New American Paintings South Issue #166 by newamericanpaintings

166

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Ana Clara Silva Faena Art Leila Grothe Baltimore Museum of Art Jenny Gheith San Francisco Museum of Modern Art Tyler Blackwell Blaffer Art Museum at the University of Houston Nadiah Rivera Fellah The Cleveland Museum of Art Amanda Morgan Institute of Contemporary Art, Miami Bana Kattan Museum of Contemporary Art, Chicago Bill Powers Half Gallery Dominic Molon RISD Museum of Art Lauren R. O’Connell Scottsdale Museum of Contemporary Art Hannah Klemm St. Louis Art Museum Molly Boarati Nasher Museum of Art, Duke University Lauren Haynes Nasher Museum of Art, Duke University Liz Munsell Museum of Fine Arts, Boston Anna Katz The Museum of Contemporary Art, Los Angeles Suzanne Weaver San Antonio Museum of Art Henriette Huldisch Walker Art Center Emily Stamey Weatherspoon Art Museum Beth Rudin DeWoody Art Patron, Collector and Philanthropist Jerry Saltz New York Magazine Christine Y. Kim Los Angeles County Museum of Art Rebecca Matalon Contemporary Arts Museum, Houston Staci Boris Elmhurst Art Museum Michael Rooks High Museum of Art Amber Esseiva Institute of Contemporary Art at VCU Ruth Erickson Institute of Contemporary Art, Boston Nancy Lim San Francisco Museum of Modern Art Alison Hearst Museum of Fort Worth Dominic Molon RISD Museum of Art Katie Pfohl New Orleans Museum of Art Anne Ellegood Hammer Museum Susan Cross Mass MOCA Rita Gonzalez Los Angeles County Museum of Art Valerie Oliver Contemporary Arts Museum Houston Arnold Kemp School of the Art Institute of Chicago

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CONTENTS

EDITOR’S NOTE Steven Zevitas

JUROR’S COMMENTS Michael Rooks Wieland Family Curator of Modern and Contemporary Art, High Museum of Art, Atlanta, GA

NOTEWORTHY Juror’s and Editor’s Picks

JUROR’S SELECTIONS Southern Review 2022

179

EDITOR’S SELECTIONS Southern Review 2022

205

PRICING GUIDE Asking prices for selected works

166

Edun, 72

Jun/Jul

EDITOR’S NOTE

There are certain curators to whom I have turned multiple times over the years. The juror for this issue, Michael Rooks, the Wieland Family Curator of Modern and Contemporary Art at the High Museum of Art, is one such person. I first had the pleasure of working with Michael in 2010 when he first arrived at the High. Over the past thirteen years, he has embedded himself in Atlanta’s art community, and his knowledge of what is happening in Southern visual culture is extraordinary. As he always does, Michael gave a great deal of consideration to his final selections. This may be the most diverse and interesting group of painters yet to be assembled from our annual review of artists working in the South. The issue is a testament to the fact that outstanding artists of all backgrounds and aesthetic viewpoints are busy at work in every corner of the United States. This issue is also a testament to the fact that for many emerging artists the figure reigns supreme. For those who keep track of these things, you will remember that the early 2010s was the time of “zombie formalism.” It was a moment when many artists were producing a type of painting that privileged process over all else. To be sure, artists got very creative in ways that they made paintings. Fire extinguishers, photographic processes, metallurgy, and a host of other tactics were used to make paintings that “seemed” like art but ultimately lacked any substantive content. Galleries bought into the trend and collectors went along for the ride. The moment ended quickly and badly for many. It is a cautionary tale that suggests that, at the end of day, artworks need to possess meaningful content in order to have longevity and ultimately find a place in art history.

Upon the collapse of “zombie formalism,” figurative painting quickly filled the empty space. Nature may abhor a vacuum, but apparently the art world does even more so. For the past seven years, thousands of emerging artists have turned to the figure as their primary subject matter, and it has been used to address every conceivable theme–– identity, racial injustice, and gender inequality, just to name a few. Unlike “zombie-formalism,” the new figuration seems to offer a glut of content. Artists such as Jordan Casteel, Louis Fratino, Sasha Gordon, Salman Toor, and Robin F. Williams have developed extraordinary practices that have taught us much about the world we live in and breathed new life into the oldest of subject matters. As of late, I have heard many art world professionals and collectors speak about “figure fatigue,” which, in our culture that always craves the new, is to be expected. My sense in that the figure will always have legs—no pun intended—but that there is now a lot of work being produced that looks great but doesn’t have a lot to say. There is a yawning chasm between psychologically resonant and teasingly oblique. And as for abstraction? Over the past couple of years I have been seeing more and more of it, both from applicants to New American Paintings and out in the world. I think it is safe to say that the art world pendulum is swinging in that direction. Not surprisingly, it feels like the type of abstraction gaining the most attention right now heavily references the body. Emerging artists such as Francesca Mollett, Lauren Quin, Michaela

Yearwood-Dan, and Flora Yukhnovich are producing work that nods to certain art-historical precedents while opening up a lot of avenues for abstraction to move forward. I would imagine that a lot more abstract painting will find its way into the pages of this publication in the coming years. Enjoy the issue! Steven Zevitas Publisher & Editor

JUROR’S COMMENTS

MICHAEL ROOKS Wieland Family Curator of Modern and Contemporary Art, High Museum of Art, Atlanta, GA

There is always a convergence and divergence among the stated intentions, strategies, and output of artists selected for New American Paintings. This is one reason NAP is so successful. While its pages present ideas that have been given voice across the country, they often emanate the local, demonstrating the enduring influence of our subjective differences on widespread modes of expression. As a result, over the years NAP has traced the rise of the glocal in American contemporary art—a visual creole for communicating ideas, navigating differences, and building new relations. Through this synthesis of the local and global, artists make sense of their place in the world by critiquing its values, reappraising its history, and celebrating difference that, perhaps implausibly, aggregates in community. In this issue dedicated to the American South, the likenesses among applicants correspond to a few basic categories relevant to materiality, figuration, identity, technology, language, and mythology. The intrinsic value of found or repurposed materials is central to the work of Jamele W. Wright Sr. and Lauren Rice. While Wright’s use of materials is related to the Black vernacular experience and the bridging of the past and present, Rice’s materials are “functionless artifacts” that have been rehabilitated to form a cryptographic language of the future. Stacy Lynn Waddell employs materials in her work that call into question issues related to social values and hierarchies. Her research-based practice seeks to locate intrinsic meaning obfuscated by the extrinsic qualities of materials such as gold, foregrounding the struggle represented by images lying beneath the

shimmering surfaces of her recent works. Troy Dugas establishes a kind of genetic code to lost or forgotten traditions in the sinewy materiality of his fiber art. Although the figure represents a universal category throughout art history, today it is a form conducive to modes of self-reflection and empathy. In the figurative work of Crystal Marshall and Chunghee Yun, there is a threatening alternate reality lying beneath the surface of the skin. Yun addresses shame historically associated with the body, while Marshall explores rapture and melancholy in her images of Black womanhood. Monica Kim Garza celebrates the positivity of her figures’ bodily expressions, calling on classical representations of the female body, while Nicolas Lambelet Coleman and Jurell Cayetano situate their figures in social and domestic environments that serve as psychical analogues to the subjects’ inner spaces. Likewise, Luis Edgar Mejicanos and Grace Doyle locate their figures in places conducive to reminiscence, reflection, and introspection. Identity is a source of meditation related to acculturation, migration, and the politicization of race in the work of Antonio Darden, Carl E. Moore, and Ernest Shaw Jr. Their individual practices offer openended forums for posing questions about the nature of everyday experience related to their identity as Black artists and the possible permutations of Blackness. In the work of Temi Edun and Alicia Brown, Black subjectivity is fertile ground for the cultivation of shared ancestry, customs, and heritage in their adopted American homeland with others of Nigerian or Afro-Caribbean descent, respectively.

“The concerns addressed by the artists in this issue... bridge differences to connect practitioners in the new American South with their peers across the country.” Jacob Sechter gives form to feelings about gender expression, finding in nature an empowering and self-healing metaphor for gender fluidity. Technology is a preoccupation of several artists in this issue. The ubiquitous screen, incessant mediation of digital images, and distortions resulting from digital glitches or pixelation represent subtle shifts in our everyday consciousness that forge new ways to parse identity for William Ashley Anderson, Melissa Huang, and Kathryn Kampovsky. Jerstin Crosby combines images drawn from popular culture, digital reproduction, and art history in his consideration of how technology might reshape the way we perceive visual culture. Coming to language outside of linguistic systems represents an approach to abstract painting in the work of Carol John, Kim Ouellette, and Hasani Sahlehe. These artists disclose new terrains for exploration of the potential of abstraction to deepen self-awareness. Max Seckel works toward a similar end in his figurative works, employing signs and symbols in poetic compositions that seem to exteriorize the contents of thought. Stephanie O’Connor organizes a compendium of craft-based languages specific to Indigenous people and their cultures, while Adrian Gonzalez explores the hybrid English-Spanish phenomenon of Spanglish, which has emerged in recent generations as an influential cultural exchange in the United States. Some artists construct their own mythologies to explore such universal themes as spirituality, mortality, and the metaphysics of time. Ignacio Michaud, Sergio

Suárez, and Adam Gabriel Winnie draw from history, literature, philosophy, religion, and folklore in their work in order to gain a purchase on the unconscious and the space of liminality. Mike Ousley treats regional folklore in darkly humorous narratives that reinforce and skewer urban myths about Appalachia, while Josiah Bolth and Thomas Bils blur the boundaries between dreams and reality by way of narratives that form the foundation of their own personal mythologies. Finally, Corrine Colarusso finds the “everyday spectacular” in her garden, the site for a creation myth that is given form with painterly flourishes that belie representation, returning attention from the things depicted to their potential signification. The concerns addressed by the artists in this issue––from reflections on personal identity to the retelling of universal stories––bridge differences to connect practitioners in the new American South with their peers across the country. At the same time, their interest in foregrounding the local in this intercultural exchange requires that all artists take a close critical look at their attachment to place.

Doyle Crosby Bils

65 54 22

NOTEWORTHY

JUROR’S PICK: KRISTA CLARK

p41

Like Gordon Matta-Clark, Krista Clark (no relation) explores forms, materials, and visual languages specific to home building. She too deconstructs architecture as if dissecting a body in order to understand our physical relationship to its structure and systems. However, Clark transliterates architectural rendering into an impassioned homily on the material stuff that we all have in common. Perhaps correspondingly, there is a tenderness in Clark’s work that is counterintuitive for an artist working within the austere continuum of her minimalist forebears.

EDITOR’S PICK: DUSTIN EMORY

p181

In our post-pandemic world, Emory’s paintings of isolation and confinement have a powerful resonance. To varying degrees, we all went through a shared experience that, among other things, caused us to contemplate the importance of social connections and the human touch. Emory’s paintings are intentionally stark; in recent work, he has constrained his palette to black and white. These formal limitations echo the work’s content. Emory asks us to consider what is possible when so much is removed, and he suggests that limitations may, in fact, open up other possibilities not yet considered.

