Motivated  by her personal  history, Hyang Jin Cho has  been creating narratives that  portray human nature and complicated interactions with society. Her  vessels in reference to historical pots function as a metaphor of  political power, social despair, personal desire, and positive vision.

By making a visual dialogue among vessels and  figures, she asks questions about the conditions  of human relationships. Her sculptures with entangled coils, interlaced parts, and textured surface, also imply the complexity of human emotions, perceptions, actions, and reactions.

By returning to the spiritual origins of music Amado Espinoza reciprocates in a fundamental relationship to the planet – the primordial breath of the oceans, the sounds of the rainforests; the construction of flutes using the clay of the earth, the fire to transform them and give them purpose, the offerings of music for rituals of thanksgiving.

Espinoza transcends the folkloric and navigates different genres in his music. His community is urban and he collaborates with artists of different genres in his mission to promote the dignity of native instruments and reach new listeners.

Ron Geibel’s artwork and research address the complex landscape among intimacy, pleasure, and authority as it concerns the opaque relationship between public and private desires that constitute queer identity. Through a cross section of queer theory and materiality, Geibel uses highly crafted, inconspicuous objects to question one’s awareness of self and of others.  Candy coated surfaces and picture perfect facades toy with the notion that temptation and desire permit one to be drawn to what they do not even realize are present. Like the "straight acting," queer identifying, individual who inconspicuously navigates the public, Geibel uses multiples in neatly packed rows and precariously stacked piles to act as camouflage, disguising the suggestive nature of the forms.

Dawn Holder  thinks of herself  as much a scavenger  and gleaner as maker and builder. As she moves through the constructed landscapes of urban and suburban spaces, she finds herself  reaching down to collect bits and pieces of roadways, sidewalks, and crumbling architecture.

These  chunks of  brick and concrete  are geological in their presence: signifiers of the Anthropocene Epoch, constructed by the actions of humanity rather  than the forces of nature. She is attracted to the exquisite variety found in the conglomerations of these artifacts, as well as the sense of history they convey.

Color and organic patterns are integral to Eva Kwong’s work. She layers multiple colors and patterns to create complex relationships and to mimic nature’s patterns.

Each painted spot is unique as it reflects the movement of her hand and the moment in time. She makes each sculpture by hand so they are slightly different from each other even if they numbered in the hundreds or thousands. She thinks of each object or spot as similar but distinctive like siblings or cousins within a large family.

Each cell might be slightly deformed as it is squished up against other cells. They are the same and not the same.

Frank Ozereko’s focus is on the “Imaginary Vase”.  Being a ceramist, he has often conceived of ceramic objects that could not be made out clay because of their design or the technical limitations of clay.  

For many years, Ozereko has been making drawings that focus on “Imaginary Vases” that can only be represented in two-dimensional media.  This investigation melds serial art and the decorative arts. His vases can be anthropomorphic, formal, humorous and cross-cultural.

Chris M. Rodgers is interested in how art objects are constantly re-contextualized by individuals throughout time. It is often not the object that is changing, but rather the ideas that society applies to the artwork. This in turn creates multiple histories that become intertwined when experiencing any art.

Rodgers is concerned with creating connections between the artworks, space, and the viewer; and how all of this is summed up in a complete experience.

Drawing from her formal training in Industrial Design, May Tveit’s work is conceptually driven and materially diverse. She typically employs readymade products and architectural structures to investigate systems of order, desire, and use. The visual playfulness in her work generally serves as a seductive entry, giving way to the provocation and criticality that the artist feels is necessary in contemporary culture - striving to create art experiences that are impactful, relevant and memorable.

Large scale and formal succinctness are hallmarks of my sculptural work and installations. They can be found in traditional art venues or in nontraditional settings. These works may exist for a few hours, a few days, or longer. Most recently, Tveit has transformed ordinary industrial material into large-scale works with mesmerizing surfaces and voids.  These works contemplate the physicality of intangible/emotional spaces and our human inclination to compartmentalize memories.

Hanna Vogel creates imaginary landscapes and growths to investigate the effects of entropy on our environments. She transforms the commonplace materials of paper and steel wire into unfamiliar forms and textures that evoke growth, decay, and the tenuousness of our surroundings.

By referencing craft traditions and natural processes of decay, her work addresses aspects of physical existence on the edge of potential destruction. The physical and connotative properties of these materials speak of the possibility of their demise -- a wrinkled, skin - like coating of paper is stained and slowly decayed by the rusting of the steel wire skeleton that supports it.

JooHee Yoon enjoys working within a set of limitations, be it the color palette or the inherent visual vocabulary of a given technique, and utilize what is available to the fullest. Much of her work stems from this idea and is influenced by her training in traditional printmaking.

Yoon appreciates how printmaking can make art more egalitarian and accessible. This is why the artist particularly drawn to the book form. She views the book production process as an extension of printmaking finds experimenting with this format full of potential believing books allow the reader to envision themselves in another’s shoes and to question the reality we live in.