what role do the donors’ stories play in shaping your compositions?

Each painting typically begins with a conversation. I am a true introvert/extrovert—I need hours alone in my studio, but my work and life are fueled by interactions with others. Connecting on an emotional level and having conversations about life experiences is how this project continues to grow. When donors send photos of their garments, I remain true to the compositions (or a portion thereof) they’ve set up. When donors can loan the items to me, I create compositions based on our conversations and the sentiments the garments evoke.

How do you balance personal narratives with the universal themes in your work?

This project has grown organically from my conversations with other women. While I am hyper-focused on their singular experiences and stories, the more I paint and discuss, the more I realize that each piece inevitably contains threads of universal themes. The concepts woven into each painting,

garment, and title represent a cross-section of life—grief, joy, trauma, and nostalgia, all of which permeate the human experience.

Light and shadow play a significant role in your work, creating depth and mood. Can you talk about how you use these elements to evoke the complex layers of human experience?

Light and shadow are essential in my work. Each piece has a relatively strong light source to convey the garment’s full texture and depth. I also want viewers to lose themselves in the folds of each piece, experiencing the interplay of light, shadow, and color as they would an abstraction or a landscape. My goal is to create an experience of thoughtfulness and meditation, honoring the moments and people connected to these garments.

What impact has your education, both in the U.S. and abroad, had on your artistic approach?

My education has profoundly shaped my artistic approach. While I have always been drawn to traditional oil painting techniques and the incorporation of drapery, exposure to my contemporaries and predecessors has helped me find my path and persevere. The typical graduate school experience of deconstructing and rebuilding my work allowed me to refine my focus and stay true to my creative vision. I am deeply grateful to the professors and mentors who have guided and inspired me along the way.

Well Done, oil on panel, 12x12in

Rachel Stewart

rachelstewartstudios.com

sculptorachel

Your printmaking process incorporates impressions from your wood sculptures, creating layered, textured images. What does this blending of mediums represent for you artistically and abstractly?

My printmaking process is a unique blend of materials on a flat surface, creating an illusion of depth. Each printing technique artistically shapes new, often abstract forms when added to the paper’s surface. This layering process illustrates concepts of looking backward or forward in life, a multi-layered journey of experiences. What came before and what is now are all part of my continual creative journey.

Your work spans multiple disciplines, from wood and stone sculpture to intricate printmaking. How do you decide which medium to use when exploring a new theme or concept?

My primary focus now is to develop different methods of printmaking. Exploring new themes usually results in using my current materials in my studio, which are printing inks, special printing paper, rollers, burnishing tools, woodblocks, linoleum, and carving tools. I start with a concept, personal experiences, a visual image, and pencil drawings; these preparations begin the process of translating the idea onto printing paper,

How do you approach translating the intangible forces of nature, like weather patterns or climate change, into visual art?

My approach to printing is experimental and non-

traditional. This creative freedom allows me to translate aspects of nature into visual art. Establishing a horizon line develops a pivotal focus for the beginning of the concept. The intangible forces of nature are conveyed by adding a variety of printing methods, resulting in spontaneous layers of shapes and colors. The unpredictability and spontaneity of the process often result in abstract representations of the universe.

Can you share a pivotal moment during your time living in Jamaica that shaped your artistic vision?

There are a few pivotal moments in my career: the natural birth of my daughter in the mountains of Jamaica, the untimely death of my husband in Kingston, and my renewal and spiritual rebirth. These experiences, whether conscious or unconscious, are embedded into my life and expressed through my work.

How does your faith or sense of the divine inform your creative process, and how do you hope viewers engage with these spiritual elements in your work?

My art-making process is deeply intertwined with my faith and sense of the divine. Contemplation through prayer and meditation inspires me and enhances the role spirituality plays in the various genres of my work. The artwork titles and objects suggest truth and beauty. A bird, rain, heavenly rays, or light are metaphors of the divine. It is an intersection of God and me, a connection that I hope will inspire contemplation and connection with the viewer.

Under

Different Sky, constructed plywood, wooden clothes pins, burlap, copper wire, yarn and other mixed media.

Climate Disturbances III, hand-printed monotype, woodblock print, hand-cut stencils, and collage. 21x17in

Josie Tolliver Shaw

josietollivershaw.com josietollivershaw

Your paintings are deeply personal, functioning as both scrapbooks and time capsules. How do you choose which objects and memories to include, and how do they inform the narrative of each piece?

It varies by piece. Some works act as time capsules for short periods, like a trip. In those cases, I choose objects and icons relevant to that time—souvenirs from the trip, jewelry I wore during that period, or images of specific places I visited. Other times, I’m honoring a particular person. In those instances, I visit their space, photograph items on their nightstand, decorations on their walls, or objects tied to shared memories. From there, the process becomes relatively intuitive.

How do you navigate representing intimacy and vulnerability in a way that feels authentic to your experience and community?

As a lesbian woman surrounded almost entirely by other queer women, it feels nearly impossible for me to represent intimacy and vulnerability in a way that isn’t authentic. I work from photos of women close to me, often taken in matriarchal spaces. These subjects are comfortable, surrounded by their friends and family, and don’t feel the need to perform for survival or approval. Because they are already representing themselves and their relationships authentically, my job becomes easy.

The act of collecting is central to your practice, from keepsakes to souvenirs. How do you see the process of preserving these objects through painting as different from, or complementary to, physically keeping them?

Painting allows me to collect and celebrate things I can’t physically keep—signs, wall decor from a dive bar, or treasures belonging to loved ones. I couldn’t possibly keep everything I want to; I’d run out of space to live. I also paint disposable items, like a candle that will eventually melt away. Painting these objects elevates them—things that might otherwise go unnoticed are preserved in paint, allowing me to continue seeing and appreciating them. It’s also a way

to organize memories. For instance, I buy a souvenir lighter everywhere I go. Once home, it joins the rest of my lighters, losing the context and associations it originally had. By painting these objects, I freeze them in time, memorializing the places and feelings they represent.

Your paintings feature a rich interplay between sentimentality and symbolism. How do you approach balancing personal nostalgia with broader themes that resonate with your audience?

The figures in my paintings ground the work for a broader audience. Their unapologetic enjoyment of themselves and each other, free from performance for the male gaze, feels universal. Moving through the world as a woman often means being objectified, and I think the way my figures engage with each other, the viewer, and the act of being painted challenges this objectification. The objects I paint act as vessels of personal nostalgia while also evoking broader emotional themes. While young queer viewers often see themselves in my work, even a middle-aged straight man might recognize the messy joy of young adulthood in it.

Having grown up in Brooklyn and now working in New York City, how does the urban environment and your personal history shape the themes, mood, or aesthetic of your work?

Being surrounded by a man-made landscape has drawn me to man-made objects, yet New York City living didn’t offer much space for collecting. My small childhood bedroom made experiences like rooting through my grandmother’s barn, filled with what seemed like a lifetime of objects, especially thrilling. I’m drawn to items infused with human experience—things made by humans for pleasure or other purposes. As a city kid, I’ve always been comforted by maximalism, by the abundance of stimuli. Colors, text, and personal associations resonate deeply with me because they’ve always been part of my environment.

The Cake Cutters II, acrylic on canvas, 64x50in

Whitney Trisler Causey

whitneytrislercauseyart.com wtcausey

What do you hope to challenge or change about ableist visual culture through your portraiture?

Through my portraiture, I aim to dismantle ableist visual culture by offering authentic representation for individuals with Angelman Syndrome—individuals whose lives are often overlooked or misunderstood. My work affirms their humanity and individuality, presenting them as vibrant, complex people whose stories deserve to be celebrated.

By creating work that challenges conventional ideals of beauty—rooted in classical standards that often exclude those with disabilities—I hope to expand the idea of what beauty and worth truly mean. My portraits center the identities of these individuals, not as subjects of pity, but as people full of joy, resilience, and inherent value. Art, for me, is a bridge—a way to bring viewers closer to the richness and diversity of lives shaped by neurodiverse experiences.

How did your daughter’s diagnosis with Angelman Syndrome inspire you to use portraiture as a tool for promoting inclusion and challenging societal perceptions of disability?

