Winnie van der Rijn (New York, NY), Hanging On By A Thread/Coming Apart At The Seams, 2020. Thread sewn onto soluble substrate and dissolved. $5000.
“I have been experimenting with soluble substrate for a few years. This alternate American flag was made by stitching on a soluble substrate. I created it during the pandemic lockdown and protests last summer and then dissolved it on my front porch with the help of my children. I started with the question of truth. Is there objective truth? If we wash away the lies what will we find? The activation was a cathartic release, a ritual cleansing. What remains is a husk, evidence of a former self, a ghost of the past with hope for the future and the possibility to move forward. Are we left with enough truth to rebuild?”
—Winnie van der Rijn
Gregory Logan Dunn (Arlington, VA), Velocity Crowns, 2019. Acrylic on Canvas. $475.
“When we as a civilization advance in areas like technology, these changes affect everything while changing nothing. We have to measure what we as a people have gained versus what is overlooked.
Unseen in a cloud of exhaust from a billionaire’s rocket, he can video chat on his watch as he approaches the threshold of space, but he can’t see a man being beaten to death by cops because they turned the cameras off. The king wears a shiny gold crown and never sees the miner that dies in the darkness.”
—Gregory Logan Dunn
Sasha de Koninck (Boulder, CO), Unlearning the Body from the Garment, 2020. Textile. $200.
“Unlearning the Body from the Garment is about unlearning the relationship between the prescribed parts of a garment pattern and their designated body parts. How did an armhole become an armhole? Why does an arm have to go through a sleeve? Where did these relationships come from? How were these relationships created? Why does a garment have the parts that it has? This unlearning is done by working to look at a flat garment pattern as an abstract shape and disregard notions of how it is worn or how it will interact with the human form. The garment pattern is now a flat shape that can create three dimensional forms, but the parts are no longer regarded. Armholes. Neck holes. Fronts. Backs. Busts. Waists. These no longer hold any meaning. The garment pattern is a form for possibility. What is now created can be worn on any body, in any way.
—Sasha de Koninck
Mira Hecht (Chevy Chase, MD), Fracture, 2021. Watercolor and Graphite. $1800.
“During these past few months I've been exploring fractured space in my paper pieces. This differs quite a bit from the pictorial space long explored in my oil paintings. I devised a technique of painting the whole piece, then tearing off the borders and reversing them on the edges of the center piece. Once placed where I want them, the center and four borders are attached to another piece of Arches paper.
So much in all our lives has been disrupted that disjointing and breaking up the pictorial space in my work feels both necessary and appropriate.”
Samantha Holmes (New York, NY), Equilibrium V, 2021. Marble, Mother’s hair. $3,200.
“Hair has the weight-for-weight strength of steel. Yet we equate hair with femininity and fragility, forgetting that this femininity can mean strength, too – a strength that resides in its very flexibility, in being able to bear much more than it appears. A strength that doesn’t show itself in solidity, but in softness. I have just begun work on a new series of minimalist sculptures in which three-dimensional forms of cement or stone are held in careful equilibrium by individual strands of human hair. Collected during the period of hair loss following the birth of my child in 2019–a common bi-product of soaring hormone levels during pregnancy–these hairs speak to the uncanny union of strength and delicacy that is the maternal body, as well as to the deeper psychological and conceptual challenges of motherhood: the ever-shifting equilibrium of self and other.”
Joshua Unikel (Houston, TX), Homing II, 2019. Screenprint and digital print on archival paper. $2000.
“Homing II hypothesizes that language and letterforms are always already full of history and ambivalence, meaning and materiality. Combining approaches from graphic design and Concrete Poetry, Homing II examines the lineage and tensions of Cyrillic, both as a language created by two emigrants and as a language that itself emigrated to over one third of the world.”
Thea Clark (Greensboro, NC), Untitled 1, 2021. Mixed Media. $1270.
“As an object maker this work represents a new direction of wall mounted mixed media on paper works. Data in the form of storm system isobars, flood plain maps, as well as fabric, and paper are woven, knotted, sewn, printed, and painted.”
Tamao Nakayama (Woodbridge, VA), Sea Ice #2, 2021. Acrylic paint, polyester film. $375.
“This series of paintings began with materials. I dropped a clear plastic painters-palette one day, and it landed upside down. I was struck by the beauty of the layers of color showing through from the water-like surface. I said to myself, ‘This should be developed, not thrown away.’
A depiction of icy water would bring the best out of these materials, so I spent the winter staring at the river near my home. I tested different materials to simulate the ice and developed a recipe for paint that mimicked cracked surfaces. I needed to paint the front first and the background last, and it took much experimentation to make that happen. Materials inspire me to innovate, and these materials inspired me to create new techniques.”
Fanni Somogyi (Baltimore, MD), Cross Species Connections, 2021. Bronze, steel, flocking. $2100.
“This sculpture is part of a new body of work comprising of the repetition of a cast gourd and additional elements that are ‘converging’ with the vegetable. The series began as thought exercises and conceptual research into the coexistence of critters and thinking about ways sustainable living. Cross Species Connections speculates about the metamorphosis of a gourd and a spider, giving agency to the plant. While plants are often seen as passive, I have given this vegetable legs to walk off with and an antenna. Imagining this ‘alien’ being pushes one to consider other beings and what other forms of life may be in the universe.”
Dave Kube (Lancaster, PA), CE01, 2019. Photography sculpture. $500.
“Our understanding of the world operates at various levels of illusion. Photo theory calls us to question the validity of things we see and understand through looking at photographs. Scientific theories suggest we are possibly just computer programs being run by some advanced civilization or just a 2D hologram that we perceive to be a 3D world. Queer theory shows us how gender and sexuality are socially constructed concepts informed by structures of power, history, and repetition. In each of these instances, we are called to be better critical observers of the reality we have been conditioned to understand. This work brings together these ideas of illusion and theory. The boundaries of traditional photography are digitally altered and stretched into 3D forms that act as a gateway to nontraditional worlds that make space for marginalized communities. They resist assimilation and ask us to question the world we know and understand.”
Adam Bradley (Washington, DC), Desiccated Spiders, 2021. Ceramic. $650.
“These ceramic hands were inspired by a friend’s description of how he felt after his COVID vaccine shot. He said he woke up curled up with all his limbs drawn in like a dying spider. I wanted to make something that held tension and frustration. Ceramics is a new media for me and I am still learning the process. It was a media I could work with at home and bring back to the college to fire when opened.”