Grand Rapids, MI

Throne of the Dog Faced Girl
2021
Garden cart, wood, toys, string, wooden potty seat, fake flowers, fake birds, bells, hand-made signs, etc.
75 x 38 x 49 inches

Mandy Cano Villalobos is an artist/curator/educator based in Grand Rapids, Michigan. She works in a variety of mediums – installation, painting, performance, sculpture, and social practice – to explore concepts of home, memory, and cultural identity. Cano Villalobos exhibits internationally and is represented by Lafontsee Gallery in Michigan and drj art projects in Berlin.

“A desire for home greatly informs my practice. My installations and sculptures portray the personal narratives of people excluded from official histories. I collaborate with individuals and families, exchanging stories and building friendships that ultimately yield relationally dynamic pieces. My work pays homage to my collaborators, retells their unheard stories, and invites viewers to recognize what is familiar and in turn, recognize themselves in the Othered. Site specificity is essential to my practice. My sites emphasize race and gender dichotomies within America’s cultural tableau. For example, I often install works in formerly industrial spaces. These spaces are conventionally male and public – spaces that have excluded the proverbial “weaker sex”, relegated to the domestic sphere. By contrast, my projects assert a female presence in this historically male dominant arena. I juxtapose sculpture and site to open a dialogue surrounding history, location, domesticity, dominance, the public and private, and effectively, America’s ever-changing identity. In this way, I hope to incite social change to empower women and communities who have been systematically devalued throughout this nation’s history.”

Website: www.mandycano.com

Philadelphia, PA

I'm oh, K?
2021
Acrylic
36 x 48 inches

Ziui Chen Vance was born in 1983 in Neijiang, Sichuan, China. A graduate of Sichuan Fine Arts Institute with a degree in studio art and Tsinghua University in Beijing, Chen continued her studies in the United States. After years of researching inclusive design, her works speak to the human body as its language, possessing infinite communications.

“Affections are chaotic forces, urging us to seek the good or hurt of others. I am interested in understanding affections as an embodied experience that defines the most hidden acts as meaningful. Curiously, I lean towards asking what space is safe for us to show affection? And how might even the most minuscule of an outwardly flickering finger translate to inner emotions? My work on affections focuses on the power dynamics of women, particularly the perceptions of their body and identity amongst themselves, and the empowerment of Asian women by transforming biased judgments in public life. The most notable characteristic of the recent paintings is the ungrounded sense of personal space. I am displacing both the audience and the subjects as I believe the absence of gravity intensifies the voyeuristic feeling in observing the chaos of their engagement.”

Website: www.ziuichen.com

Dobbs Ferry, NY

Untitled
Oil on primed board
18 x 24 inches

Fernando Colón-González was born in San Juan, Puerto Rico in 1966. He developed an interest in abstract art during his early years in art school and it has been the aesthetic he continues to develop since then. Fernando’s work has been exhibited in several venues in New York, across the United States, and abroad, including The Drawing Center, Howard Scott Gallery, Philippe Briet Gallery in New York, and Galería Jakob Karpio in San José, Costa Rica.

“The majority of my works are executed with one uninterrupted line or brush stroke. They exist between complexity and grace. Someone compared them with the routine of a gymnast or a figure skater. Their exercise requires planning, a huge concentration, power, and grace.

I believe the ART element within an artwork is like the soul in a human being, no one knows where it is. It is, or it is not.”

Website: www.fernandostudio.info

Lewes, UK

SLOE LICHEN CLOUD - Chaumont-sur-Loire, France
2021
Lichen-covered blackthorn twigs strung on nylon thread between ceiling and floor - base and top - wood, steel, hooks, light
140 high x 80 inches diameter top and bottom

Chris Drury was born in 1948 in Colombo, Ceylon, and trained at the Camberwell School of Art, London. His work has been shown internationally, including site-specific installations in the UK, Australia, the United States, South Korea, Australia, and France. In addition to other honors, he was the recipient, in 2018, of the Lee Krasner Lifetime Achievement Award.