SELECTED ARTISTS: SOUTHERN REVIEW 2022

JUROR’S SELECTIONS:

WILLIAM ASHLEY ANDERSON THOMAS BILS JOSIAH BOLTH ALICIA BROWN JURELL CAYETANO KRISTA CLARK CORRINE COLARUSSO NICOLAS LAMBELET COLEMAN JERSTIN CROSBY ANTONIO DARDEN GRACE DOYLE TROY DUGAS TEMI EDUN MONICA KIM GARZA ADRIAN GONZALEZ MELISSA HUANG CAROL JOHN KATHRYN KAMPOVSKY CRYSTAL MARSHALL LUIS EDGAR MEJICANOS IGNACIO MICHAUD CARL E. MOORE STEPHANIE O’CONNOR KIM OUELLETTE MIKE OUSLEY LAUREN RICE HASANI SAHLEHE JACOB SECHTER MAX SECKEL EDITOR’S SELECTIONS: ERNEST SHAW JR. SERGIO SUÁREZ DUSTIN EMORY STACY LYNN WADDELL CORINNE FORRESTER ADAM GABRIEL WINNIE NATHAN HOSMER JAMELE W. WRIGHT SR. VIAN SORA CHUNGHEE YUN OSAZE AKIL STIGLER

Ousley, 131

JUROR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies been edited to prioritize recent highlights. Pricing Guide can be found on p205.

WILLIAM ASHLEY ANDERSON

pressstarttobegin@yahoo.com pressstarttobegin.net @pressstarttobegin

b. 1982 Tennille, GA | lives in Atlanta, GA Education

I build paintings using graphics almost entirely from video games I’ve never played. I work not from a sense of nostalgia but rather from a late twentieth-century shape of thought, augmented by art history, that best describes how I feel visual cognition and memory factoring into the mechanics of understanding paintings. I sift through decades of screenshots and sprite rips to pick out objects with potential to build meaningful images, but my ultimate concern is the visual. I love the lightly abstracted distillations of familiar objects, which I think of as having been seen for me ahead of time. I make room for fresh choices by working from collaged grayscale mockups, allowing my own color feelings to fill in and open new ways of thinking about the imagery.

2005

BFA, Georgia Southern University, Statesboro, GA Residencies

2018

Creative Residency Program, Hambidge Center, Rabun Gap, GA Solo Exhibitions

2018

Family Computer Family Portrait, Kibbee Gallery, Atlanta, GA The 101 Views of Mt. Fuji, The Front, New Orleans, LA Shinobi Marilyn, Emily Amy Gallery, Atlanta, GA Selected Group Exhibitions

2022

Sanctum, The Bakery, Atlanta, GA

2019

Shadows, Notch 8, Atlanta, GA

2018

In These Streets, Trio Contemporary, Athens, GA Collections High Museum of Art, Atlanta, GA Georgia Southern University, Statesboro, GA

Still Life for a Replicant acrylic on canvas, 22 x 17 inches

ANDERSON

Eggplant with Fuji acrylic on panel, 8 x 6 inches Fuji with Grilled Eggplant acrylic on panel, 8 x 6 inches

THOMAS BILS

info@thomasbils.com thomasbils.com @thomasbils

b. 1993 Melbourne, FL | lives in Miami, FL Education

Thomas Bils investigates the mutability of truth and narrative. Reflecting during the beginning of the opioid crisis on the absurdities familiar to him from growing up in the suburban South, Thomas crafts images that are often drawn from personal experiences, carefully blurring the borders between fact and fiction. In these slippages of recollection, he takes on the role of unreliable narrator to develop a situational ambiguity, prompting the viewer to identify where the fabrications occur in an attempt to grasp meaning and order.

2017

BFA, New World School of the Arts, Miami, FL Residencies

2023

MASS MoCA, North Adams, MA

2020

Anderson Ranch, Snowmass Village, CO Solo Exhibitions

2023

Everything Is Not Quite the Way It Is, Spinello Projects, Miami, FL

2022

Hey Siri, Dale Zine, Miami, FL

2021

Still Cheaper Than Paying, NSU Art Museum, Fort Lauderdale, FL Collections Marquez Art Projects, Miami, FL Taschen, Berlin, Germany NSU Art Museum, Fort Lauderdale, FL

Goopy Bones oil on canvas, 50 x 40 inches

BILS

Gifts and Souvenirs/The Domestic Urge oil on canvas, two parts, 64 x 75 inches overall Anime Baseball Episode oil on canvas, 48 x 48 inches

BILS

Put This Foolish Ambition to Rest oil on canvas, 48 x 96 inches

JOSIAH BOLTH

thesecularcowboy@gmail.com thesecularcowboy.com @the_secular_cowboy

b. 1991 York, PA | lives in New Orleans, LA Education

My work gestates in the space between the dream world and our experience of history, memory, and propaganda narratives. Here spirits play at the edges of the psyche, born out of anxiety, whimsy, spiritual yearning, and sexual fantasy. I seek to project vibrations that echo our disorganized and unfocused consciousness, and murmur with the promise of stranger forms yet to be conceived.

2013

BFA, Maryland Institute College of Art and Design, Baltimore, MD Solo Exhibitions

2023

Salon d’Whatever, Anna’s, New Orleans, LA

2022

Sleepwalk Expedition, Fourth Wall, New Orleans, LA Last Ride of the Secular Cowboy, Anna’s, New Orleans, LA The Hand That Feeds, Spomenik Supply, New Orleans, LA Selected Group Exhibitions

2022

No Dead Artists, Jonathan Ferrera Gallery, New Orleans, LA Voyage, ARC Gallery, San Francisco, CA

2021

Art for Activism, Good Children Gallery, New Orleans, LA . . . for our consideration, The Front, New Orleans, LA

Kulu Yawm oil on canvas, 64 x 50 inches

BOLTH

Degüello oil on canvas, 40 x 40 inches

Roll the Chariot oil on canvas, 60 x 50 inches

BOLTH

Meat Sphinx oil on canvas, 50 x 50 inches

Gymnosophy oil on canvas, 40 x 40 inches

ALICIA BROWN

212.255.2718 (Winston Wächter Fine Art) alicialisabrown@yahoo.com alicialisabrown.com @alicialisabrown

b. 1981 St. Ann, Jamaica | lives in Sarasota, FL Education

I am driven by the idea of the forced and voluntary migration of people from the Caribbean region and the struggle to navigate spaces that are both familiar and unfamiliar. My work is invested in strategies for survival, the relationships humans form with other creatures and with the natural environment, and the influences these elements have on the formation of identity within the spaces we inhabit. I am particularly intrigued by mimicry in nature and the ways in which plants, insects, and animals utilize it to survive. The act of copying or imitating the dominant culture is evident in the formation of subcultures; necessary transformation occurs through patterning, body shape, behavior and mannerism, resulting in a class distortion associated with colonialism. I create works surrounding this duality, whose role in the formation of cultural identity is vital and constantly changing.

2014

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

2022

Elsewhere Artists/Parent Residency, Elsewhere Studios, Paonia, CO Solo Exhibitions

2022

What about the men, UUU Art Collective, Rochester, NY Selected Group Exhibitions

2023

Roses, Ruffs, and Reflections, Winston Wächter Fine Art, New York, NY Collections

2022

The Bennett Collection of Women Realists, San Antonio, TX Represented by Winston Wächter Fine Art, New York, NY M Contemporary Art, Ferndale, MI

Queen Anmarie from Old Harbour oil on canvas, 44 x 30 inches

BROWN

Foreign sweetie oil on canvas, 48 x 36 inches I was a queen in my mother’s land oil on canvas, 60 x 48 inches

JURELL CAYETANO

jurellcayetano.com @jurellcayetano

b. 1992 Brooklyn, NY | lives in Atlanta, GA Education

My work concentrates on storytelling based on everyday experience. I use an expressive palette to bring liveliness to moments that may have otherwise gone unnoticed. The stories I tell focus on the lives of my peers and other people of color, creating images that convey a sense of familiarity and comfort.

2014

BFA, School of Visual Arts, New York, NY Solo Exhibitions

2022

Postcards, Anthony Gallery, Chicago, IL Selected Group Exhibitions

2022

Alone Together, The Westmoreland Museum of

2021

Jurell Cayetano, Gerald Lovell, Diana Settles, MINT

American Art, Greensburg, PA Gallery, Atlanta, GA 2019

Painting Is Its Own Country, Harvey B. Gantt Center for African American Arts + Culture, Charlotte, NC

2018

TRPL DBL, Wish Gallery, Atlanta, GA

Jemel at the Park oil on paper mounted on wood, 48 x 38 inches

CAYETANO

Beach Towels oil on paper mounted on wood, 40 x 45 inches

Chrissy gouache and colored pencil on paper, 55 x 49 inches

CAYETANO

Did You Get the Roses? gouache on paper, 32 x 45 inches

KRISTA CLARK

kristaclark.com @kristaaaaaclark

b. 1975 Burlington, VT | lives in Atlanta, GA Education

I use the visual language of architecture and the literal physicality of building materials to create collaged drawings and site-specific installations. I am interested in transitional spaces and the homogenization of place in addition to pushing and playing with the boundaries of drawing, sculpture, and installation. I use formal gestures of erasing, overlapping, layering, stacking, leaning, and cutting, and saddle them with the task of depicting our compromised narratives within our built environments.

2016

MFA, Georgia State University, Atlanta, GA

2001

MA, New York, University, New York, NY

1998

BFA, Atlanta College of Art, Atlanta, GA Solo Exhibitions

2022

After Barkley, Sandler Hudson Gallery, Atlanta, GA

2019

Untenanted, Spencer Brownstone Gallery, Atlanta, GA Base Line of Appraisal, MOCA GA, Atlanta, GA Selected Group Exhibitions

2022

No Forms, Hill Art Foundation, New York, NY

2021

Triennial: Soft Water, Hard Stone, New Museum, New York, NY Float, Fly, Transcend, Alabama Contemporary Art Center, Mobile, AL

2020

Unbound, Zuckerman Museum, Kennesaw, GA Collections Clark Atlanta University, Atlanta, GA High Museum of Art, Atlanta, GA Represented by Sandler Hudson Gallery, Atlanta, GA Spencer Brownstone Gallery, New York, NY

Revisions II graphite and pastel on paper, 38 x 25 inches

CLARK

Play 3, Verse 1 pastel, graphite, and carbon paper on paper, 28 x 24 inches 43

Play 2, Verse 4 pastel, graphite, carbon paper, and plastic fencing on paper, 28 x 24 inches

CORRINE COLARUSSO

ccolarusso1@gmail.com corrinecolarusso.org

b. 1952 Boston, MA | lives in Atlanta, GA Education

In my work, nature, landscape, the bright symbolic sunrise, the gloaming, weather conditions, plant life, paint, and color become a stirred fiction. Recent paintings describe the landscape in clusters of reeds and grasses becoming chambers, channels, and shelters––tentlike formations of switch grass as architecture under big sky and distant views. I paint these images not only for what they are but for what else they are––how they build the case for emotional connection through observation, the meandering gaze, the contemplated line. These speculations depict an intimate yet runaway universe––and hopefully a channel to the everyday spectacular. We live in a time when technology seems increasingly natural to us and nature itself less so. And yet, behind every common weed and vine lay a wild and remote hinterland very much like our own. In this way, we are connected to the patterns and signals found within the language of rocks, reeds, and vistas that glow.

