Interviews by Brainard Carey

Painting by Caroline von Grone, Omar the Prophet Omar Kholeif is an artist, author, curator, cultural historian and professor of global art theory and practice at the Glasgow School of Art and Program Leader of the Graduate Program in Curatorial Practice with the University of Glasgow. Luísa Correia Pereira World Child Front Cover Courtesy of Sternberg Press and artPost21 They work and operate under numerous guises, including as the avatar of Doctor O—The World's Leading Pop Physician (TM). Born in Cairo, Egypt, they were raised in Glasgow, Scotland, Los Angeles, CA, and elsewhere. An author of over two dozen volumes on art, a curator of over 100 exhibitions, they are the co-founding director of artPost21, a not-for-profit publishing and broadcast platform for artists and their dreamwork. Simone Fattal imagine otherwise Cover Courtesy Sternberg Press and artPost21 Their recent books include, Nil Yalter: Circular Tension (2024), Otobong Nkanga: Stitched Dreams (2024) and Internet_Art: From the Birth of the Web to the Rise of NFTs (2023). Huguette Caland imagine otherwise cover Courtesy of Sternberg Press and artPost21 In 2025 their long-awaited critical biography on Huguette Caland was published as part of imagine/otherwise. Forthcoming in 2026 is Luísa Correia Pereira: World Child, published by Sternberg Press. Forthcoming projects include the curated group exhibition, Fellow Travelers at Tabari Art Space, Dubaiand a survey exhibition of their creative practice at The Third Line curated by Sofia Victorino.

A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.” Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell's means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990's. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them. Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX). Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY. Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, There's no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography

Clementine Keith Roach, 2020 Courtesy P·P·O·W, New York. Photo: Teddy Park Clementine Keith-Roach (b. 1984) received a BA in Art History from University of Bristol, Bristol, UK and now lives and works in Dorset, UK. She has exhibited at P·P·O·W, New York, NY; Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D'art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; The Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; Wellcome Collection, London, UK; Kasmin, New York, NY; and Villa Lontana, Rome, Italy; among others. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach's work was featured on the cover of Art in America's September 2022 issue illustrating Glenn Adamson's article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear. She presented her first solo exhibition with P·P·O·W in 2024, and her fourth solo exhibition with Ben Hunter Gallery in 2025. Clementine Keith-Roach, Eternal return, 2024 terracotta vessel, plaster, wood, steel, epoxy putty and acrylic paint 23 5/8 x 42 1/2 x 37 3/4 ins. 60 x 108 x 96 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian Griffiths Clementine Keith-Roach, I is another, 2024 terracotta vessel, plaster and resin composite, wood, steel, epoxy putty and acrylic paint 20 1/2 x 58 1/4 x 29 7/8 ins. 52 x 148 x 76 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian Griffiths

Based in Brooklyn, NY (b. 1986, Taishan, China), Ye Zhu is an interdisciplinary artist focused on painting, public art, and social practice. He has presented solo exhibitions at DIMIN (2023) and Harkawik (2022) in New York, NY; at Moskowitz Bayse (2021) in Los Angeles, CA; and at the Andrew Freedman Home in the Bronx, NY (2022). His work has been included in group exhibitions at The Sugar Hill Museum in Harlem, NY (2022–23), Gavlak Gallery in Los Angeles (2023), Galerie Marguo in Paris, Harper's (2023, 2021), and James Fuentes (2021) in New York. Over the past year (2024–25), he completed residencies at the Lower Manhattan Cultural Council (LMCC), Dieu Donné Workspace in Brooklyn, and Wave Hill in the Bronx. Zhu has created numerous public projects, including a tribute installation for healthcare workers at the Yale School of Medicine (2022), a billboard project with Kingsgate Project Space in London (2021), A Universe in Strafford, NH (2021), and CONSTELLATION on Governors Island (2021), featured in The New York Times. He is a founding member of Haven Arts Park (2020–2023), an initiative dedicated to transforming contaminated land into an art park, and was a recipient of the Andrew W. Mellon Foundation grant (2022–2023). The Cosmos of Seeds, 144″ x 96″ Ego Decay, 96″ x 48″ Star Studded Snail, 42 x 39

Ron Norsworthy is an interdisciplinary artist whose broad practice engages the fields of art, architecture, filmmaking and design. Informing his work is a foundational belief that the rooms, spaces and environments we inhabit and interact with speak volumes not only about who we are now, but also about our dreams, aspirations and our struggles as well. Through the creation of collaged reliefs, decorative objects, textiles and installations, his work carries the viewer through a non-linear, layered story of his life, one shaped by his lived experience as a queer person of the global majority. Norsworthy was born in South Bend, Indiana and currently lives and works in Connecticut and New Jersey, respectively. His work has been exhibited at the Studio Museum of Harlem, NY; The Old Stone House, Brooklyn, NY; Visual Arts Center of New Jersey, Summit, NJ; The Wassaic Project in Wassaic, NY; Five Points Gallery, Torrington, CT; Standard Space, Sharon, CT; Project for Empty Space, Newark, NJ; the International Quilt Museum, Lincoln, NE; the New York Historical Society, NYC; the Governor's Island Art Fair, Governors Island, NY; the Armory Show, NY; Paris Photo; and it is also in the permanent collection of the Newark Museum of Art. In 2023, Norsworthy was awarded a MacDowell Fellowship in Visual Arts. Ron Norsworthy, Do You Know What You’re Looking For?, 2025, Mixed media collage in relief on wood panel Ron Norsworthy, More or Less, 2025, Mixed media collage in relief on wood panel Ron Norsworthy, Trying to Remember the Future, 2025, Mixed media collage in relief on wood panel

Xanthe Burdett Xanthe Burdett (b. 1995) is an artist from Devon currently living and working in London. Her practice is led by painting but also encompasses drawing and installation. She graduated from MA Painting at the Royal College of Art in 2024, and received her BA in Education, English and Drama at Cambridge University. Her work explores the relationship between the body and nature, questioning the notion of the body as nature itself. Through a personal mythology deeply rooted in place, Xanthe weaves bodies and stories into layered works where the boundary between the human and non-human shifts and stretches. Her pieces, which move between extreme scales, evoke a dynamic interplay as strange, otherworldly creatures emerge through the layers of glazing. Xanthe approaches her practice as a mesh, with her paintings existing within an interconnected web. One thread extends to the monumental hunting tapestries at the V&A, another to the way light dances across a fallen tree on the riverbank of her childhood. Xanthe is a recipient of the De Laszlo Foundation Young Artist Award and has been shortlisted for the Jacksons Painting Prize.  Xanthe Burdett, The Lily Pickers , 2025 Oil on linen 72⅞ x 55⅛ in (185.00 x 140.00 cm) Xanthe Burdett, Voices caught in the earth , 2025 Oil on linen 13¾ x 11¾ in (35.00 x 30.00 cm) Xanthe Burdett, Psychopomp, 2025 Oil on linen 28 x 42 Inches (71.12 x 106.68 cm)

Katie Simmons is an artist, educator, and wildlife biologist from the Appalachian mountains in east Tennessee. She holds baccalaureate degrees in art history, visual art, and wildlife biology and her MA in education and MFA in drawing and fiber art. Katie is an instructor of drawing and fiber art at Colorado State University and Front Range Community College. Her artwork has been exhibited internationally in numerous group and solo shows in the United States, western Europe and South America. Her research on feminist aesthetics, the uncanny, and the commodification of bodies through sex trafficking has also been published and presented at regional and national conferences. Katie has been the recipient of the Charlie and Gwen Hatchette Creativity Award, the Keith Foskin MFA Scholarship, the Boynes Artist Award, the Oak Springs Garden Foundation Residency, Centrum Residency, and a finalist for the Women United Art Prize and Prisma Art Prize. She is also a vocal advocate for the Sexual Assault Victim Advocate Center in Colorado. In her free time, Katie loves ultra trail running, spending time with her family, and watching bad tv with her dog. Katie's work has most recently been exhibited in a solo exhibit at Metropolitan Community College's Gallery of Art and Design and she has upcoming shows this spring and summer at the Sanger Gallery in Key West, Florida, the Gregory Allicar Museum of Art in Fort Collins, Colorado and Manifest Gallery in Cincinnati, Ohio.  Pinecone Quilt I (Side A and B) 2025 Plastic refuse, embroidery thread, found curtains and bed sheets with ballpoint pen drawing and homemade walnut bark ink 85 x 85” Digitalis purpurea, 2025 Ballpoint pen and ecoprinted common foxglove (Digitalis purpurea) on silk 70 x 48” Invasive Species I: Rubus phoenicolasius, 2025. Ballpoint pen and homemade natural dye made from wineberry (Rubus phoenicolasius) on cardstock, 50 x 38″

