Zach Meisner thrives in the ambiguous perceptual spaces of abstraction. The sculptures, light studies, and experimental music in Film and Volume articulate Meisner’s evolving interests over the past decade.
Shanie Tomassini’s reflections on the “shape-shifting nature of experience” are articulated through sculpture and architecture, and invite us to think about life as a series of transitions that unfold over time.
In this site-specific installation, Anika Steppe explores the difference between her experience in a place versus her perception of a place through maps and photographs.
In her collage series, We Live on a Planet, Bethany Johnson layers clippings from the pages of nature magazines, science textbooks, atlases, graph paper notebooks and security envelopes, meditating on graphic representations of the natural world.
They live among us—elegant creatures, dangerous creatures, drooling creatures. Through photographs, collected objects, textiles, and installation, Emily O’Leary and Bucky Miller provide a rich space to contemplate the otherness of dogs.
Annie Miller’s paintings abound with slippages and reflections and explore the erotics of the gaze. smells like marcelle includes large-scale paintings, a video installation and a site-specific wall drawing.
Christina Coleman’s recent body of work draws on the aesthetics of statistical graphing to question the visual rhetoric of social science. Coleman mobilizes the tools and products of African-American haircare as materials for drawing in space, constructing conceptual installations that vacillate between abstraction and representation.
Using imagery taken from historical caricatures of Japanese figures, Teruko Nimura’s work addresses the complex politics of cultural heritage and collective memory. Her finely crafted ink drawings, cut paper, and haunting installations challenge the simplicity of stereotypes while balancing between personal identification and critique.
Caitlin Halloran’s work uses associative color and serious play to mimic objectivity and hysteria. Her recent textiles and drawings toy with the viewer’s expectations of rationality and narrative by engaging a feminist form of comic one-liners. Through these material and textual jokes, Halloran’s humor creates a visual world that is as colorful and messy as our own hilarious lives in all their weird particulars.
Type Hike, a collaborative nonprofit design project that supports the outdoors through typography, presents a series of posters representative of U.S. national parks.
Carris Adams’ large-scale drawings and paintings deploy signs and signifiers appropriated from man-made landscapes to point to class, race, gender, systemic inequality and resilience, begotten in urban, suburban and rural spaces.
In her non-medium specific paintings, Nicole Awai moves fluidly between two and three dimensions, and employs popular commercial materials such as nail polish, to explore notions of identity and history.