Greg Fadell

In my work, I build my own stretchers with wood I have specified from a mill, formulate my own paint, and construct custom brushes. The raw canvas is transformed into an ultra-smooth surface. What looks like a thick buildup of paint is void of texture and deceptively resembles a photographic print. I take into consideration the edges of the paintings by leaving them unfinished to show the evolution/evidence of my process; thus, they too become part of the overall aesthetic.

Alexander Herzog

The impetus for this new series of paintings came from a simple, repetitive, and explosive action that I discovered the year I worked in a professional kitchen in the much-dreaded, but perhaps most coveted, position of dish-washer. I began to think of the painting as a literal surface to be wiped, which became, in painting’s language, “the gesture.”

Ann Toebbe

Living on the East Coast made me acutely aware of the specific aesthetics of my Midwestern upbringing: a pragmatic, mundane (and rather flat) sense of beauty, stubbornly free of high ideas or refinements of style. Living and working as an artist in Brooklyn and studying at Yale forced me to see and remember my family home and lifestyle in a different light. This tension between my later-acquired, intensely cosmopolitan awareness of art and style, and the working class tastes I grew up with, shapes who I am as a painter.

Garry Noland

I am interested in conversations about the correct level of finish in each work and in a body of work as a whole. Levels of finish suggest either an adherence to what other people think should happen or what I think should happen. It boils down to these questions: What is better? Who’s it better to? and Who are you to decide?

Scott Reeder

My paintings walk carefully on a thin line between loving homage and biting critique. Through humorous shifts in subject matter and technique, sometimes subtle and sometimes outrageous, my work acts as an absurd but ardent investigation of modernist canons. Like a police interrogation between two friends, the work is complicated, contradictory, and multi-faceted; oscillating between hope and suspicion, denial and belief.

John Dilg

My paintings are incidental images, essential in the history of a life, formed within a pictographic language. In concert with the titles, these images both recollect and recompose important memories that, though personal in premise, could be applicable to anyone. My paintings strive to identify archetypes that represent, among other things, our resignation to the mystery of undiscovered sources and propose that, since nature has been misplaced, the “natural” is always unnatural.

Alice Pixley Young

 My studio sits on the Ordovician fossil bed within the Rust Belt, the home-lands of the Myaamia people and a nuclear Superfund site. This layered landscape of deep time, displacement, industry, and contamination directly informs my drawings and immersive multimedia installations. Recurring motifs of bell jars, trees, mirrors, transmission towers, and fire move fluidly across these bodies of work. By documenting compromised landscapes—brownfields, industrial ruins, and wildfire-scarred sites—I explore vulnerability and resilience.

Megan Wolfkill

 To deeply know something or someone outside of yourself is intimate. Knowing requires you to put yourself aside and engage with the realities of another world through curiosity, intentional listening, and an openness to ideas that may be antithetical to your worldview or lived experience. I am interested in the minute details of a body moving in space, the specificity of how paint dries based on what’s underneath it, the alchemy of combining logistically incompatible art materials, and the multifaceted nuance of human emotion.

Samual Weinberg

 These paintings are from a body of work where my recurring cycloptic alien protagonist has lost his pet bird, leaving him to alternate between searching for his friend and finding solace in distraction. Seemingly fascinated by anything, no matter how mundane, to the point of being transfixed, his search often takes a back seat to his short attention span, yet even his frivolous endeavors remain shrouded in a vague, bird-shaped melancholy.

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