1975

MFA, Tyler School of Art, Philadelphia, PA

1973

BFA, University of Massachusetts Amherst, Amherst, MA

1972

Yale University Summer School of Art and Music, Norfolk, CT Collections Nasher Museum of Art, Duke University, Durham, NC High Museum of Art, Atlanta, GA Museum of Contemporary Art, Atlanta, GA Museum of Arts and Sciences, Macon, GA Newport Museum of Art, Newport, RI Goizueta Business School, Emory University, Atlanta, GA Federal Reserve Bank, Atlanta, GA Mission Energy, Irvine, CA King and Spaulding, Atlanta, GA Coca Cola Inc., Atlanta, GA

Suddenly a Lilt, a Curving of Certainty, a Cascade, Effervescent Results acrylic on canvas, 84 x 66 inches

COLARUSSO

Tower Shelter Crown, A Distant but Useful Dream acrylic on canvas, 84 x 66 inches

Tower of Reeds and Air acrylic on canvas, 84 x 66 inches

NICOLAS LAMBELET COLEMAN

nicolaslcoleman@me.com nicolascoleman.studio @nicolaslcoleman

b. 1998 Durham, NC | lives in Durham, NC Education

I am a figurative painter with a particular focus on self-portraiture and the intersection of self-conception and the physical environment. I think of my work as being primarily about spaces. In my portraits, the figure often takes a secondary role to the interior or exterior atmosphere in which I position myself. These settings are crucially informed by my own experiences, memories, and travels. Growing up in the South to a blended Black and Swiss family, much of my identity was constructed through a process of self-invention to which my art was central. I now use myself as a kaleidoscopic subject in my work to subvert the boundaries that we have constructed around identity and the tribal nature of what it means to be human.

2020

BA, Duke University, Durham, NC Residencies

2023

Michael Clark Rockefeller Class of 1956 Visiting Artist and Artist in Residence, Phillips Exeter Academy, Exeter, NH Solo Exhibitions

2023

Stranger in Morocco, 1-54 Contemporary African Art Fair, Marrakech, Morocco

2022

Moretto, Steve Turner, Los Angeles, CA Selected Group Exhibitions

2022

The Power to Dream, Galerie Hussenot, Paris, France Summer Fling, Foreign Agent, Lausanne, Switzerland The Holiday Market (virtual), Future Fair, with Andrea Festa 1-54 Contemporary African Art Fair, Long Gallery Harlem, New York, NY

The Proud Artist and His Work oil on canvas, 40 x 30 inches

COLEMAN

II Moretto oil on canvas, 40 x 30 inches Fountain in the Medina oil on panel, 40 x 30 inches

JERSTIN CROSBY

804.301.1550 (Ada Gallery) jerstin.com @jerstinc

b. 1979 Dothan, AL | lives in Chapel Hill, NC Education

Jerstin Crosby is a Southern artist who currently makes paintings assembled from shaped wood, realized in saturated tones. There is a degree of real and illusionistic depth offset by Crosby’s use of hard-edge, vibrant color. The elements and their surroundings define each other through cutouts in the wood panel supports. Sometimes shapes are removed to reveal the wall behind, while other times you see still more layers and textures building upon each other. Crosby has used digital tools from early in his practice, starting with the emergence of programs like Microsoft Paint, which has influenced his aesthetic in its colorful simplicity. This reliance on software allows for executions that push beyond painterly instincts using a limited vocabulary of elements that form figurative motifs, serving as character studies, “current moods,” and signifiers of the human condition.

2005

MFA, University of North Carolina at Chapel Hill, Chapel Hill, NC

2002

BFA, University of Alabama, Tuscaloosa, AL Solo Exhibitions

2021

Exit Skeleton, Ada Gallery, Richmond, VA

2014

Generation Hex, Lump Gallery, Raleigh, NC Selected Group Exhibitions

2023

Neo-Psychedelia, CAM Raleigh, Raleigh, NC

2022

Color/Form, Block Gallery, Raleigh, NC

2021

Flat Abject, Lump Gallery, Raleigh, NC

2020

Space Case, LABspace, Hillsdale, NY Four Heads for Bragg Street, SEEK Raleigh, Raleigh, NC Represented by Ada Gallery, Richmond, VA

Turn Back the Lost Illusion acrylic on shaped wood, 28 x 23 inches

CROSBY

Earth Mamma acrylic and kaolin on shaped hardboard mounted on panel, 18 x 12 inches

Endless Veil acrylic, miniature bricks, balsa, laser-cut wood mounted on wood panel, 17 x 13 inches

ANTONIO DARDEN

antoniodarden@gmail.com antoniodarden.com @theantoniodarden

b. 1983 Goldsboro, NC | lives in Atlanta, GA Education

It is exhausting to exist as a multiracial man in America. In 1978, my West Indian mother entered the United States by way of New York. In order to safely assimilate, my mother relinquished her Caribbean heritage. She later met my African American father at a funeral, fell in love, relocated to the South and learned to cooked soul food. I had an older brother. In 2018 he was shot and killed by a cop. My work investigates the faceted constructs of self-identity and its relational dependence upon both the living and dead. Through humor, humble self-reflection, and the constant digestion of content, I question the fickle landscape known as social identity. These systematic investigations point to our shared experiences through life and death. I die a little bit everyday while watching your TikToks. My all-access pass to everything all at once makes me consider my mixed-race makeup as I grapple with presumptions of other cultures. Our problems on earth are universal. Race is a construct. Satire is a vehicle. And grief, just is.

2006

BFA, Georgia State University, Atlanta, GA Solo Exhibitions

2022

10-13, Day & Night Projects, Atlanta, GA RICO, The END Project Space, Atlanta, GA

2021

I am: A creative repair (pop-up), Woodruff Park, Atlanta, GA Selected Group Exhibitions

2023

Southern Prize and State Fellows Exhibition, Gately Gallery, Francis Marion University, Florence, SC

2022

Southern Prize and State Fellowship Exhibition, The Bo Bartlett Center, Columbus, GA Gathered V: Georgia Artists Selecting Georgia Artists, MOCA GA, Atlanta, GA Collections Office of Cultural Affairs, City of Atlanta, GA Robert W. Woodruff Library, Atlanta University Center, Atlanta, GA

Untitled (JPK) acrylic on wood, brass chain, cast plastic, archival digital print, and Plexiglas, 30 x 24 x 3 inches

DARDEN

Sang James Plexiglas, speakers, audio, and pastel on paper, with artist’s frame, dimensions variable 59

Road Block Altered IKEA cabinet door, acrylic sheet, MDF, cast rubber, and metal bracket, 70 x 55 x 4 inches

GRACE DOYLE

grace@gracedoyle.art gracedoyle.art @gracedoyle.art

b. 1988 Baltimore, MD | lives in Baltimore, MD Education

Through paint I explore my friends and family in quiet, introspective moments. These compositions reveal a vulnerable side of the human experience that is only unveiled when people are not performing or fulfilling societal roles. I am interested in the inner person as well as what they project. Using richly painted surfaces with mesmerizing patterns and lush vegetation, I captivate the viewer to encourage self-reflection and curiosity.

2023

MFA candidate, Towson University, Towson, MD

2019

MBA, University of Baltimore, Baltimore, MD

2009

BFA, Maryland Institute College of Art, Baltimore, MD Residencies

2009

The Nerdrum School, Stavern, NJ Solo Exhibitions

2023

Introspect, Holtzman MFA Gallery, Towson University, Towson, MD

2019

The Alchemy of Art, Baltimore, MD Selected Group Exhibitions

2023

Young Painters Competition, Hiestand Galleries, Miami University, Oxford, OH

2022

SPARK: New Light, The Peale, Towson University,

2021

Strokes of Genius, Circle Gallery, Annapolis, MD

2020

Moments in Time . . . A Very Weird Time,

Baltimore, MD

The Athenaeum, Alexandria, VA

Echo oil on linen, 48 x 40 inches

DOYLE

Salutation oil on linen, 36 inches in diameter

Sapling oil on linen, 36 inches in diameter

DOYLE

Exit oil on linen, 46 x 48 inches

TROY DUGAS

troyadugas@gmail.com troydugas.com @troy.dugas

b. 1970 Rayne, LA | lives in Lafayette, LA Education

Incorporating fiber art in my studio has opened a direct path to the major influences that have been informing my work for many years. Motifs and images from ancient textiles and Indigenous folk art reimagined through these pieces connect directly to the source of inspiration. The work becomes a devotional practice and an expression of appreciation, adoration, and connection. These sources offer aesthetic forms to explore in search of a deeper personal and universal expression. They reveal to me a powerful tension between an innocent, beautiful naivety and our relationship with nature, death, and spirituality.

