These works represent acts of improvisation through a formal language. If they contain narrative, it is fleeting, individual to the viewer. I want the viewer to have a moment of surprise and delight from these works: like finding something unusual in nature, not expected and moving. I want them to have familiarity and newness at the same time. Laying lines down across the canvas is for me a physical act, a bodily relationship to the canvas’s materiality and space, experimenting with different brushes and hand pressure without planning or overt intentionality. The space created

 What interests me as an artist is being able to explore what crafts emanate from an Indigenous society: the particular color palettes, the different techniques and terms used to classify each craft. Like all the different languages of the world, there are so many regionally specific crafts that play important roles in history, and it is fascinating to study and incorporate bits and pieces of the techniques into my own practice. What I find is they often have a religious or spiritual significance, if not a monetary value from their use once for trade.

 My work explores the use of narrative to evoke emotional connections that reference aspects of existence. Through symbolism and allegory, I refer to what lies beneath the surface. Using varying imagery of my choosing allows me to explore imaginative realms that defy logic but are directly influenced by my experiences. I also investigate different themes that affect people from all walks of life, concerning trials and tribulations, which include hostility, victimization, exclusion, oppression, exploitation, and withdrawal, which all ties to spiritual rebirth.

 Kathryn Kampovsky creates layered paintings in oil and acrylic, using intentional and varied color palettes. With a focus on figurative painting, she explores her interest in the unconscious desire to prepare for an unpredictable world. In her work she aims to understand the ways that daily life, technology, and life events permeate the brain and body in ways that make the flesh inseparable from the outside world.

 For four decades I’ve had a rigorous studio practice, creating brilliantly colored motifs that shift and circle back on themselves over time. Working with oil paint on canvas and paper, I reference geometric shapes and pop graphics. I paint circles, dots, ice-cream cones, combs, cigarette butts, lips, words, and eyeballs, to name a few. These forms star in my paintings and are constantly being recombined in new ways. Erratic patterning and bright colors are layered to surprise a viewer’s sensibilities, representing familiar

 Through glitch-inspired self-portraiture I study the desire, failure, and dissonance associated with portraying an idealized self for a physical and digital audience. I consider how those of us coming of age with the Internet and social media have constructed alternative identities online—fantasies, really—that bear little resemblance to our IRL selves. Using paint, projected video, and augmented reality, I transform my image beyond believable authenticity: it is fragmented, replicated, and distorted to the point of becoming disconnected from my real body.

 Initially drawn to drag performers and the energetic yet dimly lit safe spaces they occupy, my new work aims to investigate self-aware yet prideful queer people. My confident brushstrokes and bold use of color reflect the unbashful representation of queer subjects in my work. I’m inspired by the Quito and Cuzco schools of painting and the way that they appropriated Catholic imagery in order to celebrate and cherish their own cultural identity whilst using their oppressor’s visual language. Similarly, I aim to honor queer narratives

 I use Spanglish, a language that I and many others in the United States speak, to reflect on our contemporary moment. My work explores the interaction of Spanglish with Latin and American culture and politics, Latin music, slang, insults, jokes, and other aspects of popular media. The exchange between Spanish and English is meant to communicate new thinking through playful yet provocative bilingual phrases, expressions, and unstructured ideas of language. I work with collage and assemblage paintings, sculptures, and

 Monica Kim Garza has gained widespread recognition through her vibrant portrayals of women of color. The Mexican Korean artist rejects the male gaze, celebrating confident and uninhibited women through her figurative works. Visually, her paintings are lively and instantly recognizable, presenting women engaging in leisurely activities and enjoying themselves. Garza experiments with form and contour, reimagining the classical female nude in oil, acrylic, and collage on canvas. Her impressionist and expressionistic brushwork and figures are pushed into abstraction, the heavy layering of

 As young as age three, Corinne Forrester became a student of watercolors and acrylics while under the tutelage of her maternal grandmother. Art and creativity have steadily been an integral part of her daily bread. Her heritage is a significant source of personal pride and curiosity. She is deeply inspired by “the stories of us”; her work centers around the multifaceted beauty and the sometimes sad yet triumphant relativity of personal exploration. She often uses acrylics and metallic powders on wood panels, creating