When my daughter was diagnosed with Angelman Syndrome, it transformed how I saw the world and my role as an artist. This profound moment revealed both the challenges individuals with disabilities face and the extraordinary beauty they bring into our lives. It also deepened my appreciation for the importance of fostering strong sibling bonds, as my daughters navigate their unique relationship together. This personal experience became the foundation of my evolving portraiture.

Take “The Magic in a Breath”—this piece reflects how something as simple as blowing bubbles becomes a magical shared experience for my daughters. A large bubble, blown by my youngest daughter, who is neurotypical, refracts light and joy, symbolizing fleeting moments of wonder. These everyday interactions, transformed by their connection, highlight the extraordinary in the ordinary. Similarly, in “The Calm She Seeks,” I explore how water provides grounding

and sensory comfort for my older daughter, who has Angelman Syndrome. The iridescent background captures the ever-changing nature of her perception and the unique ways she experiences and shapes her world.

Through these works, I celebrate the individuality of both my daughters while inviting others to witness the ways my older daughter has opened up new realms of understanding and connection for her sister and our entire family. My art serves as a reminder of the profound lessons we can learn—about patience, empathy, and noticing the beauty in life’s subtleties—when we are willing to see the world through a different lens.

How do you integrate your roles as an artist, educator, and muralist to advocate for societal change?

My roles as an artist, educator, and muralist intersect to create a multidimensional approach to advocacy and inclusion. As an artist, I share personal stories through my portraits, inviting viewers to connect with underrepresented communities. As an educator, I guide my students to explore societal issues in their creative practices, from designing book illustrations for the Angelman Syndrome Foundation to creating scientific visuals for the Foundation for Angelman Syndrome Therapeutics.

As a muralist, I bring these values into public spaces, transforming them into environments that foster dialogue and empathy. For example, in the spring of 2024, in collaboration with MedCamps of Louisiana—a nonprofit that provides recreational experiences for children with chronic illnesses and disabilities—my students and I created an exterior mural at the camp entrance. This project taught them how art could reflect the lived experiences of the campers, offering a warm and inclusive welcome to families arriving at the camp. These large-scale projects allow me to connect my artistic practice with teaching, demonstrating how creativity can leave a lasting impact both visually and emotionally.

What impact do you hope your students will have by addressing societal issues in their own creative work?

I hope my students view their art as a tool for connection and change. By addressing societal issues, they can use their creative voices to foster empathy and challenge perceptions, just as I aim to do in my own work. Whether they are tackling themes of inclusivity, accessibility, or environmental justice, I want them to leave my classroom with the confidence to use their work to make an impact. If they can create art that not only reflects their talent but also challenges assumptions and fosters dialogue, they’ll have the power to inspire real change.

What has been the most meaningful response to your work in fostering inclusivity and empathy?

The most meaningful responses to my work have come from the connections it fosters, whether through my paintings

or collaborations with my students, the foundations, or the families who live this rare life. Families of individuals with Angelman Syndrome have shared how paintings like “The World She Reveals” help them feel seen and celebrated. This particular piece aims to remind families of the immense magic and beauty in their lives, even amidst the isolation that can sometimes accompany their experiences. The large, reflective bubble in the painting offers a glimpse into a vibrant, neurodiverse world as seen and shaped by my daughters. Feedback like this reinforces for me the power of art to create a sense of belonging and shared understanding.

If you’re interested in learning more about Angelman Syndrome, please visit www.Angelman.org and www. CureAngelman.org.

If you are interested in learning more about MedCamps of Louisiana visit www.Medcamps.org.

The Calm She Seeks, oil paint on holographic vinyl on wood panel, 12x12in

The Magic In A Breath, oil paint on holographic vinyl on wood panel, 12x12in

Ilana Zweschi

www.ilanazweschi.com ilanazweschi

Can you share more about how your background in mathematics influences the way you approach your painting practice?

In college, I majored in art and minored in math, but I never intended to merge the two in my practice. I used to believe that painting had to come from a mysterious, unconscious space of inspired creativity (which—don’t get me wrong— it sometimes does!). However, once I began using systems in my painting process, I realized I could use my natural way of thinking as an asset. More importantly, I started to view my painting practice as a collaboration with forces beyond my control.

Now, I use hand-written algorithms to translate text into painterly actions. These algorithms are written as a series of “if/then” statements that connect my abstract visual language to the direct language of a text document. While I create the systems, the final result on the canvas is always a surprise to me. This keeps my practice exciting and fresh— and it even feels like it mirrors the human experience.

One might assume that working with math would distance my practice from humanity, but I’ve found the opposite to be true. Just as in my paintings, I have control over setting plans and goals within a defined system (society), but those plans collide with the inherent disorder of nature. The interplay between these forces results in chaos, unpredictability, tension, and sometimes beauty.

What drew you to focus on “destructive texts” in your work, and how do you decide which texts to use?

Each letter in the text corresponds to a single brushstroke in the painting. As I complete each stroke, I mark it off with a dab of paint on the text document, which ultimately redacts the text, rendering it unreadable. The text begins to feel like the DNA of the painting—an integral foundation that I have the power to obscure and transform.

By working with destructive texts, I can break down and reconstruct the harm the words represent. I often focus on laws or legal documents because they are written accounts that explicitly state societal priorities and what is deemed acceptable as “civil.” Yet, these documents are frequently filled with violent and exclusionary language, representing a status quo of objectification that persists in contemporary life.

Through the act of transforming these texts into paintings, I can recontextualize, reorder, and highlight the words they contain. This process disarms their harmful power and allows me to build something beautiful and empowered from their remnants.

Your algorithm-driven process is quite unique—how do you balance the controlled, logical aspect of the algorithm with the emotional and intuitive nature of painting?

I start each painting with a “seed image,” often a figurative or floral under-drawing. I then run my algorithms across the image, sometimes instructing myself to pull shapes from the drawing, other times covering it with vertical marks or flat spaces. This initial layer provides access to organic shapes that reflect the unique specificity found in nature.

The combination of natural forms with the logical application of paint—dictating the location and color of brush strokes—creates a visual balance. On a deeper level, this process reveals where those two categories, logic and emotion, begin to blur. It exposes how chaotic phenomena often follow logic and how systems can express emotion.

For example, Chaos Theory explains how an equation can determine the twisting growth of a tree branch. Similarly, algorithms operating within a non-visual system can create dependent relationships that clash and curl into visually complex forms. These outcomes feel more

representative of the human experience than anything I could engineer purely through intention.

How do you feel the integration of abstract and representational elements in your work enhances the transformation of harmful texts?

The overwhelming abstraction in my paintings invites viewers to respond emotionally. When we can’t categorize what we’re observing, we’re left with intangible feelings. I work primarily with laws and legal documents, which are written in clean, logical language that often sanitizes the brutal realities they represent.

My hope is to guide viewers to these critical subjects through an emotional lens, as this can be the most powerful way to inspire action. The emotional impact is further amplified by my use of vibrant colors. The lingering representational elements that emerge from the abstract

landscape hint at the process behind the work, helping to keep one foot grounded in the physical world.

What do you hope your audience takes away from your paintings, especially when encountering the algorithmic layers and philosophical activism within them?

I deliberately obscure the exact source of each text to encourage viewers to identify for themselves moments of objectification upheld in the status quo. This allows them to become the creators of their own rejection of it—and, in doing so, their own empowerment.

Beyond that, I hope viewers find beauty in the paintings, a beauty that uplifts and serves as an antidote to the harm embedded in the texts I transform. Through this, I aim to inspire reflection, provoke dialogue, and offer a space for healing and empowerment.

Love + Power, oil on canvas, 48 x 60in

Eternal Circles at Warnes Contemporary, installation view

VISIONARY EXHIBITION

Coinciding with our mission to highlight emerging artists, we’re shining a spotlight on selected exhibitions in New York City that have inspired us.

Eternal Cycles

Curated by Victoria J. Fry

Visionary Art Collective opened Warnes Contemporary, a gallery in Brooklyn, NY to exhibit work by emerging artists.

www.warnescontemporary.com warnescontemporary

ABOUT THE EXHIBITION

Eternal Cycles unites the work of three contemporary artists, Jalena Hay, Laura Cleary Williams, and Brittney Ciccone, who explore themes of impermanence, change, and the cyclical nature of life. Through abstraction, layering, and dynamic mark-making, they collectively examine how we leave lasting traces in a constantly changing world.