1997

MFA, Pratt Institute, Brooklyn, NY

1994

BFA, University of Louisiana at Lafayette, Lafayette, LA Residencies

2019

McColl Center, Charlotte, NC Solo Exhibitions

2022

Rugged, Arthur Roger Gallery, New Orleans, LA

2020

Inside Outline, Arthur Roger Gallery, New Orleans, LA

2017

Balancing Act, Arthur Roger Gallery, New Orleans, LA Selected Group Exhibitions

2023

Dandelion, Longue Vue House and Gardens,

2022

Pulp, Jonathan Hopson Gallery, Houston, TX

New Orleans, LA

Collections New Orleans Museum of Art, New Orleans, LA Weisman Foundation, Los Angeles, CA West Collection, Oaks, PA Represented by Arthur Roger Gallery, New Orleans, LA

Portrait with Bird and Snake recycled yarn, found rhinestone-beaded patches, and rope, 70 x 69 inches

DUGAS

Bull with Birds and Tree of Life recycled yarn, found antique military patches, and fringe, 70 x 70 inches

Orange Cat Friend of the Beast recycled yarn and fringe, 67 x 69 inches

TEMI EDUN

wynstonedunart@gmail.com @wynstonedunart

b. 1964 Benin City, Nigeria | lives in Columbia, MD Education

My pieces are a critical re-evaluation of the portrayal of the black experience. I invite my viewers into a discourse on decolonization, using my images to strip down cultural and historic tropes, forcing a confrontation with the hegemonic system of thought. Working primarily in portraiture, my medium re-examines the classic narratives, asking the viewer for a fresh and introspective appraisal of my subjects devoid of any social politicization of blackness. My work features an intensity of expression as a way of prompting this discourse and what I consider to be a necessary interrogation particularly those associated with the black countenance. I layer and mix pigment on the surface using oil sticks on canvas, my portraits occupy that space between realism and abstraction as derived from the imagination. The intent is to trigger a multi-faceted response from the viewer; the portrait being the only construct. To draw in the viewer, the faces often make direct eye contact and the skin eschews natural colors. Other elements of interest are the textural quality and intensity of gaze. I ask simply that you examine what is in front of you and make of it what you will.x

1985

BFA, University of Benin, Benin City, Nigeria Selected Group Exhibitions

2022

My Profile, Chilli Art Projects, London, England Also Known As Africa, Paris, France Strokes of Genius, Maryland Federation of Art, Annapolis, MD Represented by Chilli Art Projects, London, England

Blue Cobalt oil stick on canvas, 60 x 48 inches

EDUN

A bend in the river oil stick on canvas, 20 x 16 inches A storied countenance, no. 3 oil stick on canvas, 36 x 36 inches

EDUN

A storied countenance, no. 2 oil stick on canvas, 30 x 24 inches The darker brother oil stick on canvas, 48 x 36 inches

MONICA KIM GARZA

980.498.2881 (SOCO Gallery)

b. 1988 Alamogordo, NM | lives in Atlanta, GA Education

Monica Kim Garza has gained widespread recognition through her vibrant portrayals of women of color. The Mexican Korean artist rejects the male gaze, celebrating confident and uninhibited women through her figurative works. Visually, her paintings are lively and instantly recognizable, presenting women engaging in leisurely activities and enjoying themselves. Garza experiments with form and contour, reimagining the classical female nude in oil, acrylic, and collage on canvas. Her impressionist and expressionistic brushwork and figures are pushed into abstraction, the heavy layering of paint punctuated by mixed media––yarn, wool, glitter––affixed to the surface like accessories. Inspired by her own memories, the artist depicts her daily life and adventures at home and abroad with friends and family. Ultimately, Garza’s process of creating her paintings is a walk through nostalgia and discovery.

2010

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

2022

Sliver of Salt, SOCO Gallery, Charlotte, NC Under the Crescent Moon, Galerie Julien Cadet, Paris, France

2021

Baguettes, The Hole, New York, NY

2020

Closer, V1 Gallery, Copenhagen, Denmark Orange and Cinnamon, New Image Art, Los Angeles, CA Selected Group Exhibitions

2022

Framing Identity, Utah Museum of Contemporary Art, Salt Lake City, UT Taipei Dangdai Art Fair, Taipei, Taiwan, with Galerie Julien Cadet

2021

A Very Anxious Feeling: Voices of Unrest in the American Experience; 20 Years of The Beth Rudin DeWoody Collection, Taubman Museum of Art, Roanoke, VA

2020

Art Herning, Herning, Denmark, with V1 Gallery Represented by SOCO Gallery, Charlotte, NC

Baguette oil, acrylic, and glitter on canvas, 70 x 48 inches

GARZA

Yellow Lab on a Boat oil, glitter, felt, and acrylic on canvas, 58 x 70 inches

I only see these people once a year oil, oil pastel, embroidery string, glitter, wool, and acrylic on canvas, 70 x 80 inches

GARZA

Pointe de l’Aiguille oil, glitter, metallic, yarn, and acrylic on canvas, 60 x 90 inches

ADRIAN GONZALEZ

314.696.2377 (Bruno David Gallery) adrnagonzalez@gmail.com adriangonzalezstudio.com @adrngonzalez

b. 1987 San Bernadino, CA | lives in Gainesville, FL Education

I use Spanglish, a language that I and many others in the United States speak, to reflect on our contemporary moment. My work explores the interaction of Spanglish with Latin and American culture and politics, Latin music, slang, insults, jokes, and other aspects of popular media. The exchange between Spanish and English is meant to communicate new thinking through playful yet provocative bilingual phrases, expressions, and unstructured ideas of language. I work with collage and assemblage paintings, sculptures, and prints from various drawn, printed, painted, sculpted, and found sources, all of which seek to emanate the improvisational creativity of Spanglish. For anyone who is bilingual, it is commonplace to find words or phrases that are lost in translation.

2021

MFA, Sam Fox School of Design & Visual Arts, Washington University, St. Louis, MO Residencies

2022

Skowhegan School of Painting & Sculpture, Skowhegan, ME Solo Exhibitions

2022

Lonchando in the Grass, Bruno David Gallery, St. Louis, MO My Non-Imaginary Friend and All His Stuff, Dragon, Crab and Turtle, St. Louis, MO Selected Group Exhibitions

2022

Atlanta Printmakers Studio Annual Members Exhibit, LRC Gallery, Georgia State University Perimeter College, Atlanta, GA The Land Within Us, Fresh Eye Gallery, Minneapolis, MN Wetness, Moisturizer Gallery, Gainesville, FL Represented by Bruno David Gallery, Clayton, MO

Eniweis 2 watercolor on paper, 16 x 20 inches

GONZALEZ

Estámos Clear acrylic, paper, muslin, screw, and flowers on canvas, with artist’s frame, 31 x 60 inches Eniweis, Me Entiendes acrylic, crayon, paper, doilies, and framed fresco on canvas , 31 x 60 inches

MELISSA HUANG

404.688.1892 (Whitespace) melissa@melissahuang.com melissahuang.com @melissahuangart

b. 1992 Chicago, IL | lives in Statesboro, GA Education

Through glitch-inspired self-portraiture I study the desire, failure, and dissonance associated with portraying an idealized self for a physical and digital audience. I consider how those of us coming of age with the Internet and social media have constructed alternative identities online—fantasies, really—that bear little resemblance to our IRL selves. Using paint, projected video, and augmented reality, I transform my image beyond believable authenticity: it is fragmented, replicated, and distorted to the point of becoming disconnected from my real body. But what is a real body? We can now birth new versions of the self with the click of a button. This digital plasticity blurs the line between reality and fantasy, creating an unsettling gap between who we are and how we wish to be perceived. We form our sense of self through the Sartrean act of looking at others and being looked at. Our understanding of and ability to manipulate the digital look plays a growing role in this identity formation process.

2021

MFA, Georgia State University, Atlanta, GA

2014

BFA, Rochester Institute of Technology, Rochester, NY Residencies

2017

Soaring Gardens Artists Retreat, Laceyville, PA Solo Exhibitions

2022

A Person Shaped a Daydream, Whitespace, Atlanta, GA Prismatic, Albany Museum of Art, Albany, GA

2021

Another Day Another Girl, Marietta Cobb Museum of Art, Atlanta, GA Selected Group Exhibitions

2023

Akin to Realism, Swan Coach House Gallery, Atlanta, GA Collections Marietta Cobb Museum of Art, Atlanta, GA University of Minnesota Morris, Morris, MN Georgia State University, Atlanta, GA Represented by Whitespace, Atlanta, GA

Beguiling oil on panel, 24 x 18 inches

HUANG

A little slice of paradise oil on canvas with video projection, 36 x 48 inches Beauty sleep oil on canvas with video projection, 48 x 72 inches

CAROL JOHN

carol@caroljohnpaintings.com caroljohnpaintings.com @caroljohnstudio

b. 1962 Camden, NJ | lives in Athens, GA Education

For four decades I’ve had a rigorous studio practice, creating brilliantly colored motifs that shift and circle back on themselves over time. Working with oil paint on canvas and paper, I reference geometric shapes and pop graphics. I paint circles, dots, ice-cream cones, combs, cigarette butts, lips, words, and eyeballs, to name a few. These forms star in my paintings and are constantly being recombined in new ways. Erratic patterning and bright colors are layered to surprise a viewer’s sensibilities, representing familiar objects in unexpected ways and developing my dialogue about what painting can be.

1986

BFA, School of Visual Arts (SVA), New York, NY Residencies

2023

Studio Artist, Atlanta Contemporary, Atlanta, GA Solo Exhibitions

2019

Legion Pool Paintings, Bridge Gallery, University of Georgia, Athens, GA

2018

Normaltown, Ivy Brown Gallery, New York, NY

2016

I Want Candy, Poem 88, Atlanta, GA Selected Group Exhibitions

2022

Gathered V: Georgia Artists Selecting Georgia Artists, MOCA GA, Atlanta, GA

2019

Atlanta Biennial, Atlanta Contemporary, Atlanta, GA

2018

Home Tour: Artists Investigating Interiors, Domesticity and Identity, Albany Museum of Art, Albany, GA Abstract Tendencies, Hathaway Contemporary Gallery, Atlanta, GA Collections High Museum of Art, Atlanta, GA

Untitled 1 oil on canvas, 106 x 55 inches

JOHN

Untitled 5 oil on canvas, 64 x 50 inches Untitled 3 oil on canvas, 64 x 50 inches

KATHRYN KAMPOVSKY

rynkamp@yahoo.com kathrynkampovskyart.com @kathryn.kampovsky

b. 1997 Atlanta, GA | lives in Atlanta, GA Solo Exhibitions

Kathryn Kampovsky creates layered paintings in oil and acrylic, using intentional and varied color palettes. With a focus on figurative painting, she explores her interest in the unconscious desire to prepare for an unpredictable world. In her work she aims to understand the ways that daily life, technology, and life events permeate the brain and body in ways that make the flesh inseparable from the outside world.

2021

Do No Harm, Potone Gallery USA, Augusta, GA Selected Group Exhibitions

2022

Femininity, Lorin Gallery, Los Angeles, CA Exit 26, Monti8, Latina, Italy Touch Wood, Eve Leibe Gallery, Berlin, Germany Somebody, Hashimoto Contemporary, Los Angeles, CA Water Is Not for Sale, Bloom Galerie, Saint-Tropez, France

Herd oil and acrylic, 60 x 60 inches

KAMPOVSKY

Carjack oil and acrylic on canvas, 66 x 40 inches The Viewer oil on canvas, 72 x 60 inches

KAMPOVSKY

Carjack (detail)

CRYSTAL MARSHALL

crysart1983@yahoo.com crystalamarshall.com @crysart1983

b. 1983 Elmont, NY | lives in Lithonia, GA Education

My work explores the use of narrative to evoke emotional connections that reference aspects of existence. Through symbolism and allegory, I refer to what lies beneath the surface. Using varying imagery of my choosing allows me to explore imaginative realms that defy logic but are directly influenced by my experiences. I also investigate different themes that affect people from all walks of life, concerning trials and tribulations, which include hostility, victimization, exclusion, oppression, exploitation, and withdrawal, which all ties to spiritual rebirth. Having had a nomadic experience has led me to create hybrid forms and concepts, fusing both science and spirituality. I reference biblical imagery to create fantasy dreamscapes, visually engaging storylines to intrigue the viewer. My work mainly serves as a reflection and critique of societal norms. I also paint the invisible internal and external forces that wage war against the human psyche, showing this from the perspective of an unwanted female presence. My intent is to orchestrate unpleasant experiences and create dialogue through the manifestation of beautiful imagery.

