Claudia Alvarez explores notions of memory, immigration, and identity. Through drawing, painting, sculpture and site-responsive installation, she investigates fundamental questions about human behavior, ethics, and power struggles. Her work addresses the way social, political, and psychological structures impact our behavior and personal interactions. By imbuing sculptures of children with adult characteristics and mannerisms, Alvarez tackles issues relating to violence, empowerment, endurance and what they reveal about human nature.

Hannah Bigeleisen is an artist and designer living and working in Brooklyn, New York. Hannah founded her studio in 2016 after obtaining her MFA from the Rhode Island School of Design. Her studio practice is influenced by theories of visual perception and patterns found in architecture, language and everyday structures. She creates sculptures, paintings, and works on paper.

Mark Bouthilette lets abstraction guide him freely within his process of sanding and layering paint. His first marks are wild and expressive, sending each painting in a new direction, creating a puzzle that he solved by drawing inspiration from his surroundings and the texts he uses as under paintings.

Embroidery is one of the many media Norwegian artist Erlend Helling-Larsen uses. On pages torn from magazines such as Playboy and Penthouse, he clothes the naked women stitch by stitch. His work with embroidery has strong historical references. Contrasts abound in Helling-Larsen’s works, between the masculine and feminine, and between popular culture, handicraft and artistic production.

Andrew Hockenberry began painting in 2002, after moving to Denver, Colorado.  A self taught artist, he learned to build frames and stretch canvas, an important part of his process.  He manipulates and repurposes traditional and alternative materials to create balance in his abstract paintings.  While working from his subconscious, every mark is deliberate and applied to the rhythm of music.  Having moved to NYC to pursue his art professionally, Hockenberry continues to explore the boundaries of materials and marks. 

Michael Meadors was born in the Bay Area and grew up in North Carolina. He studied painting and drawing at East Carolina University and received an MFA in painting from The New York Academy of Art. Winner of numerous awards and residencies, including Leipzig and Berlin, Germany, his work has appeared in many galleries and collections, most recently in the Smithsonian's National Portrait Gallery. He currently works in New York City. He is a proud father. 

Frank Parga is currently living and working in Brooklyn, NY. He was born and raised in El Paso, TX where he studied art at the University of Texas at El Paso. He received a Bachelor of Fine Arts degree in painting with a minor in sculpture. In 1996 he moved to Los Angeles where he worked as an artist as well as a supervisor in digital visual and audio post production. He then went on to receive a Master of Fine Arts degree in studio art from New York University. Frank is a professional artist who works as an educator and mentor for youth from elementary schools to the university level. Frank is currently working in collaboration with the Brooklyn Arts Council and Creative Arts Workshops for Kids on various creative projects and workshops. He recently completed projects with el Museo del Barrio (NYC), Community Word Project as well as Groundswell Mural Project. He is a recipient of the Jacob T. and Gwendolyn Lawrence Foundation’s Visual Harlem Grant Program. He was also a Resident Artist for the Workspace Grant for New York Emerging Artists through the Center for Book Arts in New York City. Frank was selected as a Resident Artist for the Lower Manhattan Cultural Council’s Residency at the Woolworth Building. He later received the Weir Farm Trust Residency in Wilton, CT. as well as the Joshua Tree National Park Artists Residency, CA. Frank was also the recipient of an Artists Community Fellowship through Earthwatch Institute entitled Archeology of the Pacific Northwest in Washington state. Frank has worked as an artist/mentor in the Global Youth Media and Arts Program through World Savvy as well as a panelist for the National Museum of the American Indian, Smithsonian Institution Native Arts Program in Washington D.C. Most recently Frank completed an Artist Residency with CATWALK in Catskill, NY. Frank’s work has been shown nationally as well as internationally.

Maggie Puckett's work is interdisciplinary, combining art and science to explore the complicated history and future of anthropogenic effects on the Earth’s systems. Through handmade paper, artist’s books, and environmental works her practice navigates our planet from atmosphere to core, examining ecological history and visualizing predictions of future global change. Her work encourages the audience to look, touch, smell, and taste, providing an experiential introduction to the complexities of ecology.

Puckett is part of the two woman team behind Seeds InService. Each year, Seeds InService plants thematic gardens to grow fiber for hand papermaking, propagate endangered seeds, and explore feminist histories.

Terry Rosenberg explores ideas of being and existence within complex and constantly changing perspectives. He does so by directly engaging with people invested in movement and what they communicate through their body. By immediate response he renders sequences of time, space and human characteristics embedded with emotion and energy into painting.

Bradley Wood’s paintings express ambivalence about the current human condition. While the settings in which Wood situates his languid, idiosyncratic figures suggest comfort and privilege, the skewed perspectives from which we view them imply that everything may not be as it appears on his lushly painted surfaces. Wood creates a parallel in how he applies the thickness of the oil paint and looseness of the brush strokes to convey abundance and opulence. There is a subtle social critique in Wood’s combination of subject matter and style as figures and interiors seem ready to slip off the canvas. Luscious oils combine with ironic narratives to create a world that both attracts and repulses. Eccentric figures lounge languidly amidst highly decorative surroundings, all rendered with a painterliness that hovers between form and disintegration, and works to intrigue and unsettle as much as it does to delight.

Matthew Wood’s Biomorphagrams are lyrical constructions, exploring two concepts simultaneously, the objectification of shadows and “painting” without physically painting. Wood photographs pedestrians’ shadows, exploring the possibility of them, as objects, resulting in the stylized forms that make up the Biomorphagram language.