The process of creating, revising, and uncovering is central to the exhibition. Each artist works intuitively, allowing their subconscious to guide them, capturing fleeting moments of clarity and reflection. The layering of materials—whether paint, charcoal, or other mediums—visually represents life’s complexity, with each layer contributing to a larger narrative.

These layers echo the cyclical nature of existence: birth and death, creation and destruction, memory and forgetting.

While the forms and styles vary, the works are united by their exploration of the human condition. Some pieces blend abstraction and figurative elements seamlessly, while others rely on gestural marks or intricate patterns to convey the negotiation between inner and outer worlds. This fluidity reflects the process of self-discovery, growth, and change, capturing what it means to navigate life’s uncertainties.

This exhibition invites reflection on the ever-shifting dynamics between inner emotions and external realities.

Jalena Hay, Brittney Ciccone and Laura Cleary Williams

JALENA HAY , Peace Filled Her Chest, pencil on paper, 8x10in

BRITTNEY CICCONE , Faceless No.51, acrylic on linen, 20x16in

LAURA CLEARY WILLIAMS , The Space Around, scattered dust, pencil on paper, 12x9in

VISIONARY GALLERIES

We’ve had the pleasure of connecting with New York City galleries to share their latest updates and highlights.

FORMAH

www.theformah.com theformah

FORMah, (short of the FORM Art House) showcases female and femaleidentifying artists from across the globe.

Through thoughtful programming and innovative exhibitions, FORMah is committed to bringing to light artists often overlooked due to age, race and gender. The gallery opened its doors in its permanent location in the Lower East Side, NYC in November 2022.

The exhibitions are planned around important and sensitive topics related to spiritual and mental awareness, female identity, social and economic issues, stereotypes, and politics. We strive to highlight feminist topics and encourage deep conversations on issues that matter.

Collect Bean

www.collectbean.com collectbean

In 2024, Collect Bean connected creatives and collectors through twelve exhibitions featuring over 150 original artworks, fostering a dynamic community of talent around the globe.

Looking ahead to 2025, curatorial projects will evolve under the name Marlee Katz. January kicks off with a collaboration at Zepster Gallery in Brooklyn, followed by two exhibitions at Baker-Hall in Miami: a group show in March and a solo exhibition featuring Jen DeLuna in September. These projects embody a continued dedication to connecting people and building community through art.

Kelly-McKenna Gallery

kellymckennagallery.com kellymckennagallery

Kelly-McKenna Gallery, in partnership with Space Gallery St Barth, is proud to present Victor Matthews: Mantra, a solo exhibition running from March 13 – April 13, 2025.

Matthews’ work explores abstraction and memory through a meditative process, creating compositions inspired by the rhythm of urban and natural landscapes. His intuitive approach, rooted in continuous charcoal drawings, invites viewers into a dialogue between spontaneity and craftsmanship. Special events, including an artist talk and live drawing session, will accompany the exhibition.

Tanya Weddemire Gallery

www.tanyaweddemiregallery.org tanyaweddemiregallery

Tanya Weddemire Gallery is dedicated to celebrating the transformative power of art and community and highlight the vitality of art in diverse communities. Since then, the gallery has been featured in prominent publications, including Forbesblk, Vanity Fair, ARTNEWS, Art in America, Brooklyn Rail, Industry City Publication, Amsterdam News, Black Art Magazine, PR News Wire, Brooklyn Reader, Hyperallergic, Bluecalf, Voice of America and Park Magazine.

02/20 : BUY ART WITH YOUR HEART

Panel Discussion at Camp David | 6PM - 9PM 237 36th St, Brooklyn, NY 11232

Collaborating with Industry City

03/01 : I GOT A STORY TO TELL

Artist Talk at Tanya Weddemire Gallery 254 36th St Suite C257, Brooklyn, NY 11232

Collaborating with Black Girls In Art Spaces

ARTIST CAROLINA AIEX

Untitled, photography

VISIONARY COMMUNITY

Designed and led by our founder Victoria J. Fry, The Visionary Community is our online community membership for women & non-binary emerging artists who are ready to grow together in a supportive group environment.

Carolina Aiex

carolinaaiex.com

carolina.aiex.art

Carolina Aiex (b. 1992, São Paulo, Brazil) is a photographer and artist based in Santos, Brazil. With a background in Physics and Literature, her work merges science and poetry, employing experimental media and techniques to explore themes of time, memory, and the unconscious.

Aiex’s photography and video art capture the emotional essence of nostalgia, the blur between past and present, and the subjective nature of reality. Her creative journey, fueled by a personal struggle with depression, serves as a therapeutic outlet for self-expression and reflection.

Influenced by philosophers like Henri Bergson and René Descartes, alongside visual pioneers such as Shomei Tomatsu and Abbas Kiarostami, Aiex delves into the question of whether what resides in the mind can be as real as the external world. Her work has been exhibited in São Paulo, Rio de Janeiro, and New York.

SPOTLIGHT ON VISIONARY COMMUNITY ARTIST

Susan Taylor Brown

susantaylorbrown.com

susantaylorbrown

Susan Taylor Brown is a fiber artist whose work invites viewers to reconnect with the quiet energy of nature and rediscover moments of stillness and wonder.

From her home in the mountains of Santa Cruz, California her work explores the emotional landscapes of our lives.

Stitched entirely by hand, each Wildscape is a tactile invitation to pause, breathe, and feel the deep bond we share with the earth and each other. Through her art, Susan hopes to inspire a sense of grounding and connection, reminding us of the beauty and harmony woven into every fiber of our lives.

Georgia Whist

www.georgiawhist.com georgiawhist

Georgia Whist (b. 1995 - Vancouver, Canada) is an experimental artist, based in Toronto, who collaborates with found/trashed material to magnify the intricate complexity of being on 21st century Earth.

Throughout 2024, Whist created Given: 1. The Queering 2. The Illumination—an interactive male torso containing a femme microcosm. Inspired by Marcel Duchamp’s Étant donnés and Tetsumi Kudo’s Cultivation-New Ecology, this sculpture reimagines the voyeuristic female nude of art history through a contemporary Queered lens. Peepholes punctuate the hyper-masculine exterior, humorously offering glimpses into an interior where organic and artificial elements intertwine. Dried flowers, bones, insects, reflective shards, circuitry, and wires combine to form “female” anatomy. A luminous world where heteronormativity, anthropocentrism, and industrialism are subverted. The beautiful diversity of existence on full display.

SPOTLIGHT ON VISIONARY COMMUNITY ARTIST

Patricia Dattoma

subscribepage.io/patriciad patricia_dattoma.art

Patricia Dattoma is a NYC based artist, art educator and lifelong New Yorker. Her abstract paintings are a visual response to her environment. Using acrylic paint, inks & occasionally mixed media, Dattoma explores a sense of place and feeling through color, shape and texture. Her inspiration primarily comes from her life in NYC, where the seemingly chaotic sights & sounds of the city produce a rhythm and harmony that emerge abstractly onto her canvas. She also gets inspiration from the beaches of the West Coast, and the desert landscape of the American Southwest.

Her work has been exhibited in NYC galleries and is held in private collections in Canada, the UK & the United States. Dattoma received her BBA degree from Bernard M. Baruch College/CUNY and her Masters Degree in Art Education from Teachers College/Columbia University. She resides in Manhattan with her husband, daughter & rescue pup.

ARTIST MICHELLE REEVES

Beglad, acrylic on canvas, 30x30in

VISIONARY ARTist DIRECTORY

We are proud to feature a wide range of talented artists in the Visionary Art Collective Directory. Coming to you from numerous states and nations, our directory artists work across a wide range of mediums and disciplines.

visionaryartcollective.com/directory

Colleen Hoffenbacker

colleenhoffenbacker.com

colleenhoffenbacker

BIO

Award-winning artist Colleen Hoffenbacker is a Member with Distinction of American Women Artists and an Elected Member of Allied Artists of America. Hoffenbacker creates oil paintings that blend traditional techniques with modern 21st century digital processes, conjuring fantastical gardens that celebrate Earth’s hidden wonders and inspire a deeper connection to nature. With a background in commercial art and classical training at the Academy of Classical Design, Hoffenbacker is the first painter to secure U.S. copyright in 2023 for AI-collaborative works crafted by human hands. Her paintings are included in the permanent Lunar Codex, as well as private collections, and have been featured internationally in galleries, museums, and numerous publications. A member of Women Painters of Washington, Hoffenbacker’s work illuminates a future rich with creative possibility.

