Shannon Finnell (Brooklyn, NY),Touching Photographically: Panna in Cluj, 2020. Archival print. $600.
"In the summer of 2020, I asked friends around the world to send me photographs of them looking out of their windows. In an attempt to connect to this community of people I hold dear, I created photographs interacting with these images. This image includes my friend Panna who lives in Cluj, Romania.”
-- Shannon Finnell
Susanna Starr (New York, NY), Chiffon Noir, 2019. Rubbing of handmade pastel on paper and then cutout. $1600.
“Chiffon Noir is a rubbing of a delicate scarf. It captures the ephemeral space between memories and the object in motion. It is a floating and ghostly image absent of its wearer, implying a passage from life to death."
-- Susanna Starr
Malina Busch (London, UK), Gold Drag, 2020. Acrylic on paper, twine. $1,000.
“In Gold Drag I am exploring interdependent but fluctuating relationships. This piece is the result of an improvisational process where there is a call and response between myself, the materials that I have chosen, and the spaces in which these moments exist. Through a negotiation of the physical boundaries and limits of my body and my materials, I aim to explore what Merleau-Ponty refers to as the overlap between 'the seeing and the seen, the touching and the touched.' This is a space and time which might be glimpsed but can never be fully grasped. With each piece, I work until a point of balance is reached between myself, the form, and the space in which these exist.”
-- Malina Busch
Bonnie Carrow (Tampa, FL), Untitled (Where Two Things Meet), 2019. Red brick. $1,000.
“My body of work involving red bricks acts as a form of protest against the distinction from inside and outside and a way to challenge notions of self and other. I use the bricks to reference the perimeter of the home, the point of distinction between interior life and the exterior world. By dovetailing the two bricks together, I present an unusual object relationship that suggests both bodily and social interactions. By repurposing a symbol of separation, this material gesture proposes new forms of connection."
-- Bonnie Carrow
Ruby Andromeda Miller (Deerton, MI), Measure Mark, 2016. Stainless steel, silk, feather, enamel pain, found metal. $260.
“Measure Mark is made of the pieces of a square ruler with a scribe, but leaving all the dimensional information behind and adding a feather and other materials. The components of the tool itself that did the measuring are gone and the shop has been left behind. They are both on display and seem to be offered for handling, even though their use isn't totally clear.
"Space is examined by defining it in different ways- the words of a poem shape the whiteness of a page, the stones of a cathedral enclose a verticalness no one looked into without the stones pointing upwards. These tools, taken from a tool of measurement and made into an ambiguous pair of making tools, offer the viewer options to explore defining a space for themselves. They wait in that potential moment when the space is still undefined.”
-- Ruby Andromeda Miller
Allyssa Ray Yamaguchi-Juarez (Laurel, MD), Maybe I Am, 2021. Digital collage. $300.
“Maybe I Am, a digital collage examines the spaces we exist in and the spaces we have inhabited. There are ambiguous and disjointed spaces that are familiar and fantastic when placed together; the edges and fractures showing. The figure restrains from interacting with space shows the isolation that we have had to take in 2020. Am I taking up too much space? Too little? I am outside so, is that ok?”
-- Allyssa Ray Yamaguchi-Juarez
Kate Fitzpatrick (Alexandria, VA), A Kind of Palimpsest 6, 2020. Acrylic ink on vellum. $1200.
“Repetitive glyphs appear as broken language that gather and float away to reveal new worlds. This series of layered drawings are inspired by palimpsests. Palimpsests stand in for the day to day veneer that cover the meaning of words and images we encounter. The overwriting of the artist’s signs systems opens up the possibility for multiple meanings to live in the remnants of our “readable” surfaces. The meaning of images and words lie somewhere in the interplay of the spaces between.”
-- Kate Fitzpatrick
Dustyn Bork (Batesville, AR), Shaped No. 9, 2019. Acrylic on shaped panel. $2000.
“If we strip architecture from its three-dimensional surroundings, there is a tension between physical space and its illusionary depth. This creates a liminal space between the constructed environment and our spatial response to how we imagine occupying it.”
-- Dustyn Bork
Katie Waugh (Fort Smith, AZ), Citizens/Nationals: Third Country, 2019-2021. 4K Video/No Audio 10:00 minutes. NFS.
“With this work, I invoke the sometimes violent, sometimes routine, experiences of physically encountering a border. Under or adjacent to nearly all of the bridges spanning the northern border of the US, I attempt a mutual connection between my hand and the membrane of water that separates these countries; it's an attempt to assert human presence in liminal space. These waters are distinct and undeniable geologic boundaries, yet between their shores the human ability to perceive this political border is challenged -- while the fluid borderline itself is policed by an ever-intensifying surveillance apparatus.”
-- Katie Waugh
Laura Beth Davidson (Forest, VA), Post-Op, 2020. Digital photograph print. NFS.
“Two days after surgery to remove her kidney and the tumor that had invaded it, my four-year-old daughter walked the halls of the children’s hospital for some exercise and a change of scenery. My husband walked with her, holding the cord of her pulse oximeter. I trailed behind to document everything – the koala hospital gown, her rumpled hair, and the big wide world outside to which we couldn’t wait to get back.”
-- Laura Beth Davidson
Mary Janacek (Fairfield, CT), The Ninth of September Two Thousand and Twenty in San Francisco, 2020. Watercolor, cardboard, glue, paper. $800.
“The colors and gradations in this series are rooted in images of clouds seen in 2020, as converging natural and unnatural disasters of the pandemic, social injustice, and climate change gave way to a landscape of smoke-filled skies. Despite the space between, similar clouds emerged from different locations and moments in time. The work aims to create an inmate visual space for reflection and contemplation on grief, unrest, and transformation. It asks the question: what raises from ruin?”
-- Mary Janacek
Whitney Sage (Naperville, IL), Recession from Homesickness series, 2020. Ink on paper. Prints for $250.
“Homesickness Series is a series of monochromatic ink paintings on paper that addresses universal issues of loss as related to our relationship with home and the individual and collective stories lost in the life cycles of urban degradation. Through the evocation of the image of the home and tin type photographs, the paintings play off issues of psychological loss as related to memory and leaving home, and the nostalgic longing that our separation with our primal “home” and the objects within it creates.”
-- Whitney Sage
Jacob Lahah (Richmond, VA), Exit, 2020. Silkscreen, graphite, oil marker, Bulldog clips, fluorescent risograph print on paper. $150.
“My recent drawings in my studio are composed by drawing the architectural skeleton and laser lights of queer night clubs around the city of Richmond from memory. I'm interested in the relationship between nightlife and queer culture, and how many queer people use these spaces a secondary home.”
-- Jacob Lahah
Zachary Z. Handler (Baltimore, MD), Vyette. Washington, DC, USA, 2020. Photograph. NFS.
“In response to COVID-19, I created ERRANDS, a portrait series documenting our shared shelter-in-place experiences from my home to yours. Art is the only way I know how to take care of myself and others. Quarantining posed obvious challenges to engaging with others during such an unprecedented time.
"ERRANDS was born of this desire to provide care while maintaining connections, and it began with Khalid on April 18, 2020. Anyone could sign up for a session; we’d schedule 30 minutes of time to connect over video. I start with a wellness check to make sure someone has asked them, “How are you?” today. Then I set up my phone somewhere in my house - atop laundry, in my freezer, or I'll build them a miniature world - and then I take their portrait.”
-- Zachary Z. Handler