55 minute read
Winners: Juror’s Selections
Juror’s Selections
The following section is presented in alphabetical order. Biographical information has been edited. Prices for available work may be found on p178.
Erik Barthels
Celluloid Zag | acrylic on paper collage, 37 x 24 inches
Erik Barthels
Chroma Chord | acrylic on paper collage, 33 x 24.5 inches
Erik Barthels
Loose Leaves | acrylic on paper collage, 31 x 45.5 inches
Erik Barthels
Mandeville, LA 315.888.1727 (Uprise Art) erikbarthels@gmail.com / www.erikbarthels.com / @erikbarthels / @erikbarthels
b. 1980 Lake Charles, LA
Group Exhibitions 2019 Spectrum, Uprise Art, New York, NY 2018 BOW, The Midway, San Francisco, CA
Represented by Uprise Art, New York, NY
I create vivid abstractions that harness the power of chance to explore color and form. I’m interested in making loosely sequential images that echo the disjointed and time-specific color palettes of cultural ephemera and nostalgia. The geometrically painted images yield variations that juxtapose considered and spontaneous mark making. Collage elements supplant the subtle nuances of paint with hard edged geometries. The accumulative hypnotic effect of the paintings is offset by textural variation that adds a weathered, impulsive energy.
Luisa Maria Basnuevo
Angelic Hierarchy | mixed media on canvas, 80 x 66 inches
Luisa Maria Basnuevo
Knight’s Gambit | mixed media on canvas, 80 x 66 inches
Luisa Maria Basnuevo
Lizo | mixed media on canvas, 80 x 66 inches
Luisa Maria Basnuevo
Miami, FL
www.luisabasnuevo.com
b. 1965 Cuba
Education 1991 MFA, Yale University School of Art, New Haven, CT
Solo Exhibitions 2017 Luisa Basnuevo / Sanctuaries, Bridge Red Project Space, Miami, FL 2015 Luisa Basnuevo / Remixed, Wooten Gallery, Valencia College, Orlando, FL 2008 Simulacra and Essence: The Paintings of Luisa Basnuevo, Frost Art Museum, Florida International University, Miami, FL 2003 Luisa Basnuevo: Pencil to Palette, Dunedin Fine Art Center, Dunedin, FL 2002 Luisa Basnuevo: That Which is Unseen, Polk Museum of Art, Lakeland, FL
Group Exhibitions 2021 Leap/Rewind, New World School of the Arts, Miami, FL 2019 Vida y Obra de una Idea, Colectivo Periferia, Buenos Aires, Argentina 2014 Work/Work, Museum of Art and Design, Freedom Tower, Miami, FL 2009 Florida Visual Arts Fellowship Exhibition, Art Gallery, University of Florida, Gainesville, FL 2005 30th Parallel: A Convergence of Contemporary Painting, Jacksonville Museum of Art, Jacksonville, MO 1993 South Florida Consortium Visual Artists Fellowship Recipients, Norton Gallery, West Palm Beach, FL
Collections Museum of Contemporary Art, North Miami, FL Pérez Art Museum Miami, Miami, FL NSU Museum of Art, Fort Lauderdale, FL Polk Museum of Art, Lakeland, FL My work is about history, spirituality, and my attraction to repetitive patterns found in the surrounding environment. The latest paintings are influenced by medieval illuminated manuscripts, a result of searching the digital collections of libraries around the world during the pandemic. The paintings are large-scale, built up with acrylic paint, acrylic pens, ink, and printmaking techniques. Drawing is a very important element in my work. I manipulate my drawings and photo images using a drawing filter from the computer and make silkscreens out of them. The silkscreen prints develop the background of the painting and dictate what is to be painted on top. The results are personal views of chaos and order that convey both conflict and harmonic coherence, with the intention to awe the viewer with line, color, and form.
Jasmine Best
Mouth Piece | digital painting on twill, collaged found fabric, and beaded embroidery, 41 x 47 inches
Jasmine Best
Sailor Venus | ink painting digitally printed on twill collaged with found fabric, 55 x 33 inches
Jasmine Best
Saturday Night Ritual | found fabric and embroidery collage, 65 x 48.5 inches
Jasmine Best
Greensboro, NC jasminebestart@gmail.com / www.jasminebest.com / @jasminebestart
b. 1992 Jacksonville, NC
Residencies 2022 Stay at Home Residency, Stay at Home Gallery, Paris, TN 2021 Elsewhere Residency, Elsewhere Museum, Greensboro, NC
Solo Exhibitions 2021 A Beautiful Proxy, LumpGallery, Raleigh, NC Girlhood Summer, Durham Art Guild Golden Belt Gallery, Durham, NC 2020 American Weeds Growing Through Docile Garden, University of North Carolina at Greensboro, Greensboro, NC 2019 Screened In, Contemporary Art Museum, Raleigh, NC
Group Exhibitions 2021 Black@Intersection: Contemporary Black Voices in Art, Southeastern Center for Contemporary Art, Winston-Salem, NC A Collection of Change, Block Gallery, Raleigh, NC 2020 FACTitious, Morlan Gallery, Lexington, KY
Awards 2022 National Artist Fund Artist Project Fund 2021 Art Business Grant, Artwork Archive Memories encompass where we come from, who we know, and what we subconsciously find important. They make up who we are but they are also malleable and can be manipulated like any medium used in art. I reevaluate my personal memories for moments that have either affected how I interact with others or impacted the intersection of my marginalized identities. Working from my individual past both articulates a better understanding of my own background as a Black Carolinian woman and creates a platform where others can find relatable connections from my work in their lives. I take the racial, southern, and domestic upbringing I, and past generations of women in my family, have had and place it in a new context to materialize not just memories but the emotions tied to them. Specific fabrics, prints, animation styles, objects, mark making, and compositions can all bring to mind a certain time, place, emotion, or person.
Cameron Bliss
A Current State of Affairs | oil on canvas, 60 x 48 inches
Cameron Bliss
Keepers | oil on canvas, 60 x 48 inches
Cameron Bliss
22 March 2021. Day 371. Dear Diary, The walls are beginning to close in around me. | oil on canvas, 48 x 36 inches
Cameron Bliss
Winterville, GA 404.408.4248 (Kai Lin Art) cameron@cameronbliss.com / www.cameronbliss.com / @cameronblissart
b. 1969 Savannah, GA
Education 1992 BFA, Savannah College of Art and Design (SCAD), Savannah, GA
Group Exhibitions 2022 WONDER, Kai Lin Art, Atlanta, GA 2021 Art Auction Benefit, Museum of Contemporary Art of Georgia, Atlanta, GA FANTASTICAL, Kai Lin Art, Atlanta, GA 2020 45th Annual Juried Exhibition, Lyndon House Arts Center, Athens, GA CreateHer, Kai Lin Art, Atlanta, GA 2018 Member’s Show, Athens Institute of Contemporary Art, Athens, GA Now Figuration, Portrait Society Gallery, Milwaukee, WI 2017 SOUTHWORKS: 22nd Annual Juried Exhibit, Oconee Cultural Arts Foundation, Watkinsville, GA LOCUS 100, Linda Matney Gallery, Williamsburg, VA 2016 8th Annual Georgia Small Works Show, Gutstein Gallery, SCAD, Savannah, GA
Awards 2020 Athens Art Association Patron’s Award 2018 Best in Show, Reciprocal IV, UNG Art Gallery, Watkinsville, GA Merit Award, Lyndon House 43rd Annual Juried Exhibition 2017 People’s Choice Award, 8th Annual Georgia Small Works Show, Oconee Cultural Arts Foundation, Watkinsville, GA 1988 SCAD Gold Key and Awards Exhibition, Savannah, GA
Represented by Kai Lin Art, Atlanta, GA
Formed from fragments of past memories, dreams, and experiences, I consider my paintings to be self-portraits. As you view the figures in my paintings you might feel as if you suddenly interrupted an intimate exchange that’s suspended in time. I paint authentic souls simply existing in their mundane realness. Art has always been a way for me to make sense of the world around me in the same way that dreams help us uncover what is hidden beneath the obvious surface, and to delve deeper into understanding our own personal truths.