ARTIST STATEMENT

Nature holds the power to evoke deep emotional responses, serving as both a mirror to our inner worlds and a wellspring of wonder. Its ethereal beauty calms and inspires, while its

untamed essence ignites curiosity and awe. Through my paintings, I capture this mystical bond, transforming flora into phantasmagorical compositions where the boundary between the familiar and the imagined softly blurs. With an undercurrent of Alice in Wonderland-esque surrealism, my work invites viewers to explore intricate botanical motifs where nature’s resilience and fragility dance in delicate harmony, unveiling the extraordinary hidden within the seemingly ordinary.

Bridging different eras of human creativity, my work draws inspiration from both historical artistic traditions and futuristic technologies. Rooted in modern design and classical realism, my process integrates AI-assisted digital tools to explore innovative territories while maintaining the depth of classical techniques. Through this fusion of diverse mediums, I create pieces with a distinct human touch that reflect both the precision of nature and the enchantment of a dreamlike dimension. My work envisions a biophilic world where human ingenuity and nature’s beauty evolve in perfect symphony, fostering mutual growth and a deep, compassionate connection with our cherished planet.

Floragen 2.0.2, oil on aluminum, 12x12in

Yula Kim

www.yulastudio.com

yurajoanrobinakim

BIO

Yula Kim (b. 1996) is a London-based artist whose work bridges human cultures and the natural world, using birds and their histories as a metaphor for migration, connection, and vitality. Drawing on her unique multicultural upbringing, Yula creates art that reflects the profound interplay between human desire and the inherent aesthetics of nature, offering fresh perspectives on our relationship with the environment.

Having lived in South Korea, China, Hawaii, Uganda, and the United Kingdom, Yula’s intercontinental experiences have shaped her artistic vision, allowing her to see nature’s beauty through diverse cultural lenses. These rich environments have inspired her fascination with the concept of Vitalism, as she explores the aura of life that connects individuals, society, and the natural world. Her art celebrates this vitality, crafting narratives that emphasize the significance of nature in our collective lives and the ecosystems that sustain us.

Yula’s work has gained recognition through significant exhibitions, including the Platinum Jubilee Collection at Kensington Council (RBKC) and a presentation at the Tate Modern Late in March 2023. Her painting was also selected to honor His Majesty’s Coronation, digitally showcased at Windsor Castle during the Coronation Concert on May 7, 2023.

Yula holds two Master’s degrees: an MA in Contemporary Art Practice from the Royal College of Art, where she graduated with distinction for her dissertation, and an MA in Museums and Galleries in Education from University College London, also awarded with distinction. Her academic research delved into the conservation of objects for biodiversity studies, underscoring her commitment to bridging art, science, and environmental advocacy.

ARTIST STATEMENT

Yula is a contemporary painter whose work bridges the natural world and urban spaces through dynamic compositions of vivid colors, abstract shapes inspired by natural creatures, and intricate spatial arrangements.

Her art explores Vitalism, a concept that emphasizes the interconnected relationships between humans, nature, and space. By delving into how humans engage with the natural world, Yula affirms the significance of life and examines the complex interplay between human emotions and the environment.

Drawing from her third cultural background, Yula’s work reflects a hybrid perspective, weaving together diverse cultural narratives to challenge dominant worldviews. Her paintings often feature a synthesis of human and nonhuman elements, creating conceptual and emotional connections between species. Inspired by birds from various geographies and their symbolic meanings across cultures, Yula reimagines the shared existence of different species while critiquing the ways urbanization and modernity disrupt these bonds.

For instance, in her painting Starlings (2024), currently on display at Kingston Museum, Yula juxtaposes natural and artificial elements to explore how humans shape nature to assert control over aesthetics and intellectual spaces. The piece illustrates how nature becomes a symbol of human colonization, manipulated to serve intellectual ideals. The starlings in the work symbolize the uncertainty and complexity of humanity’s desire to dominate the natural world while simultaneously showcasing its beauty. Yet, through their resilience, they underscore nature’s enduring vitality. This tension, between human dominance and nature’s autonomy, invites viewers to reflect on the ethical implications of shaping and preserving natural spaces.

Yula’s work also embodies a feminist ethic of care and interconnectedness, reimagining the relationship between humans and the environment as acts of resistance against systems that separate and exploit. Her art serves as a call to rekindle humanity’s vital connection with the natural world, offering both healing and insight in the face of global environmental challenges. By crafting a vision of coexistence, empathy, and liberation, Yula creates new conceptual frameworks that invite us to envision a harmonious balance between urban spaces and the living world.

Huia Cake, oil on Canvas, 27.5x39.3in

1 ROBIN ADLER

robinadlerart.com

robinadlerart

Robin Adler is a Woodstock, New York-based abstract artist who transcribes emotional experience into visual form. Using line, shape, and color, Adler works intuitively, pushing past limitations toward freedom and possibility. She works in various media including oil, acrylic, encaustic and print. While expressing boundless enthusiasm for abstraction, she explores her inner landscape and the natural environment for inspiration.

Adler is a member artist of BAU Gallery, in Beacon, NY. Her work has been featured in solo and group exhibitions in galleries throughout the East Coast. Adler is a member of two art collectives, Spliced Connector and The Drawing Galaxy.

2 JENNIFER AGRICOLA MOJICA

jenniferagricolamojica.com jenniferagricolamojica

Jennifer Agricola Mojica is a contemporary painter, educator, and mother based in San Antonio, Texas. She has exhibited nationally and internationally. Her paintings can be found in private collections and has been featured in multiple publications. In her process, a painting begins with a disruptive start and ends with a harmonious stillness. Planes shift and shapes repeat, forms are portrayed at different vantage points, and figures become fragmented. The chaos then becomes a calm meditative process as she weaves concepts and elements together.

3

CAROLINA AIEX

carolinaaiex.com

carolina.aiex.art

Carolina Aiex is a Brazilian photographer with a background in Physics and Literature. She delves into themes of time and memory through innovative photography and video art. Her work - including photographic series Flux and Rites of Passage and video pieces Present and Recollections of a Dreamexplores the delicate interplay between reality, perception, and the unconscious, unveiling the poetic nuances of human experience.

4 SUNNY ALTMAN

www.sunnyaltman.com sunnyaltmanartstudio_

My art is inspired by nature and its spiritual connection to human life. My work celebrates the natural world and its profound impact on human experiences. I use a combination of mediums and techniques to bring to life the emotional depth and spiritual connections in all living things, inspiring viewers to appreciate and cherish the beauty of the world around us while reflecting on the deeper aspects of our existence.

5 JAYN ANDERSON

www.jaynandersonart.com jaynandersonart

Jayn Anderson is a North Carolina-based abstract painter. Her work is inspired by life experiences, emotions, music and how they all relate to fundamental humanness. She creates to uncover the deeply personal and at times, uncomfortable parts of life. Through her work, she strives to present a visual language that we can all relate to on a deeper level. Jayn’s desire is to provide a safe space for others to feel the freedom and vulnerability to connect to their innermost thoughts through art.

4

6 PHYLLIS ANDERSON

www.phyllisandersonart.com phyllisandersonart

Phyllis Anderson is an award-winning artist who divides her time between CO and NJ. She received a BFA at the University of Texas, and later studied at the Art Students League in NY. Her current multi-media paintings are landscapes which invoke dreams and memory, where a threatened wilderness has become an idea, mythic, legendary, unreal. Fantastic color, image fragmentation, and scribbled lines create romantic, mysterious works. Phyllis’s paintings are shown regularly in Philadelphia, and at RGallery in Boulder, CO. Her work is available at Framewerx Gallery in Winter Park, CO, and is in several private & corporate collections.

