After the Quiet: On Black Figures and Folds

he exhibition presents painting, collage, photographic print, mixed-media, and works on paper.

Heaps of woven shreds of fabric, almost like piles of chain links, rest on driftwood, nestled into the sandy bank of a slow-moving river.

Great Mysterious Heart – Megan Prince

With the works on paper, Communities, Prince explores aloneness, solidarity and togetherness.

In a gallery space, against a white wall, to the left, multiple pieces of paper are organized on the wall; to the right, a large piece, covered in paint, spray paint, and other materials hangs.

THE GLITTER ANTHOL-OH-GEEZE: Mia Winters & Mars Alien

We focus on creating healthy, productive human relationships that bring houseless and housed people together to empower each of them in new ways.

The word "here" is fixed to the bottom left of a photograph, the words "was always spent," something marked out, and then "there" are fixed to the bottom right. The photo itself depicts a piece of clothing hanging on a wooden bar.

here was always spent there

Encompassing ideas of longing and belonging, proximity and domesticity, madness, repulsion, the familial and the familiar, each work is a multi-sensory symptom of a universal desire.

A tapestry of fabric, patched together, includes the belt loop from denim pants, black and white checkered fabric—is torn, or maybe burned, with gaping holes in the center.

Resound: Angélica Maria Millán Lozano + Frankie Krupa Vahdani

Resound features drawings, paintings, mixed-media work, and fabric pieces infused by the unique cultural hybridity of each artists’ heritage and response to contemporary socio-political events in their respective locales of Brooklyn, New York and the Skagit Valley, Washington.

Fragments of stairs, couch cushions, houseplants and windows flash in and out of clarity, as blocks of colors of lines glitch in and out of sight.

Being, Sensing, Dwelling: recent works by Emily Somoskey

On a material level, Emily’s work is largely built through layering paint and various forms of photographic imagery.

In this milky blur of dark grey blues and pinks, lines, shapes, and forms emerge into the foreground timidly, as if rising to the surface.

Jo Ann Biagini: Thicket

Biagini discovers and creates new connections—real and imaginative—among fragmented images, patterns and abstractions.

A square, black and white photograph of a boy's face with another square of red centered over it, all atop an aluminum screen painted red, against a red background.

Paul Lee: Tambourine Heart

Characterized by a palpable presence of the hand, the artist’s ongoing formal experimentation and investigation of materiality returns to the same functional objects rendered into reliquary.

An amalgamation of countless smooth, crinkled, and bubbly textures, with luminous and muted shades of black. Two socks float across the center of the work, suspended to the collage with round, white push pins.

Brenna Youngblood: the LIGHT and the DARK

the LIGHT and the DARK takes as its genesis Youngblood’s experience navigating the difficulties of last year and applying her lived experiences – endured as two separate but simultaneous realities – to her practice.

a mixed media work, primarily using turf, first as a tri-panel backdrop for part of the piece, over which what seem to be shadows from tree branches are cast, and secondly as the shadow—in the form of a human's silhouette—of the central object, which seems to be a chair with very tall legs. Behind this, black and white geese walk in a line.

Sung Eun Park: Pleasant Exchanges

The COVID-19 pandemic has urged us to reflect on our mortality. The intensity of this inevitable shadow forces us to accept the prospect of death—an acceptance that impacts the way we lead our lives.