Paul Scott in print studio with cut Wild Rose detail Paul Scott (b. 1953, United Kingdom) is a UK-based artist, living and working in Cumbria, with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft, and design, he is well known for his research into printed vitreous surfaces, as well as his characteristic blue-and-white artworks in glazed ceramic. Scott's artworks can be found in public collections around the globe, including the National Museum, Norway; the Victoria and Albert Museum, London, UK; National Museums Liverpool; the Carnegie Museum of Art, Pittsburgh, PA; and the Brooklyn Museum, Brooklyn, NY. Commissioned work can be found in a number of UK museums, as well as in public places in the north of England, including Carlisle, Maryport, Gateshead, and Newcastle upon Tyne. He has also completed large-scale works in Hanoi, Vietnam, and at the Guldagergård public sculpture park in Denmark. A combination of rigorous research, studio practice, curation, writing, and commissioned work ensures that his practice continues to develop. His work is fundamentally concerned with the reanimation of familiar objects, landscape, pattern, and a sense of place. He was professor of ceramics at the Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelor of Art Education and Design from Saint Martin's College and his PhD from the Manchester Institute for Research and Innovation in Art and Design in England. His current research project, New American Scenery, has been supported by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. Cumbrian Blue(s), New American Scenery, Souvenir of Portland OR Black Lives Matter (After Killen & Howard)/Trumpian Campaigne, No.5, 2021. Transfer print collage on partially erased Staffordshire transferware souvenir plate by Rowland & Marsellus, c.190010.25″ Dia. x 1” D Cumbrian Blue(s), New American Scenery, Residual Waste (Texas) No.5/1, 2022Transfer print collage, shell-edged pearlware platter, 13″ H x 17.25″ W x 1.25” D Cumbrian Blue(s), New American Scenery, The Sleep of Reason, Wood Cuts (After Spode’s Woodland/Wild Rose) 2, 2024Transfer print collage on pearlware plate with Kintsugi, 11″ Dia. x 0.5″ D Cumbrian Blue(s), New American Scenery, Sampler Jug, No.7 (After Stubbs), 2021Transfer print collage on pearlware jug, 15″ H x 14″ W x 11.75″ D

Aglaé Bassens, Photo: Jenny Gorman Aglaé Bassens (b. 1986, Belgium) has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University (2007) and an MFA in Fine Art Painting from the Slade School of Fine Art, London (2011). Her work has been exhibited internationally, with solo presentations at the Institute of Contemporary Art, Miami; HESSE FLATOW, New York; 12.26, Dallas; Nars Foundation, Brooklyn; CRUSH Curatorial, New York; and Cabin Gallery, London; as well as group exhibitions at Gowen Contemporary, Geneva; STEMS Gallery, Paris; The Valley, Taos; and Workplace Gallery, London. Bassens's works can be found in the permanent collections of the Institute of Contemporary Art, Miami and Colección SOLO, Madrid, Spain. She lives and works in Brooklyn, NY. Aglaé Bassens (b. 1986) What was that, 2025 Oil on canvas 39 3/8 x 51 1/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986) Stone Tiles, 2025 Oil on canvas 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986), Deflated, 2025, Oil on canvas, 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.

Janet Echelman is an artist known for sculpting at the scale of buildings and city blocks, creating large-scale, fluid installations that merge art, architecture, and engineering. Her work transforms with wind and light, inviting viewers into immersive experiences rather than static observation. Echelman uses unconventional materials—from atomized water particles to fiber stronger than steel—blending traditional craft with advanced computational design. Her monumental works anchor public spaces across five continents, in cities including New York, London, Sydney, Shanghai, and Singapore. Permanent installations in locations such as San Francisco, Vancouver, and Porto continually evolve with shifting light and air. Echelman's unconventional path includes a degree from Harvard, five years living in a Balinese village, and graduate studies in both painting and psychology. Oprah ranked Echelman's work #1 on her List of 50 Things That Make You Say Wow!, and she received the Smithsonian American Ingenuity Award in Visual Arts, honoring “the greatest innovators in America today.” Recipient of the Guggenheim Fellowship, she has taught at MIT, Harvard, and Princeton. Her interdisciplinary approach challenges artistic boundaries and redefines urban space through experiential public art. Her recent book, Radical Softness The Responsive Art of Janet Echelman is now available. Remembering the Future, on view at MIT Museum, and its maquette at Sarasota Art Museum retrospective. Photos: Anna Olivella Study (Butterfly Rest Stop 1/9 scale), on view at Janet Echelman: Radical Softness, Sarasota Art Museum through April 26, 2026. Photo: Ryan Gamma. Noli Timere, Echelman's sculpture-dance collaboration with choreographer Rebecca Lazier, currently traveling the eastern seaboard. Photos: Julie Lemberger

Isaac Lythgoe is a sculptor, painter and writer based In Paris, FR. His practice is world-building; reimagining narrative traditions and modes of storytelling, he creates interconnected works that probe power structures, contemporary ethics, and shifting social norms. Within this constructed universe, arcs of romance and mortality intersect, inviting viewers to consider how collective memory is formed—and what future societies might resemble. This temporal drift between past and future is mirrored in Lythgoe's aesthetic language, where tensions between the natural and the synthetic unfold through form, material, and gesture. Recent and forthcoming shows include Phantasmagoria: Folkloric Sculpture for the Digital Age, The Henry Moore Institute, Leeds, UK, (2026), Would I lie to you, Duarte Sequeira, Seoul, KR (2024), Production Residency at Lafayette Anticipations, Paris, FR, (2024), Cute!, Somerset House, London, UK, (2024), After Laughter Comes Tears, MUDAM, Luxembourg, LX, (2023) amongst others. Beautiful losers, 180cm x 140cm, oil on canvas, 2025. I pretended there was nowhere to love, 80cm x 60cm, oil on canvas, 2025 Everyone's a bad guy, 110cm x 80cm x 80cm fibreglass, carbon fibre, epoxy, cast aluminium, scarab beetles

Samuel Guy (b.1991) is an artist and educator based in Brooklyn, NY. Through prolonged observational paintings he explores the multifaceted nature of the self, its murkiness, its chance quality and its socially buttressed construction. Through costuming and a deep relationship to the history of portrait painting he re-presents himself in various forms. The chameleon nature of these self portraits positions the artist as both real and potential, blurring those distinctions and positioning the image of the individual as within a larger cultural context. Often reflections on manhood, these paintings interrogate how it is performed, engaging with the imagery in complicated ways, ranging from the satirical and ironic, to the honorific, and even funerary. He has presented his work nationally, including recent solo and two-person exhibitions Stages Of Presence at Vardan Gallery, LA with Jenny Brillhart (2025), Hitchhike From Saginaw at Auxier Kline, NY (2025) Bildungsroman at Vardan Gallery, LA (2023) and A Distant Mirror at Auxier Kline, NY (2022). Guy has received numerous awards and fellowships including from the Constance Saltonstall Foundation, Elizabeth Greenshields Foundation, and Colman Foundation. Guy is featured in New American Paintings Issue No. 165. A three person upcoming show can be found here.  Samuel Guy, “Hobo's Lullaby”, Oil on panel, 10 ¾ x 8 ¾ x 1 ¾ inches, 2025 Samuel Guy, “A Prairie Home Companion”, Oil on panel, 19 ¾ x 14 ¼ x 1 ¾ inches, 2025 Samuel Guy, “Axe”, Oil on panel, 19 ¼ x 4 ½ x 1 ¾ inches, 2025

photo by Janna Tew Sophie Haulman is a Brooklyn-based ceramicist and sculptor from Wilmington, North Carolina. She received her BFA (2019) from Virginia Commonwealth University's department of Sculpture + Extended Media. While maintaining her practice, she is also a ceramics teacher and works in ceramic production and fabrication. Her evolving work explores the sensuality of space, the body and the unknown through material-based experimentation, contemplation on process, investigation of tactile form, and a constant surrender to fate.   “every month grass came” is a contemplation on mortality and the temporary nature of all that we possess – our bodies, relationships, experiences, memories, desires. As beings of the natural world, we evolve, erode, disintegrate; how do we construct a coherent sense of identity from an existence that is ever-changing?  These ceramic works question and explore these themes of impermanence, loss, and the unknown through a material which has the capacity to long outlast our own bodies while bearing moments of our time within it. Its physical fragility but potential for permanence challenges the transitory nature of self. Sophie Haulman reflects on the idea of resiliency as crucial to surviving one's evolution.  Haulman's work is just as much about the labor and fate of process as it is about the result, considering “process” as both an action and a passage of time. Each piece was handbuilt with slow, methodical, repetitive movements encapsulated within the material body, resulting in forms that question themselves and occlude the transformations of their identities.  The title and show are dedicated to Steffan Elijah Haulman, the artist's deceased brother. His photo, seen daily on the side of her refrigerator, is held up by four contemplative word magnets that have become a kind of mantra: every | month | grass | came.  Sophie Haulman reckon with, or memento mori 2, 2025 Ceramic, glaze 60 × 60 × 3/4 in 152.4 × 152.4 × 1.9 cm. photo by Sophie Haulman Sophie Haulman, the well, or memento mori 1, 2025 Ceramic, glaze 13 1/2 × 19 1/2 × 19 1/2 in 34.3 × 49.5 × 49.5 cm, photo by Janna Tew Left to Right – Sophie Haulman Untitled 2, 2025 Ceramic 18 × 8 × 10 in 45.7 × 20.3 × 25.4 cm, Untitled 1, 2025 Ceramic 18 × 8 × 9 in 45.7 × 20.3 × 22.9 cm. photo by Sophie Haulman