7 REBECCA ANNAN

www.rebeccaannanart.com rebecca_annan_art

Rebecca Annan is a multi-disciplinary artist from England, U.K. who returned to her art practice in 2021 after a decade in nursing. She is inspired by the world around her to create art that captures the temporal and impermanent. Her most recent series “Look Above” focuses on the transitionary time of dusk as the trees become silhouettes against the sky- instilling a moment of peace and reflection as the day turns into night.

8

LAUREN SKELLY BAILEY

www.laurenskellybailey.com

skelly__bailey

Lauren Skelly Bailey is a ceramic artist based out of Long Island, NY. She holds a Master of Fine Arts, Ceramics from Rhode Island School of Design. As well as a Bachelor of Fine Arts from Adelphi University in Fine Arts. Skelly works in layers, in a sometimes modular recursive process. The foundation of her ceramic practice is her relationship with abstraction, the vessel, nature, color, and texture. Her works are formed by integrating the use of coiling, pinching, painting, and thrown clay structures to connect her sculptural vessels and corals.

9 MELISSA BENEDEK

www.melissabenedek.com melissabenedek_art

Melissa Benedek is a Contemporary Artist whose work is focused on Abstract Expressionism. Her portfolio demonstrates her vision and passion for colors and movement. She is guided by her intuition. Her work is known for her beautiful color combinations and fluid brushstrokes that intersect, overlap and react with one another, until they unite into a wonderful rhythm.

10 MARTHA BIRD

www.marthabirdart.com marthabirdart

Martha Bird is a Minnesota-based artist specializing in sculptural basketry. She uses basketry techniques to create expansive conceptual forms that both carry forward the traditional craft and challenge its utilitarian assumptions. Martha’s work explores the human body and concepts of resilience, energy, and growth. She exhibits regionally and nationally and her work can be found in collections around the US.

11 ASHLEY BLANTON ashleyblanton.com faint.as.fog

Ashley Blanton is entangled in a desire to find magic in the mundane, for looking closely at details and disparate parts helps her cultivate and connect to the sense of wonder that she seeks. Combining watercolor, gouache, cut paper, collage, and transfer techniques, Ashley creates mixed media works on paper that are evocative of emotional and visceral felt senses.

12 STEPH BLONDET

www.stephblondet.com

stephblondetart

Steph Blondet is a Puerto Rican artist based in Tampa, FL. Blondet creates textured and dimensional paintings as a form of visual journaling. In her work, Blondet explores themes of personal growth, grief, and the societal pressures placed on women. She creates intuitively and communicates her story through color and composition to reflect the duality of the human experience, and to convey that through darkness there will always be light.

13

SARAH E. BOYLE

saraheboyle.com

saraheboyle_painting

Sarah E. Boyle is a Chicago-based painter who explores connections to place through memory, landscape, and repetition. Her Night Window series takes its name from Edward Hopper’s painting created in 1928, and references the everyday experience of gazing at a lit interior and the introspective influence it can have on a person. The series is a catalyst for concepts of voyeurism, loneliness, parallel worlds, the illusions of the everyday, escaping in, stillness, narrative, scale, perspective, and longing. Sarah received her BFA from the School of the Art Institute of Chicago and has a multidisciplinary background in fashion, production design for theater, and illustration.

14 PAULETTA

BROOKS

www.paulettabrooks.com

PBWearableArt

Pauletta Brooks is a jewelry artist who also branches out into other mediums. Her designs, under the label Pauletta Brooks Wearable Art, involve the use of raw minerals and gemstones set in unique and unusual ways. She is known primarily for her inventive use of thermoplastic resin, creating meshlike sculptural webs that house the minerals and stones. Her work has been featured in numerous magazines, journals, and galleries throughout the US and abroad. She resides in New York City.

15 VALERIE BROWNE

www.valeriecbrowne.com

valeriecbrowne

Valerie Browne is a graduate of SAIC where she received her BFA in 2017. In her paintings, she explores social isolation and the internal tension introverts may experience while yearning to join “the party”, alongside layers of emotions that cross one’s mind when experiencing social and sensory overload. Much of her work is inspired by figurative works of the 16th and 17th centuries and traditional techniques of the Old Masters.

16 OWEN BURNHAM

www.owenburnham.com

owen.burnham

Owen Burnham is a Brooklyn based photographer and multimedia visual artist creating from the investigation of movement and abstract imagery. Spanning photography, painting, and collage their practice contextualizes motion as a means to abstractly deconstruct identity. Collections are reflections, reclamations - who and what makes us move? An NYU Tisch Alumni (BFA, Dance), they currently capture New York City dance, with their visual art collections showcased in various virtual exhibitions.

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INGRID BUTTERER

ingridbutterer.com

ingridbutterer.art

Ingrid Butterer is a multidisciplinary artist living and working in Brooklyn, NY. She earned her B.F.A. from the University of Michigan and EdM from Columbia University, Teachers College. Her work has been published in Orenda Arts Journal, Quarentine Magazine and Womxn Artist Project. Ingrid’s work has shown at Lincoln Center, A.I.R. Gallery, Atlantic Gallery, 440 Gallery, Benheim Gallery, Kyoto Shibori Museum and Yamashita Gallery (Japan).

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18 VIVIAN CAVALIERI

www.viviancavalieri.com

vc_artworks_

Vivian Cavalieri is a visual artist with a studio on Chincoteague Island, VA. Her threedimensional miniature scenes prompt conversations on a range of social issues. They have appeared in numerous group exhibitions in the US and abroad. Her work has been published in Suboart, Art Seen, Modern Renaissance Magazine, Collect Art, and Artists Responding To …. She is represented by Hambly & Hambly Gallery, Northern Ireland, UK

19 LAURA CLEARY WILLIAMS

www.lauraclearywilliams.com

lauraclearywilliams

Laura Cleary Williams’ abstract spaces are an ode to an imperfect language. Through motion, she makes marks that translate thought - subconscious – a viscerally understood language. Williams works from her hometown of Chattanooga, TN. In 2009 she received her B.F.A. from Tufts University and the SMFA, Boston and her Master’s in Printmaking in 2012 at SCAD-Atlanta. Williams founded, managed, and co-owned Straw Hat Press, which specialized in fine art publishing and contract printing.

20 MARCIA CONLON musingwomen

Marcia Conlon likes working with materials that are a little rough, grungy, maybe a little dirty. She juxtaposes feminine images from vintage magazines or antique photos next to found material like cardboard, vintage paper and deconstructed book pages. Conlon has been drawn to artistic practices most of her life, even though she has had an eclectic professional life. Conlon has a degree in Art History from the University of Michigan but is mostly a self taught artist. She was born in Detroit, but has lived in Traverse City for 23 years.

21 DEBRA COOK SHAPIRO

www.debcookshapiro.com

debcookshapiro

Debra Cook Shapiro is a San Franciscobased painter whose vibrant, expressive oil paintings and collages celebrate the joyful chaos of human connections. Drawing from her own life experiences, Shapiro’s work captures the energy and intimacy of festive gatherings, weaving personal milestones and relationships into dynamic compositions set against lush, sun-drenched landscapes. Shapiro studied art in Florence, Italy and San Francisco, drawing influence from Botticelli, Hockney, and Bay Area figurative painters.

22 PATRICIA DATTOMA

subscribepage.io/PatriciaD patricia_dattoma.art

Patricia Dattoma is a NYC based artist, art educator and lifelong New Yorker. Her abstract paintings are a visual response to her environment. She explores a sense of place through color, shape and texture. Whether in NYC, at the beach, or in the Southwest, Dattoma internalizes her surroundings which produce a rhythm and harmony that emerge abstractly onto her canvas.

23 MARGOT DERMODY

www.margotdermody.com

margotdermody

Margot Dermody is a Pittsburgh-based artist whose work primarily focuses on painting and sculpture. She uses abstraction to explore memories and emotions, examining the connections between human experiences and the natural world. She works in stone and glass for sculpture and mixed media for painting. In abstract layers of opacity and translucency, her works ask how to locate beauty in the shadows and bring light into life.

