Lena Daly

Ghost Pepper 1, 2025

Glass, noble gas, aluminum, 16 x 3 x 3 in

Ruoyi Shi

(un)readable? (um)readable, 2023-2024

Artist-designed vision testing tools and light

10"x14"x4" 


Gabrielle Jennings 

Silent Spring Redux, 2024

color video, sound, 30:22, loop

Silent Spring Redux is derived from Rachel Carson’s seminal environmental essay "A Fable for Tomorrow" from her book Silent Spring (1962). The gif-video was made by dissolving between 90 images, to form slowly changing, morphing, hauntingly acidic videoscapes. The work allows flux, both/and, stillness and movement, while recalling Carson's plea-warning on the rampant use of pesticides. 

Alexa Almany

In the waiting room, 2025, glossy ultraviolet pearl vinyl

1.5” x 25.6”(individual)

Ruoyi Shi

Cloud Catcher, 2024

Wood, screen print on silk mesh, screen print on Asian paper, The National Audubon Society Field Guide to Birds Western Region North America, magnets

Installation size varies.

Sid M. Duenas

Spiral Intrusion Fold, Sun Hand Drawing 1, 2025

8.5  x 0.7 x 11h in. 

Graphite, ink, paper, paperboard, bookcloth

A triangular shape, referencing a form called Spiral Intrusion, frames a graphite drawing that comprises marks and cut outs made by tracing a moving hand.

Sid M. Duenas

Tano-form (BEER IN FREEZER) with Spiral Intrusion Empty (SHOOTING TREE), 2025 

25.5 x 8.5 x 44h in. 

Laser print on paper and foil, paperboard, bookcloth, artist pedestal

Tano-form—a poetic form devised by the artist—are lines of text on sections of folded paper. The first line of text begins at the nearest folded section to the reader, and subsequent lines continue outward, horizontally at variable length. For this iteration, a form entitled Spiral Intrusion Empty, interrupts the poem body, and its sequence of folds.

Benjamin Weissman

Horizontally, 2025, 42 x 33 in

Acrylic paint, charcoal, soft pastel

Benjamin Weissman

Horsemeat, 2025, 45 x 32 in

Acrylic paint, charcoal, soft pastel

Kaya & Blank

Second Nature #37 and #46, 2022

5 feet x 45 in

Archival pigment print, face mounted and framed (20 x 30 in each) and found object (cell cover with fake leaves, 5 feet tall and 2 feet wide)

Kaya & Blank

Title: Second Nature #64, 2022

Archival pigment print, face-mounted and framed (20 x 30 in) and found object: cell cover with fake leaves, 12 feet x 45 in

Won Ju Lim

Inglewood, 2023

Latex, 8 ½ (h) x 23 ½ x 17 inches 

Gabriel Madan

Jesus is Coming, 2025

Acrylic, gouache, charcoal, graphite on canvas

58 x 78 in 

 

Ren Ebel

Peanut’s Lighthouse, 2022, drawing and text

First published in 2022 by Black Tent Press