Elijah Gowin uses photography to speak about ritual, landscape and memory.  He was born in Dayton, Ohio in 1967 and received his BA in Art History from Davidson College in 1990 and MFA in Photography from the University of New Mexico in 1997. His photographs are in the collection of the National Gallery of Art, Houston Museum of Fine Art, and the Virginia Museum of Fine Art, among others.   His awards include the John S. Guggenheim Fellowship in 2008 as well as grants from the Charlotte Street Foundation and the Puffin Foundation.  He founded Tin Roof Press to publish his books on art and photography including “The Last Firefly” in 2024 and “Of Falling and Floating” in 2011.  Presently, he is a Professor in the Department of Media, Art and Design at the University of Missouri-Kansas City where he directs photographic studies.  Gowin is represented by the Robert Mann Gallery, New York, Photo Gallery International, Tokyo and Bond Millen Gallery, Richmond, Virginia. Elijah Gowin, Tree 1. Date: 2012 Size: 15.33x 23, Pigment inkjet print Elijah Gowin, fireflies in trees, selangor river, malaysia, 2017 Size: 22”x30.75” Elijah Gowin, House 1 Date: 2014. Size: 15.33”x 23” Pigment inkjet print

James Horner is a queer chronicler who educates the public and diverts discrimination from his community. Horner focuses on ordinary queer folk, their issues, and LGBTQ+ icons like Marsha P. Johnson, a rights activist. The artist focuses on painting, but also experiments with drawings, sculptures, and zines. Using a simple color palette, Horner starts his figurative works with a line drawing and develops them to be muscular, abstract, and sometimes humorous. A native New Yorker, Horner has an M.F.A. in painting from Lehman College and is an artist and board member at the Amos Eno Gallery in Manhattan. He has a 40-year retrospective exhibition at the gallery, “Making of an American Dandy,” as well as an exhibit, “Queer Today – Love, Power, Freedom,” with his art collective, Magenta Lounge. Horner exhibits artwork mainly around the United States – at The Bronx Museum, The Tulsa Artists Coalition Gallery, Satchel Projects, public art shows in Chicago, and The Leslie-Lohman Museum of Art. Recent residencies include the DNA Artists Residency and Atelier Artist Residency, and his work has appeared in Out and Advocate magazines. Friday Night Throwdown,” 2010, Acrylic, paper, fabric, and marker on canvas, 95” x 48” “Keith Haring – Pop Icon,” 2024, Acrylic on paper, 22” x 30” “Homebody,” 2024, Acrylic and leather/metal belt on canvas, 22” x 28”

Jeanine Brito (b. 1993, Germany) is a painter living and working in Montréal, Canada. Layered in theatrical and fairy tale imagery, she uses her likeness to play with ideas of gender and desire. Her paintings have permeated the cultural consciousness, appearing in Harris Reed's debut runway collection for Nina Ricci, on an album cover by Clara Luciani, on the cover of the highly reviewed debut novel by Sophie Kemp, and many other crossover collaborations. Recent exhibitions include All the Better to Eat You With, Nicodim, Los Angeles (2025), The Amber of This Moment, Nicodim, Bucharest (2025), The Grumpy Girls, Nicodim, New York (2024), The Invitation: A Fairytale by Jeanine Brito, Nicodim Upstairs, Los Angeles (2023), So Softly and Sweetly, La Causa Galeria, Madrid (2022), You Me Me You curated by Rachel Keller, Nicodim, Los Angeles (2022), New Mythologies II, Huxley Parlour, London (2022). All the Better to Eat You With, 2025 acrylic on canvas 66 x 94 in. 167.6 x 238.8 cm The Lovers, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Good Girls, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Impresario, 2025 acrylic on canvas 34 x 26 in. 86.4 x 66 cm

Ryan Crotty earned his BFA in painting from the University of Nebraska-Lincoln and his MFA in painting from Syracuse University. His work has been exhibited extensively both nationally and internationally. Recent solo shows include a solo presentation at Untitled Art with High Noon, Miami, FL; Ever So Slightly Off, Rutger Brandt Gallery, Amsterdam, NL; and Underlying Issues, Galerie Robertson Ares, Montreal, QC. Recent group exhibitions include The Stage is Yours! curated by Eric Gauthier, Exo Gallery, Stuttgart, DE; Spectrum, Galerie Bessaud, Paris, FR; and Tone Poem, The Hole, Los Angeles, CA. His work has been featured in publications such as the New York Times, the Washington Post, Hyperallergic, Artillery, and Design Milk. Crotty lives and works in Auburn, Nebraska. Ryan Crotty, “Sub Rosa,” 2025, acrylic, gloss gel, and modeling paste on linen, 36″ x 30″ Ryan Crotty, “Get a Move On,” 2025, acrylic gloss gel, and modeling paste on line, 60″ x 48″ Ryan Crotty, “Exit Strategy,” 2025, acrylic, gloss gel, and modeling paste on linen, 48″ x 36″

Sigrid Sandström  earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001). Sandström has exhibited her work internationally in solo exhibitions at museums including Vandalorum Museum, Värnamo, Sweden; Västerås konstmuseum, Västerås, Sweden; Frye Museum, Seattle, WA; and at galleries including Anat Ebgi, Los Angeles / New York; Perrotin Shanghai and Tokyo; Inman Gallery, Houston, TX; and Cecilia Hillström Gallery, Stockholm, Sweden. Sandström's work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT. Sandström is currently a professor at the Academy of Fine Arts, University of the Arts, Helsinki, and has previously held positions as a professor at the Royal Institute of Art in Stockholm (2010-2020) and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden. Sigrid Sandström, Ravel V, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Ravel X, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Approaching Times Three, 2025 Acrylic on canvas Frame 40″ x 40″ x 1 ⁵⁄₈” 

Maureen McQuillan (photo credit: Etienne Fossard)Pictured in front of “Crystal Blue Persuasion,” her permanent public art installation, completed 2018, which spans three sides of the 36th Avenue N/W station in Astoria, Queens, and was commissioned by Metropolitan Transit Authority/Arts & Design. Maureen McQuillan creates process-focused, system-based paintings from multiple layers of ink and acrylic polymers that convey a deep but elusive sense of space. Vibrantly hued, she uses rippling, wave-like linear elements and undulating rounded forms to suggest shapes in nature as well as the human body. Her systematic approach to color results in a luminous and complex optical mix reflecting her interest in how our perceptions of color have changed as technology has advanced. Born and raised in New York City, Maureen McQuillan is a graduate of Columbia University and the New York Studio School.  Since the early 1990s she has been exhibiting her work in solo and group shows in galleries and museums throughout the United States as well as in France, the UK, Costa Rica, and Hong Kong. McQuillan’s work has been reviewed and reproduced in many publications, among them The New York Times, The New York Daily News, The Brooklyn Rail, Two Coats of Paint, The Boston Globe, The San Francisco Chronicle, Artnews, Architectural Digest, and Art on Paper; and her work is held in public and private collections all over the world. Maureen McQuillan, Untitled (C/T), 2025 Acrylic polymer, ink and acrylic on wood panel. 10 x 10 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/B2), 2025 Acrylic polymer, ink and acrylic on wood panel 30 x 40 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/RB/BG), 2024 Acrylic polymer, ink and acrylic on wood panel. 16 1/4 x 16 inches. Courtesy the artist and McKenzie Fine Art, New York.