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24 JACQUELINE DIESING

www.jacquelinediesing.com

jacquelinediesing

Over the past 10 years in Chicago, IL, Jacqueline Diesing has come to realize she processes her feelings and heals herselfc through her mixed media artwork comprised of detailed, freehand micron ink and soft pastel drawings. Diesing’s journey began with a desire to restore crumbling, architectural masterpieces in her hometown of Detroit to their former beauty by surrounding them with colorful life. Since then, she has been drawn to examine her own health and healing by digging deeper into issues stemming from childhood. The art Diesing is working on now depicts her path towards wellness.

25 GREY ECKERT

greyeckert.com

nelliegreyeckert

Grey Eckert (she/her) subtracts text from found cross-stitch, a process akin to erasure poetry. Transforming lengthy verse into short instances of speech – sweet nothings, passionate ramblings, and lovelorn pleas –imposes a contemporary love affair upon the traditional marital practices in which crossstitch is historically ground: the feminine virtues, domestic responsibilities, and spousal devotion that they describe attracted potential suitors.

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SUSAN FELDMAN

www.susanfeldmanart.com susanfeldmanart

Susan Feldman is a self-taught mixed media artist. Her practice often centers on a sense of place, evoking architecture and the fantastical nature of history and memory. Feldman was born in LA and has exhibited my work throughout CA and NY for over 3 decades. She has a background in graphic design, and is also a vinyl only DJ.

26 TARA ESPERANZA

www.taraesperanza.com taraesperanza

Tara Esperanza’s paintings share her intimate viewpoint of succulents. She feels deeply connected to her subject and is inspired by the abundant varieties of textures, colors, forms, and shapes. Esperanza imagines herself as a bee as she delves into the plants and explores what they reveal. Her paintings celebrate the diversity in the world of succulents. They are magnified images that illuminate the distinct beauty that she sees.

28 KAREN CHRISTIE FISHER

www.karenchristiefisher.com karenchristiefisher

Karen Christie Fisher’s nonrepresentational paintings are an immersive exploration of color and texture. Her intuitive and tactile process employs a variety of mediums and tools to investigate the landscape of emotion. Raised in NYC and inspired by modern design, she now lives and works in the foothills of Oregon.

29

ERIN FRIEDMAN

erinfriedmanart.com erinfriedmanart

Erin Friedman is an abstract artist just outside of Washington, DC in Bethesda, MD. Using acrylic paint and oil pastels, Erin’s work is an accumulation of feelings and experiences over time that transfer onto the canvas. Inspiration comes from moments and reactions to everyday life and her emotions. Erin will make marks, alter her ideas, add layers and change directions. We all experience conflict, change, joy and sadness. Erin does her best to embrace this process and allow those feelings to be revealed throughout her work.

30 RICHARD GLICK

www.richardglickstudio.com richardglickstudio

Richard Glick’s paintings explore his inner travels through the universe and his way of seeing stars, planets, moons and other celestial bodies. While Glick’s work is abstracted and reflects representational matter, he focuses on each work’s formal qualities; its shapes, colors, textures and overall composition. Many of his works have circular and free flowing forms that seem restrained by distinct, unyielding grids or borders. Perhaps this alludes to Glick’s inner turmoil about being open and authentic in hisworld. Come fly with Glick into space.

31

JOSEPH GOLDFEDDER

www.josephgoldfedder.com josephgoldfedder

Joseph Goldfedder is a visual artist based in New Jersey and Pennsylvania. While initially trained as a fine artist, Goldfedder’s experience of living in New Mexico inspired him to pursue becoming an acupuncturist. Through this understanding on how energy or “Qi” circulates through the body, acupuncture reshaped his approach to making art. This experience deepened his understanding of the connection between science, creativity and healing that continues to inspire him.

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SUSAN GRACE

www.susangracestudio.com/ susangracestudio

Susan Grace is a contemporary figurative painter. Her oil paintings have their basis in the human form, but each portrait captures a figure in a stage of transformation. She sees the figures as participants in unfinished dramas in which they are continually evolving, exploring possibilities for metamorphosis, delighting in the fluidity of identity, and remaining indifferent to a final resolution.

33 XENIA GRAY

xenia.gray

Xenia Gray is a contemporary figurative artist who primarily works in mixed media, including oil, acrylic, and charcoal. Fascinated by unexpressed feelings and things left unsaid, Grey explores emotions through paintings of the human body. She grew up in Siberia in the aftermath of the Soviet Union’s collapse, and her sense of color and aesthetics is heavily influenced by the industrial environment of her hometown. Grey enrolled in a local art school at nine and continued her art education in Saint Petersburg, where she achieved an MA in advertisement design from Saint Petersburg State University of Technology and Design. She moved to the US in 2010.

34 LUCY JULIA HALE

www.walltowallsecrets.com

Lucy Julia Hale is a Georgia feminist / social activist artist and art educator. She often selects scenes from our cultural archives of mass-produced publications or vintage vernacular snapshots to which she adds drawn, painted, and/or collaged images to portray a deeper history. She serves as an advocate supporting the dignity and wellbeing of vulnerable populations, which unfortunately now include all inhabitants of Earth. Her work has been selected by prominent jurors for numerous national exhibitions. She holds an Ed.S. and an M.Ed. in Counseling and Educational Psychology, and a B.S. Ed. in Art Education.

35 MEAM HARTSHORN

meamhartshorn.com meamhartshorn

Meam Hartshorn is an abstract painter. Her work explores the relationship between landscapes, geology, and natural phenomena with expression, emotion, and memory. Her paintings create undulating and constantly deconstructing landscapes that often draw inspiration from the geology and ecosystems of the Western United States. Meam currently lives and works in Austin, TX and she is the founder The Artful Collective, a platform for connecting and supporting emerging artists.

36 ALEXIS HERMAN

www.alexishermanstudio.com alexishermanstudio

Alexis Herman (b. 1962) is a contemporary representational painter based in Coastal New Jersey who explores water’s regulating qualities. Her paintings feature simple organizing compositions and richly saturated colors capturing waters transfixing moments. Her process includes sanctifying the painting in the ocean. Her work has been exhibited at Kelly-McKenna Gallery, 14C Art Fair Showcase Artist, Mattatuck Museum and Monmouth Museum.

37 SARAH HESSINGER

www.sarahhessingerart.com sarahhessinger

Sarah Hessinger is a self-taught contemporary artist living and working in Hana, Hawaii. Hessinger’s work portrays nature through ethereal expression, using drawing and painting techniques informed by the natural world and her imagination. Her paintings are displayed in many private homes and public exhibitions.

38 TAYO HEUSER

www.tayoheuser.com tayoheuser

Heuser’s artwork is a confluence of her cultural experiences both visual and spiritual. Heuser describes her paintings as portals in that they represent a world of infinite possibilities allowing time for reflectivity and timeless tranquility. Her work addresses the central theme of cosmic balance between light and darkness, spirit, and matter.

39 ROBERTA HOINESS

www.robertahoiness.com

robertahoiness

The world can be a noisy and complex place. Roberta Hoiness creates organic abstract landscape art with the hope of inspiring moments of calm. She layers hand-painted paper, pigment, oil pastels and occasional touches of metallic leaf to recall the “feeling” of a place rather than the details. Hoiness is continually inspired by the quiet, stillness & rustic beauty of the Canadian prairies where she lives with her husband and three children.

40 CHRISTINE HONG

christinehongstudio.com

christinehongstudio

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Christine Hong, a Korean-American artist based in New Jersey, presents “Barlight,” a mixed media painting that explores the fragility and resilience of human relationships through the act of carving. By cutting through multiple layers of paint and revealing the raw canvas beneath, Hong symbolizes the peeling back of outer selves, exposing the deeper connections that lie within. 40

41 KIM HOPSON

www.kimhopsonstudio.com kimhopsonstudio

Kim Hopson is a multidisciplinary artist based in Brooklyn, NY. In her work she explores themes of ableism, caregiving, and identity. Experiencing life with a disability has given her a unique viewpoint that is reflected in her paintings, drawings and collages. She focuses on the body’s relationship to the world, both physically and emotionally.

42 ANNA HVID

www.annahvid.dk annahvidart

Anna Hvid is a self-taught, Copenhagenbased painter. Her subjects are usually semiabstract figures, and her works are composed of solid blocks ofcolors and suggestive lines. At the very core, Hvid’s visual inspiration comes from her grandmother’s tapestries. Her grandmother had an enormous loom, on which she would weave all sorts of magical creatures. Those tapestries are always at the base of what Hvid does.