“I began my career making figurative sculptures. This changed in 1975 after walking in the Canadian Rockies with the artist Hamish Fulton. I began then to make walks and interventions in wild places and learned about the physical and emotional embodiment of land. In 1993 I began in earnest to build my career by making site-specific works, using materials to hand, and using the knowledge I had gained in my experience of wild landscapes. This new development evolved and I began to receive public and private commissions. As my reputation grew, I had the opportunity to work collaboratively with small and often diverse communities; with scientists, doctors, etc., all over the world. In fact, I have made work on every continent on Earth. In time I began to realize that there were three themes running through my art: the dynamic relationship between nature and culture; inner and outer; microcosm and macrocosm. I also became increasingly concerned with ecology and biodiversity, so that some works employed growing elements and would be designed to create biodiversity. From the early 90s, I have had a sustained fascination with fungi, about which I continue to make and show works.”

Website: www.chrisdrury.co.uk

San Gregorio, CA

Pangolin and Imaginary Habitat
2020
Gouache, collage, and ink on paper
30 x 44 inches

Ana Fernandez/Miranda Texidor was born in 1963 and raised in Quito, Ecuador.

She is currently a Ph.D. candidate in Philosophy, Aesthetics, and Art Theory with IDSVA Institute for Doctoral Studies in the Visual Arts. In her work, Ana explores the possibilities of art practice as connected to speculative fabulations about plant ontology, Amerindian spiritualities, and the artist in trance. She is a recipient of the Pollock-Krasner Foundation Award and was an Artist in Residence at Women’s Studio Workshop, Rosendale New York. Her work is currently in various shows in Quito and Cuenca Ecuador and has been shown throughout Latin America, Europe, and the US. She lives and works between Quito Ecuador and San Francisco California.

“These last four years I’ve devoted to the creation of a body of work named “Vegetal Soul” where I explore the ontology of plants and our relationship to them as beings that show us a different, more attuned way to live on our planet. As I am finishing this last series, I am preparing to start “Women-with-Plants”, a series of paintings of women leaders who have dared to question how we inhabit planet Earth and specific plants as metaphors for their quest.”

Website: mirandatexidor.wordpress.com

Compton, CA

Spreuerbrücke Luzern (Spelt Bridge Lucerne)
2021
150 digital prints on fiberglass polyhedron
Polyhedron diameter 25 inches

“I grew up in a mill in rural Switzerland. Spinning millstones and delivering bread formed my early life, yet as a teenager, I found myself in the suburbs of Lucerne. Painting water and mountains kept me connected to nature. I learned woodworking. While in the army, I had the vision of going to a university in Los Angeles; a place completely alien. First, I enrolled at the local art school. Because of an accident, I lost my ability to walk, but I built my first commission, a fountain for the University of Lucerne. Los Angeles was exactly as I had seen it in my dream. I ended up teaching photography at USC, built a film school for teenagers, I created art with at-risk youth in Watts, and taught high school for six years. I got married and raised a daughter.

On my way to Los Angeles, I saw the curvature of the earth and realized how fragile our planet is. This feeling had its roots in my vulnerability of being unable to walk through my new environment. Seeing the world only through the windshield of my car made me curious about the relationship between visual perception, visual representation, and tactile reality. How do we create a sense of solid reality out of mere fragments? My studies of perspective taught me that linear perspective is based on rigid Greek geometry. Alberti, the inventor of perspective, derived his formula by attaching strings to the squares of a checkerboard and bundling them through a pinhole. What happens to those theoretical strings once a film camera shoots 24 stills per second while the vehicle is in motion?”

Website: www.alphonsgreber.com

Livingston Manor, NY

Fresh Start (The Covid Diaries Series)
2021
Wood, canvas, paper, glue, wire, tape, epoxy clay
108 x 84 x 60 inches

Valerie Hegarty received commissions for a public sculpture on the High Line, NY, and a show of site-specific installations in The Brooklyn Museum’s period rooms. She has been awarded grants from the Pollock-Krasner Foundation, The New York Foundation for the Arts, the Rema Hort Mann Foundation, and the Tiffany Foundation. Hegarty was the first Andrew W. Mellon Arts and the Common Good Artist-in-Residence at Drew University in Madison, New Jersey from 2014 to 2015. She is represented by Malin Gallery.

“My work poses as artifacts of known history gone awry, envisioning an alternative world order or revealing repressed histories. As a visual artist with an emphasis on process and transformation, the sculptures and installations often contain commentary on American history and society, addressing such themes as colonization, Manifest Destiny, environmental degradation, and repressed histories.

In recent years I’ve worked sculpturally in ceramics. I am at an exciting development in my work where I am combining my large-scale installations with sculptural elements in mixed media starting from personal inspiration and speaking to daily domestic routines conflated with global news events. In the work, I also try to convey some of the emotions I’ve been struggling with this past year in our catastrophic news cycle such as fear, humor, grief, and rage.”

