These most recent drawings focus on several ideas, rather than the single subject matter on which my previous work focused. As I have become interested in exploring the haziness and nonlinearity of dreams and memories, vellum film has become my go-to surface. I continue to draw in a highly representational and closely observed mode, mostly in colored pencil, with the recent addition of oil pastels. I am curious about a drawing’s ability to exist in space, whether that’s folded into a corner, overlapping itself, or cascading down a wall onto the floor.

 My paintings are a way for me to acknowledge and cherish the subtle, transitory nature of everyday life. I am particularly drawn to experiences that I share with friends and loved ones. Imbued with a warm sense of nostalgia, humor, and childlike curiosity, I find these experiences quietly enchanting and awe-inspiring. They persist in my memory and are reborn while looking over old pictures or catching up with a friend. These moments are often heightened by unusual lighting that showcases the natural beauty in an otherwise commonplace landscape.

 I combine the rigorous structure of weaving with the malleable properties of oil paint to produce tactile, visual, and associative abstractions that question the familiarity of either form. Freed from the rules of the loom, I extrude individual ‘threads’ of oil paint until they amass into illusory woven fields, entangled ridges, and corporeal structures that are seemingly pushed, pulled, gathered, and raised by unseen forces.

 My recent paintings are psychological landscapes. These fractured abstract-ions consider the literary term “pathetic fallacy,” which is used to describe the attribution of human emotion to nature.

 Lucy Luckovich creates oil paintings that deal with image consumption and alienation from death and from the body, particularly the female body. Meticulously rendering in oil paint, she uses technique and illusion to draw a line between the digital objectification of women’s bodies and collective detachment from our tangible, physical environments. By sourcing imagery from online forums, film stills, and social media, combined with cherries, chains, and pearls to partially obstruct the background, she reinforces that each subject is just an object—not a girl or a body.

 I create mixed-media collages based on deteriorating photographs and collect-ive memories of my personal and familial history as a refugee in Vietnamese internment camps. Inspired by storytelling, crafting, and myth-making, my mixed-media base is a nod to my immigrant experience. My collage patterning and layering use craft culture as a metaphor for constructing identity. However, my work is imbued with tension in its materiality and the source of its composition. The craft store jewels sparkle as if real, emphasizing the scene’s idyllic nature and belying the traumas of exile.

 Since experiencing a near fatal auto accident in 1982, my work has focused on humanity’s impact on Earth’s exceptional garden and what we must do to protect it. The titles of my most recent bodies of paintings are “Songbirds Nesting at Twilight” and “Storm Songs.” They cover the issues of dwindling habitat due to the massive overdevelopment of every space—and in particular, Florida and Georgia.

 Risa Hricovsky is a post-discipline installation artist. Their work pushes the boundaries between painting and sculpture and between art, design, and craft. The artworks punctuate space through pattern, color, and their use of the multiple. Working though dichotomies such as order and chaos, attraction and repulsion, and similarity and difference, Hricovsky makes visual poems about perception. Through this mimicry and indexical object making begins a critique of our ideological perceptions of materiality.

 Defined by its infinite nature, time is a substantial element of human life. Over the span of one’s life, experiences are placed within time and the time we’ve lived settles in our soul. These experiences are processed through the evolution of human existence, with time playing an important role in the creation of human character.

 This body of work stems from the exploration of the term “food apartheid.” The urban landscape paintings are grounded in issues around climate change, resilience, access to food, self-sustainability, and racial, social, and economic barriers. I draw from personal experiences as well as historical references that thread together painting, light, film, architecture, and sculpture.