Clare Grill (born 1979, lives and works in Queens, NY) received her MFA from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Parlance, Derek Eller Gallery, New York, NY; Cutwork, Galería Marta Cervera, Madrid, Spain; and Wich Language and Oyster, M+B, Los Angeles, CA. Group exhibitions include Things I Had No Words For at the Center for the Arts, Virginia Polytechnic Institute and State University; Interisland (New Paintings from New York and Hawai’i), University of Hawaiʻi at Mānoa; Of Flesh and Air, Marta Cervera Gallery, Madrid, Spain; The Feminine in Abstract Painting, Milton Resnick and Pat Passlof Foundation, New York, NY; Deep! Down! Inside!, Hales Gallery, NY; and New Skin, curated by Jason Stopa, Monica King Gallery, New York, NY. Her work has been reviewed in Artforum, ArtNews, Hyperallergic, the Brooklyn Rail, The New York Times, The Los Angeles Times, and The Boston Globe. Clare Grill, Drape, 2025, oil on linen, 80 x 112 inches (diptych) Clare Grill, Dune, 2025, oil on linen, 94 x 73 inches Clare Grill, Flit, 2025, oil on linen, 46 x 42 inches

photo by Colin Outridge. The exhibition Change of Scenery,  marks the painter's third solo show with the gallery. It is the culmination of a year's worth of travel across the U.S., as Brennan Hinton spent extended time in residency in Corsicana, TX, Martha's Vineyard, MA, and Fishers Island, NY. Brennan Hinton's practice focuses on the sustained act of observation, the plein-air discipline, and painting's ability to capture the essence of a place. The time spent in three distinctive towns, each in its own ways divergent from Brennan Hinton's familiar Ontario, required the artist to meet each place with open eyes and a fresh palette. To situate himself, Brennan Hinton leaned on two formative texts, Lonesome Dove by Larry McMurtry and Moby Dick by Herman Melville, which are each set in the same landscapes in which he painted. Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016. His work is held in the permanent collections of the Ogunquit Museum of Art, Ogunquit, ME and The Dennos Museum Center, Traverse City, MI. Past international solo shows of Brennan Hinton's work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2023, 2021); Nicholas Robert Gallery, Ontario (2022); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among others. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY. Keiran Brennan Hinton, The White Pine, 2025. Oil on linen, 70 x 60 in. Photo by Lauren Finlay. Courtesy the artist and Charles Moffett. Keiran Brennan Hinton, Texas Sky (Sunrise), 2024. Oil on linen, 56 x 44 in. Photo by Daniel Greer. Courtesy the artist and Charles Moffett. Keiran Brennan Hinton, Fishers Island Living Room, 2025. Oil on linen, 9 x 12 in. Photo by Zeshan Ahmed. Courtesy the artist and Charles Moffett.

Leslie Smith III (b. 1985) was born in Silver Spring, MD and lives and works in Madison, WI.  Smith's interests lie in our conscious effort to alter personal perception. Recent works explore Abstraction's inherent personal and political properties as they relate to broadening notions of Black representation and expression. Smith creates paintings with a mindset that it's possible to present a new interpretation of contemporary abstraction. One with expectations of a different sensibility than that offered by the 1950's and 60's, he offers an alternative worldview; one of inclusion and acceptance.  Leslie Smith III earned a BFA at the Maryland Institute College of Art and an MFA at the Yale School of Art. Smith exhibits nationally and internationally. His work can be found in the permanent collections of the High Museum of Art, Atlanta; the Virginia Museum of Fine Art, Richmond; the Birmingham Museum of Art; the Abroms-Engel Institute for the Visual Arts, Birmingham, AL; and the FRAC Auvergne, France. Leslie Smith III, Ancestral Meeting, 2025 Oil on shaped canvas and sewn upholstery fabric, 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist Leslie Smith III,  Under the Skin of Light, 2025 Oil on shaped canvas 45 1/2 x 36 in 115.6 x 91.4 cm, Copyright The Artist Leslie Smith III, Night Scene From a Moving Train Window, 2025, Oil on shaped canvas and sewn upholstery fabric 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist

Charisse Pearlina Weston (b. 1988, Houston, TX; based in Brooklyn, NY) is a conceptual artist who works across sculpture, writing, installation, and photography. Utilizing techniques such as concealment, repetition, and enfoldment, her work posits Black interior life as a central site of Black resistance. Weston often integrates glass into her work due to its inherent nature. Whether it be through photographs, fragments incorporated into a canvas, or an element within a sculpture, the duality of the material speaks to Weston's understanding of Black resistance. Both fragile and susceptible to shatter at the hand of an act of violence, glass is also highly malleable despite that risk. Etched and embedded into the surface of her works are poetic fragments, as well as historical and autobiographical images. These intimate moments are often concealed and ensnared through intentional folds, offering a layer of protection and privacy to the object on display. The artist writes: “Central to the artistic methodology is the reuse and re-articulation of materials.” From photographs of past installations or fragments of discarded glass, Weston formulates “yet another representation of meaning's capacity to shatter.” For the artist, “these recurrences develop into new forms that represent the ways in which repetition is both a symbol of black cultural production and its reliance on an order of temporal engagement in which the second time encodes an emergent originality.” Charisse Pearlina Weston, untitled long before the squeeze, 2024 inkjet print on Hahnemühle canvas, matte medium, epoxy, frit, glass 44 x 132 inches (each) 88 x 132 inches (overall, unframed). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago Charisse Pearlina Weston III. final test of the prefixal squeeze, 2025 inkjet print on Hahnmühle canvas, oil stick, frit, epoxy, silicon carbide 49 x 74 x 9 inches. © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago Charisse Pearlina Weston, untitled (after the squeeze and the fuse and the lift), 2025, fused Mirropane, Solarcool breeze surveillance glass, and Solexia glass panels with embedded and oxidized, photographic decal, lead, 26 x 51 1/4 x 28 inches (overall), 33 1/2 x 60 x 40 inches (with pedestal). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago

Katy Stone is best known for her large-scale installations and wall sculptures. Working primarily in aluminum, Dura-Lar and plexiglass, her artworks are a proposition to reconsider landscape painting as an environmental, immersive dynamic. Suspended, or set in relief, the artist's drawn, cutout, painted, and stitched-together elements possess a vibrancy, a spirited energy and effect. Echoing fleeting clouds, falling leaves, moving water, and scattered light, they spill, climb and spread across the wall. This mimesis of nature locates the work in an earthly sphere but in a palpably conjured world created via the distinctive visual language she has developed over the decades.  Conveying a movement from one state to another, from one moment to another, from one material to another, her compositions become universal metaphors for phenomena in nature through which we can glimpse the sublime. She received her BFA from Iowa State University and her MFA from the University of Washington and lives and works in Seattle. Red Terrain. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York. Cedar Fall and Willow Wisp (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York. Cloud Dissolve/Pond (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York.

Lamar Peterson (b. 1974, St. Petersburg, Florida) is a painter whose work explores the psychological and social space between refuge and exposure. For more than two decades, he has rendered the everyday experiences of Black life with a language that merges stylized figuration, domestic ritual, and surreal distortion. Across both painting and collage, Peterson creates scenes where tranquility and unease coexist: suburban gardens bloom into uncanny environments, rooms soften and dissolve into landscape, and figures pursue moments of rest and care even as the outside world presses near. Peterson's visual vocabulary ranges from cartoon inflections and bold color to pared-down forms that verge on the symbolic. In his hands, a gesture—cooking a meal, tending a plant, pausing in thought—becomes a quietly radical act of autonomy. His subjects often appear in transitional spaces: windows, thresholds, and gardens that double as emotional terrain, reflecting the fragile distance between sanctuary and scrutiny, vulnerability and strength. Peterson has held solo exhibitions at Deitch Projects, New York; Carl Kostyál, Stockholm; and Fredericks & Freiser, New York, where he is represented. He has also had institutional solo exhibitions at The Studio Museum in Harlem; the Orlando Museum of Art; the University Art Museum at SUNY Albany; and the Rochester Art Center, among others. His work has been featured in group exhibitions at SITE Santa Fe, The Drawing Center, the Kemper Museum of Contemporary Art, the Katonah Museum of Art, the International Print Center New York, and the Yale University Art Gallery. Peterson received his MFA from the Rhode Island School of Design in 2001. He lives and works in Minneapolis, where he is Associate Professor of Drawing & Painting at the University of Minnesota. Lamar Peterson, The Proud Gardener, 2021, Oil on canvas, 70 x 85 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier Lamar Peterson, The Worrier, 2024, Oil on canvas, 30 x 24 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier Lamar Peterson, Exhilarated, 2025, Mixed media and collage on paper, 17 x 12 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier

Amiko Li (b. 1993, Shanghai) is an interdisciplinary artist who translates everyday stories and encounters into film, installation, and photography, to explore and contextualize the underlying complexities and themes, such as intimacy, waiting, and value. Li's recent Exhibition and performance include Center for Art, Research, and Alliance, New York; The Shed, New York; Asia Art Archive, New York; Ulster Museum, Ireland; Haus der Elektronischen Künste, Switzerland; UCCA Center for Contemporary Art, China; Power Station of Art, China. Li's work has been supported through fellowships and residencies at Delfina Foundation, London; Triangle Arts Association, New York; and Kunstlerhaus Dortmund, Germany. Amiko Li Kai, 2023, Inkjet print in aluminum frame, 20 3/16 x 16 3/16 x 1 in. Edition of 3 plus 1 AP Amiko Li, Another Brief Moment, 2020, Inkjet print in aluminum frame 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 AP Amiko Li, 12:54:21, 2021, Inkjet print in aluminum frame, 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 AP