Michael A. Booker
The Dreamer That Thought | fineliner pen, colored pencil, and watercolor on paper and Yupo, 40 x 30 inches
Michael A. Booker
The Weight of the World | fineliner pen, colored pencil, and watercolor on paper and Yupo, 50 x 36 inches
Michael A. Booker
Everything’s Fine | fineliner pen, and watercolor on paper and Yupo, 40 x 35 inches
Michael A. Booker
Laurel, MD 202.628.2787 (Morton Fine Art) mabooker1914@gmail.com / www.michael-booker.com / @mabooker_art
b. 1985 Tupelo, MS
Solo Exhibitions 2021 Veil, Morton Fine Art, Washington, DC 2020 Godspeed, Morton Fine Art, Washington, DC
Group Exhibitions 2021 Inside, Outside, Upside Down, The Phillips Collection, Washington, DC
Represented by Morton Fine Art, Washington, DC
Veil chronicles a personal, emotional journey caused by the effects of a prolonged pandemic and moments of social injustices. Volatile social interactions became commonplace in both media and amongst friends. I found myself withdrawing from potentially uncomfortable situations I would otherwise engage in. Constant states of vulnerability and contemplation resulted in building a thin emotional wall to protect my own peace. Over time, a realization of resiliency set in as these drawings became a form of cathartic therapy to search for a nuanced visual reflection of the turmoil that lingered within.
Demetri Burke
ill see you when it gets cool out | oil, acrylic, glitter, and paper on canvas, 48 x 36 inches
Demetri Burke
“I am the sign of the letter and the designation of the division.” | oil and glitter on canvas, 48 x 36 inches
Demetri Burke
“and Beauty smiled” | oil on panel, 48 x 84 inches
Demetri Burke
Atlanta, GA dmtri.burke@gmail.com / www.dmtriburke.com / @demetri.stefan
b. 1998 Atlanta, GA
Education 2020 BFA, Georgia State University, Atlanta, GA
Residencies 2022 MINT Gallery Leap Year Residency The Hambidge Center, Rabun Gap, GA
Solo Exhibitions 2022 And Then We Heard the Thunder, MINT Gallery, Atlanta, GA
Group Exhibitions 2021 demos/desires, Melanie Flood Projects, Portland, OR 2020 AXA Art Prize Juried Exhibition, New York Academy of Art, New York, NY do it (home), YoungArts Online Exhibition
Award 2020 Juried Student Exhibition Award by Larry and Gwen Walker in honor of Casandra Wood Walker
Publications 2022 Feaster, Felicia, ‘Skillful attention to mood and color define an Atlanta painter’s promising solo exhibition,’ The Atlanta Journal Constitution 2021 “Together, a short film,” commissioned by the YoungArts Foundation
Represented by MINT Gallery, Atlanta, GA
Demetri Burke uses mixed media—with a basis in oil paint—to express narratives of identity and culture on canvas. His art reflects his upbringing as well as his current experiences. His constant examination of themes is visible in his findings: black like the skin, still like the clouds, and hopeful like his mother’s smile.
Rachel Campbell
Sunspots II | oil and acrylic on canvas, 48 x 50 inches
Rachel Campbell
The Year We All Stayed Home | oil on canvas, 40 x 50 inches
Rachel Campbell
The Season of the Sisters | oil and acrylic on canvas, 36 x 48 inches
Rachel Campbell
Durham, NC 206.617.7378 (ZINC Contemporary) rachelcampbellpainting@gmail.com / www.rachelcampbellpainting.com / @campbellpaints
b. 1964 Christchurch, New Zealand
Residencies 2021 Virginia Center for the Creative Arts, Amherst, VA 2018 Virginia Center for the Creative Arts, Amherst, VA 2016 The Studios of Key West, Key West, FL 2014 Vermont Studio Center, Johnston, VT
Solo Exhibitions 2021 The Year of Small Things, ZINC Contemporary, Seattle, WA 2019 What are You Looking For?, ZINC Contemporary, Seattle, WA The Flip-side of Ordinary, Craven Allen Gallery, Durham, NC 2018 Strangely Normal, ZINC Contemporary, Seattle, WA
Group Exhibitions 2019 Sweet, Greenhill Arts Center, Greensboro, NC 2017 A New View, Fruitlands Museum, Harvard, MA Feast Your Eyes, Myrtle Beach Art Museum, Myrtle Beach, SC 2016 Structures, Block Gallery, Raleigh, NC
Publications 2021 Dassa, Nathalie, ‘Rachel Campbell: le beau dans l’ordinaire,’ Traits D’Co Magazine 2020 Muente, Tamera Lens, Artists Magazine
Represented by ZINC Contemporary, Seattle, WA Craven Allen Gallery, Durham, NC Momentum Gallery, Asheville, NC I seek to draw inspiration from the mundanity of everyday life— to reveal the beauty within the ordinary. My paintings depict particular environments and their implicit stories. I work in abstracted realism, painting recognizable places and objects that I manipulate through both color and the juxtaposition of flattened spaces against modeled forms. Although people are absent, a human presence is invariably implied, especially by way of the things that they have left behind.
Memories and experiences also inform my paintings. These are fleshed out with cherished details from my life—a dog leash, a plant given to me by a loved one, a favorite book, my kitchen table. While the meaning of these personal elements may not be immediately apparent, their universality invites viewers to make their own associations.
Campbell
Namwon Choi
10. Blue Distant (Sequences 2) | gouache and acrylic on panel, 6 x 48 inches
Namwon Choi
11. Blue Distant (Sequences 3) | gouache and acrylic on panel, 6 x 48 inches
Namwon Choi
1. Shape of Distance (Faceted Circle) | gouache and acrylic on panel, 18 inch diameter
Namwon Choi
Savannah, GA 912.438.4442 (Laney Contemporary Gallery) www.choinamwon.com / @namwonchoi
b. 1976 Seoul, Korea
Education 2014 MFA, Georgia State University, Atlanta, GA 2001 MFA, Hongik University, Seoul, Korea 1999 BFA, Hongik University, Seoul, Korea
Solo Exhibitions 2022 The Shape of Distance, Moss Arts Center, Virginia Tech, Blacksburg, VA 2021 Dot Dot Dot, THE END Project Space, Atlanta, GA
Group Exhibitions 2020 Clerestory, Laney Contemporary Gallery, Savannah, GA The End is Near, Atlanta Contemporary Arts Center, Atlanta, GA Art in Embassies, U.S. Embassy, Tirana, Albania B20: Wiregrass Biennial, Wiregrass Museum of Art, Dothan, AL 2019 Newly Connected, Korean Cultural Center, Washington, DC
Awards 2020 Finalist, 1858 Prize, Contemporary Southern Art Awards, Gibbes Museum of Art, Charleston, SC
Publication 2021 Feaster, Felicia, ‘Namwon Choi’s Road Trip Is a meditation on time, painting and perspective,’ The Atlanta Journal-Constitution
Collections Microsoft Art Collection Fidelity Art Collection Coca-Cola Corporate Collection
Represented by Laney Contemporary Gallery, Savannah, GA Sandler Hudson Gallery, Atlanta, GA
As a Korean immigrant living and creating in America, I perceive myself as being in a constant state of perpetual motion. Attempting to bridge the gap between my simultaneous feelings of affiliation and alienation, I focus on the notion of migrancy when addressing my subject matter, relating its temporal condition to my own personal disposition. In privileging movement over fixity in space and time, I am able to promote procession and engage in action as I navigate relocation and the condition of in-betweens. I combine traditional Korean painting with renditions of a network of special, yet forgettable highways—essentially connecting the new to an older art form. For me, a highway signifies the span of time between a departure from one location and the arrival at another, and it is then reinterpreted as an interval in which I can freely discover my identity within the constraints of two cultures.
Sean G. Clark
Tend | oil pastel and acrylic on matte board, 40 x 32 inches
Sean G. Clark
Buried Treasure | oil pastel, acrylic, and gold leaf on paper, 30 x 22 inches
Sean G. Clark
Native | oil pastel and acrylic on paper, 24 x 18 inches
Sean G. Clark
New Orleans, LA www.sgclarkart.com / @sgclarkart / @sgclarkart
b. 1986 Chattanooga, TN
Residencies 2021 Harpo Emerging Artist Residency, Santa Fe Art Institute, Santa Fe, NM 2019-20 Joan Mitchell Center, New Orleans, LA
Solo Exhibitions 2022 The Creative Process, Dillard University, New Orleans, LA 2021 Hello Stranger, Staple Goods Collective, New Orleans, LA
Awards 2021 Juror Selected Winner, And Now For Something New Vol. 3, LeMieux Gallery, New Orleans, LA
Collection Tulane Center for Academic Equity, New Orleans, LA During his time as a community health worker in New Orleans, Sean found himself at odds with the troubles people faced in his environment and the lack of attention it was getting. He sought to use art as a means of investigation, and as a result of looking into the problems in his community, Sean arrived at the intersection of art and public health. Through this creative lens, Sean has begun an artistic practice that surveys themes of health and African-American history. This practice also involves a deeper consideration of a person's internal landscape and how we think, feel, and act due to the impacts of unresolved grief. At the center of his creative practice are abstract and figurative works that seek to capture internal narratives.