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LEA JERLAGIĆ

eloahart

Lea Jerlagić, born in Sarajevo in 1984, is an artist and Assistant Professor at the Academy of Fine Arts in Sarajevo. Specializing in printmaking and painting, her work explores human nature,inspired by spiritual practices and sacred erotic art. Combining traditional and experimental techniques, her art is a meditative process, inviting us to explore deeper aspects of ourselves and the universe.

44 ANDREA JONES

www.modandart.co.uk andrea_jones_art

I am an artist from Liverpool, England and for the past eleven years I have worked as an art teacher in a prison. My artwork has featured in several magazines of art and literature in the U.S., U.K. and Berlin, Germany. One particular style that I work in is based on my alter ego, this is inspired by wanting to be somebody else, taking elements from different people to create new characters, I call these characters my alter ego people. The images are painted in acrylic on canvas or drawn onto paper.

45 ZARA KAND

www.zarakand.com

zarakandart

Zara Kand is an oil painter based in Southern California. She has exhibited throughout numerous venues within the US and has been featured in many online and print publications across the globe. Her work is often highly symbolic and focuses on figurative elements within dreamy environments. She currently lives in the hi-desert, spending her time painting, art writing for various art magazines, and dabbling in curatorial projects. She is also the editor of The Gallerist Speaks, an international interview series focusing on gallery directors, arts organizers and curators.

46 TOSHIKO KITANO GRONER

www.toshikokitanogroner.com

toshiko_kitano_groner

Toshiko Kitano Groner is a visual artist who lives and works in New York City. She was born and grew up in Japan. These works are color field paintings emphasizing the coordination of colors. She uses color to exude passion in her compositions. The floral scenes spontaneously arise in her imagination based upon fleeting random images briefly seen and experienced.

47 SANDY LANG

www.sandylang.art

sandy_lang_art

“Creating is like telling yourself a tale of the world you feel.” Born 1980, Sandy Lang is a self taught artist located in Germany. She mostly works with oil colours since she loves their brightness and texture. It allows Lang to explore strong dark and light effects and to express the themes her paintings deal with. Being a lover of symbolism, Lang is working with allegories in a figurative manner of painting with a very personal approach to themes such as shadow and light, memories in time, and love – or its absence.

48 DIANE LAMBOLEY

www.dianelamboley.com dianelamboley

Diane Lamboley is a contemporary photographer who strives to brighten the lives of others by helping them free their imaginations from the cage of their conditioning. She embraces adventure and finds much of her inspiration exploring the beauty earth offers. Lamboley is called to capture the wonders of nature through her photographs which are digitally transformed for people to experience a visual journey. Her artwork is printed on aluminum enhancing the contemporary feel.

49 CHARLES LEAK

charlesleakstudio.com charlesleakstudio

Charles Leak (b. 1953, Dallas, Tx ) is an artist who lives and works in New York City and East Hampton. He combines oil paint, enamel, gold, copper powder, and graphite on canvas and paper. “I am influenced by all the great artists from Da Vinci to Diebenkorn. And all the great writers, musicians, and filmmakers. But more importantly, my greatest influence is the wonderful natural world we were given that surrounds us all”

50 JENN

LECOUR

www.jennlecourart.com jennlecour_art

Jenn Lecour is a Canadian abstract painter living on an island off the west coast where she is surrounded by the drama of nature. Using cold wax and oil, she seeks to evoke a sense of timelessness that is embedded in the landscape. Through scraping and rebuilding layers, she explores the visual impact of what has been left behind.

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JESS LEVEY

www.jesslevey.com

jesslevey.art

Jess Levey is a nationally and internationally exhibited, NYC based multimedia artist. She received her BA from Barnard College and her MFA from Hunter College. Through works related to grief, geopolitical divisions, the menopausal transition, and the climate crisis, Levey layers fragments of materials, images, and/or sound. She creates meaning through rearrangement, while rebuilding from what already exists.

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MOLLY MARTIN

www.mollymartin.com mollymartinartist

Driven by a deep passion for the environment and women’s freedoms, Molly Martin’s art explores the intrinsic connection between humanity and nature. She reimagines 19th century photographic portraits of women to reflect environmental issues. Each piece evolves intuitively, allowing Martin to express both her concern and hope for the future.

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53 JODI MILLER

www.jodimillerfineart.com jodimillerfineart

Jodi Miller is a Canadian prairie-based contemporary, impressionist painter. Her work explores connections with our roots, our stories and our surroundings. Drawing on her childhood on a family farm and years spent in the Royal Canadian Air Force across Canada, her landscapes are familiar yet fictitious. “Each painting begins with a memory, then evolves to tell a story of its own.” Jodi’s work focuses on human connections as observed through our environment using the metaphor of our imprints on the land as an entry point for personal narratives.

54 NICOLE MILLER

www.nicolemillerart.com nicolemillerartist

Nicole Miller is an artist who shares her passion through teaching. With degrees in Studio Art, Interior Design, and Education, her artwork reflects a journey filled with joy, happiness, and gratitude. Using brayer techniques combined with oil pastels and acrylic paints, Nicole explores organic objects and pushes the boundaries of color saturation. Each piece is thoughtfully crafted, with heavy influences from her family and life experiences.

55 RACHEL MORRISSEY

www.rachelmo.com

rachelmorrisseyart

Rachel Morrissey is based in Massachusetts. She received her MFA in 2016 from MassArt. Morrissey makes highly saturated narrative paintings that employ organic forms to convey her daily experiences, which include motherhood, anxiety and more recently, life with a chronic illness. The motifs oscillate along the continuum of her lived experience, love and joy at one end and utter despair at the other. She is represented by Voltz Clarke Gallery and 19 Karen.

56 STEPHANIE MULVIHILL

stephaniemulvihill.com

smulvihillart

A NYC-based artist and educator, Stephanie Mulvihill works primarily with the drawn image on paper because of its tactile surface and fragile, impermanent quality. By drawing with graphite, she taps into the tradition of drawing as a means of investigation and dissection of both nature and ourselves. In her work, Stephanie explores themes of creation, motherhood and personal evolutions: physical, spiritual and intellectual. Visual references to the body and internal anatomy overlap, meld and transform to create totems honoring our individual and collective transformations.

57 CAMILLE MYLES

www.camillemylesart.com

camillemylesart

Camille Myles is an emerging Canadian contemporary artist living on the shores of Georgian Bay in Tiny, Ontario. Park Superintendent & formerly an archaeologist, Myles has a deep connection to nature & history bringing hope and transformation to her community. Working in painting, sculpture, installation and public art, she creates conversations about identity, motherhood and celebrates change and growth in her work. She’s exhibited extensively and is part of private collections internationally.

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58 SEPI NAGHASHIAN

www.sepiandart.com shokous

Sepi Naghashian, a self-taught Nashville artist, draws inspiration from Ed Ruscha and Anselm Kiefer to transform mountains into abstract forms that float against a minimalist background representing a silent universe. Her work is a subtle exploration of the coexistence between humanity and nature through the integration of conceptual themes, highlighting human and urban footprints on mountains in ordinary yet nuanced ways.

59 RUCHITA

NEWREKAR

ruchitanewrekar.com/contemporary-works ruchitajewlery

Ruchita Newrekar is a jewelry designer and contemporary jewelry artist. She uses jewelry as a platform to explore thoughtprovoking concepts. Her designs express the undeniable existence of connections and how their effects play a significant role in making us human. Each piece she creates is a visual narrative, an invitation to reflect upon the interconnectedness that underlies our existence, symbolizing the intricate web of relationships that shape our lives.

60 CELESTE NOVAK

www.celestenovakstudio.com/ celest.novak

Celeste is an artist and architect living in the woods in Northern Virginia. Painting and drawing since childhood, her art is grounded in the work of abstract expressionism, color theory and Eastern Art. She conducts visual symphonies through marks, splashes and layering of transparent watercolor washes. She paints to share the joy experienced through art, in nature, and in life.