My Pet Ram is pleased to present Towards the Sun, a solo exhibition of new paintings by Heather Drayzen, on view through November 9, 2025. This marks the artist's second solo exhibition with the gallery. The gallery is located at 48 Hester Street on the Lower East Side. Gallery hours are Thursday–Sunday, 12–6 PM, and by appointment. Heather Drayzen (b. 1985, San Antonio, Texas) is a painter known for her intimate, small-scale depictions of quiet domestic life, often featuring herself and her loved ones. She currently lives and works in Brooklyn, New York. Drayzen received her BFA from the School of Visual Arts, New York, in 2007, and earned an MAT from the Rhode Island School of Design in 2008. Winter Bath, 2025, 14 x 18 inches, Oil on linen Winnie Rainbow, 2024, Oil on Linen, 20 x 16 inches Giverny, 2025, Oil on Linen 18 x 14 inches

Linda Daniels creates vibrant abstract paintings.Linda Daniels (b. 1954) spent her formative years in California. She earned her B.F.A. in General Fine Arts from the California College of the Arts.   In 1984, she moved to New York City, where her first solo show debuted at fiction/nonfiction gallery in 1988. Over the following decades, her art was featured in numerous solo and group exhibitions across New York, Los Angeles, San Francisco, and Palm Beach. Linda's artwork has been reviewed in major publications including The New York Times, The Los Angeles Times, Artforum International, Art in America, and The Brooklyn Rail. In 1991, she was awarded a National Endowment for the Arts Fellowship in Painting. Linda returned to California's Central Coast in 2014, where she currently lives and creates her artwork. Linda Daniels, Orange-Red with White, 16"x16", AcrylicCanvas, 2018 Linda Daniels, Orange-Yellow with White, 16"x16", AcrylicCanvas, 2020 Linda Daniels, Turquoise-BlueYellow-Green with White, 40"x80", Acrylic on Canvas, 2021  

Mark Barrow (b. 1982) and Sarah Parke (b. 1981) met while studying at the Rhode Island School of Design. They began collaborating in 2008, when Parke first started weaving fabric on which Barrow would paint. As weaving became the primary conceptual structure through which they approached all subjects, they adopted a joint artistic moniker to more accurately reflect how ideas are generated and spread. Their work focuses on the intersection of weaving (as a spatial and mathematical system) with other visual systems. It also focuses on its intersection with textiles more generally, a tradition that has had an outsized imprint on the history and development of culture and civilization. Barrow Parke live and work in New York City. Barrow holds a B.F.A. in Painting from the Rhode Island School of Design and an M.F.A. in Painting from the Yale School of Art. Parke holds a B.F.A. in Textiles from the Rhode Island School of Design. They have exhibited widely in institutions including the University Art Museum, University at Albany, the Shirley Fiterman Art Center, City University of New York, New York; The Fabric Workshop and Museum, Philadelphia, Pennsylvania; The Rose Art Museum, Brandeis University, Waltham, Massachusetts; the Power Station of Art, Shanghai, China; Kunsthalle Bielefeld, Germany; and Musée d'art Moderne de la Ville de Paris, France. Their work is represented in public collections including Birmingham Museum of Art, Alabama; the Hammer Museum, University of California, Los Angeles, California; Yale Museum, New Haven, Connecticut; the Walker Art Center, Minneapolis, Minnesota; the University of Chicago, Illinois; and Columbus Museum of Art, Ohio. c: Acrylic on Hand-Loomed Linen, 29 5/8 x 23 3/4 inches, 2022 Woman IV, Acrylic and Embroidery on Hand-Loomed Linen, 15 3/4 x 19 3/4 inches, 2020 0N10N, Acrylic on Hand-Loomed Linen, 19 5/8 x 15 3/4 inches, 2019

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI in 2018 and her BFA from Washington University, St. Louis, MO in 2013. Adesman had her first museum solo exhibition, The Birth of Flowers, at KMAC Contemporary Art Museum, Louisville, KY in 2023. She has exhibited work widely including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Ashville, NC; Mead Art Museum, Amherst College; Amherst, MA; Anat Ebgi, Los Angeles / New York; and Mrs. Gallery, Queens, NY. Adesman's work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; Deji Museum, Nanjing, China; and Museo d'Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.  Marisa Adesman's surreal and thought-provoking paintings often depict ordinary objects in bizarre contexts and striking states of mystical transformation. She composes tableware, candles, houseplants, flowers, linens, kitchen utensils, and furniture into strange and unusual arrangements that destabilize our notions about the proper order of a house and home. These settings are often centered around the female form and are guided by Adesman's visionary poetics of interior space. She examines the art historical meaning of the female figure as a pliable body designed for amorous desire and protection, but also sinister and capable of deception and corruption. Adesman's compositions mingle ethereal and phantasmagoric imagery of the surrealist period with Dutch still life and vanitas paintings from 16th and 17th century Europe. Likewise, she retains all the attendant technical mastery which defined those artistic styles. Smooth and luminous surfaces combined with a masterful use of chiaroscuro, the skillful contrastingof extreme light and dark, reveals the hand of a remarkably detailed painter whose work demands to be viewed in person. Marisa Adesman: Tug of War, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: Deadheading, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: The Turn, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman

Amy Winstanley, Photo by Alan Dimmick. Amy Winstanley (b. 1983, Dumfries, UK) is based in Scotland. She received a BA (Hons) in Sculpture from the Edinburgh College of Art (2005) and an MA from the Sandberg Instituut, Amsterdam (2019). Recent solo exhibitions include: Life Hum, Margot Samel, NY (2025); Focus, Workplace Gallery, London, UK (2025); Homing, Ginsberg Galeria, Lima, Peru (2024); Soft Spot, A_Place gallery, Glasgow (2024); Lost Hap, Margot Samel, New York, NY (2023); Slim Glimpses, Cample Line, Thornhill, UK (2023); Moral Limb, Stallan-Brand, Glasgow, UK (2021); Grief Bruise, Lunchtime Gallery, Glasgow, UK (2021); Inscapes, AndCollective Gallery, Bridge of Allen, UK (2016); Interconnections, Gracefield Arts Centre, Dumfries, UK (2015); Detritus and Other Stories, iota Gallery, Glasgow, UK (2014); and Wanderings, John Muir Birthplace Trust, Dunbar, UK (2011). Recent group exhibitions include: Tiefkeller -6, Tiefkeller, Bonn, Germany (2025); Open Return, A_Place, Glasgow, UK (2025); Myriad, Ocean's Apart, Manchester, UK (2025); Out of Earth, The Approach, London (2024), Opening, A_Place, Glasgow (2023); Strangers, Rongwrong, Amsterdam, Netherlands (2022); tangible/intangible, The Haberdashery, Glasgow, UK (2022). Winstanley was nominated for the Sluijter prize for painting 2019 (Netherlands), and has been the recipient of the Hope Scott Trust award (2014) and the Creative Scotland Visual Arts Award (2010 and 2014). Along with the artist collective ALKMY she has published short stories and images in What Ties Ties, Ties (2020) and What Thoughts Think Thoughts (2021) both through Print Art Research Centre, Seoul, Korea. Amy Winstanley, Beautiful and Delicious, 2025, Oil on canvas, 26 x 24 in | 66 x 61 cm Amy Winstanley, Gifts, Omens, 2025, Oil on canvas, 70 7/8 x 59 in | 180 x 150 cm Amy Winstanley, They Are Just in the Other Room, 2025, Oil on canvas, 59 x 70 7/8 in | 150 x 180 cm

portrait by Catherine Talese Melanie Vote holds a BFA from Iowa State University and an MFA in painting from the New York Academy of Art. Having grown up on a functional farm before living and working in NYC for over 25 years, her practice straddles these two worlds. Her work investigates the complexities of the human-land relationship, the cyclical nature of life, and the impossibility of permanence. Vote was a recipient of a Pollock-Krasner Foundation Grant (2007) and was awarded residencies, including the Vermont Studio Center (2002), Jentel, WY (2009), AHAD, Abu Dhabi, UAE (2013), the Grand Canyon (2016), the Weir Farm, CT (2022), and Cill Rialaig, Ireland (2023). Her work has been exhibited nationally and internationally. Exhibitions include work at The Aldrich Contemporary Art Museum (2003) and The Hangaram Art Museum (Seoul, South Korea) (2016). Solo exhibitions include, DFN Gallery, NY (2008), Hionas Gallery, NY (2011, 2016), Galleria Farina, Miami (2017), and Equity Gallery, NY (2020, 2025). Vote presented work in a two-person show curated by Liz Garvey of Garvey|Simon Gallery at DFN Projects in October 2023, followed by her solo exhibition, Consulting with the Light Eaters, at Equity Gallery in May 2025. Her work was also included in the group drawing exhibition, “We Were Never Here,” at Kaliner Gallery in August 2025. Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 in Overalls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in

Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper Union in 2016. His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014) Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cm Willie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cm Willie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm

Matt Magee is an American contemporary artist known for his minimal geometric paintings, sculptures, prints, assemblages, murals, and photographs. Over a four-decade career, Magee has experimented widely with abstract and conceptual art practices. His compositions draw inspiration from personal history, numerology, and language. In his paintings and prints, he explores language through abstraction, repetition, reiteration, and the occasional tip of the hat to art historical precedents. His visual language relates to early hard-edge abstraction and finds inspiration in contemporary scientific, ecological, and technological ideas. His work is in the permanent collections of the Albuquerque Art Museum, NM; the Beinecke Rare Book and Manuscript Library at Yale University, CT; Black Mountain College Art Museum, NC; the Josef and Anni Albers Foundation, CT; Museum of Fine Arts, Houston, TX; Phoenix Art Museum, AZ; Scottsdale Museum of Contemporary Art, AZ; Tucson Museum of Art, AZ; and the University of New Mexico Art Museum, NM. Matt Magee, Grapheme: 16 Squares, 2021, oil on primed paper. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Black Grapheme, 2021, oil on panel. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Ryan Lee Grapheme, 2025, acrylic and pencil on canvas. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.

SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCAD Born in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist's signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects. His previous interview on Yale University radio can be found here. Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017. Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others. Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches. Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches. Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.

Photo courtesy of Elizabeth Haynes. Deborah Zlotsky received a 2019 Guggenheim Fellowship and NYFA Artist Fellowships in Painting in 2012 and 2018. Her work is in a variety of public, private, and corporate collections in the US and abroad and she has been awarded recent residencies at MacDowell, Yaddo, the Bogliasco Foundation, and the Bemis Center. Zlotsky is represented by McKenzie Fine Art and Markel Fine Art, both in New York City, Robischon Gallery in Denver, Sandler-Hudson Gallery in Atlanta, and Bernay Fine Art in Great Barrington, MA. She has a BA in art history from Yale University and an MFA in painting and drawing from the University of Connecticut. She teaches at the Rhode Island School of Design and lives in the Hudson Valley. Deborah Zlotsky, Ghost lines 3, acrylic gouache on panel, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Not a line but a constellation, oil on canvas, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Tragedy plus time, oil on canvas, 2025, 60” x 60” Photo courtesy of Liz Dejeuness.

Simone Kearney is a Dublin-born, Brooklyn-based multidisciplinary artist and writer. She is interested in tracking the daily embodied experience of emotional and intellectual life, which she traces through repetition and variation, metaphor and materiality. Her practice is an inquiry — as much visual as it is psychological — into how experience is a cobbled, fragile thing, shapeshifting, subject to time, configured and reconfigured through our bodies. In recent projects, she has been working with hand-carved stone sculpture, watercolor, and text, to reflect states of self and collective consciousness, where the work starts to gather like archaeological fragments of the psyche. Kearney currently has a solo show of sculptures and works on paper entitled DIGS at Guest Gallery in Brooklyn, NY, on view from September 20th – November 8th. She also will have sculptures in a group exhibition at Koki Arts in Tokyo, Japan, this October. Some previous solo exhibitions include Putty's Coronation, Brooklyn, NY; Undercurrent Gallery, Brooklyn New York; Artshack Gallery, Brooklyn, NY; and Annex Gallery, Lighthouse Works, Fisher's Island, NY. She is a NYFA grant recipient and is the author of Dim, Dahlia, Violet, Stone, (ITI Press, 2024), DAYS, (Belladonna Press, 2021), and My Ida (Ugly Duckling Presse, 2017). She teaches at Parsons School for Design and Rutgers University. Hand (Riddle is everywhere:Because a grain ... tion), 2025, soapstone, 11” X 11.5” X 36” Waterstone (xviii), 2024, watercolor on paper, 22” x 30” “Hole:Through (One by one, to see),” 2025, rhy ... pine pedestal, 11” X 11.5” X 35

Brendan Fernandes, born in Nairobi, Kenya 1979. Currently based in Chicago, his practice addresses issues of race, queer culture, migration, protest, andother forms of collective movement. Constantly seeking to create new spaces and forms of agency, Fernandes'work often takes on hybrid forms: part ballet, part queer dance party, part political protest always rooted in collaboration and fostering solidarity. Fernandes is a graduate of the Whitney Independent Study Program (2007) and has been the recipient of numerous awards, including a Robert Rauschenberg Residency Fellowship (2014), a Smithsonian Artist Research Fellowship (2020), an Artadia Award(2019), a Louis Comfort Tiffany Foundation Grant (2019), and most recently, the PlatformAward (2024). In 2024, he was also honored with the Creative Voice Award by Arts Alliance Illinois. His work has been presented at prestigious venues such as the 2019 Whitney Biennial at the Whitney Museum of American Art, New York; the Museum ofContemporary Art Chicago, Chicago; the Solomon R. Guggenheim Museum, New York, the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; theNational Gallery of Canada,Ottawa; and the Musée d'art contemporain de Montréal, MAC;among many others. Fernandes is an Associate Professor in the Department of Art,Theory, and Practice at Northwestern University. He is represented by Monique MelocheGallery in Chicago and Susan Inglett Gallery in New York. Recent and upcoming projectsinclude performances and solo presentations at the Pulitzer Arts Foundation, St. Louis,MO; the Museum of Contemporary Art Denver, Denver, CO; the Fabric Workshop andMuseum, Philadelphia, PA; and Prospect.6, New Orleans, LA. In spring 2026, a major newcommission and solo exhibition will debut at the Driehaus Museum in Chicago.  

Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well. Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman's work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens. Maria Antelman, Conjurer, 2024. Archival pigment print, 21 1/2 x 27 1/2 inches. © Maria Antelman. Courtesy Yancey Richardson, New York Maria Antelman, Hypnos, 2020. Archival pigment print, 58 x 52 inches. © Maria Antelman. Courtesy Yancey Richardson, New York Maria Antelman, Hall of Mirrors, 2020. Archival pigment print, 39 x 19 inches. © Maria Antelman. Courtesy Yancey Richardson, New York

Benjamin Freedman is an artist whose practice spans multiple mediums including photography, video and computer-generated imagery with an interest in the restorative potential of photographic research and play. He received his bachelor's degree in photography at the Toronto Metropolitan University (TMU) in 2013 and his Masters at The Ecole cantonal d'art de Lausanne in 2023. While probing the relative truths and deceptions of photography, he purposefully adopts visual vocabularies from cinema and television in an effort to create expanded documentary projects. He has exhibited extensively across the greater Toronto area and internationally at the Aperture Foundation in New York City, Chung-Ang University in Seoul, Foto-Undustria Biennale in Bologna and in the Riga Photography Biennale in Latvia. He recently presented work at the Images Vevey Biennale, Vontobel in Zurich, Switzerland and at Ptolemy Gallery in Queens, New York. Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025. Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025. Benjamin Freedman, "I Spy," 2025. C-Print, 24 x 29 in. Benjamin Freedman, "Musings," 2025. C-Print, 24 x 29 in.

Michelle Im creates ceramic sculptures that explore themes of home, displacement, and cultural identity in the context of globalization. Drawing inspiration from ceramic traditions, she examines how historical and cultural forces shape her experience as aKorean American. Using handbuilt figurative forms, Im addresses the psychological tension of embodying conflicting cultural ideologies such as individualism and collectivism. By portraying service workers such as flight attendants, she navigates the nuanced space between cultural dualities, using these figures to reflect on labor, performance, and community. Michelle Im is a Korean-American ceramic artist based in Queens, NY.In 2024, she was selected as the Artist Fellow at the Museum of Arts & Design. Grants and awards include the Center for Craft Teaching Artist Grant, American Craft CouncilEmerging Artist Grant,Penland School of Craft Distinguished Fellowship, and Ceramics Monthly Emerging Artist Award.Shewas a Visiting Artist in Residence at the Archie Bray Foundation for the Ceramic Artsand has attended residencies atTownship10,Watershed Center for the Ceramic Arts, and Penland School of Craft. Herwork has received mentions byThe New York Times, ARTnews, and The Korea Times.She holds a BA in Biological Sciences & Art from the State University of New York atBuffalo and is a faculty member at Greenwich House Pottery in New York, NY    

Joyce Weidenaar is a painter and monoprintmaker living in New York City. She began pursuing art ten years ago after retiring from a real estate career. Her works have been seen in solo and group exhibitions, and in private collections. Her paintings are rendered realistically but with unusual framing, bright colors and often a bit of whimsy. Her prints emphasize texture and are purely abstract. Joyce is a member of the National Association of Women Artists, Pleiades Gallery, The Art Students League of New York and the West Side Arts Coalition. Her paintings and prints are viewable on Instagram (@joyceweidenaar) and on her website (http://www.joyceweidenaarartworks.com). Her gallery talk at the Port Washington Public Library can be seen here. In addition to her art endeavors, Joyce is an avid ballroom dancer and skier.