Keith Crowley
Late Morning (Silver Lake) | oil on galvanized steel, 15 x 15 inches
Keith Crowley
Nocturne (Christiana Road) | oil on galvanized steel, 15 x 15 inches
Keith Crowley
Nocturne (Downey Motel I) | oil on galvanized steel, 15 x 15 inches
Keith Crowley
Sarasota, FL keithcrowleywork@gmail.com / www.keithcrowley.com / @keith.crowley
b. 1974 Norwood, PA
Education 2001 MFA, Savannah College of Art and Design, Savannah, GA
Solo Exhibitions 2019 Home, Gaze Modern, Sarasota, FL 2014 Unseen, Tiger Strikes Asteroid, Philadelphia, PA 2010 Basin, Bridgette Mayer Gallery, Philadelphia, PA 2008 Wilderness, Bridgette Mayer Gallery, Philadelphia, PA
Two-Person Exhibitions 2019 The Other Other (with Mark Harris), Art Center Sarasota, Sarasota, FL
Group Exhibitions 2021 Skyway 2021, Museum of Fine Arts, Saint Petersburg, FL 2018 New Perspectives on Landscape, Kristen Michelle Mason Art Gallery, Beacon College, Leesburg, FL 2017 Skyway: A Contemporary Collaboration, Tampa Museum of Art, with the Museum of Fine Arts, St. Petersburg and the John and Mable Ringling Museum of Art, Tampa, FL 2013 Correspondence, Tiger Strikes Asteroid, Brooklyn, NY 2008 Strange Place, Alagon Gallery, Chicago, IL
Publications 2020 New American Paintings, Issue #148 2019 ‘The Other Other,’ Push Crank Press 2010 New American Paintings, Issue #86 Sense of place is a location in our minds triggered by a range of stimuli; scent of blooming plants, echoes of trainyards, smooth and tacky handrails of an escalator—channeled memories shape our perception. In the final stages of our lives, it is often this minutia that is clearest and most palpable in our memory.
The primary focus of my work is based on our relationship between memories and familiar landscapes. Specificity of color is the most important factor in relating this experience in the painted image. The layering paint uses thin layers of saturated colors, often in a field or wash application.
Painting offers a unique opportunity to cultivate nostalgia inside the viewer’s memory blank. The involvement of the hand while deciding on placement of line, shape, and color work with the viewer, but they also plow the painter’s own memories and emotions in the midst of the process. Both painter and viewer project their own associations upon the image.
Crowley
Dave Eassa
Lost in Sito’s Hands | oil and spray paint on canvas within installation, 72 x 54 inches
Dave Eassa
A tale from Gido about 5 loaves and 2 fish | oil and spray paint on canvas within installation, 72 x 54 inches
Dave Eassa
People and Places You don’t know how to know | steel, sand, artificial roses, fiberglass, acrylic, spray paint, oil, and canvas, 72 x 54 inches
Dave Eassa
Baltimore, MD daveeassa@gmail.com / www.dave-eassa.com / @daveeassa
b. 1991 Ellicott City, MD
Residencies 2021 Al-Raseef 153 and 7Hills Park, Amman, Jordan 2019 Mentor Artist, The Arc Baltimore, Beyond Four Walls, Baltimore, MD 2015 ACRE Artist In Residence, Steuben, WI
Professional Experience 2017- Baltimore Museum of Art, Director of Public Engagement, Baltimore, MD 2015-17 Free Space, Founding Director, Maryland Prison System, MD
Solo Exhibitions 2022 People and Places You don't know how to know, Cody Gallery at Marymount University, Arlington, VA 2020 I Wanna Hug You, The Shed, Baltimore, MD 2018 Stop and Smell the Roses Sometimes, SPACE Gallery, Portland, ME 2017 You Can't Just Draw A Line In The Sand, School 33 Art Center, Baltimore, MD 2015 My Mother Always Told Me I'd Grow Up To Be A Lawyer, Vox Populi, Philadelphia, PA 2014 Dreamhouse, Lil' Gallery, Baltimore, MD
Awards 2021 Ruby’s Artist Grantee, Robert W. Deutsch Foundation, Baltimore, MD 2018 Young Cultural Innovator Fellow, Salzburg Global Forum, Salzburg, Austria 2016 Individual Artist Award, Creative Baltimore Fund, Baltimore Office of Promotion and the Arts, Baltimore, MD Dave Eassa is a visual artist and cultural worker who investigates relationships, social structures, and memories through painting, sculpture, and in community.
His work explores all the parts of being human; the good, the bad, the ugly, and the things that are sometimes too big to say out loud or are too quiet to make a noise—and everything in between. His paintings and sculptures simultaneously allow the viewer space for personal reflection and encourage a broader look outward at the shared human experience.
Extending work beyond the studio and into the community is an integral part of Eassa’s practice. He leverages the arts, education, and public programs to build inclusive and equitable relationships between institutions and communities in Baltimore City. His work seeks to disrupt existing social systems through the power of human connection and the arts. Currently, he is the Director of Public Engagement at the Baltimore Museum of Art.
Reinier Gamboa
Before the Flood | oil on canvas, 87 x 55 inches
Reinier Gamboa
Huntress | oil on canvas, 87 x 55 inches
Reinier Gamboa
Breathing Room | oil on canvas, 87 x 55 inches
Reinier Gamboa
Miami, FL 786.525.3898 (Miami Art Society) reinergamboa@gmail.com / www.reiniergamboa.com / @reiniergamboa
b. 1984 Camaguey, Cuba
Education 2006 Art Center College of Design, Pasadena, CA 2002 New World School of the Arts High School, Miami, FL
Solo Exhibitions 2021 Boundless, SCOPE Miami Beach, with Art Basel, Miami Beach, FL 2019 Multitudes, Miami Art Society, Miami, FL
Group Exhibitions 2021 Catalyst, Threyda Gallery, Denver, CO Leap / Rewind, New World Gallery, Miami, FL 2020 SCOPE New York, with Miami Art Society, New York, NY Palm Beach Modern + Contemporary Art Fair, with Miami Art Society, Palm Beach, FL 2019 SCOPE Miami Beach, with Miami Art Society and Art Basel, Miami Beach, FL Societas, with Art Basel, Miami Art Society, Miami, FL Autochthonous: Toward a New Indigene, Swampspace Gallery, Miami, FL Lucid Dreams, Miami Art Society, Miami, FL Charcoal, Miami Art Society, Miami, FL
Publication 2019 ‘The Best in Contemporary Fantastic Art,’ Spectrum 26
Represented by Miami Art Society, Miami, FL Threyda, Denver, CO Hashimoto Contemporary, Los Angeles, CA My artistic practice requires me to delve deeper into the layers of my belief systems and interrogate assumptions in order to understand how my perception of reality influences my work. I am interested in learning about different philosophies that investigate the nature of human experience and our common bonds—for example, Carl Jung’s ideas of the collective unconscious, Joseph Campbell’s ideas of the Monomyth, and Taoism’s embrace of reality as an indivisible totality.
My painting process is exploratory and intuitive. I usually start a new painting without a visualized outcome in mind. Instead, I often begin with one element—such as the subject, a color palette, a type of mark making, or an environment—and then I embrace a stream of consciousness approach to develop the image until I feel I’ve completed the story. It feels like I am solving a puzzle.