Website: www.valeriehegarty.com

Seattle, WA

Grunbergerstrasse I
2020
Oil, collage, and acrylic on canvas
72 x 48 inches

“My artwork is characterized by colorful eruptions of paint, rich surfaces built up over long stretches of time, and rhythmic playfulness. The tossed-off elements and poetic debris of our common modern environment influence my work – weathered advertisements, paper flyers peeling off walls and telephone poles, fonts, and moments of graphic abstraction in everyday life. In the past, I have used familiar images such as old road sign graphics, vintage, and classic modern letter forms, along with numbers, crossed with natural and accidental forms found in nature. Recent works are more subtle translations of modernist forms that mirror graphics that are cut free of their original meaning.

I have shown locally in Seattle with Galleria Potatohead and Linda Farris Gallery after graduating from Western Washington University in 1989. I have shown with Elizabeth Leach Gallery in Portland, Circa Gallery in Minneapolis, and have been shown recently in residence at Takt – Berlin, Germany. My work has carried me forward in a curious fashion going on nearly 40 years. I truly enjoy bridging what I do and what I see to a broader and challenged audience.”

Website: www.haroldhollingsworth.com

Yokohama, Japan

Bleach Painting "Tower of Red"
2021
Bleach and acrylic paint on linen canvas
18 x 15 inches

Hiromitsu Kuroo was born in Yokohama, Japan 1972. Rejecting the rigid and competitive world of his youth, he embraced the artistic world, where creativity, individuality, and self-expression are held in high esteem. A Japanese expatriate in Brooklyn until 2021, Kuroo struggled with his cultural identity and his New York existence. Through his work, he attempts to bridge these two very different worlds. He has won several major art prizes, including The Pollock-Krasner Foundation grant in 2019 & 2011, He participated in the Golden Foundation for the Arts residency program in 2019. In addition to solo exhibitions at The Bronx Community College, MIKIMOTO NY, and Gloria Kennedy Gallery, he participated in many group exhibitions in the US.

“Currently, artists of many genres are active, but I consider myself a painter. I want to continue to explore the expression of current paintings by inheriting the long-standing system of paintings using canvases and paints. I have two current work projects: "Folding painting", in which the canvas is folded and pasted, hinting to Japanese traditional Origami, and "Bleach painting", which I started during last year's pandemic when I was looking for a substitute for paint around me because of the ban on going out and the lack of painting materials The common theme is to use something that is everywhere and express it from a different perspective and method.”

Website: www.hiromitsukuroo.com

Rockville, MD

Vestige
2021
Found twigs, branches & bark on constructed armature
16.5 x 21 x 18 inches (Pedestal placement)

“I was born and raised, through my teenage years, in New Orleans. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms, and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. Viewing the ambient drug wars, the desperation of immigrants, and the collapsing Mexican democracy due to endemic political corruption and perceiving the curious lack of commitment for dialogue to offer solutions for the growing racial division, wealth inequality, and environmental decline in my own nation, I changed my insular focus of my art to embrace more topical issues.

I use a narrative of social concern to engage dialogue. My sculptures convey my comments on ecological destruction and renewal; they present the value of nature’s provision of trees as they are the source for human shelter, oxygen, and avian refuge. I enjoy the physicality of materials. I am fascinated by found matter; following that inclination, I am presently using twigs from neighboring gardens and parks to construct fictions of trees, stumps, and logs; they are not renderings but reinterpretations of living forms.”

Website: www.georgelorio.com

Saint Paul, MN

hearing it get dark (for William Faulkner) II
2021
Acetate and proofing paper
Dimensions variable, approximately 108 x 84 x 72 inches

For over 25 years Charles Matson Lume has created art with light and shadow. Light is quick-silver. Like poetry, it illuminates and provides perception. In 1998, Charles was awarded an MFA from the University of Wisconsin-Madison. Since 2000, Charles has lived in Minnesota and been awarded artist fellowships and grants from the Bush Foundation, Jerome Foundation, and the Minnesota State Arts Board. Since 1997, he has had forty-four solo exhibitions and participated in over fifty group exhibitions both internationally and nationally. He has participated in artist residencies in Ireland, Norway, Sweden, Iceland, Finland, and the US. Charles’s art has been reviewed or featured in The Irish Times, BeautifulDecay.com, Hyperallergic.com, ART PAPERS, Art Notes: International Art Magazine, and National Public Radio. His art has been curated into artist registries at The Drawing Center, White Columns, and ISE Cultural Foundation, all located in New York, NY.

