Jaqui Falkenheim (Arlington, VA), Zoom World, 2021. Mixed Media: Acrylic, Collage, Pencil, Watercolor Paper Mounted on Wood Panels. $1,200.
“Zoom World is a reflection on how 2020 changed the ways we connect with others. For many, Zoom has allowed schools and jobs to continue online, and facilitated our participation in experiences and events we would not have been able to attend otherwise. However, communication through Zoom can feel artificial and distant, and it is difficult to stay present looking at a screen when a lot is happening behind us. This piece is in the form of a polyptych to express how with virtual communication we can feel distant from each other despite logging on at an agreed time and space. The nine sub-sections emulate the windows through which we have seen each other these last fifteen months. The graffiti-like texture reflects the many layers that exist beyond our tidy screens as well as the phrases that became part of our every day since March 2020."
— Jaqui Falkenheim
Ron Longsdorf (Savannah, GA), Staying Fenced In, 2020. Polystyrene, Synthetic Grass, Synthetic Rope, Polymer Clay, Paint. $2,800
“An odd proportioned fence surrounds a scale model home with a lift gate. The model home has a pseudo skin surface feeling exposed and vulnerable.”
Kelli Rae Adams (Danville, VA), Is There Anybody Out There?, 2021. Digital Print. $5278
“This distorted wall calendar page marks the span of time between the WHO's declaration of COVID-19 as a global pandemic and the CDC's revised mask mandate for vaccinated individuals here in the US. Clearly the pandemic is far from over, both at home and abroad. The intention of this work, therefore, is merely to visualize the period when my own life was acutely impacted by the constraints of the pandemic and to acknowledge that this same stretch of months—give or take a few days or weeks on either end—was a time of deeply altered existence for countless others, as well.”
—Kelli Rae Adams
Juan Hinojosa (Woodside, NY), Two of Hearts, 2020. Mixed Media on PVC. $2,500
“Before COVID I didn't realize how lonely I was without my cat Missy, who I lost the year before. She was glorious. During the last twelve months I spent a lot of my days alone in my apartment talking to her as if she was still there. It felt therapeutic in some way to make these sculptures out of found materials and loneliness. With NY being the epicenter of the pandemic, I retreated into my home and I was forced to come to grips with a number of issues I have been putting off. Lucky for me I am a hoarder and I was able to make artwork during the last 12 months.”
Betty Vera (North Adams, MA), Breathing, 2020. Jacquard Tapestry, Hand-Colored and Hand-Embroidered. $9000.
“Saturated with red, the color of fire and blood, Breathing is an abstract image of an oxygen tube. Symbolizing the universal need to breathe, the tube references both the deadly COVID pandemic and the tragic murder of George Floyd, a handcuffed Black man in custody pleading, 'I can't breathe!' as a police officer pressed his knee into Floyd's neck for nearly nine minutes.”
George Lorio (Rockville, MD), Split, 2021. Found Bark Attached to a Constructed Plywood Armature. $7000.
“Nature’s resource of trees is the source for oxygen, air pollution mitigation, carbon capture, limitation of soil erosion and city cooling via the arboreal canopy. These are by-products of photosynthesis: climate restoration through the normal life cycle of trees. I am presently using twigs and bark from neighboring gardens and parks to construct fictions of trees, stumps and logs; they are not renderings but reinterpretations of living forms. Constructing a sculpture alluding to a living tree with these waste pieces (relics) is a form of incantation-a poetic activity. An antidote to contemporary land development which appears to care more for denuding the landscape of trees in favor of barren parking lots and massive concrete and glass structures which are impervious to seed penetration and promotes tree removal.”
Jake Foster (Philadelphia, PA), Webcam Aesthetics: BRB, Webcam Aesthetics: Steam and Stains, 2020. Inkjet Print, Digital Screenshots. $700 (each).
“Webcam Aesthetics is an ongoing project which documents the interiors of webcam studios, spaces where sex workers livestream shows on the internet via webcam. By using screenshots and screen recordings as a photographic, documentary art practice during the model’s momentary absence, the images depict the space as seen by the viewer: mediated by the internet. The project now spans both a year before and after the start of the COVID-19 pandemic. Both the importance and meaning of the erotic webcam experience changed for me while in quarantine. Like much of the world, I stayed at home and connected with others online. Erotic webcamming became a mode of survival, a way of experiencing sexual intimacy with others and exploring my queer desire. As the pandemic progressed, Webcam Aesthetics documented erotic webcamming through its exponential growth. Additionally, my past experience as a webcam model makes this archival work a form of autoethnography.”
Abby Zhang (Brooklyn, NY), I Never Cared For You, 2021. Wall Paint, Oil on Paper, Pencil on Paper, Polymer Clay, Food Package, Inkjet Print, Gouache on Paper, Kitchen Sponge, Red Pepper Flakes. POR.
“I Never Cared For You is a wall installation with things I have collected and made during the time I spent in the isolation hotel in NYC after I got COVID. The work focuses on the experience throughout the month of isolating and getting back to normal life, as well as reconsidering the meaning of 'care.'”