Jeffrey Deane Hall
Rethinking History | oil on birch panel, 20 x 16 inches
Jeffrey Deane Hall
2030 | oil on birch panel, 20 x 16 inches
Jeffrey Deane Hall
FICTION IS TRUTH | oil on birch panel, 30 x 24 inches
Jeffrey Deane Hall
Richmond, VA contact@jeffreydeanehall.com / www.jeffreydeanehall.com / @jeffreydeanehall
b. 1972 Richmond, VA
Education 2005 MIS, Virginia Commonwealth University School of the Arts, Richmond, VA 1994 BA, University of Richmond, Richmond, VA
Residency 2015 Golden Artist Residency, Golden Artist Colors and Sam and Adele Golden Foundation, New Berlin, NY
Professional Experience 2006-22 Maggie L. Walker Governor's School, Fine Arts Department Chair, Richmond, VA
Solo Exhibitions 2014 Mashup, University of Richmond Museums, Richmond, VA 2013 decodeRVA - Interactive Art Exhibition, Artworks Gallery, Richmond, VA 2002 eleMENTAL, ArtSpace Gallery, Richmond, VA
Group Exhibitions 2021 National Multi-Media Juried Art Show, Wilson Art, Wilson, NC 2018 Artists & Mentors, The Painting Center, New York, NY 2017 Wild Art: A Journey Off Canvas, Lewis Ginter Botanical Garden, Richmond, VA 2012 2012 International Juried Works on Paper Exhibition, 1212 Gallery, Richmond, VA 2007 1708 Gallery Artist as Teacher Exhibition, 1708 Gallery, Richmond, VA Juried Show, ArtWorks Gallery, Richmond, VA 2006 ThinkSmall 03, ArtSpace Gallery, VA
Publications 2012 New American Paintings, Issue #100 We are living in the most data rich period in the history of the world. While extraordinary human progress has been made since the Enlightenment, recently it seems that so much information is being generated that we are lost in our ability to absorb and apply it meaningfully. In the search for Wisdom and Truth, there is simply too much noise and not enough signal.
My latest series of trompe l'oeil paintings addresses this concept through images of vertical stacks of my books seen directly from above. The cropped edges of these texts hint at partial knowledge, creating juxtaposed connections of ideas and flat abstracted planes. Beyond the illusion of these paintings lies an awareness of the struggle to find new meaning in the collision of incomplete ideas, both old and new.
Inspired by the color field abstractions of Josef Albers and the 19th century still life paintings of William Harnett, I hope to walk the edge between naturalism and abstraction to explore how access to excess information can often obscure Wisdom and hide Truth.
Lou Haney
Bedlam | acrylic on canvas, 40 x 40 inches
Lou Haney
Deep End | acrylic on canvas, 40 x 40 inches
Lou Haney
Bed Spread | acrylic and collage on canvas, 40 x 60 inches
Lou Haney
Charlottesville, VA louhaney207@gmail.com / www.louhaney.com / @lou_haney
b. 1977 Decatur, AL
Education 2003 MFA, Claremont Graduate University, Claremont, CA 2000 BA, Rhodes College, Memphis, TN
Residencies 2022 Virginia Center for the Creative Arts, Amherst, VA 2011 Summer Painting Residency, School of the Visual Arts, New York, NY 2009 MacDowell Colony, Peterborough, NH
Solo Exhibitions 2018 Lou Haney, Patrick Henry Community College, Martinsville, VA
Group Exhibitions 2022 ArtFields, Lake City, SC Made in VA, Virginia Museum of Contemporary Art, Virginia Beach, VA 2021 Third Mind, Second Street Gallery, Charlottesville, VA Garden Party, Latela Curatorial, Washington, DC 2020 Little Wonders, artspace, Richmond, VA 2019 Garden Variety, Welcome Gallery, Charlottesville, VA 2017 Young Collectors Contemporary, Clayborn Temple Reborn, Memphis, TN 2014 Mississippi Invitational, Mississippi Museum of Art, Jackson, MS The Red Clay Survey: 2014 Exhibition of Contemporary Southern Art, Huntsville Museum of Art, Huntsville, AL 56th Annual Delta Exhibition, Arkansas Arts Center, Little Rock, AR These paintings use nostalgia to soothe and to question. I have a deep longing for the perceived innocence of the past, especially when reality may feel corrupt and chaotic. Living in the past—or at least in my studio—can feel like a vacation from the present, no matter how problematic the preceding decades.
The Dream Home series emerged from my studio during the darkest moments of the pandemic. I began these works in April of 2020. I was compelled to paint these interiors by the scary, claustrophobic period we are experiencing. It comforts me to live—visually at least—in a safe and easy period that never existed. These rooms were created for the fantasy. The bed was never slept in. No one cried over the phone. The food was never eaten. No one got sick. No one died. No one lived.
Haney
Craig Hawkins
Cosmos in Chaos No. 2 | oil on panel, 43.5 x 29.5 inches
Craig Hawkins
Cosmos in Chaos No. 3 | oil on panel, 48 x 60 inches
Craig Hawkins
Cosmos in Chaos No. 1 | oil on panel, 40 x 32 inches
Craig Hawkins
Hahira, GA 404.879.1500 (Mason Fine Art) craighawkinsart@gmail.com / www.craighawkinsart.com / @craighawkinsart
b. 1978 Laurinburg, NC
Education 2011 MFA, Lamar Dodd School of Art, Athens, GA 2001 BFA, Valdosta State University (VSU), Valdosta, GA
Professional Experience 2022 VSU, Professor of Art, Valdosta, GA
Solo Exhibitions 2018 Emmaus Road by Craig Hawkins, Square Halo Gallery, Lancaster, PA 2016 Craig Hawkins, Anna Lamar Switzer Center for Visual Arts, Pensacola, FL 2015 Becoming Human: works by Craig Hawkins, Genema Gallery, Atlanta, GA
Group Exhibitions 2019 Beautiful: A collaborative exhibition witnessing to the remarkable beauty in the face of suffering, Sojourn Arts, Louisville, KY 2017 Drawing Connections, Cobra Gallery, The Strzeminski Academy of Fine Arts Lodz, Lodz, Poland 2016 Reflections of Generosity, The Pentagon, Washington, DC REVEALED, Square Halo Gallery, Lancaster, PA 2015 3rd Annual Emerging Artists Exhibition, The Museum of Arts and Sciences, Macon, GA Annual Small Works Show, Anne Neilson Fine Art, Charlotte, NC
Publications 2021 Guite, Malcolm, Lifting the Veil: Imagination and the Kingdom of God 2018 Wolfe, Gregory, Intruding Upon the Timeless: Meditations on Art, Faith, and Mystery 2015 Bustard, Ned, Revealed: A Storybook Bible for Grown-Ups Franz, Jason, Manifest International Drawing Annual INDA 9. Vol. 9 “Yet I am not destroyed by the darkness, by the thick darkness that covers my face.” —Job
This series began with a desire to explore humanity amidst the powers of chaos. The human figures are open invitations for personal application, painted as if in flux of an ordered system with the potential for chaotic intervention. The grid in the background mimics the aesthetic of cutting mats & sewing patterns, contrasting the unpredictability of smoke. The radiating red & blue lines—historically colors of polarizing contrast—feed off of the aesthetic vocabulary of sewing references, which posit intention, purpose, and choice. Pattern and plans intertwine with a physical, material existence and the quest of identity is held within the question of the forces that triumph. Through the unpredictable haze of darkness, storms full of tests, uncertainty, selfishness, pain, hate, confusion, and shame, I question both the chaos and the suggestion that art hints of one who calls forth from chaos order.
Sean Latif Heiser
Pishing to the Ring the Rookery | acrylic and Flashe on linen, 41 x 31 inches
Sean Latif Heiser
Pendulum (Magnolia) | acrylic and Flashe on canvas, 41 x 31 inches
Sean Latif Heiser
Apparition on Mt. Pisgah | acrylic and Flashe on canvas, 51 x 31 inches
Sean Latif Heiser
Knoxville, TN 414.412.9090 seanheiser@gmail.com / www.seanheiser.com / @sean_heiser
b. 1990 Klang, Selangor, Malaysia
Education 2023 MFA candidate, University of Tennessee, Knoxville, TN 2017 BFA, University of Wisconsin-Milwaukee, Milwaukee, WI
Residency 2019 Anderson Center, Red Wing, MN
Solo Exhibitions 2021 Even Animals Struggle with Time, The Alice Wilds, Milwaukee, WI 2017 The Privatist, The Alice Wilds, Milwaukee, WI Nervous Energy, Thelma Sadoff Center for the Arts, Fond du Lac, WI
Two-Person Exhibitions 2022 Discretionary Monuments (with Muriel Condon), Le Swamp, Knoxville, TN 2017 The Waiting Room (with Jenna Youngwood), Usable Space, Milwaukee, WI
Group Exhibitions 2022 Bad Water, Knoxville, TN Continuum, KSE Gallery, University of Wisconsin Milwaukee, Milwaukee, WI 2021 To the Letter: Text in Art, Guenzel Gallery, Peninsula School of Art, Fish Creek, WI
Awards 2021 Elise Boake Award, University of Tennessee, Knoxville, TN Jered and Christine Sprecher Painting Award, University of Tennessee, Knoxville, TN
Represented by The Alice Wilds, Milwaukee, WI
The paintings are made using both Flashe and acrylic paint on either linen or canvas. They are generally constructed in layers, not dissimilar to the way an imaging software would operate. The mediating craft of a hard edge at times changes my relationship to the paintings; the act can feel closer to construction than the perceived romance of a brush. Flat expanses of interweaving color form broader compositional structures within the paintings and serve as a sort of stage or machine for the interplay of imagery and abstraction.
