Sarah Alexander
Late to the Party
watercolor and pen and ink
27″ x 34.5″ x 1.5″
2021
Using botanical images as symbols for people and emotions helps me to process what I’m trying to say when there are no words to say it. In this piece, I was overwhelmed with missing my family during the pandemic. I used blueberries to represent my daughter, and spiky seedpods to symbolize feeling stuck. Using a wonky neoclassical design that morphs and explodes like a fountain, I symbolized the love, grief, and longing I was experiencing. The Asters were also in abundance in my garden at the time. As my world felt smaller, my garden was my salvation.
@wanderingmindstudio
Taylor Apostol
House Clothes
hand built terra cotta, acrylic paint, flock
6″ x 18″ x 14″
2020
House Clothes is part of a recent series focusing on familiar household items such as waste bins, grocery lists, CVS coupons, piles of clothing and dishes and hair scrunchies. Removed from their usual place on the floor, a shelf or forgotten under a dresser, I give them a life of their own. Additionally, by reframing these industrially fabricated, functional items as handmade objects in terra cotta, I ask the viewer to reconsider them for their sculptural, aesthetic and narrative capabilities.
@taylorapostol
Doug Ashby
Untitled (Waiting For Temperance)
pen and ink
8″ x 7″
2023
I believe my main purpose as an artist is to be a communicator that challenges the viewers beliefs about humanity’s place in the universe. By consciously looking to abstract nature my intention is to represent the reality that life is much more complex then the simple reductionist theories that have dominated for so long. I want to offer the individual experiencing my work consideration that not all we see and perceive is exactly as it appears on the surface and that becoming more aware of existence reveals deeper and more meaningful patterns.
@dashbyart @DougAshby
Brooke Bailey
Pretty Obstructed
acrylic paint on matte and clear Dura-Lar film
24″ x 27″
2022
Through mixed media painting, I explore the idea of abstraction through the lens of color and form. Finding surfaces that retain variety in mark-making helps me to collaborate with the material by introducing the spontaneity and creativity from myself in conversation with the innate qualities of the medium. I investigate how utilizing the materiality of the work as a dominant factor in the composition can further my interest in developing a cohesive relationship between pigments and shapes.
Emma Ballachino
Compartment (4)
stoneware fired in cone 10 reduction
10″ x 6″ x 7″
2022
Each of my ceramic sculptures are created entirely by pinching from a single lump of clay. By simply compressing clay between my fingers, the resulting forms are organic and undulating constructs of pockets, holes, valleys, and canals. The formation of each compartment is completely dependent on the support of those surrounding it. Relating to the many intersectionalities within our lives, many small parts are linked, simultaneously independent and inextricably bonded.
ST Barry
How to Build a Throne
oil on canvas
48″ x 48″
2020
My work attempts to explore the relationship between my naïve childhood fantasies with the bleakness of late capitalism. I try to explore my relationship to a decaying world, that I wish to both fix and escape, through surreal, idealistic, and dystopian imagery informed by the history of portraiture, still-life, landscape, and abstraction.
@s_t_barry
Lisa Barthelson
aii form 3, art in isolation, family debris
family debris monoprints as sculpture: Rives BFK paper, printed collage and thread
28″ x 28″ x 24”
2022
During the Covid 19 ‘stay at home’ order, I worked small, using material that I had on hand, including family debris monoprints, created by layering inked plates with mundane family cast offs. The intimate scale offered meditative comfort in the making. After completing a series of ‘art in isolation’ mixed media prints, I moved on to larger quilt-like work created by piecing together monoprints & incorporating collage & stitching. And then 3D, using double sided prints for components, I built forms: folded paper vessels stitched together to create sculptures that continue to push the limits of paper, ink and thread.
@lisa_barthelson
Eugenie Lewalski Berg
Open Cubehead
concrete, woodblock prints (mokuhanga), graphite
11″ x 5″ x 4”
2022
I am process and material driven. I like getting my hands dirty, whether it be mixing concrete or carving woodblocks. This series satisfies that, and also combines my 2D and 3D work. I tell stories, but I also leave room for the materials to speak.
@elbstudio
Eugenie Lewalski Berg
Pointy Head
concrete, woodblock print (mokuhanga), graphite
13″ x 4″ x 5”
2022
I am process and material driven. I like getting my hands dirty, whether it be mixing concrete or carving woodblocks. This series satisfies that, and also combines my 2D and 3D work. I tell stories, but I also leave room for the materials to speak.
@elbstudio
Ray Bernoff
The Wound Will Not Heal
paper clay, spackle, acrylic paint, PVA glue, varnish, expired medication, and unicorn milk pearlescent topcoat on canvas
10″ x 10″ x 3″
2022
I’m sick and disabled. Everyday I take pills. At my worst, I was throwing back fifteen a day. I get so fed up I could scream. I am filled to bursting with anti-inflammatories and beta blockers and pain meds and antidepressants and vitamins, filled until I could tear open. This relief sculpture did not bring me ease, but did let me reveal for a moment what I normally hold back.
@rmhbernoff