2008 2006

BFA, Maryland Institute College of Art, Baltimore, MD Edna Manley School of Visual and Performing Arts, Kingston, Jamaica Residencies

2023

Ox-Bow School of Art and Artists Residency (virtual), Saugatuck, MI Arts Letters & Numbers Artist Residency, Averill Park, NY Solo Exhibitions

2023

Vestibule 102, Chrysler Museum of Art, Norfolk, VA

2023

Windows to the Inside: Expressions of Mental Health,

Selected Group Exhibitions Woman Made Gallery, Chicago, IL Above + Below (virtual), Artist Alliance/Artsy 2022

Lush, Artist Alliance/ Artsy, Santa Fe, NM Nyctophobia: The Fear of Darkness, FC Collective, Atlanta, GA Alexander Ink, Savannah College of Art and Design, Savannah, GA

Chrysalis, Procession of Empty Vessels oil on paper, 37 x 36 inches

102

MARSHALL

Colonial Garden––What was, is and is to come oil on paper, 54 x 33.5 inches Transfiguration: Black and White and the Fig Tree Wilts oil on paper, 38 x 20.5 inches

103

104

MARSHALL

105

Feet of Ore, Celestial Fire on the Sea of Glass oil on paper, 38 x 52 inches

106

LUIS EDGAR MEJICANOS

@luisedgarmejicanos

b. 1995 Miami, FL | lives in Miami, FL Education

My paintings explore specific memories that conflate the past, present, and future, resulting in alternative narratives. Hypermnesia is an “increasing mnestic capacity in the event of crisis or trauma,” as defined by Paolo Virno in Déjà Vu and the End of History. I correlate this heightened experience with memory through meticulously rendered details that come forward through a haze of distorted recollection and active imagination. My paintings are tight––rendered concretely and opaquely. Their crispness and shallow depth reflect an interest in the conventions of Early Netherlandish and Northern Italian Renaissance compositions and portraiture. When I consider translating stories into paintings, literary devices used in magical realism and science fiction offer pathways between autobiographical fact and interpretive fiction. I build compositions with a lexicon of allegorical imagery—from anthropomorphized binoculars, who tearfully lament and sweat, to back braces and Band-Aids, whose wearers possess a certain healing agency. These motifs introduce humor as a pressure release valve that eases their melancholy and catapults the paintings into a world where objects have emotional sentience.

2018

BA, Fordham University, New York, NY Yale Norfolk Summer School of Art and Music, Norfolk, CT Residencies

2022

Wassaic Project, Wassaic, NY

2021

Lighthouse Works, Fishers Island, NY

2019

Vermont Studio Center, Johnson, VT Solo Exhibitions

2022

Hypermnesia, Hesse Flatow, New York, NY

2021

Entre mis manos, Deanna Evans Project, New York, NY

2019

Night Sweats, Castellain Gallery, New York, NY Selected Group Exhibitions

2021

What Comes After, Wassaic Project, Wassaic, NY House Party, Deanna Evans Projects, New York, NY

2020

Now, more than ever, Wassaic Project, Wassaic, NY Represented by Hesse Flatow, New York, NY

Feverish Daydream oil on canvas, two parts, 52 x 72 inches overall

108

MEJICANOS

Dissociation oil on canvas, 60 x 48 inches Eye Spy oil on canvas, 60 x 48 inches

109

110

IGNACIO MICHAUD

404.817.3300 (Sandler Hudson Gallery) ignacio_michaud@yahoo.com @ignaciomichaud

b. 1979 Santiago, Chile | lives in Atlanta, GA Education

My work exists within a particular mindset: the possibility of remembering our origins. It begins in the day, using the automatic drawing technique to channel memories and visions with quick sketches and annotations on Post-It notes. I later use these notes as data to be transferred to my large canvases. Once in the studio, the painting process begins, and the collaboration of drawing and painting becomes one of activation of the mediums’ expressive potential. This is a project built on the premise that impulses when contained can bring forth greater precision. My challenge is to present a systematic organization of the space within the square and the rectangle.

2006

BFA, Universidad Católica de Chile, Santiago, Chile Residencies

2022

Universidad Católica de Chile, Las Rojas, Chile Solo Exhibitions

2022

Red Right Hand, Sandler Hudson Gallery, Atlanta, GA

2010

Distance and Form, Georgia Highlands College, Rome, GA Selected Group Exhibitions

2021 2019

Left Message, Kingfisher Art Co., Rome, GA The High Rise Show, Fulton County Arts and Culture, Atlanta, GA Salon Suburbia, Atlanta, GA

2018

El Show: Latin American Contemporary (pop-up),

2017

Unbound: Documentary as Art, The Carrack,

Open Space, Atlanta, GA Durham, NC Collections The Coca-Cola Company, Atlanta, GA Represented by Sandler Hudson Gallery, Atlanta, GA Ground Floor Contemporary, Birmingham, AL

8 years acrylic and oil on canvas, 60 x 48 inches

112

MICHAUD

Good Luck Pierre acrylic on canvas, 48 x 60 inches Thursday acrylic on canvas, 60 x 60 inches

113

114

CARL E. MOORE

info@carlemoore.com carlemoore.com @carle.moore

b. 1965 Canton, MS | lives in Memphis, TN Education

My work deals with color and identity. My goal is to compare ideologies about race, stereotypes, and belief systems to everyday colors and the perception of these colors in our environment. I consider my work to be a form of visual communication that uses simplicity and depth to express social and ethical issues. I want to create a conversation between the personal and public by using color and composition to express mood, situation, and ideas. By placing people and objects in common and uncommon situations, I can deal with specific subjects from various perspectives. I use media-based events as the primary theme of my work, reducing situations to their most basic narrative. I use color and content to redefine the conversation by developing a social connection between the characters and their environment. The color becomes an important part of that dialogue, and the content becomes part of the social statement.

2012

MFA, Memphis College of Art, Memphis, TN

1987

BFA, Memphis College of Art, Memphis, TN Residencies

2020

Crosstown Arts Residency, Crosstown Concourse, Memphis, TN Solo Exhibitions

2023

The Revolution Has Been Televised, The New Gallery, Austin Peay State University, Clarksville, TN

2022

PAUSE: People, Places and Scenes, The Arts & Science Center for Southeast Arkansas, Pine Bluff, AR Selected Group Exhibitions

2023

Jet Lag, Martha and Robert Fogelman Galleries of

2022

Sweet 16 / Artful Presence: Portraits from the Hattiloo

Contemporary Art, University of Memphis, Memphis, TN Theatre Collection, Dixon Gallery and Gardens, Memphis, TN Collections Brooks Museum of Art, Memphis, TN Austin Peay State University, Clarksville, TN Memphis International Airport, Memphis, TN

Brittney’s Dress acrylic on canvas, 30 x 30 inches

116

MOORE

Mr. and Mrs. Black America acrylic and gouache on canvas, two parts, each 12 x 24 inches Recovery acrylic on canvas, 30 x 30 inches

117

118

STEPHANIE O’CONNOR

stephanie@stephanieoconnor.com stephanieoconnor.com

b. 1983 Lakeland, FL | lives in Markham, VA Education

What interests me as an artist is being able to explore what crafts emanate from an Indigenous society: the particular color palettes, the different techniques and terms used to classify each craft. Like all the different languages of the world, there are so many regionally specific crafts that play important roles in history, and it is fascinating to study and incorporate bits and pieces of the techniques into my own practice. What I find is they often have a religious or spiritual significance, if not a monetary value from their use once for trade. The origins of all traditional handicrafts are native, and I find it very interesting to let that inspire the direction of my work, because through this way I can educate myself about the world.

2010

MFA, Slade School of Fine Art, University College London, London, England

2005

BFA, Savannah College of Art and Design, Savannah, GA Residencies

2022

Space A Kathmandu International Art Residency, Kathmandu, Nepal

2021

Zaratan––Arte Contemporânea, Lisbon, Portugal

2020

National College of Arts, Lahore, Pakistan

Moon in Leo gouache on cork, 70 x 55 inches

120

O’CONNOR

Mask of Yamantaka gouache on cork, 70 x 55 inches Venus in Water gouache on cork, 70 x 55 inches

121

122

KIM OUELLETTE

404.827.0030 (Marcia Wood Gallery) kaok2650@gmail.com kaouellette.com @k.a.ouellette

b. 1963 Winnipeg, Canada | lives in Decatur, GA Education

These works represent acts of improvisation through a formal language. If they contain narrative, it is fleeting, individual to the viewer. I want the viewer to have a moment of surprise and delight from these works: like finding something unusual in nature, not expected and moving. I want them to have familiarity and newness at the same time.

1984

Laying lines down across the canvas is for me a physical act, a bodily relationship to the canvas’s materiality and space, experimenting with different brushes and hand pressure without planning or overt intentionality. The space created is both meditative and unresolved––something I can react to, improvise with. I develop a relationship with each work’s formal elements. I try to find and then “mess up” any narrative. I am acutely aware that I have been exploring the act of making lines in my work for the last two decades. I explore how line cohabits with shape and color on the canvas.

University of Manitoba, Winnipeg, Canada Solo Exhibitions

2022

New Works, Marcia Wood Gallery, Atlanta, GA

2009

New Works, Wynick/Tuck Gallery, Toronto, Canada

2004

Blanket Works, Marcia Wood Gallery, Atlanta, GA

1994

Recent Works, Plug In Institute of Contemporary Art, Winnipeg, Canada Selected Group Exhibitions

2022

Gathered V: Georgia Artists Selecting Georgia Artists, MOCA GA, Atlanta, GA

2019

Gathered IV: Georgia Artists Selecting Georgia Artsts, MOCA GA, Atlanta, GA

2008

The Winnipeg Alphabestiary, Border Crossings,

2007

Scratching the Surface: The Post-Prairie Landscape,

Winnipeg, Canada Plug In ICA, Winnipeg, Canada 2006 2000

Fray, Textile Museum of Canada, Toronto, Canada Greetings from Winnipeg, Minneapolis College of Art and Design, Minneapolis, MN Represented by Marcia Wood Gallery, Atlanta, GA

Pinch acrylic and sumi ink on raw canvas, 56 x 52 inches

124

OUELLETTE

Untitled acrylic and sumi ink on raw canvas, 22 x 24 inches

125

Untitled acrylic and sumi ink on raw canvas, 36 x 32 inches

126

OUELLETTE

127

Morning acrylic and sumi ink on raw canvas, 40 x 50 inches

128

MIKE OUSLEY

@mike_ousley_art

b. 1976 Hippo, KY | lives in Hippo, KY Education

Mike Ousley paints a direct commentary on Appalachian life and folk traditions, though their simplicity belies their depth. Ousley has painted since childhood, and though trained, he foils Western European traditions with the folk style of his youth. Born the son of a coal miner in Eastern Kentucky and having traveled all around Appalachia and the Blue Ridge Mountains, Ousley envisions his paintings as ballads to the people, places, and culture of the region. Subverting stereotypical perceptions with dark humor and a played-up naïveté, his paintings seek to reclaim the Appalachian folk narrative and position it as one of toughness and resourcefulness, of roots and pride that run deep.