Imagery within the paintings is sourced from day-to-day life, lived experiences, and a separate writing practice. I am interested in oscillating between the abstract, personal, and imagined, and approach the paintings as a way to translate thought and experience into a language of color, form, and architecture.
Gonzalo Hernandez
BT_PA_01 (Cordova, Casari, Aguirre) | oil on laminated sheet, 18 x 12 inches
Gonzalo Hernandez
BT_PA_MN (M. Nolte) | oil on laminated sheet, 12 x 9 inches
Gonzalo Hernandez
BA_PA_SG | oil on laminated sheet, 12 x 9 inches
Gonzalo Hernandez
Miami, FL 646.382.6887 (Kates-Ferri Projects) gonzalohernandez3@hotmail.com / www.gonzalo-hernandez.com / @hernandezgonzalo
b. 1991 Lima, Peru
Education 2019 MFA, Savannah College of Art and Design (SCAD), Savannah, GA 2014 Corriente Alterna, Escuela de Arte y Diseño, Lima, Peru
Residencies 2021 Kates-Ferri Projects, New York, NY 2020 Long Road Projects, with Erie Arts and Culture, Erie, PA Chuquimarca, Chicago, IL
Solo Exhibitions 2022 Notes, Vigil Gonzales Galería, Cusco, Peru 2021 Almost There, Laundromat Art Space, Miami, FL 2020 ):), SCAD Museum of Art, Savannah, GA
Group Exhibitions 2022 Homecoming, Kates-Ferri Projects, New York, NY La historia de la Lona, La Galería Rebelde, Ciudad de Guatemala, Guatemala 2021 Viewpoints: Expressions of an artist community, Bakehouse Art Complex, Miami, FL Who We Were/Who We Are/Who We Will Be, Charlotte Street Foundation, Kansas City, MO 2020 Georgia Artists of Hispanic/Latinx Origin, Museum of Contemporary Art of Georgia, Atlanta, GA 2019 Sorry Not Sorry, Centro Cultural PUCP, Lima, Peru
Represented by Kates-Ferri Projects, New York, NY Vigil Gonzales Galería, Cuzco, Peru La Galería Rebelde, Ciudad de Guatemala, Guatemala Gonzalo Hernandez’s multi-faceted art practice addresses personal narratives related to contemporary dilemmas such as labor, success and failure, the art world, and identity. Culling from autobiographical circumstances, his installation, sculpture, painting, photography, and film are highly particular to his perspective as an immigrant, while also addressing broader cultural associations. Eliminating the distinction between art and life, the artist considers many situations and materials as viable for inclusion in his work, no matter how banal or quotidian. From the mounds of cardboard found on the factory floors of past employment that become relief sculptures, to the shopping lists quickly scribbled onto his hand and photographed with his iPhone, the artist finds truth and meaning in the overlooked. Daily encounters with text, language, and material become fodder for symbolic interpretations.
Ming Ying Hong
The One with the Leopard | charcoal and graphite on paper, 82.5 x 110 inches
Ming Ying Hong
The One with the Dragons | pastel, acrylic, and charcoal on canvas, 62.5 x 69.5 inches
Ming Ying Hong
The One with the Fishes | colored pencil and wood on panel, 9.5 x 5 x 2.5 inches
Ming Ying Hong
Starkville, MS 502.896.6687 (WheelHouse Art) mingyinghong@gmail.com / www.mingyinghong.com / @ming_ying_hong
b. 1990 Guangzhou, China
Education 2015 MFA, Washington University in St. Louis, St. Louis, MO 2011 BFA, University of Kentucky, Lexington, KY
Solo Exhibitions 2022 Disjunction and Other Works, University of Alabama in Huntsville, Huntsville, AL 2018 Conditions of Uncertainty, popblossom, Norfolk, VA
Group Exhibitions 2021 Southern Prize and State Fellowships Exhibition, with South Arts, Bo Bartlett Center, Columbus, GA 12th Annual Drawing Discourse, University of North Carolina Asheville, Asheville, NC Overexposed, Visionary Projects, New York, NY 2020 30 Under 30, Viridian Artists, New York, NY 2019 Lines of Thought, Czong Institute for Contemporary Art Museum, Gimpo, Gyeonggi-do, South Korea
Awards 2021 Mississippi State Fellow, South Arts, Atlanta, GA
Publications 2022 ArtMaze Mag, Issue 26 2017 International Drawing Annual, Volume 11
Represented by WheelHouse Art, Louisville, KY
My work explores my own hybridized body, examining the way society defines, categorizes, and assigns power to it. I am a southerner, a Chinese American, and an immigrant. All these identifiers often clash with one another, creating an internalized hierarchy that leads to a precarious sense of self. These drawings investigate how food and other cultural phenomena are a site of collision for these identities. More precisely, the work investigates how these objects and events are a vehicle for both assimilation and alienation in the South. Ultimately, the work questions what it means to assimilate: is it about blending in, becoming more visible, or something in between?
Hong
Ronald Jackson
The Legend of Albert King, A Grave Digger | oil on canvas, 65 x 55 inches
Ronald Jackson
In the Shadows of the Sun, Wildflowers Still Bloom | oil on canvas, 72 x 60 inches
Ronald Jackson
Saint Peter, 1960 A.D. | oil on canvas, 72 x 60 inches
Ronald Jackson
Fredericksburg, VA 410.235.3711 (Galerie Myrtis) www.ronaldjacksonartworks.com / @ronald_jackson_artworks
b. 1970 Helena, AR
Group Exhibitions 2022 Healing Through Preservation of History, University of Mary Washington, Fredericksburg, VA 2021 Be of Good Courage, NYC Culture Club, New York, NY More is More, Akron Art Museum, Akron, OH Literary Muse, UTA Artist Space, Beverly Hills, CA 2020 Renaissance Noir, UTA Artist Space, Beverly Hills, CA 2019 SCOPE Miami Beach, with Art Basel, Miami Beach, FL 2018 SCOPE Miami Beach, with Art Basel, Miami Beach, FL Pulse Art Fair, Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS 2018 Emerging Artists, Target Gallery, Alexandria, VA 2016 Spectrum Miami, with Art Basel, Miami, FL 2015 The Image of the Black: Reimagined and Redefined, Galerie Myrtis, Baltimore, MD 2014 Emergence 2014: International Artist to Watch, Galerie Myrtis, Baltimore, MD 2013 In the Flesh 4, Target Gallery, Alexandria, VA Fredericksburg Center for Creative Arts, Fredericksburg, VA 2012 The Nude Collection, Gallery Golmok, Itaewon, Seoul, Korea
Represented by Galerie Myrtis, Baltimore, MD
Being mainly a figurative artist, I seek to capture intimate settings to use as a gateway for exploring the human experience. A comprehensive catalog of unique experiences is veiled behind every silent gaze of the human expression. My work is influenced by the genre of magical realism, which gives a prominent place for addressing concepts via emotion, mood, and imaginative means. I refer to my work specifically as “non-urban art,” though I neither consider it rural art, nor is it specifically about rural life. I seek to reference time periods of the past that connect Black and Brown peoples to a non-urban context of which their close and distant ancestors lived.
My goal is to create an interactive experience in which the viewer is compelled to speculate about the stories of depicted individuals. Life is complex and it presents an intricate maze of challenges and opportunities for each one of us to navigate. This is our journey, and I am exploring the psychological impacts of this journey through the practice of figurative art.