Adam Cable (b. 1989) creates vignettes of American domestic life using found digital images. His work entwines perception and narratives into the reconstruction of these environments, highlighting ways that impressions and expectations inform experiences of space. These compositions blur the lines between picture and collage by overlaying keyword-sourced materials onto component shapes. Challenging the conventional idea of “home” as a blank canvas, Cable presents it as a complex space influenced by countless factors. Even seemingly static forms become imbued with emotions and meanings through the images he incorporates, reflecting the intricate dance between social norms and cultural values in our everyday surroundings. Cable has shown in several group and solo exhibitions, including at the Amos Eno Gallery project space, NYC; The Painting Center, NYC; University of North Carolina, Asheville; PULSE Art Fair, Miami; Local Project, NYC; and The Plaxall Gallery, NYC. At the end of 2020, he co-curated "Annus Horribilis" with Float Magazine, a group exhibition of work created that globally significant year, while in 2021, The Wassaic Project included his work in the book Secrets of the Friendly Woods. Cable holds an MFA from the School of Visual Arts (2017) and a BFA from the University of North Carolina, Asheville (2013). He lives and works in Brooklyn NY. Adam Cable, Am I There Yet?, 2022-23, archival pigment print, 24 x 18 inches Adam Cable, Unrequited, 2024, archival pigment print, 20 x 14 inches Adam Cable, Anywhere But Here, 2021, archival pigment print, 15 x 15 inches

Natalia Zourabova was born in Moscow, Russia in 1975, lives and works in Tel Aviv since 2004. She studied at the Russian Academy of Theater Art in Moscow (1995-2000) and the University of Arts in Berlin (2000-2003). Zourabova is primarily a figurative painter. She paints scenes that she knows intimately – oftentimes city streets in her neighborhood in Jaffa, or familiar interiors. Color is central to Zourabova's work; her palette and the mood of her paintings range from naturalistic to absurd, and her paintings vary along the spectrum of realism to abstraction. Zourabova has exhibited various solo shows in Israel, at Haifa Museum of art (2024), Herzliya Museum of contemporary art (2019-20), Janco Dada Museum, Ein-Hod (2005); as well as at the Iragui Gallery in Russia (2008-2019), and had multiple solo exhibitions across Israel, Russia, France, Sweden and more. She has participated in group shows internationally at such venues as The Israel Museum (2015, 2018), Mediterranean Biennale (2020,2013), the Garage Triennial of Contemporary art (2020; Salaisons in Paris, France (2010); and the Vasternorrland Museum in Sweden (2000), among others. Zourabova, Nightlight, 2025, 90.5 x 127 in, Oil on Canvas Zourabova, Evening Meal, 2024, 51.2 x 51.2 in, Oil on Canvas Zourabova, Women, 2024, 47.25 x 67 in, Oil on Canvas

Artist Lin Wang. Photo by Joe Kramm. Courtesy of Hostler Burrows Lin Wang, China Oslo-based ceramicist Lin Wang produces large-scale still life installations and sculptural assemblages which investigate the corporeality and historic resonance of porcelain. Over centuries, porcelain's combination of a kaolin-rich white clay body with deep cobalt glazes has registered the ongoing effects of contact and trade, as well as the phantasmic projections of a long-standing dialog between East and West. As an artist working between China and Norway, Wang's interest in this interchange holds personal significance, tinged by her own wanderlust, homesickness, and experiences of cultural discovery. Since 2016, Wang has explored these themes through a cycle of exhibitions, video works, performances, and workshops titled Exotic Dreams and Poetic Misunderstanding. As a group, these works intersperse the iconography of traditional blue-and-white chinaware with imagery of sailors' tattoos, Buddhist and Christian religious deities, and the fantastic creatures populating the terra incognita of early maps. Wang engages these varied histories, combining her own experiences as ceramicist and tattoo artist, traveler and immigrant, fantasist and materialist. Her craft-based interdisciplinary practice is structured by the many forms of sculptural tableaus (the scroll, the folding screen, the still life arrangement) — artistic scenarios rife with complex interactions between personal objects, symbols of status, reminders of mortality, and allegorical stand-ins. Throughout, the delicate materiality and translucence of porcelain — which itself summons comparison with bone and skin — is refigured not only as canvas but as a quasi-corporeal body, marked by the ambitions of commerce and the aftermath of empire. Wang received a bachelor's degree in sculpture from the China Academy of Art and a master's degree in fine art from the University of Bergen. Her central research project Exotic Dreams and Poetic Misunderstandings consists of an ongoing series of exhibitions over the past decade. In 2019, as part of the research for this project, she produced two solo exhibitions at the Kunsthall Grenland and the Vigeland Museum. She has completed numerous public commissions, including for the Hammerfest Hospital, Sarpsborg Library, and Tønsberg Courthouse. Her work is included in the collections of the Nordenfjeldske Kunstindustrimuseum, Oslo Kommune, Porsgrunn Kommune, and the National Museum, Oslo, Norway. Lin Wang, The Harbor Romance, 2025. Glazed porcelain, gold. 4.25" H x 12.25" W x 4.25" D. Photo by Joe Kramm. Courtesy of Hostler Burrows Detail: Lin Wang, Porcelain Flesh Table, 2025. Glazed porcelain, stainless steel. 25" H x 124.5" W x 64" D. Photo by Joe Kramm. Courtesy of Hostler Burrows Lin Wang, I Never Saw the East Coast until I Moved to the West (Jar I), 2025. Glazed porcelain, gold. 19.5" H x 10" Dia. Photo by Joe Kramm. Courtesy of Hostler Burrows

Naomi Okubo's work explores delicate and often uneasy relationships between individuals, society, and the spaces that shape them. Drawing on her personal experiences, particularly her complex relationship with her mother, she examines how guise, decoration, and inherited roles—especially restrictive notions of “femininity”—affect human interactions. In her early work, Okubo depicted women without faces as a symbol of the pressures to conform in Japanese society. Over time, these faceless figures have come to function more broadly as a mirror, allowing viewers to project themselves and reflecting both individual experiences and societal dynamics. In recent years, she has also been exploring the motif of the “greenhouse/home,” a confined yet seemingly nurturing space that resonates with her upbringing and contemporary life, highlighting how environments can both protect and constrain. Her works involve a complex, multi-layered process, where materials and techniques accumulate to convey the depth and contradictions of lived experience. Okubo earned her MFA from Musashino Art University in 2011 and lived in New York from 2017–2019 with grants from the Agency for Cultural Affairs of Japan and the Yoshino Gypsum Foundation. She has exhibited widely in Asia, Europe, and the U.S., including Fou Gallery, New York (2024/25); GALLERY MoMo, Tokyo (2023); ELSA ART GALLERY, Taipei (2022); and Yoshino Gypsum Art Foundation, Tokyo (2022). She served as a residency artist at mh PROJECT, New York (2019); Residency Unlimited, New York (2017); and Art Department of Halland Municipality, Sweden (2014). Her work has been featured by Airbnb Magazine, ZEIT-magazine, Contemporary Art Curator Magazine, Financial Times, Juxtapoz Magazine, The New Yorker, Vanity Fair, and a PBS documentary. Bird Collector, 2025, Acrylic on raw canvas, 57 × 44 in. Canary Cave, 2025, Acrylic on raw canvas, 38.2 × 51.3 in. Dancing in the Flames, 2025, Acrylic on raw canvas, 28 × 12.4 in.

