BY ROBIN MARTIN

"Missing Girls, Goddesses and Nerve Endings"(2025), architectural blue print paper covered with replicas of missing girl posters with the personal details and faces redacted. The text is overlayed printed on sticker paper.

36in. x 48in. Unmounted.

It can be hung with mounting putty.

This is a written piece presented as a collage. It is a hard version of my Telephone WRITING. It may not fit the art space as art! (That's fine!)

I just felt like trying to lift it out of the computer, and did not feel like presenting it as a reading.

BY ARTIST Shushanik Karapetyan

Ink on Paper, 22 x 30 in,

Drawing from her practice as a Gestalt psychotherapist, Shushanik approaches painting with an emphasis on attunement and responsiveness to personal experience and environmental influences. She is inspired by color, cycles of life, and states of transition such as sunsets and seasonal changes. She is drawn to the shifting hues of sunsets and the vivid tones of flowers encountered on her walks. These impressions weave into her paintings, mirroring her exploration of contrast and balance.

BY ARTIST SANTE SCARDILLO

Mixed Media on Paper

15 X 15 ¾

28 ½ X 20 '' (Framed)

Educated in the Humanist canon, I make work that in my intentions stimulates thought and reflection on the world we live in: not strictly educational, I hope my work inspires viewers, confronted by the re-contextualized debris (both material and virtual) of our civilization I use as mirror, material, and often finished product of my process.

BY ZELDA ZINN

Archival Pigment Print, mixed edition, #4 of 22,

13 x 19 inches framed

I had a compulsion to combine traces of culture, of home, with these wild landscapes, as a way to view them in human terms. Signs of domesticity from warmer climes were overlaid on the landscape. The hybrid landscapes combine interior and exterior, exotic and familiar as a framework for considering the Arctic in human terms.

BY MICHELE SECHUK

2015, ed. 1/10

Pigment print on rag, 11x14 print, 16x20 frame

My portrait work seeks to capture emotive moments that reveal the self through close collaboration with my subjects. Thirty years ago, I began photographing interior portraits exploring the erotic lives of my subjects, using sexuality as a means to examine identity, intimacy, and relationships. Collaboration remains central to my practice: together, my subjects and I define the story we wish to tell, selecting props, wardrobe, and settings to express it visually. While my early work focused on erotic expression, over the past fifteen years I have expanded into dreamlike narratives—drawing from fairy tales, memory, and imagination—to explore identity, emotion, and transformation. These ideas are realized in series such as Waking Dreams, Modern Fairy Tales, Pain Within, and Portal.

Acrylic on Crudè.

15x15

Can be sold but must be exhibited at a solo show in March.

My painting is of my mother's death.

Gravity vanishes and the world is destroyed as she is lifted into the sky veiled in death.

When my mother was dying in 2020 of cancer during quarantine I went home to take care of her. I planted 1000 sunflowers around the house so it would be the most beautiful summer ever.

In October she passed as the first snow came. Killing all the sunflowers.

BY LEAH POLLER

Plastic, fabric, paint, wire, glitter

What a privilege to be an artist! What a sacred space to inhabit!!! What a language to master!!!! I have seen people laugh and cry in front of my work. There is no greater honor than to touch move and inspire.

UV print on melamine coated plywood

10.5 x 8.5 inches

My current series, Body Puzzles, uses magnified photos of my body as the primary material. This work places the body in a liminal space—both familiar and elusive. Through layering photographs and transparencies, the imagery transforms, dissolving into something independent of its source. Each element becomes a dialogue between intuition and experimentation. It is about rebirth and the multifaceted nature of identity. I hope it also speaks to the idea of oneness— we are not separate from nature, from each other, or from the spaces we navigate. 

watercolor and mixed media on paper

40" x 26"

The Veiled One was a mystery when she appeared in my studio, but when I read the poem it was clear what she was meant for.

8"x10" limited edition mixed media collage & found poem framed photo print 1/4

Ananéis one who is rooted in their power, walks by faith with dignity and uses that power to heal and empower others.

digitally rendered archival pigment print from handmade paper collage, 24x42 in.

This piece first began as a poem, to respond to the artist before me, but the language felt too obtuse, inadequate, so I turned to vintage 1930s magazines, and collected instinctively—topiaries, flowers, a figure with a hat—to anchor my intuition and illuminate the tension between inner and outer selves. Using blurred and warped boundaries as structure, I created multiple iterations of the collage, layering, negating colors, and adjusting light and angles, to trace the evolution of perception. Ultimately, the finished piece synthesizes poem, image, and process, staging dislocation and transformation as a meditation of perception of self, memory, and the poetics of continual becoming.

silk, polyester, linen and rayon thread with watercolor and graphite on paper

13" x 40"

My work focuses on the recording of memory. I’m fascinated with how memory shifts and changes, how the more you ‘recall’ the stronger the synapse connections in your brain become. I focus on the textures of place and time and also the emotional impressions, senses, experiences that you carry with each memory.

I work primarily with embroidery and fiber, using what has historically been seen as craft methods. I use a mix of fibers, both traditional and found fibers. My process through sewing has no shortcuts, I must make every stitch to fill a space. This becomes meditative as I work to recall each memory and distill it into a physical representation. Each piece becomes a conversation between me and the materials. What often starts in one direction will change as the layers build and affect each other.