Natalia Juncadella
Naranjas Al Amanecer | oil on canvas, 30 x 24 inches
Natalia Juncadella
Madurando | oil on canvas, 30 x 24 inches
Natalia Juncadella
La Merienda | oil on canvas, 60 x 60 inches
Natalia Juncadella
Miami, FL natijuncadella@gmail.com / www.nataliajuncadella.com / @nataliajuncadella
b. 1992 Miami, FL
Education 2014 BA, University of Pennsylvania, Philadelphia, PA
Solo Exhibitions 2022 Entre La Sombra, Hashimoto Contemporary, New York, NY 2021 Natalia Juncadella, SLATE Contemporary, Oakland, CA
Group Exhibitions 2022 Lush, Hashimoto Contemporary, New York, NY Potluck, Hashimoto Contemporary, Los Angeles, CA 2021 Art Miami, Hashimoto Contemporary, Miami, FL Buscando Recuerdos, Hashimoto Contemporary, New York, NY Lush, Hashimoto Contemporary, New York, NY 2017 Alberto Linero Gallery, Miami, FL 2016 Concerning the Spiritual in Abstract Art, Matter & Light Fine Art Gallery, Boston, MA
Publications 2022 ‘Check Out Natalia Juncadella’s Story,’ VoyageMIA, February 2021 Mendoza, Camilla, ‘La artista latina Natalia Juncadella brilla en Art Miami,’ Diario Las Américas, December Keenan, Annabel, ‘Miami Art Week Artillery Report: Day 2,’ Artillery Magazine 2019 Ulloa, Gabriela, ‘5 Latinx Creatives on Working in the U.S.,’ Clever, Architectural Digest I’m interested in painting and color as a way to explore interior spaces and intimate moments that are often overlooked—paying attention to what is happening when “nothing” is happening— specifically through the nuance and beauty of shadows during ordinary scenes. Shadows have reminded me that these spaces are not static; they're constantly shifting, blending, shrinking, and elongating our surroundings and ourselves, causing our shapes to mingle and hues to change even if we don't intend for them to. Sometimes dappled with light or engulfed in darkness, shadows remind us that life is not still and these are not just "still lives." Through my painting practice, I’ve learned to become more present and find intrigue in the repetitive and familiar, and I hope the viewer is able to find intrigue and joy in their day to day, too.
Deb Koo
Only a Woman Knows | oil on canvas, 24 x 24 inches
Deb Koo
The Party | oil on canvas, 20 x 20 inches
Deb Koo
Loveseat | oil on canvas, 51 x 39 inches
Deb Koo
Charlotte, NC debkooart@gmail.com / www.debkoo.com/paintings / @deb_koo
b. 1990 Seoul, Korea
Education 2017 MFA, Ewha Womans University, Seoul, Korea 2013 BA, Smith College, Northampton, MA
Residency 2018 Goodyear Arts, Charlotte, NC
Professional Experience 2018- Rowan-Cabarrus Community College, Art & Design Faculty, Salisbury, NC
Group Exhibitions 2021 Delphian Four Year Anniversary, Covent Garden, London, England Delphian Open Call, Unit 1 Gallery, London, England Cakes and Cocktails, Sozo Gallery, Charlotte, NC It Takes a Village: Charlotte’s Artist Collectives, Mint Museum at Randolph, Charlotte, NC 2020 Nutrient Rich, Goodyear Arts, Charlotte, NC 2019 Wheeling Art Dealing, with Goodyear Arts, Miami Art Week, Miami, FL Full-time Faculty Show, Rowan-Cabarrus Community College, Salisbury, NC Convergence and Crash, Latin American Contemporary Arts Projects, Charlotte, NC Gather, Sozo Gallery, Charlotte, NC Peach Pie, Goodyear Arts, Charlotte, NC 2018 Contemporary Art Ruhr, Zollverein-Essen, Germany April/May Residency Showcase, Goodyear Arts, Charlotte, NC My oil paintings encompass a wide range of subject matters and styles. However, if there is one thread that pulls my work together it is the idea of responding to, and expressing emotions and experiences, through painting. I am influenced by what I see in my everyday life. Mundane events, media, human desire, motivation, apathy, and helplessness are just some of the interconnected reasons to paint. The banality of the images depicted—sometimes in bright, saturated colors and other times faded and pale—become surrogate self-portraits, memories, and hopeful futures. This can take the form of a carefully staged still life representing identity, appropriated media images of idealized love and romantic relationships, or food that can give a sense of belonging, physical satisfaction, or contrarily, an invitation for discomfort and sweet temptations.
Jean-Paul Mallozzi
I heard that he… | acrylic, pastel, and salt on canvas, 50 x 48 inches
Jean-Paul Mallozzi
Gurl did you know that… | acrylic, pastel, and salt on wood, 36 x 36 inches
Jean-Paul Mallozzi
I dont know whats going on with him but.... | acrylic, pastel, and salt on canvas, 50 x 48 inches
Jean-Paul Mallozzi
El Portal, FL info@jeanpaulmallozzi.com / @jeanpaulmallozzi
b. 1982 Flushing, NY
Education 2004 BFA, Rhode Island School of Design, Providence, RI
Solo Exhibitions 2016 Familiars, Hollywood Arts and Cultural Center, Hollywood, FL 2012 kN0B0DY, 101/Exhibit, Miami, FL
Two-Person Exhibitions 2021 Identity Hacks (with Preetika Rajgariah), with Bill Arning Exhibitions, Untitled Art Miami Beach, Miami Beach, FL
Group Exhibitions 2022 Potluck, Hashimoto Contemporary, Los Angeles, CA 2013 Risque, Long Beach Museum of Art, Long Beach, CA Jean-Paul Mallozzi’s art is always a form of excavation into the past. His coming out was marked by both his terror of and assimilation into a culture of salacious gossip, produced by a welcoming, albeit judgmental community. These faces are best understood as affectionate portraits of his bitchiest friends—a seemingly universal experience of figuring out one’s preferred way of being gay. After reflecting upon his family's origins—a previously divorced Italian father marrying uncomfortably into his mother's Cuban family—the artist saw parallels to the first friends he made as a young gay man, eviscerating one’s friends and lovers with affectionate verbal barbs, many times over strong coffee. The artist uses salt as a paint medium to indicate the unforgettable salinity of the banter, especially when directed at him.
Katherine Tzu-Lan Mann
Floaters | acrylic, sumi ink, and collage on paper, 60 x 80 inches
Katherine Tzu-Lan Mann
Castles | acrylic and sumi ink on paper, 60 x 80 inches
Katherine Tzu-Lan Mann
Kneeling | acrylic, sumi ink, and collage on paper, 60 x 80 inches
Katherine Tzu-Lan Mann
Washington, DC www.katharinemann.net / @ktzulan
b. 1983 Madison, WI
Education 2009 MFA, Hoffberger School of Painting, Maryland Institute College of Art, Baltimore, MD 2005 BA, Brown University, Providence, RI
Residencies 2019 Artist in Residence, Yellowstone National Park, WY Artist in Residence, Shenandoah National Park, VA
Solo Exhibitions 2021 Water Ribbon, Morton Fine Art, Washington, DC 2020 Waterwall, Academy Art Museum, Easton, MD Spool, Dolby Chadwick Gallery, San Francisco, CA 2019 Reverie, Lonsdale Gallery, Toronto, Canada 2018 Lacing, Landing, LUX Center for the Arts, Lincoln, NE 2016 Alloy, Laura Korman Gallery, Los Angeles, CA Empire Builder, Gallery nine5, New York, NY 2014 Multitude, Galerie Kashya Hildebrand, London, England
Group Exhibitions 2021 Traces, Kreeger Museum, Washington, DC Fractal Nature, AIR Gallery, Brooklyn, NY 2018 Omnipresent Elsewhere, Vox Populi Gallery, Philadelphia, PA I examine landscape picture making by building luxuriant, cinematically scaled paper paintings and installations. These combine romantic, utopian, and immersive sensibilities from both Chinese and Western landscape painting with a lexicon drawn from a personal mythology informed by my identity as a biracial, second generation Asian American. Ribbons, baubles, bats, peaches, sperm, and piles of flowers repeat so many times as to appear biomorphic and alien, but burst with incongruous efflorescence. My painting practice has two primary concerns: the exploration of landscape painting in a world where "landscape" is defined through an everwidening field of digital, graphic, and visual forms, and the insertion of a personal iconography— personal world building, even—into that history.