“Light needs a surface to reveal itself, just like we need one another to know ourselves. Light has the capacity of releasing a kind of secret from the quotidian. It’s a tool to re-examine the inherent qualities of selected materials for new insight and revelation. Light can become visual pleasure. Like us, my art is ephemeral. We cannot escape our expiration date. This old truth lives in my art. Paradoxically, I want viewers to leave my installations with a sense of aliveness!”

Website: www.registry.whitecolumns.org

São Paulo, Brazil

Itororó -e um córrego, ìsquios
2021
Woodcut and photography
9 x 19 inches

Paulo Camillo Penna received his B.A., master’s degree, and Ph.D. in visual arts at the University of São Paulo and pursued post-graduate studies at the Byam Shaw School of Art in London. His work was featured in solo exhibitions in Brazil and Germany and in group exhibitions in Brazil, Belgium, the United States, France, and Norway. He has won important art prizes from the Secretary of Culture of the City of São Paulo and the State of São Paulo and received the Acquisition Prize at the 1st Printmaking Biennial of Santo André. His artwork is represented in public collections throughout Brazil.

“I have always been interested in the relationships between technical and poetic aspects of the image, considering the specificities of the media and the nature of the figures that I draw, engrave, photograph and print. From a constant practice of printmaking, I have developed a great interest in the investigation of some characteristics of the engraved and printed image and in conceptual and constructive questions that are inherent to this medium.

I am currently working on a series of drawings, paintings, photographs, and prints that explore the construction of polysemic fields of signification, combining distinct media and images taken from different references, such as maps of hydrographs and constellations, photographs of the city, and internal images of the human body.”

Website: www.acasatelie.com.br/paulo-camillo-penna

Brooklyn, NY

Returning Dialogue: Fragments of Blue and White Porcelain (Transatlantic Slave Trade Series)
2021
Digital printing transfers on porcelain (Overlaid illustration of callaloo referencing a plant widely grown in Africa, introduced to the Caribbean as a culinary dish by enslaved Africans through the transatlantic slave trade, on porcelain fragments no. 1, 5, 10, 11, and 12)
Archival box: 16 x 27 x 2 inches.

Bundith Phunsombatlert is a New York-based artist born in Bangkok, Thailand. He has been exhibited both nationally and internationally for over twenty years and has been awarded numerous grants and residencies.

“For the past two decades, my art has fluctuated between traditional visual art and new media, being unique in its combination of becoming and staying. Rather than merely celebrating the transformative power of new media, I look at ways in which old media, such as print and architecture, remain within spaces of transformation; I explore how East and West stay with each other; I examine enduring and ongoing interactions between environment and self. The imagined and experienced, the material and inchoate are the axes that are navigated within my work. My background is in printmaking, but in 2001 my work moved into the media art field, involving interaction, participation, and theoretical complexity of new media and data-based aesthetics within the context of technically and spatially ambitious installations.”

Website: www.bundithphunsombatlert.com

Miami, FL

Griffith
2021
Graphite on paper
24 x 24 inches

“I was born in 1969 in the north of Buenos Aires Province, Argentina. I took art classes when I was eight. I learned drawing, painting techniques, perspective, and even graphic design. Because I lived on the outskirts of Buenos Aires, I had to travel to my college by bus, train, or even hitchhiking every day. It was a great way to understand the daily odysseys of millions of people struggling against the lack of infrastructure, public transportation, and development policies. I worked as an architect for some years but I needed a different way of conveying my convictions and existential concerns. The answer was to return to visual art as a communication tool to propose an ethical and aesthetic reflection (and perhaps a solution) to the contemporary uncertainties. In 2020 I left my country and moved to the US in order to improve my quality of life and develop myself as an artist.

My artwork has been always inspired by architecture and urbanism, and the relation of these to social aesthetics and ethics along the continuum of history. I enjoy moving from geometric and sharp-like graphite media to gestural and amorphous ones like acrylic and elastomeric putty, but both these hard and gestural worlds always have a unifying connection ultimately. I like to experiment with different media in order to find new languages and new ways to communicate my ideas.”

