While I employ languages of abstraction, minimalism, and process-based and conceptual art, my paintings are deeply rooted in observation. My art can be described as environmental, ecological, or as non-traditional landscape painting; yet, my interests lie not with the picturesque, but with light, atmosphere, texture, the fractal geometry of nature, and deep time. To this end, erosion and sedimentation, growth and decay—geological and biological processes that help shape what we call the landscape—greatly inform my work.

 Dillon Beck is a painter, muralist, and designer based out of Columbus, Ohio. He fuses design elements with traditional painting, following and breaking the rules of the former to create a unique visual vocabulary. Hard-edged, regulated forms like stairs, tunnels, roadways, and homes are rendered in shifting gradient colors, providing formal movement and cadence to otherwise ambiguous scenes.

 By utilizing visual motifs such as color, lighting, and symbolism, I highlight the sur-real quality of being Black, focusing on the aftermath of trauma rather than the trauma itself. I aim to convey vulnerability rather than strength, humanizing my subjects by distilling their essence in each painting. The performance and frequent repression of Blackness in environments marked by hate, misunderstanding, and fear enable my work to visualize the surreal and alienating core of the Black experience.

 My work explores the complexity of identity and mythology of womanhood found within leisure, desire, pleasure, and the specificity as a state of being. By acknowledging rules within the landscape of femininity, gender roles, and their societal expectations, I have found that there are multiple approaches to transgressive and transformative definitions of these identities.

 Through an intricate process of layering and fragmentation, my work explores the interplay between creation and dissolution, where figures, landscapes, and symbols emerge and dissolve in a state of perpetual flux. Each painting becomes an environment where the tangible and intangible coalesce, reflecting complexities of memory, experience, and time.

 Soumya Netrabile’s paintings are documents of her deep and evolving rela-tionship to the natural world. Her compositions are built up from layers of paint that are directly related to the layers of her own memory, retrieved and shaped by the painting process. Her paintings have a being-like energy and are as much about us in the world as the world itself. They are visual records of what Heidegger calls the Dasein.

 By balancing discordant colors and textures, Worcester harnesses dissonance and creates paintings that challenge the limitations of the human eye. His compositions reference the body and technology in an attempt to crystallize the inherent struggle between the two. The work transforms according to the proximity and position of the viewer, producing an experience specific to the lens of their body. Like estuaries feeding into a body of water, the paintings intimate divergent meanings through a network of connections that link discrete elements into a cohesive whole.

 In my paintings I honor the landscape as both itself and a metaphor. Moun-tains become places of ascension, inwardness, and grace. Historically, in both spirituality and mythology, mountain imagery is seen as dark terrain, feral, deserted, holy, and stripped of self. Untamed and wild landscape, in all its apathy, elicits a primal pull to enter it, to be joined with it, and to know it intimately. Seeking the solace of empty places, I create intensely personal portraits of quiet, meditative spaces that encourage contemplation and investigation of self, sublimity, and the divine.

 In my studio practice, I engage in mystical contemplation; each artwork is a gateway to unseen realms and unexpected encounters. Painting transcends regular perception, offering a path toward understanding that goes beyond the intellect. I paint in silence, attuned to the whispers in my heart and the fleeting visions in my mind’s eye. Inspiration is unpredictable and often perplexing. Every brushstroke and form is an embrace of uncertainty. I view the artistic experience as mystical, visceral, and immediate.

 My paintings explore formal relationships through recurring geometric forms bound to a system of constraints. The reappearance of the same geometric forms across the body of work allows them to become familiar to the viewer, but their endless material manifestations and relationships mean constant reconsideration.