Crystal Marshall
Blackbody II | oil on paper, 29 x 27 inches
Crystal Marshall
Pure Like Wool | oil on paper, 24 x 31 inches
Crystal Marshall
Wool V-Observer | mixed media on paper, 30 x 23 inches
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Crystal Marshall
Lithonia, GA crysart1983@gmail.com / www.crystalamarshall.com / @crysart1983
b. 1983 Long Island, NY
Solo Exhibitions 2022 CICA Contemporary Art Solo Series, Czong Institute for Contemporary Arts Museum (CICA), Gimpo, Gyeonggi-do, South Korea 2021 STARTnet Art Fair, Saatchi Gallery, London, England
Group Exhibitions 2022 Clio Art Fair NYC 2022, New York, NY Undercurrent, Ely Center of Contemporary Art, New Haven, CT The Members Show 2022, Pensacola Museum of Art, University of West Florida, Pensacola, FL Black Anatomy, Spartanburg Art Museum, Spartanburg, NC The Body Language 2022, ItsLiquid, Venice, Italy Being Human, Grandview Avenue Gallery at Atlanta Artists Center, Atlanta, GA 2021 For 2021, CICA Museum, Gimpo, Gyeonggi-do, South Korea Tokyo International Art Fair, Belle Salle Roppongi, Tokyo, Japan Small Works Show, Grandview Avenue Gallery at AAC, Atlanta, GA Us All, Lynn Tendler Bignell Gallery, Brookfield Craft Center, Brookfield, CT Annual Postcard Pin-up Show, MINT Gallery, Atlanta, GA Barcelona Art Expo, Valid World Hall, Artbox.Gallery, Barcelona, Spain Art in the Time of Corona, Vol.2, Dab Art Gallery at Artsy.net, Los Angeles, CA Virtual Exhibit, Hammond Museum and Japanese Stroll Garden, North Salem, NY Originally from Kingston, Jamaica, my paintings pay homage to my life's experiences rooted in cultural disparities in the modern day African diaspora. My distinctive and personal style expresses the spirit and atmosphere of the Black consciousness. My work explores the use of narrative to evoke emotional connections that reference all aspects of life. Through symbolism and allegory I refer to what lies beneath the surface. Through the use of varying imagery of my choosing, it allows me to explore imaginative realms that defy logic but are directly influenced by life's experiences. I also investigate different themes that affect people from all walks of life, concerning life's trials and tribulations, which include hostility, victimization, exclusion, oppression, and withdrawal, all of which I believe ties into spiritual rebirth. I use motifs such as wool, thorns, and hair, but figurative and allegorical representations are just some of the visual tools I use to express myself. I consider myself to be a storyteller, and I welcome the viewer to be a part of a visual journey and to share in my experiences.
Edison Peñafiel
Land Escape – City | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches
Edison Peñafiel
Land Escape – Beach | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches
Edison Peñafiel
Land Escape – Desierto | acrylic wall paint on canvas and archival digital print on cotton paper, 108 x 86 inches
Edison Peñafiel
Miami, FL +34.910.69.03.22 (Sabrina Amrani Gallery) www.edisonpenafiel.com / @edisonpenafielstudio
b. 1985 Guayaquil, Ecudaor
Residencies 2022 Oolite Arts, Miami Beach, FL 2021 McColl Center for Art + Innovation, Charlotte, NC Home + Away, Oolite Arts, Anderson Ranch, Snowmass, CO
Solo Exhibitions 2021 MARE MAGNVM, Sabrina Amrani Gallery, Madrid, Spain Camposcuro, David Castillo Gallery, Miami, FL 2019 Florida Prize in Contemporary Art, Orlando Museum of Art, Orlando, FL Land Escape, The Bass Museum, Miami Beach, FL
Group Exhibitions 2021 BIENALSUR: Punto de Fuga, Centro de Arte Universidad Nacional de La Plata, La Plata, Argentina 2020 Life During Wartime: Art in the Age of Coronavirus, University of South Florida Contemporary Art Museum, Tampa, FL 2019 South Florida Cultural Consortium, Museum of Contemporary Art, North Miami, FL
Awards 2022 Premio ARCO Comunidad de Madrid, Museo CA2M, Madrid, Spain 2021 The Ellies Creator Award, Oolite Arts, Miami Beach, FL 2019 Florida Prize in Contemporary Art, Orlando Museum of Art, Orlando, FL Knight Arts Challenge Miami Award, The John S. and James L. Knight Foundation, Miami, FL South Florida Cultural Consortium Fellowship, Broward County Cultural Division, Fort Lauderdale, FL
Represented by Sabrina Amrani Gallery, Madrid, Spain
Edison Peñafiel is a Miami-based artist whose work examines experiences about those on the underside of the world’s major conflicts: the migrant, the laborer, the surveilled. Clashing ideologies and the repetitive cycles of history produce the human catastrophes that his installation work speaks to. He draws the eye to the off angles that our world often intersects with, creating disturbing reflections of the realities we participate in and witness every day. These unnerving views break us out of the desensitized lull that an ongoing crisis creates.
Through visual references to German expressionism and the surveillance state, Peñafiel keeps the work inside a long-term discussion about the turning gears of modernity and the alienation it continues to produce. The hidden peril of these destructive cycles lends urgency to exploring the history of how we got here, how we perceive what’s going on, and the hard truths of those who must face the darkest parts of the present.
Visakha Jane Phillips
Self Portrait in Na’s Room | oil and charcoal on canvas, 36 x 36 inches
Visakha Jane Phillips
Wedding Day/The Pool | oil and charcoal on canvas, 48 x 48 inches
Visakha Jane Phillips
After School | oil and charcoal on canvas, 40 x 59 inches
Visakha Jane Phillips
Atlanta, GA visakhajane@gmail.com / www.visakhajane.com / @visakhajane
b. 1999 Columbus, IN
Education 2021 BFA, Bard College, Annandale-on-Hudson, NY
Solo Exhibitions 2021 Sang Pi, Bard College Exhibition Center, Red Hook, NY
Group Exhibitions 2021 New Voices for the Twenties, Susan Eley Fine Art, New York, NY 2020 AXA Art Prize Exhibition, New York Academy of Art, New York, NY
Award 2021 Elizabeth Greenshields Foundation Grant My work is an act of synthesizing memory, family history, and place. The collaged nature of my paintings speaks to this synthesis and serves to mimic the convoluted nature of memory and blurriness of familial narratives. Many objects incorporated throughout my paintings are seemingly arbitrary but hold weight in my memory for their feeling of permanence. Despite memory and the passage of time being at the foundation of my work, I have made efforts to evoke an impression more dreamlike than nostalgic; though I want some aspects to stay true to their reality for the sake of legibility, I make no attempt to depict scenes realistically. I wish for my paintings to feel as alive as their location still is.
Phillips
Anne Carney Raines
Midding I | oil on canvas, 60 x 65 inches
Anne Carney Raines
Evening Pickers III | oil on panel, 17 x 19 inches
Anne Carney Raines
Undertaker Please Drive Slow | oil on canvas, 53 x 66 inches
Anne Carney Raines
London, UK ace.raines@gmail.com / www.annecarneyraines.com / @annecarneyraines
b. 1990 Nashville, TN
Education 2021 MA, The Royal College of Art, London, England 2014 BFA, Indiana University, Bloomington, IN
Solo Exhibitions 2022 Pleasure Zones, Wilder Gallery, London, England
Two-Person Exhibitions 2021 Incubator 21 (with Richard Burton), A.Society, London, England Between The Acts (with Catherine Repko), Wilder Gallery, London, England
Group Exhibitions 2022 Three’s A Crowd, Soho Revue, London, England 2021 London Grads Now, Saatchi Gallery, London, England New Contemporaries 2021, South London Gallery, London, England A Space to Hold the Gaze, Liliya Gallery, London, England
Awards 2021 Hine Painting Prize Bloomberg New Contemporaries, Bloomberg Philanthropies, London, England 2020 Bloomberg New Contemporaries, Bloomberg Philanthropies, London, England Elizabeth Greenshields Foundation Grant 2: Year 2, MA Painting, The Royal College of Art, London, England 2019 Elizabeth Greenshields Foundation Grant 1: Year 1, MA Painting, The Royal College of Art, London, England
Collections Government Arts Collection Soho House Collection My background in scenic painting has drawn me to the stage and its many layers of reality. The curtain represents a boundary between the spectator and active space. However, without actors, this boundary creates a minimal and transitional zone with the potential to explore multiple narratives. I am drawn to passages, doorways, and paintings within paintings. These motifs become places I am yearning to go but can never enter into. I have the feeling if I walk into this space, there will be another one behind it, creating a never-ending cycle.