Website: www.juanranieri.com

Watertown, MA

Bunker 21
2021
Acrylic and ink on paper
13 x 14 inches

Christopher Schade was born in Austin, Texas, and was raised in Austin and in Quirihue, Chile. He has exhibited in New York City, Massachusetts, and Texas. He is a founder of the Artist Lecture Series in Greenpoint, Brooklyn, and has curated numerous group shows. Since 2016 he has taught painting and drawing at the University of Massachusetts, Boston. He recently became a member of The Painting Center in New York City where he will have solo exhibitions in the fall of 2023 and 2025.

“My artwork is about how we perceive and understand visually and conceptually. Through the mediums of painting and drawing, I make landscape images that explore different psychological states. I am interested in the mental space of holding simultaneous contradictory beliefs or perceptions, examining cognition, and questioning how and why we believe what we do. The Bunkers are a manifestation of my exploration into forms that resist resolution into a single knowable subject. The series began with a trip to Pointe Du Hoc, Normandy, the site of German bunkers that were destroyed during the invasion of Normandy. The remaining structures look as if they were from the future or the ancient past. Psychologically, I am interested in the impulse to guard a vast coastline within basically a medieval structure against ships that could shell them up to twenty miles away.”

Website: www.christopherschade.com

Peekskill, NY

Variations Surrounding a Forest Circus
2021
Charcoal on paper
40 x 52 x 1 inches

Charlotte Schulz was born in Massillon, Ohio, and studied art as an undergraduate at Kent State University. She attended Skowhegan School of Painting and Sculpture in the summer of 1992 and graduated from the University of South Florida, Tampa, with a Master of Fine Arts in 1993. She is the recipient of fellowships from the John Simon Guggenheim Memorial Foundation, the New York Foundation for the Arts, the Pollock-Krasner Foundation, and the State of Florida. Schulz’s work is included in the permanent collections of museums in California and Florida. She maintains a studio in Peekskill, NY, and teaches at Parsons School of Design in New York City.

“In my large-scale charcoal drawings, a world is made by the intermingling of land, sea, and sky and depicts the fault-lines and threats of broad collective events. In counterpoint, the psychic pressure of these outside forces and their impact on daily life is held in balance. I use various sizes and shapes of torn paper and assemble them together, so the final drawing is oddly shaped and undulating—taking on a sculptural form. My process is at once additive, subtractive, and improvisational and mixes-up the actual and the illusionary. Through the careful blending of charcoal with delicate erasure, small discrete images ranging over expansive spaces weave together as an evolving narrative emerges as I draw. Informed by extensive reading and banks of images I’ve compiled over time, my work draws upon a variety of sources such as Buddhist teachings, contemporary fiction, news events, and poetry. In the current moment when our lives are defined more by shifting realities than some stable world, my work, with its flipped and twisted planes of torn paper and sutured-together fragments, discloses a new understanding of forces operating in the world through the lens of personal experience.”

Website: www.charlotteschulz.com

Zagreb, Croatia

Wall / From the new cycle: Walls /
2021
Combined technique (gypsum-lime mass, acrylic adhesives, gauze, pigments, on canvas, attached to a wooden frame)
62.99 x 118.11 inches

Predrag Todorović was born in Drvar, Bosnia and Herzegovina, in 1966. He has exhibited in more than 40 solo and numerous group, juried, and selected shows both locally and internationally. He represented the contemporary Croatian art scene in curatorial selections both at home and in Italy, France, Germany, Austria, Finland, Hungary, Bosnia and Herzegovina, Macedonia, and Egypt. His works are represented in the holdings of museums in Rijeka and Zagreb, as well as in numerous private collections internationally. A recipient of several awards, he also participated in Artist-in-Residence programs, in Cairo (1997) and in Paris (2016). He is a member of the Croatian Freelance Artists’ Association. He lives and works in Zagreb.

“The same theme is always present in all my works: Everything is constantly changing and moving and continues to unfold in contact with the perception of the observer. I look for details, places, and moments in which the Whole could be intuitively sensed. An artwork is a living organism that should be allowed to develop in unexpected directions. . . In this sense, my iconography is characterized by the frequent use of non-painting and non-sculptural materials and procedures. Currently, I am working on a new cycle of paintings-reliefs called Walls where I take a cast of nylon on which I leave traces while moving in my studio. At the same time, I continue to make drawings that I engrave with a graphic needle in galvanized sheets painted with black ink.”