61 JESSICA OLIVEIRA

www.jessicaoliveiraart.com jessica.oliveiraart

Imitating the unreliable and fluctuating nature of her memory, Jessica Oliveira (b. 2000, Yonkers, NY) works to develop worlds that can be explored and experiences that can be rediscovered. In remembering, we can reflect and in reflection we can learn. Jessica is assessing how different people, places and objects are remembered and what happens to her memory over time.

62 RACHAEL O’SHAUGHNESSY

rachaeleastman.com/home.html rachael.oshaughnessy

Rachael O’Shaughnessy witnessed every consecutive ocean sunrise of the last decade, and translated them into atmospheric paintings to merge her coastline with the timeless, the ethereal, and the sublime. An honors BFA from MECA, Europe, and work with Wolf Kahn prepared O’Shaughnessy’s balance: “The intimate carries the infinite. I’m here here to render nature as felt, breathed in, and condensed.”

63 REBECCA POTTS AGUIRRE

ww.rebeccapotts.com pottsart

Rebecca Potts Aguirre is an artist based in Southern California. She explores themes of motherhood and gendered labor, memory and visibility, trauma and healing. She sculpts polymer clay and play-dough, building “paintings” with slight relief. Her materials draw connections to craft and childhood, while her imagery reflects flickering memories and the early fog of motherhood. Through her art practice, she seeks connection and asks: how do connections persist?

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64 PAULINA REE

www.paulinaree.com

paulinareeartist

Paulina Ree is an Oslo-based painter, educator, curator, and researcher. Born in Ecuador, Ree moved to the United States as a teenager, it was during her time there that she first trained in Art, pursuing her long life passion of learning about painting and art history. Her art practice revolves around regular and continuous research, as well as participating in in-person and online art related workshops. Ree explores drawing, and painting in different mediums. Ree’s focuses on portraiture and figurative art.

65 MICHELLE REEVES

michellereevesart.com

michellereevesartnashville

Michelle is a botanical/floral artist who lives with her husband and son in Nashville, TN. She began painting at the age of 52 after a gentleman asked, “What are you passionate about?” during a job interview. This question led Michelle back to school to pursue an Interior Design degree, but through coursework she started to paint. Her latest paintings are inspired by pages from her childhood coloring books. Bold outlines of brush strokes and intricate backgrounds fill the canvas.

66 BRITTANY M. REID

brittanymreid.com

brittany.m.reid

Brittany M. Reid lives and works in Rochester, NY. Shapeshifting between mediums has become second nature, with their current focus on painting. Their recent work captures the moments where our minds wander into nebulous daydreams, featuring amorphous shapes and fantastical dreamscapes. This shift to painting marks a deliberate departure from their earlier collage work, which was characterized by bright colors and crisp lines, and reflects an evolving exploration of abstract visual storytelling.

67 MADDIE

REISS

www.maddiereiss.com

maddiereissart

Maddie is a landscape painter based in Greater Philadelphia. She works primarily in acrylic but enjoys sketching in ink and watercolor. Nature and wildlife are her main sources of inspiration, but she also relies on words, song lyrics, and poetry to guide the look, feel, and mood of her visual work. Her current collection of paintings is centered on western landscapes from her travels, featuring scenes from AZ, CO, and Big Sur.

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HANI ROSENBAUM

www.hannahrosenbaumartwork.com

hani.rosenbaum

Hani Rosenbaum works in a variety of mediums, from abstract acrylic paintings, to illustrations, and more recently intaglio etching designs. Hani’s visual art explores themes around magic, surrendering to nature, celebration of queerness, transitional shifts, and are rooted in continuous self-discovery. She states: “This work has allowed myself a lens for curiosity to bloom and reflect back to me as a way to understand my own identity and inner landscapes.”

69 ALI ROUSE

www.alirouseart.com

ali_rouse_artist

Ali Rouse’s artistic creations are reflective of the power of beauty, death and rebirth, and the eternal cycle of Life. Born of death becomes reincarnate Life.

70 AJ SCHNETTLER

www.ajschnettler.com ajschnettler

AJ Schnettler is a nonbinary, multi-racial photographer and printmaker born and raised on Long Island. They decided to get a new perspective on life and education by moving to pursue their B.F.A. degree in Photography with a minor in Printmaking from the San Francisco Art Institute in 2019. Their work is based around what one does to provide self-acceptance. Working through identity or the space surrounding them; how to feel at peace overcoming negative, social, and cultural pressure.

71 MEGAN SILVA megansilvaartist

Megan Silva is a South African born acrylic painter who lives in North Carolina with her husband and two kids. Megan started painting after losing a sense of self through a difficult pregnancy and motherhood in a foreign country. Through her paintings she hopes to draw you in, to join her in the quiet moments and pleasures that are found throughout an often loud and hectic day.

72 LIBBY SIPE libbysipe.com libbysipestudio

Libby Sipe is a process-driven multidisciplinary artist currently living in Maine. Her work represents her playful and resilient spirit that has carried her through profound and challenging moments of her life. She breaks the rules of painting because she is enchanted with the idea of something like paint being able to stand without the aid of a traditional substrate.

73 EKATERINA STOLYAROVA art_ekaterinas

Over the years, Ekaterina Stolyarova increasingly understood that her art should not only be a means of expression but also a way to show people that nature needs protection. Using eco-friendly materials is her way of saying, “We can create without harming the environment.”

74 NAOMI THORNTON

www.spiritisaboneart.com spirit_is_a_bone_art

Naomi Thornton is a mixed media artist and psychotherapist living in the expansive beauty of Northwest Montana. In her art, she highlights the historically undervalued stories of women while emphasizing a connection to nature as a life-giving resource. Vintage portrait photographs are the inspiration of her work. She uses collage and paint to evoke a textured layering of desires, hopes and dreams using found images, handmade papers, and text from old books. Through her art, she intends to create a new narrative of empowerment, resiliency, and connection to the natural environment.

75 NINA URLICHS nina.urlichs.de ninaurl

Nina Urlichs, a German artist, completed her studies in Fine Art in Paris. In her collage-like works, Nina explores themes of femininity and the relationship with the surrounding nature. She employs a variety of techniques, including drawing, cyanotypes, and photography, to create layered compositions that evoke a world of silence and nostalgia.

76 SIEGLINDE VAN DAMME

www.sieglindevandamme.com sieglinde.art

Sieglinde Van Damme is a visual artist based in CA, although she used to be an economist with European roots. Focused on abstraction as an open, undefined potential to new interpretations, her work reflects on the deep layers of our individual past histories and the complex dynamics behind big life choices. Her message: always “re-imagine what else is possible.”

77 CHRIS WELLER

www.nycdrawings.com chriswellernyc

Chris Weller, b. 1962 Calgary, Alberta, Canada, BFA Western Michigan University. Chris is a New York City based artist. “I make drawings to explore man’s relationship with the urban environment he has built, juxtaposed against his tenuous relationship with nature. My goal is to create work which communicates

78 ERIN WHEARY

www.erinmonetwheary.com erinwheary

Erin Monet Wheary is an interdisciplinary artist. Her work explores concepts of growth and decay and order and chaos. “Visual art is my lens to see and understand the physical world and humanity.” Wheary’s recent exhibitions include the Female Artists Club, Belgium, and a site-specific installation at Swarthmore College. Artist residencies include Chateau d’Orquevaux, France (2020) and Casa Taller El Boga, Colombia (2023). She currently teaches at Western New Mexico University.

79 YAHEL YAN www.yahelyan.com yahel.yan.art

Depth is born from layers of paint, revealing a tapestry of hidden memories. Each painting brings forth underlying emotions and sensations—from joy and romance to grief and healing. My artistry thrives on a determined passion for creation. Whether capturing the essence of a chair, a whimsical landscape, or an abstract form, every collection embodies my optimistic spirit and my mission: to inspire joy in every viewer.

80 BRENDA ZAPPITELL

www.zappitellstudio.com

zappitell_studio

Zappitell is a contemporary abstract painter. Ritual Paintings series, is characterized by her distinctive gestural marks of looped forms in subdued palettes that have been integrated with mantra-like phrases repeatedly inscribed in diminutive text across the canvas. These statements, quietly repeated by the artist during the act of painting, serve a dual purpose as both a seal and a disclosure, intricately intertwining with the abstract forms to convey a personal narrative.