2000

MFA, University of Cincinnati, Cincinnati, OH Residencies

1996

Huntington Museum of Art, Huntington, WV Solo Exhibitions

2023

Tales from the Deep Dark Hills, James Barron, Kent, CT

2022

Appalachian Anthem, Bloomfield Richwood,

2021

In Some Dark Holler, Stellarhighway, Brooklyn, NY

2022

Online Exhibitions (virtual), David Zwirner

Richwood, WV

Selected Group Exhibitions After Dark (virtual), MEPAINTSME 2021

From These Hills: Contemporary Art in the Southern Appalachian Highlands, William King Museum, Abingdon, VA Collections Morehead State University, Morehead, KY The Ohio State University, Columbus, OH Represented by Stellarhighway, Brooklyn, NY

Ballad of the Gorton’s Fisherman acrylic and mica powder on panel, 24 x 24 inches

130

OUSLEY

131

Who Gets the Family Bible acrylic on panel, 30 x 40 inches Come all Ye Fair and Tender Ladies acrylic and mica powder on panel, 11 x 14 inches

132

LAUREN RICE

laurendrice@gmail.com lauren-rice.com @laurendrice

b. 1979 Atlanta, GA | lives in Richmond, VA Education

My paintings are intricate systems of display that house arrangements of various studio artifacts such as scraps, found materials, and pieces of my children’s discarded drawings. Many elements are of lowly origins, massproduced remnants that are resuscitated within my paintings. Over the course of developing a painting, small, seemingly insignificant moments accumulate to form larger patterns. Intricate cutouts, paired with disrupted patterns and layered, gestural marks, create an unsettling tension. Disguised Xs and Os indicate hugs and kisses, but also uncertainty. I intend for my paintings to uphold a sense of mystery and unpredictability. The repeated shapes and patterns are often on the verge of collapse. Nodding to textiles, as well as the nuanced history of abstract painting, I am interested in the pleasure of ordering—finding joy through creating patterns and assigning significance to odd items. Gardening, astrology, and geology are of particular interest, as are the ways cultures have historically kept track of time, through rituals, calendars, mark making, and writing.

2008

MFA, American University, Washington, DC

2002

BA, Knox College, Galesburg, IL Residencies

2013

The Luminary, Saint Louis, MO

2011

Fellowship, Kala Art Institute, Berkeley, CA Solo Exhibitions

2021

SCRAP TIME, The Longwood Center for the Visual Arts, Farmville, VA

2018

Diaphanous Shades, Current Space, Baltimore, MD

2016

Parts and Wholes, Arlington Arts Center, Arlington, VA

2014

Data/Transfer/Object, Cuchifritos Gallery + Project Space, New York, NY Selected Group Exhibitions

2023

Drawing in Space, Alabama Contemporary Art Center, Mobile, AL 18, Janice Charach Gallery, W. Bloomfield, MI

2020

Painting at Night, Fort Houston Gallery, Nashville, TN

Pentacles gouache, acrylic, Flashe, spray paint, glitter paper, sequins, and painted embroidery floss on hand-cut and collaged paper, 40 x 26 inches

134

RICE

New Age Slogan acrylic, gouache, Flashe, spray paint, ink, graphite powder, matte medium, and string on hand-cut and collaged paper, 85 x 56 inches

135

Night Light graphite powder, acrylic, gouache, Flashe, spray paint, glitter paper, cardboard, and canvas on hand-cut and collaged paper, 82 x 58 inches

136

HASANI SAHLEHE

hasanisahlehe.com @sahlehe

b. 1991 St. Thomas, U.S. Virgin Islands | lives in Atlanta, GA

We embraced, we laughed, we ate. Your body no longer exists. I often wonder where you are. Have you found paradise? Are you amongst the clouds? Are you with the ghosts that my great-grandmother used to tell me about? They say that humans exist in body, spirit, and mind. Perhaps your little notes still contain your consciousness. Maybe, whenever I quote you, you breathe again. How much of you did I capture in that portrait from many years ago? You are not that painting. But like you, paint functions in multiple states. The material can be cast, poured, stained, or even airbrushed. The medium’s sundry properties reveal parallels between person and paint. The simple suns and rainbows that I render ponder the mysteries of this physical world, a callback to the Indigenous art of long ago. These vibrant motifs borrow the power of light. Their emphasis on the body of paint reminds me of you, their essence constantly expanding.

Education 2015

BFA, Savannah College of Art and Design, Savannah, GA Residencies

2022

Hambidge Center, Rabun Gap, GA

2019

Leap Year, Mint, Atlanta, GA Solo Exhibitions

2022

Singing in the Response, Tops Gallery, Memphis, TN Stretch My Hands, Laney Contemporary, Savannah, GA Sky, You, Water, Ground, 12.26, Dallas, TX

2021

New Songs, 106 Green, New York, NY

2020

I Can’t Wait to See You, Resort, Baltimore, MD Selected Group Exhibitions

2022

Surplus in Pantomime, Alabama Contemporary Art Center, Mobile, AL Salon RBH, Bode Projects, Berlin, Germany

2021

Atlanta Biennial, Atlanta Contemporary Art Center, Atlanta, GA

Heart Is Full airbrushed acrylic on paper mounted on panel, 60 x 48 inches

138

SAHLEHE

Orange Pyramid with Parade acrylic on raw canvas, 14 x 11 inches Pink Pyramid with Songs acrylic on raw canvas, 14 x 11 inches

139

140

SAHLEHE

141

Orange Jazz Club with Unresolved Emotions acrylic on raw canvas, 65 x 55 inches Won’t Have to Cry No More acrylic and acrylic gel on raw canvas, 58 x 45 inches

142

JACOB SECHTER

jsechter@gmail.com jacobsechter.com @jacobsechter

b. 1994 High Point, NC | lives in Baltimore, MD Education

I work from memory and intuition to invent spaces that are built from harmonious color relationships, fluid lines, and expressive mark making. I want to shift our society’s traditional notions of gender expression and use subject matter such as flowers to speak to a sense of self-affirmation and discovery. I find that human beings are full of contrasts, and our identities are so complex; often operating in dualities that are never static, we find ourselves constantly shifting. I explore this in the formal aspects of my work, where I play with contradicting elements. A warm color might meet a cool color, areas of shadow might mix with spaces of light, or hard edges may mingle with soft. When looking at them, you’re not quite sure where things end and begin, what layer a mark or color might exist on, or what portion of the surface is wiped-away paint or paint freshly applied above it.

2023

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

2016

BFA, University of North Carolina at Greensboro, Greensboro, NC Selected Group Exhibitions

2022

We Are Not Similar, MICA, Baltimore, MD Of Body and Earth, MICA, Baltimore, MD

2021

Eyes in the Light, MICA, Baltimore, MD

2016

BFA Exhibition, University of North Carolina at Greensboro, Greensboro, NC

Flower Bubble oil on wood panel, 27 x 27 inches

144

SECHTER

Wilting oil on canvas, 26 x 24 inches Green Wishes oil on canvas, 50 x 59 inches

145

146

MAX SECKEL

maxseckel.com @maxseck

b. 1986 Meyrin, Switzerland | lives in New Orleans, LA Education

I paint my thoughts, feelings, and perceptions of the world as I see and go through it.

2009

BFA, University of Delaware, Newark, DE

2020

Going Through It, Mortal Machine Gallery,

Solo Exhibitions New Orleans, LA No Arrangements, Mortal Machine Gallery, New Orleans, LA 2019

Early Summer, The Front, New Orleans, LA

2018

Slow Dreamz, Antieau Gallery, New Orleans, LA

2017

Conspiracies and Surrounding Circumstances, Barrister’s Gallery, New Orleans, LA Selected Group Exhibitions

2022

Tiny Ghosts, Roq La Rue, Seattle, WA Free Beer, Mortal Machine Gallery, New Orleans, LA Vanguard Invitational, Outré Gallery, Melbourne, Australia

2021

I Love the Rock Pile, Mortal Machine Gallery,

2020

Angels in the Architecture, Talon Gallery, Portland, OR

2019

4th Anniversary, Good Mother Gallery, Oakland, CA

New Orleans, LA

Represented by Mortal Machine Gallery, New Orleans, LA

I Before E Flashe, acrylic, and spray paint on canvas, 45 x 36 inches

148

SECKEL

149

Stop Waiting Flashe, acrylic, and spray paint on canvas, 45 x 36 inches —And The Moon Be Still as Bright Flashe, acrylic, and spray paint on canvas, 30 x 24 inches

150

SECKEL

151

Visiting Friends Flashe, acrylic, and spray paint on canvas, 30 x 45 inches

152

ERNEST SHAW JR.

443.527.9151 eshaw@eshawart.com eashawart.com @eshaw_art

b. 1969 Baltimore, MD | lives in Baltimore, MD Education

Being an image maker affords me the opportunity to highlight the humanity of the viewer by illustrating the humanity of the subject. My creative process focuses on the interaction between the work and its audience. My goal is for the receiver to experience the mystery of creation while interacting with the portrait. The work’s evolution to becoming art has everything to do with the dance between the painting and the receiver. My primary subjects reflect the multiple aspects of the Black/Africanist experience in the context of a society that confines Blackness to being the antithesis to whiteness and a response to racialized subjugation. Authentic portrayals of the Black body are of particular interest to me simply because there is no other subject I find to be as complex, misrepresented, and misunderstood.

2005

MFA, Howard University, Washington, DC

2001

BFA, Morgan State University, Baltimore, MD Residencies

2022

Virginia Center for the Creative Arts, Amherst, VA Peyton Evans Artist Residency, Key West, FL

2021

Yaddo, Saratoga Springs, NY Solo Exhibitions

2023

Homecoming, James E. Lewis Museum, Morgan State University, Baltimore, MD

2022

Baltimore Addressed, Baltimore Museum of Art, Baltimore, MD Continuous Line, Top of the World, Baltimore, MD

2019

Testify, Motor House Gallery, Baltimore, MD Selected Group Exhibitions

2022

Abstracting Realities, Band of Vices, Los Angeles, CA

2021

Visible Man, Bowling Green State University,

2020

Grey Matters, Cade Center for Fine Arts Gallery, Anne

Bowling Green, OH Arundel Community College, Arnold, MD

Kifwebe acrylic on canvas, 60 x 40 inches

154

SHAW

Crossed mixed media on black watercolor paper, 22 x 30 inches Mother to Son mixed media on black watercolor paper, 30 x 22 inches

155

156

SERGIO SUÁREZ

sergiosuarez.work @__sergio.suarez

b. 1995 Mexico City, Mexico | lives in Atlanta, GA Education

My work examines the relationship between materiality and language. Recurring bodies and landscapes allude to historical Western painting, while a cosmic subtext, prompted by an interest in the structure of cosmologies, decentralizes traditional narrative. The allegorical processions of objects and figures usually phase in and out of their forms, referencing the permeability of the body, the fragility of structure, the body’s relationship to time, and notions of material/immaterial experiences. My practice incorporates multimedia to examine the porosity between objects, images, and spaces, reconciling existence in a space of cultural and geographical liminality. By approaching my practice as a process of translation, form is both gained and lost throughout the work.