Website: www.predragtodorovic.com/en/

Brattleboro, VT

Singlet
2021
Photopolymer gravure with surface roll on Awagami Shiramine paper
28 X 34 inches

Vaune Trachtman (b. 1966, Philadelphia, PA) is a printmaker whose work honors historic photographic processes. Formerly a master printer for other artists, she became concerned about the chemicals used to create their images, so in her own work, she pivoted to a nontoxic printmaking process. She now makes gravures with little more than light and water. Her hand-pulled, etched prints conjure associations with early photographic methods, but they are not printed on photosensitive paper, nor do they involve solvents, fixers, or emulsions. Her images explore the evanescence of dreams and memory, resulting in “works that seem more like emanations than photographs” (Mark Feeney, Boston Globe). In 2020 she received a grant from the Vermont Arts Council and the National Endowment for the Arts to create a new series of gravures called NOW IS ALWAYS. She lives in Brattleboro, Vermont.

“My current series of gravures, NOW IS ALWAYS, was begun during the Great Depression when my father, Joseph Trachtman (1914-1971), shot a few rolls of film near his father's drugstore in Center City, Philadelphia. Nearly 90 years later, my sister found the negatives and gave them to me. Working from my father’s original negatives, I've combined the people from his neighborhood with my own images, many of which were shot from windows and moving vehicles. I want to create a feeling of collapsed-yet-expanded time. I want the viewer to look at the past, and I want the past to look right back.”

Website: www.vaune.net

Los Angeles, CA

La Sagrada Familia
2021
Flashe on linen
60 x 48 inches

Dani Tull is a Los Angeles-based artist. He has exhibited in galleries and museums internationally; His work has been written about in The New York Times, Los Angeles Times, Artforum, Art in America, I.D. Magazine, Art Review, Wallpaper magazine, and Frieze, amongst others. Permanent collections include The Metropolitan Museum of Art, The Getty, The Laguna Art Museum, and The Peter Norton Family Collection.

“I think of my paintings as ‘narrative abstraction’, abstract compositions that appear to be subject to the forces of gravity, the earth element that keeps us grounded and able to sustain life - alternately, gravity makes things fall apart. The forms in my paintings lean, support, and negotiate complex relationships, much like organic lifeforms or the dynamics of human interrelations, always striving toward equilibrium, arching against collapse. Within my process, the gessoed underpainting presents a tabula rasa upon which I inscribe personal texts, poetry by various writers, and invited contributions. These lettered layers are ultimately painted over, becoming palimpsests as the handwritten words are obscured by the final layer of paint. Through a generative process, a repetition of hand-painted pinstripe lines accumulate into “streams.” The chosen color combinations are derived from meaningful life experiences and suspended in the compositions like trace artifacts. For example, within a single painting, one stream of colors is from a recollection of an event I don’t have a photograph of, the colors of my grandfather’s flannel shirt, the colors of my daughter’s hair, a sculpture by a friend… and so on. Meaningful references that embed the abstractions with inherent sentiment.”

Website: www.danitull.com

San Francisco, CA

Implications-I
2021
Watercolor on Yupo paper, graphite on film, pigment print, dry pigment on paper
19 x 26 inches

Theodora Varnay Jones is a Hungarian-born American artist. She lives and works in San Francisco, CA. Her multimedia works in drawing, sculpture, photography, and installations echo her reverence for process and material while evoking an open-ended range of concepts from perception to relativity, transparency, and time. She synthesizes links between her roots in European education, her adopted country’s conceptual and minimalist art, and the significance she found in works of her Japanese contemporaries. Varnay Jones’ primary concern and challenge is the process of distilling her experience into optical and sensual form. Her meditation on the ambiguity of vision and perception fluctuates between three-dimensional objects and flat surfaces. She aims at demonstrating relationships, recontextualizing their position, and revealing connections between seemingly unlike things. Her works have been exhibited in museums and galleries in the United States, Central America, Japan, and Europe and can be found in major private and public collections around the world.

“The natural world is referenced in many of my recent works. However, in all of the complex, layered images and sculptures, the depicted shapes and forms no longer represent any of the source objects. Their implications are their fugitive nature and changing contextual meaning. My intent of a dialogue between components is unsettled, evoking memories as well as empirical and philosophical questions. Consistently working in just shades of grey, my intention is to strip away associations and limitations that colors would introduce to my work.”

Website: www.theodoravarnayjones.com