Eva Lake studied art history and archaeology at the University of Oregon and painting at the Art Students League of New York. She has exhibited internationally since 1980. As a singer in post punk bands she recorded with Trap Records in the Pacific Northwest. Her day job was in makeup, beauty and fashion and this, plus her studies in art history, have formed the foundation and subject matter for much of her work. For over a dozen years she interviewed other art people on the radio, specifically KPSU and KBOO, and has written about art for various publications including Art Week, Visual Art Source, Preview and the Bay Area Guardian. Lake also curated exhibitions and worked at artist-run and commercial galleries including Lovelake, Chambers Fine Art, Portland Arts Collective and the Russo Lee Gallery. Born in Los Angeles, she then grew up on a dirt road in southern Oregon. Lake currently lives and works in Portland, Oregon and is represented by Frosch and Co in New York City and Modernism in San Francisco. Eva Lake, Crystal Helmet No. 4 Paper collage 17.5 x 14 2024 Eva Lake, Egyptian Sculpture Helmet Paper collage 23.5 x 19.5 inches 2024 Eva Lake, Giotto Helmet Paper collage 25.5 x 19.5 inches 2025

Robert Janitz (b. 1962, Alsfeld, Germany) is a contemporary painter known for his bold, abstract canvases that balance humor, gesture, and materiality. After studying Sanskrit and art history in Germany, he lived in Paris for many years before relocating to New York and later Mexico City, where he currently lives and works. Janitz is best recognized for his large-scale works featuring sweeping, textured brushstrokes that recall the motion of everyday acts—like buttering toast or polishing shoes—transforming mundane gestures into painterly abstraction. His practice often blends saturated color fields with playful surfaces, exploring perception, language, and the boundaries of painting itself. Over the past two decades, his work has been exhibited internationally in museums and galleries, including solo and group shows across Europe, the United States, and Latin America. His works are part of the permanent collections of the Musée d'Art Moderne de Paris, France; San Francisco Museum of Modern Art, San Francisco, USA; Amorepacific Museum of Art, Seoul, South Korea; the Collezione Maramotti in Reggio Emilia and the Hall Art Foundation, Reading, VT, USA. Robert Janitz, Studio Rats, 2025, Oil, wax, flour on linen, 25 × 20 inches (63.5 × 50.8 cm) Robert Janitz, Masquerade in the Park, 2024, Oil, wax, flour on linen, 25 ½ × 19 ½ inches (65 × 50 cm) Robert Janitz, Camino a Comala, 2024, Oil, wax, flour on linen, 51 × 39 inches (130 × 100 cm)

The artist photographed by Geoffrey Biddle. Avital Burg studied at Bezalel Academy, the Hatahana School, the Slade School of Art, and the New York Studio School. Burg was the artist-in-residence at the Interlude Residency, NY, and the Peleh Residency, CA. Her works are in prominent collections, including the Louis-Dreyfus Family Collection (NY), and the Bank Leumi Art Collection. Burg's impasto paintings incorporate dry paint pieces from her palette into fresh layers, creating surfaces reminiscent of low-relief sculptures. Some canvases are painted over three or four previous works, signifying how each moment of creation encapsulates multiple points in time. The oil on canvas grows lush with life, prompting Burg to reflect on the impermanence of material existence and inviting guests into a rhythmic and meditative form of viewing.  Cracks in the Pavement offers a glimpse into nature's quiet cycles and beauty, often lost in the urban thrum of New York City. In Burg's newest paintings, blue chicories push through the earth, wildflowers bloom in winter, then wither—making way for spring's pink and lavender buds. The inevitability of impermanence is layered onto the canvas, with each painting titled after the street where the artist encountered the flower during walks to and from her Brooklyn studio. Avital Burg, Harlemville Road Purple Loosestrife, 2024, Oil on linen mounted on wood, 10 x 8 in. Image courtesy of the Artist and Fridman Gallery Avital Burg, Summer Crown Heights Flowers, 2024, Oil on linen mounted on wood, 10 x 8.5 in. Image courtesy of the Artist and Fridman Gallery Avital Burg, TJ Hyacinth (Week 35), 2023, Oil on linen, 30 x 26 in. Image courtesy of the Artist and Fridman Gallery

Yatika Starr Fields, 2025. Portrait © Tom Fields 2025 Born in 1980 in Tulsa, Yatika Starr Fields is a member of the Cherokee, Creek and Osage tribes, as well as a member of the Bear Clan. Yatika Fields studied landscape painting at the University of Oklahoma's Sienna, Italy summer program before enrolling at the Art Institute of Boston from 2001 to 2004. While living on the East Coast, the artist developed a keen interest in street art. His dynamic, vibrant graffiti works quickly attracted attention, generating public and private mural commissions across the country from Portland to Oklahoma City, Phoenix, Santa Fe, and Bentonville. In 2018, he completed Astonishment of Perception, a monumental site-specific mural in downtown Bentonville, as part of Crystal Bridges Museum's Art for a New Understanding (2018–2019). Spanning the side of Cripps Law Firm's two-story building, the work depicts lady justice peeking from behind her blindfold, highlighting the dissonance between America's ideals and its judicial system in practice. Like many of Fields's works, the mural blends abstract and stylistic elements, figuration, and allegorical narrative, all in a dynamic, saturated Pop-palette. After joining the water protectors at the Dakota Access Pipeline in 2016, Fields began to give the Indigenous history of hope and struggle a greater focus in his work. In the 2017 series Tent Metaphor Standing Rock, the artist recovered tents after the infamous February 22, 2017 police raid on the protesters, sewing the recovered material into shapes resembling coffins, sleeping bags, or kites. Fields first worked with tents—a mainstay of middle-class camping holidays— after witnessing Seattle's brightly colored homeless encampments. His interest only increased after noticing the structure's role in modern protest movements. The artist recombines the vivid material into traditional Indigenous patterns, anti-pipeline slogans like “Stop the Black Snake,” and into dynamic, compelling abstract compositions. In its totality, the series blurs the boundaries between political polemic and abstraction, between distress, resistance, and hope. The painting, America Realized (2017), also memorializes the experience at Standing Rock. The composition is explosive: Torrents of ice and fire swirl through prayer ties and collapsing tents, recounting the freezing weather, police force, and fires that the activists braved at Oceti Sakowin, the central camp in Cannon Ball, North Dakota. A surveillance drone flies across the top of the expansive canvas packed with razor wire, floodlights, and debris. The scale of the 6- by-6-foot composition allows for Fields to replicate the embodied, fluid performance of mural and street art. As in graffiti works, Fields blurs the line between abstraction and representation, creating stylistic compositions out of recognizable elements, and setting them against dynamic, swirling fields of color and twisting forms. Fields has participated in over 43 solo and group exhibitions at venues across the United States and Europe, including: the Southern Plains Indian Museum, (2008, Anadarko, Oklahoma); Chiaroscuro Contemporary (2008, 2009, 2010, 2011, 2012, 2013, 2014, Santa Fe); BlueRain Gallery (2015, 2016, 2018, Santa Fe); Peabody Essex Museum, (2015–2016, Salem, MA); Rainmaker Gallery (2017, Bristol, UK); the Grand Palais (2018, Paris); the Philbrook Museum (2018, Tulsa); the Crystal Bridges Museum of American Art (Bentonville, 2019); and the Gilcrease Museum, (2019, Tulsa). Fields's paintings are featured in the collections of many museums across the country, including: the Heard Museum (Phoenix); the Hood Museum (Dartmouth College); Oklahoma State Museum of Art; the Peabody Essex Museum; and the Sam Noble Museum (University of Oklahoma). Yatika Starr Fields, Tahlequah, 2025 Polyester, nylon, aluminum rod and tyvek 67 x 50 inches 170.2 x 127 cm Yatika Starr Fields, Impermanence, 2025 Polyester,

Madeline Peckenpaugh (b. 1991, Milwaukee, Wisconsin) renders depth through iterations of adding and subtracting paint, creating a semblance of deep and flat space simultaneously. Probing the slips in perception between corporeal experience, memory, and imagination, she shifts the scale of everyday elements, interlaces components, and depicts forms in both single tones and fluctuating textures. The viewer's trained perception of the landscape can become questioned, as monumental structures begin to vaporize, and natural forms become paper thin. There is a reconciliation of opposites: deep space of the real world with the flat space of the canvas. Peckenpaugh received an MFA in Painting from Rhode Island School of Design, Providence, RI and a BFA from the Pennsylvania Academy of Fine Arts, Philadelphia, PA. Peckenpaugh's work has been exhibited at Alexander Berggruen, New York, NY; Bremond Capela, Paris, FR; 1969 Gallery, New York, NY; F2T Gallery, Milan, IT; Andrew Reed Gallery, Miami, FL; PM/AM Gallery, London, UK; COMA, Sydney Australia; and The Rhode Island School of Design Museum, Providence, RI; among others. Her work is included in the public collections of the Institute of Contemporary Art, Miami, FL; the Woodmere Art Museum, Philadelphia, PA; Brown University, Providence, RI; and the Pennsylvania Academy of Fine Arts, Philadelphia, PA. She was recently an artist in residence at Palazzo Monti in Brescia, Italy. Peckenpaugh lives and works in Queens, NY. Madeline Peckenpaugh, In Orbit, 2025 oil on canvas 77 1/2 x 100 in. (196.8 x 254 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp Hoffmann Madeline Peckenpaugh, Aries Moon, 2025 oil on linen 54 x 52 in. (137.2 x 132.1 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp Hoffmann Madeline Peckenpaugh, Spring, 2025 oil on canvas 70 x 65 3/4 in. (177.8 x 167 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp Hoffmann