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