2021

BFA, Ernest G. Welch School of Art and Design, Atlanta, GA Residencies

2022

Stove Works, Chattanooga, TN Penland School of Craft, Penland, NC Solo Exhibitions

2022

Fuego Nuevo, Whitespace Gallery, Atlanta, GA

2020

!!!!!!!!!!!!!!!!!!!!, THE END Project Space, Atlanta, GA Selected Group Exhibitions

2022

Insatiable Fire, Lamar Dodd School of Art, Athens, GA Oneness That Is, Too, Temporary Studios, Atlanta, GA

2021

Entrainment, Someday, New York, NY Then or Now, take it easy, Atlanta, GA

2020

THE END IS NEAR!, Atlanta Contemporary, Atlanta, GA

As my hand falls to the water oil and woodcut on muslin, 30 x 23 inches

158

SUÁREZ

159

Encumbrances oil and ceramic on canvas, 72 x 60 inches The veil oil on canvas, 72 x 84 inches

160

STACY LYNN WADDELL

stacylynnwaddell.com @stacylynnwaddell

b. 1966 Washington, DC | lives in Chapel Hill, NC Residencies

I plumb the Internet, collect vernacular photography, and forage a wide range of printed materials to discover sources that are transformed by a variety of processes: burning/laser technology, accumulation, embossing/debossing, interference, physical distressing, and gilding. With its associations to value and trade, the historic role of the gold standard in establishing modern banking and the distribution of wealth, gold is central to my effort to synthesize the intersection of popular culture and history with issues related to visibility, desire, and power. Gold leaf allows for the construction of monochromes with provocative optical effects, much like that of a hologram. Images cannot be fully seen from one vantage point; textured surfaces and modulations in shine require the viewer to physically shift positions to fully view the image while offering endless opportunities for interpretation. The work’s dependence on light and the surrounding environment ensure that the image is never fixed, forcing a slower, more deliberate consideration that illuminates a universal desire to connect to that which sight and intellect cannot fully account for.

2022

Isabella Stewart Gardner Museum, Boston, MA Fellow, Civitella Ranieri Foundation, Umbertide, Italy

2018

Queen Space, Long Island City, NY

2017

Joan Mitchell Center, New Orleans, LA Solo Exhibitions

2022

A Moon For A Sun, Sala 1, Rome, Italy Home House, Isabella Stewart Gardner Museum, Boston, MA

2021

Mettle, Candice Madey, New York, NY Selected Group Exhibitions

2023

Spirit in the Land, Nasher Museum of Art at Duke

2022

Metal of Honor: From Simone Martini to Contemporary

University, Durham, NC Art, Isabella Stewart Gardner Museum, Boston, MA 2021

Get Lifted! The Art of the Ecstatic, Karma, New York, NY Taking Space: Contemporary Women Artists and the Politics of Scale, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Represented by Candice Madey, New York, NY

TWO OF US CROUCHING DOWN WITH HALOS AS HATS (for M.S) composition gold leaf on canvas, 60 x 48 inches

162

WADDELL

WOMAN IN CHECKERED DRESS IN CONTRAPPOSTO (for M.S.) composition gold leaf on canvas, 48 x 36 inches

163

YOUNG WOMAN HOLDING A FLOWER (for M.S.) 22-karat gold leaf on linen, 48 x 36 inches

164

ADAM GABRIEL WINNIE

734.355.9851 w_gallerygroup@hotmail.com adamgabrielwinnie.com @adam_gabriel_winnie

b. 1981 Wayne, MI | lives in Decatur, GA Education

In my current body of work I seek to develop a greater understanding of the psyche by examining the numinous role darkness plays in our perception and the processes of individuation. The works draw inspiration from descent narratives in mythology while looking to the fields of alchemical psychology and archetypal symbolism for their dialectics, which engage with the unconscious. My works speak to an omnipresent disquiet, to the restlessness and uncertainty everywhere, forever tentative, indefinite, and in transition. I don’t propose any beginnings or endings, no solutions are offered, and no utopia is alluded to. I’m interested in the threshold, in places where boundaries can be tenuous and in the uncanny connection between terror and the sublime. The subjects in my drawing operate at the precipice, reaching out before them, seeking to transcend their precarious altered states.

2023

MFA, Georgia State University, Atlanta, GA

2012

BFA, Savannah College of Art and Design, Savannah, GA Solo Exhibitions

2013

Figuring the Self, Desotorow Gallery, Savannah, GA Selected Group Exhibitions

2022

Supernatural, Gutstein Gallery, Savannah, GA Contemporary Landscapes, Marietta Cobb Museum of Art, Marietta, GA

2021

Mental Radio, Norman Shannon and Emmy Lou P. Illges Gallery, Columbus State University, Columbus, GA

2019

The High Rise Show, Giraffe, Atlanta, GA

2018

Drawn, Location Gallery, Savannah, GA Collections Mercedes-Benz Stadium, Atlanta, GA Savannah College of Art and Design, Savannah, GA Judge Realty Art Collection, Savannah, GA

Ocular/Oracle charcoal and pastel on paper mounted on Dibond, 60 inches in diameter

166

WINNIE

167

The Summoning charcoal and pastel on paper mounted on Dibond, with artist’s frame, 74 x 38 inches

The Cut charcoal and pastel on paper mounted on Dibond, with artist’s frame, 74 x 38 inches

168

JAMELE W. WRIGHT SR.

404.907.1923 (September Gray Fine Art Gallery) jamelewrightsr@gmail.com @artthenewreligion

b. 1970 Columbus, OH | lives in Atlanta, GA Education

I am a multidisciplinary artist. My work is concerned with the Black American vernacular experience. The work entails collecting and gathering found materials, Georgia red clay, and Dutch Wax cloth. I create a conversation between family, tradition, and the spiritual and material relationship between Africa and the South. My process is influenced by hip-hop, the way it gathers different cultural influences through sampling. Like the music, my work is charged with an energy passed down, then channeled through the diaspora lineage. The work is also inspired by the Great Migration of Black Americans, who left the familiar in the hope of something better.

2018

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

2016

BA, Georgia State University, Atlanta, GA Residencies

2022

MASS MoCA, North Adams, MA Solo Exhibitions

2022

the land knows the truth, Gibbes Museum of Art, Charleston, SC

2021

. . . to those that dream and continue to do so (virtual), September Gray Fine Art Gallery, Atlanta, GA

2019

INTRANSIT: Shifting Between Spaces, Aviation Community Cultural Center, Atlanta, GA Selected Group Exhibitions

2022

BOUNDLESS, Montgomery Museum of Fine Arts, Montgomery, AL Collections Bank of America Microsoft Represented by September Gray Fine Art Gallery, Atlanta, GA

ReBorn 2 mixed media with clay on Dutch wax cloth, 48 x 84 inches

170

WRIGHT

the land knows the truth 1 mixed media on indigo hand-dyed found canvas put in the ocean at Sullivan Island, then dried on the beach in the sun, 84 x 60 inches

171

the land knows the truth 3 mixed media on indigo hand-dyed found canvas put in the ocean at Sullivan Island, then dried on the beach with Spanish moss, 96 x 96 inches

172

CHUNGHEE YUN

simch0402@gmail.com chungheeyun.com @holy_motors_holy

b. 1976 Seoul, South Korea | lives in Richmond, VA Education

I capture feelings of affection and repulsion towards men. Bugs hover in the pictorial space as an image of an unpleasant feeling. Penis-shaped shapes mingle with women’s bodies. Is this my phallic fantasy? Sometimes penis shapes become the symbol for men’s ego, as well as power, patriarchy, violence. Cats can be seen playing with these phallic objects. They become a surrogate for performing my desire; cats are shameless and curious about everything. Shame and embarrassment are at the center stage of my work. Although my characters don’t seem to feel shame, they are placed in shameful and embarrassing moments. It is important that my characters be nude, since Adam and Eve lived in innocence in the Garden of Eden and experienced infinite pleasure until they ate the forbidden fruit. The biggest shock of the “fall from grace” was their nudity, and they end up wearing leaves to cover their genitals, a sublimation of shame disguised as a cure. The nudity of my characters represents a resistance to God’s punishment and proposes the writing of a new Genesis.

2023

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

2020

BFA, Hunter College, New York, NY Selected Group Exhibitions

2022

Satellite, Page Bond Gallery, Richmond, VA Backbone / Painting and Printmaking MFA Exhibition, DePillars Gallery, VCU, Richmond, VA Unearthed Online: A Virtual Zoonotic Hex Exhibition, Field Projects, New York, NY

2020

Small Works Competition, SKU Downtown Gallery, Kent, OH People’s Choice, The Greenpoint Gallery, New York, NY BFA Thesis Exhibition: The End, Bertha and Karl Leubsdorf Gallery, Hunter College, New York, NY

Stranger to ourselves oil on canvas, 74 x 40 inches

174

YUN

175

The decalcomanie oil on canvas, 18 x 24 inches The sacrifice oil on canvas, 9 x 11 inches

176

YUN

177

After Adam and Eve oil on canvas, 56 x 56 inches

178

Sora, 196

EDITOR’S SELECTIONS

Artists are presented in alphabetical order. Artist biographies been edited to prioritize recent highlights. Pricing Guide can be found on p205.

DUSTIN EMORY

@dustin.emory

b. 1999 Atlanta, GA | lives in Atlanta, GA Solo Exhibitions

Dustin Emory’s work largely explores the human response to confinement through a black-and-white lens. Using unconventional angles and surrealist devices while also sticking to a strict palette, Emory explores how limitations can create a boundless arena. Emory’s fascination with limitation and confinement was accelerated in the midst of the pandemic when he found himself negotiating with his perception of his father’s incarceration. The issue has always been prevalent in his process but in conceiving the works of the past two years he has confronted it head-on.

2023

Days Before Remembering, Primary Projects,

2022

Light Source, Ojiri Gallery, London, England

Miami, FL

Selected Group Exhibitions 2022

Double trouble, Long Short Gallery, Paris, France A Sizzlin’ Summer, GR Gallery, New York, NY

Each painting pulls from tangible experiences but lies closer to a distant memory, pointing towards a cognizable narrative while aiming for a slow decipher.

