My work currently focuses on a series of paintings and sculptures circling around materiality, form, and spirituality. They referentially pertain to bodies through their object nature, significance, and the manipulation of every material used. The painted objects can resemble the construction of the human body, human skin, and in certain cases, parts of the human figure. The symbolism of the colors is completely dependent on my relationship with Santería and spiritual animism. This causes the work to become more personal and emotional. This is revealed through a handwritten

My work explores issues of migration and displacement through the history of decorative art and religious iconography. Using mixed media and collage, I reappropriate imagery that references maps, symbols, patterns, and language to create embellished images that indulge in and deconstruct colonial art. I often shy away from rectangular edges, instead using fabric patchworks and constructions as alternative painting surfaces. These techniques allow me to use painting as a form of installation, where intricate and layered compositions are not just images, but places in themselves.

My work is a celebration of the beauty and grace that I see in the female form. My intent is for the viewer to slow down and find their connection to the portraits before them. Often the reflective surfaces of the work invite the viewer to see themselves in the silhouettes. As a woman of color, I am drawn to images of women that look like me. I see and feel the poise and energy we exhibit in the world, which is so often commodified in popular media. In response to this, I offer counter-symbols of women as figures personifying grace and strength.

Inspired by magical realism, the Decadent movement, and surrealism, my paintings range in subject from the onceglorious but now dilapidated buildings of Baltimore to imagery that explores the complexity of Nagasaki, Japan. I also make figurative work that investigates ideas of transformation, identity, subversive behavior, and the individual’s place in society.

In highly developed nations today there is a widespread alienation and loneliness that engenders fear and distrust, a restrictive self-righteousness of thought, and a dread of what-comes-next that has created broken societies. This can be traced back to a number of factors: racial discrimination and fear of fading privilege; growing wealth gaps; an increasingly inhospitable natural world; technological advancement surpassing our capacity to adjust.

In my practice, I explore accessible materials, primarily from the domestic context, by reimagining the ways in which they are commonly used as consumer products: I use house paint mostly through it's disposal. As a result, I began to consider our larger relationship to material consumption and the incontinent exchange we forge in this relationship. I am driven by the potential of this material to transform into an art object.

Robin Jayne Henderson is a mixed-media artist with an archival impulse. It is important to note that this impulse is not about scientific sorting and classifying, but about the childhood habit of keeping treasures in a shoebox under the bed. It is about finding wonder in the everyday detritus of life. She is a collector of castoffs: objects, images, and indexical marks left behind in the world.

When I lived in New York, I made paintings that took the form of shaped sculptural paintings and paper constructions and had to do with geometry, flatness, and dimensionality. When I accepted an R1 Research University position at the University of South Florida in 2015, I unexpectedly began working with clay. My new work is a direct extension of the previous paintings and paper constructions, and embodies my journey from New York to Florida and to Turkey, where my husband is from. I think of these ceramic works as shaped paintings.

Round wooden forms and a wonky sense of humor distinguish Kyle Falzone’s work as playful and inviting, while their seamless construction tells also of his intentional precision in craftsmanship. Crisply painted starbursts and radiating lines pair with organic dark woods in cryptic abstraction with a unique sense of character.

I chose migrancy because it privileges movement and process, in both space and time, over stability and fixity.