Like the undulating interior of a beehive, this piece combines hundreds of small cylinders of wood to form a porous, contorting wall.

Yvonne Mouser: The Shape of Time

She approaches each new object-making effort as an exercise in restraint, focusing on the purity of an idea and the most direct construction methods in an attempt to achieve simplicity in the final outcome.

A close up photograph of a multi colored woven object. Equally sized strips of shiny, colorful plastic create a grid of squares that glisten in the light. Each strip appears to be from plastic packaging materials, with colors ranging from yellow to blue and turquoise.

Carol Anne McChrystal: Entropical Latitudes

Informed by life in diaspora, these sculptures are influenced by time spent in familial homelands studying ancestral handicrafts, and in witnessing how these cultural practices are threatened by globalized industry. Referencing emergency shelters and home wares, each of the works play on the tension created when a functional object becomes functionless.

two pieces hang on a white wall: the first seems to be an image from a newspaper clipping of a hand with the words "I BELIEVE" written on the palm in pen; the second features a landscape image on its side of a figure walking toward the camera and away from a barn, alongside a copy of the front page of a newspaper, the headline reading "No does not mean convince me."

As Far As You Can, Tell The Truth

Each artist in this exhibition has unceasingly examined truth, (that being the reality of historical events and the social conditions as demanded by these actions, and how those points intersect to inform our present moment), for themselves and others, as central to their practice.