There is an obsession with shadow in my work that has its roots in Tromp L’oeil painting. The layers of reality within the painting become hyperreal. In this way I like to embrace the lies of painting and the fabrications of theatre to build a world within the works. Currently, I am interested in ideas around collective memory, the oasis, and exterior/interior environments.
Marisol Ruiz
At the end of the day | oil and wax on panel, 24 x 18 inches
Marisol Ruiz
Bluebonnet Dreams | oil on canvas, 36 x 26 inches
Marisol Ruiz
La sombra de tu amor | oil on canvas, 48 x 38 inches
Marisol Ruiz
Baltimore, MD www.marisolruiz.art / @mariissuun
b. 1999 Perth Amboy, NJ
Education 2020 BFA, Maryland Institute College of Art (MICA), Baltimore, MD
Solo Exhibitions 2020 En la Tierra de Agüeybaná, Gateway Gallery 2, Baltimore, MD
Group Exhibitions 2021 Puros Exitos, Beverly’s, New York, NY Summer ‘21, Grimaldis Gallery, Baltimore, MD Meridian Prologue, Current Space, Baltimore, MD In The Wake of Slumber, Paradice Palase, Brooklyn, NY 2019 De Colores: A Symbol of Latin American Empowerment, Middendorf Gallery, MICA, Baltimore, MD Ritual, Gateway Gallery 1, Baltimore, MD MFA Brown Art, School of Visual Arts, Governors Island, NY
Awards 2020 Madolin Maxey ‘70 Painting Award Bill Woody/Tom Miller '67/ '87 Scholarship Emanuel Herman '39 Scholarship 2019 Robert Vernon Wirtz Memorial Scholarship 2017 The DaVinci Award Presidential Scholarship
Collection Johns Hopkins Community Physicians, Baltimore, MD My paintings are collages of inherited memories, framed like a photograph, by symbols of post-colonial history. I grew up in Guayanilla, Puerto Rico, a land marked by the colonial labors of sugarcane production. Through painting, I explore my culture, connection to family, nostalgia, love, and grief. The places I depict are collages of memories and imagination. My paintings are a connection to my family’s oral history.
I make oil paintings on canvas and panel. My vibrant, pastelcolored paintings reference familial photographic sources, Puerto Rican flora, and architecture. The paintings are punctuated with domestic colonial signifiers: tiles, railings, mundillo (bobbin lace), and stained glass, a fragile facade of success.
Karen Seapker
Nights in the Swale | oil on canvas, 60 x 48 inches
Karen Seapker
Running Mama | oil on canvas, 72 x 60 inches
Karen Seapker
Still | oil on canvas, 48 x 36 inches
Karen Seapker
Nashville, TN 615.256.4805 (Zeitgeist) karenseapker@gmail.com / www.karenseapker.com / @karenseapkerstudio
b. 1982 Nashville, TN
Education 2009 MFA, Hunter College, New York, NY
Residency 2012 Chashama North, Pine Plains, NY
Solo Exhibitions 2020 Circuities, Zeitgeist Gallery, Nashville, TN 2018 Sentinels, Zeitgeist Gallery, Nashville, TN In Tandem, Sewanee: The University of the South, Sewanee, TN
Group Exhibitions 2020 State of the Art 2020, Crystal Bridges Museum of American Art, Bentonville, AR Ziersmith & Friends, Virgin Hotel, Nashville, TN 2019 Making (It) Work, California College of the Arts, Oakland, CA 2017 Luminous Animals, Whitespace Gallery, Atlanta, GA
Award 2021 CECA Tennessee Artist Fellowship, The Center of Excellence for the Creative Arts (CECA)
Publications 2020 Weiner, Emily, ‘Emily Weiner on Karen Seapker,’ Artforum, June/July Volk, Gregory, ‘A Survey of American Art That Isn't Just Coastal,’ Hyperallergic
Collections Crystal Bridges Museum of American Art Metro Nashville Courthouse Collection Cleveland Clinic The Joseph Hotel My recent paintings have helped me process the passage of time, the changing climate, and the nature of motherhood. On canvases marked by shifting gradients, fluid brushwork, and bold color, figures are made vulnerable to the inconsistent world but find empowerment through connection, action, and engagement.
In an ever-shifting world, these paintings feel like testing grounds. Can we remain open within a world in transition? How do we care in a state of unknown? How are we held (together) in this world? What are we beholden to?
In these images, nature serves as a source of capriciousness and healing. The figures offer themselves up to it, some finding grounding in crouched positions on the earth, others with open hands raised to the changing skies. Painted in layered transparencies, the figures are changed by engaging with their environments. Their abstraction speaks to their adaptability. In the face of uncertainty, they find empowerment not by resisting the change, but by leaning into it.
Seapker
Kevin Spaulding
Hearth | oil, 33 x 25 inches
Kevin Spaulding
The Sacrifice | oil, 81 x 64 inches
Kevin Spaulding
The Crows | oil, 15.5 x 32 inches
Kevin Spaulding
Florence, SC 843.598.0595 night_daimon@yahoo.com / @spauldingarts
b. 1959 Lawton, OK
Education 2004 Art Students League of New York, New York City, NY 1981 BFA, Painting, Virginia Commonwealth University, Richmond, VA
Professional Experience 2002-12 Assistant Painter, New York, NY
Group Exhibitions 2022 ArtFields 2022, Lake City, SC 2021 FRAA X AFC Artist’s Spotlight, TRAX Visual Arts Center, Lake City, SC 2020 Pee Dee Regional Art Competition, Florence County Museum, Florence, SC 2018 ArtFields 2018, Lake City, SC Pee Dee Regional Art Competition, Florence County Museum, Florence, SC 2016 ArtFields 2016, Lake City, SC
Awards 2020 Second Place, Pee Dee Regional Art Competition, Florence County Museum, Florence, SC 2018 First Place, Painting, ArtFields 2018, Lake City, SC First Place, Pee Dee Regional Art Competition, Florence County Museum, Florence, SC My work dwells in a liminal space—a barren "Umwelt,” that should elicit a feeling of discomfort, dread, or foreboding. Spaulding
Katharine Suchan
now I lay me | plaster, gouache, amber shellac frame, 17 x 13 inches
Katharine Suchan
Hallowed Birth | plaster, gouache, 21 x 18 x 4 inches
Katharine Suchan
the ABC’s of love | plaster, gouache, and egg tempera on panel, 16 x 12 inches
Katharine Suchan
Little Rock, AR suchankate@gmail.com / www.katesuchan.wixsite.com/artist / @katesuchanart
b. 1997 Little Rock, AR
Education 2020 BFA, Kansas City Art Institute (KCAI), Kansas City, MO 2018 Late Summer Program, Studio Arts College International, Florence, Italy 2015 Arkansas Governor’s School, Hendrix College, Conway, AR
Professional Experience 2021 KCAI Foundation, Instructional Assistant, Kansas City, MO 2020 KCAI Continuing Education, Art Instructor, Kansas City, MO Painting Studios, Gallery Assistant, Kansas City, MO
Solo Exhibitions 2020 Uncovered Time, Englewood Row Gallery, Independence, MO
Group Exhibitions 2022 Artists Invite Artists, Prince Street Gallery, New York, NY 2021 Reclaim, Vulpus Bastille, Kansas City, MO 2021 Kansas City Flatfile + Digitalfile, H&R Block Artspace, KCAI, Kansas City, MO 2020 2020 Annual BFA Exhibition, H&R Block Artspace, KCAI, Kansas City, MO Tethered: New Rising Artists, Grover Building, Overland Park, KS
Award 2020 Painting Mentorship Award, KCAI, Kansas City, MO Plaster is to a house as fabric is to a quilt; both are materials transformed to aid our need for warmth and shelter. In my work, paintings are images sprung from recollection and fantasy, while objects encompass real and psychological rooms. Each manifestation reflects a distinct place and period of time, while all of the work assembled evolves over time. My work allows a viewer to use commonly understood symbols and mementos in order to freely associate with their own identities and stories. I want my work to challenge how we name a thing through the re-contextualization of materials. My work engages a feminine authority challenging traditional gender representation in art-making, resisting the orthodoxy that attempts to divide conceptions of fine art and craft. My work is to celebrate life, romance, and wonder; to build relationships between time, people and material, and to make dusk jealous.