Broken Memories oil, acrylic, and pumice stone on canvas, 72 x 60 inches

182

EMORY

Laundry Day oil, acrylic, and pumice stone on canvas, 72 x 60 inches

183

Unrequited oil, acrylic, and pumice stone on canvas, 72 x 60 inches

184

EMORY

185

One-Man Show oil, acrylic and pumice stone on canvas, 72 x 96 inches

186

CORINNE FORRESTER

lucidbirdgallery.com @lucidbirdgal

b. 1982 Daytona Beach, FL | lives in Daytona Beach, FL Education

My goal is to illuminate the “other” and underrepresented, to linger on the dynamic beauty of “different” until it resonates elsewhere. Society teaches “fat” is a curse word and that intrinsic Blackness isn’t ideally beautiful. Dark complexions, kinky hair, full lips, wide noses, and naturally shapely figures are largely unseen on positive world stages. I’m a tall, curvy, Southern, biracial woman with hair as wild as the day is long, and my heritage is a huge source of personal pride and curiosity, as are our quiet inner storms and how we overcome/cope. The stories of us are intriguing—the complexity and simplicity of human condition and emotion, femininity, body consciousness, exploration of culture and ethnicity, history, social constructs, nature, and spirituality.

2007

BFA, The Art Institute of Tampa, Tampa, FL Selected Group Exhibitions

2022

ArtFields, ArtFields Collective, Lake City, SC

2021

Arts to Hearts Project x All She Makes (virtual), Arts to Hearts ArtFields, ArtFields Collective, Lake City, SC

2020

National Art Exhibition, Visual Arts Center, Punta Gorda, FL

My pieces are my quiet love songs to all of the above. Organic emotive forms, textures atop skyscapes and/or colorful splashes in acrylic paint and metallic powders form symbolic narratives on human duality—vibrant and still, proud yet weary. Each narrative celebrates and explores resilience, evolution, resistance, acceptance, and love of self and others.

Thaw. acrylic on wood panel, 46 x 36 inches

188

FORRESTER

Evening Revelry (her song) acrylic on wood panel, 48 x 36 inches Fallen (the descent) acrylic on wood panel, 48 x 36 inches

189

190

NATHAN HOSMER

mnh567@gmail.com nathanhosmer.com @nathan.hoz

b. 2001 Washington, DC | lives in Richmond, VA Education

Initially drawn to drag performers and the energetic yet dimly lit safe spaces they occupy, my new work aims to investigate self-aware yet prideful queer people. My confident brushstrokes and bold use of color reflect the unbashful representation of queer subjects in my work. I’m inspired by the Quito and Cuzco schools of painting and the way that they appropriated Catholic imagery in order to celebrate and cherish their own cultural identity whilst using their oppressor’s visual language. Similarly, I aim to honor queer narratives by appropriating and reclaiming traditional Catholic images, narratives, and icons. Many of these were used in my upbringing as groundwork for gendered roles and heteronormativity that manifested in homophobia. For many of my paintings, I have those closest to me pose in drag, breaking down gender roles and limitations while simultaneously referencing specific Catholic motifs and iconography.

2023

BFA, Virginia Commonwealth University (VCU), Richmond, VA Residencies

2022

Space Grant, The Anderson, VCU, Richmond, VA Selected Group Exhibitions

2022

Made in VA, Virginia Museum of Contemporary Art, Virginia Beach, VA Growing Up Queer in the South, Greenville Museum of Art, Greenville, NC VCUarts Undergraduate Juried Exhibition, The Anderson, VCU, Richmond, VA

Fuera del Closet (Out of the Closet), oil on canvas, 48 x 36 inches

192

HOSMER

Arcángel San Yaa (Archangel Yaa) oil on canvas, 72 x 60 inches Amor Prohibido (Banned Love) oil on canvas, 48 x 36 inches

193

194

VIAN SORA

213.395.0762 (Luis De Jesus, Los Angeles) viansora.com

b. 1976 Baghdad, Iraq | lives in Louisville, KY Solo Exhibitions

Born and raised in Baghdad, Iraq, during multiple wars, my paintings are infused with emotional tension and based on confronting destruction and decay, challenging boundaries through intentional color contrast within gestural landscapes. My interest is to express untold emotional landscapes to suggest the turmoil that can disturb the thin surface of social order and its effect on the human soul. My paintings suggest figures and places, including gardens and war zones, landscapes of lush fertility and terrible decay, cycles of life and death, that are generating order in chaos. As a first-generation immigrant painter, I address the effects of war and displacement. The foundations of my paintings utilize dark stains and clashing surface textures, which I often disrupt with vibrant paths of color that weave throughout the compositions, reflecting a journey to find harmony within the seeming disorder, fragments and pieces collected, colors from memory. The figures and faces that emerge in these frenzied arrangements are references to the bodies, collective and individual, who have been devastated in wartorn countries like Iraq.

2022

Subduction, Luis De Jesus Los Angeles,

2021

Floodgates, Moremen Gallery, Louisville, KY

2019

Unbounded Domains, Moremen Gallery, Louisville, KY

Los Angeles, CA

Selected Group Exhibitions 2023

Rounding the Circle: The Mary and Alfred Shands

2022

Crosscurrents: Contemporary Art from the Speed Art

Collection, Speed Art Museum, Louisville, KY Museum Collection and Beyond, Speed Art Museum, Louisville, KY Breaking Water, Contemporary Arts Center, Cincinnati, OH 2019

KMAC Triennial, KMAC Museum, Louisville, KY Collections KMAC Museum, Louisville, KY Pizzuti Collection, Columbus, OH Speed Art Museum, Louisville, KY Represented by Luis De Jesus Los Angeles, Los Angeles, CA Moremen Gallery, Louisville, KY

Anshar mixed media with oil on canvas, 60 x 48 inches

196

SORA

Rebirth mixed media with oil on canvas, 48 x 60 inches Subduction mixed media with oil on canvas, 72 x 72 inches

197

198

OSAZE AKIL STIGLER

osazeakil@gmail.com osazeakil.com @osaze_akil

b. 1997 Chicago, IL | lives in Atlanta, GA

My work takes a contemporary view on Black autonomy of self, space, and divinity. I reimagine Black, often femme, subjects in regal depictions of power, comfort, and exaltation combining both historical motifs and experiences as well as Afrofuturistic thought processes. I analyze and critique the ways in which we define power from a racial and gendered perspective, and the ways in which white supremacist foundations have shaped those definitions. My initial ideas of depicting Black Divinity stemmed from a desire to combat the trauma of always seeing significant spiritual and biblical figures in visual art subconsciously reinforce notions of white glory and supremacy. I create art that situates Black subjects in these classical contexts as representations of our full humanity in an other-worldly, almost dream-like way. My background in urban planning and landscape architecture has fostered my exploration of “constructed space,” examining the power of having the ability and access to manipulate and curate our own environments as Africandescended peoples.

Education 2018

BArch, University of Georgia, Athens, GA Solo Exhibitions

2021

Revolutionizing the Systems We’re Transcending, United Talent Agency Artist Space, Los Angeles, CA Selected Group Exhibitions

2020

Art4Equality x Life, Liberty & the Pursuit of Happiness, The Untitled Space, New York, NY Collections Orange County Museum of Art, Costa Mesa, CA

David and Goliath oil and gold leaf on canvas, 60 x 36 inches

200

STIGLER

Escaping Abomin-Ability oil and gold leaf on canvas, 40 x 30 inches

201

Bag Lady oil on canvas, 60 x 36 inches

202

STIGLER

Almost Showtime oil, feathers, and imitation pearl on canvas, 60 x 30 inches

203

Swim Good oil and gold leaf on canvas, 60 x 36 inches

204

PRICING GUIDE New American Paintings is not intended to be a catalog of offerings per se, but, given that many of our readers are collectors, it has been a tradition to offer pricing information for the artists included in each issue. The ranges published below offer guidance as to the current retail pricing for each artist’s work. Works reproduced herein may or may not be available for acquisition. For information on a specific work, we encourage you to reach out to the artist and/or gallery via the contact information provided in each artist’s spread. The pricing of artwork is, perhaps, the most enigmatic component of the art market. For artists who have a record of secondary market sales that the public can easily view, arriving at an appropriate price point becomes somewhat easier. For emerging artists, such as the majority of those featured in New American Paintings, determining price points can involve a number of considerations, including: the scale and medium of a work; an artist’s exhibition history and the collections in which their work is held; and an artist’s educational background. Layered on top of these factors is the subjective notion of an artwork’s perceived “quality.” All of these elements will ultimately determine the demand for a given artist’s work and help inform pricing.

205

WILLIAM ASHLEY ANDERSON

GRACE DOYLE

IGNACIO MICHAUD

SERGIO SUÁREZ

p15–18 $200–$4,500

p61–66 $250–$6,600

p111–114 $10,000–$12,000

p157–160 POR

THOMAS BILS

TROY DUGAS

CARL E. MOORE

STACY LYNN WADDELL

p19–24 POR

p67–70 $12,000

p115–118 POR

p161–164 NFS

JOSIAH BOLTH

TEMI EDUN

STEPHANIE O’CONNOR

ADAM GABRIEL WINNIE

p25–30 NFS

p71–76 NFS

p119–122 POR

p165–168 $4,000–$15,000

ALICIA BROWN

MONICA KIM GARZA

KIM OUELLETTE

JAMELE W. WRIGHT SR.

p31–34 $2,000–$21,500

p77–82 POR

p123–128 $3,000–$7,000

p169–172 $1,200–$1,800

JURELL CAYETANO

ADRIAN GONZALEZ

MIKE OUSLEY

CHUNGHEE YUN

p35–40 POR

p83–86 $900–$8,000

p129–132 POR

p173–178 $1,500–$5,000

KRISTA CLARK

MELISSA HUANG

LAUREN RICE

DUSTIN EMORY

p41–44 POR

p87–90 POR

p133–136 $1,500–$8,000

p181–186 POR

CORRINE COLARUSSO

CAROL JOHN

HASANI SAHLEHE

CORINNE FORRESTER

p45–48 POR

p91–94 POR

p137–142 $1,500–$10,000

p187–190 $1,100–$3,800

NICOLAS LAMBELET COLEMAN

KATHRYN KAMPOVSKY

JACOB SECHTER

NATHAN HOSMER

p49–52 POR

p95–100 POR

p143–146 POR

p191–194 $1,000–$3,000

JERSTIN CROSBY

CRYSTAL MARSHALL

MAX SECKEL

VIAN SORA

p53–56 POR

p101–106 $7,950—$12,000

p147–152 $800–$6,000

p195–198 NFS

ANTONIO DARDEN

LUIS EDGAR MEJICANOS

ERNEST SHAW JR.

OSAZE AKIL STIGLER

p57–60 $2,500–$8,500

p107–110 NFS

p153–156 $7,000–$25,000

p199–204 $3,000–$6,000

$20