Interviews by Brainard Carey

photo by Colin Outridge. The exhibition Change of Scenery,  marks the painter’s third solo show with the gallery. It is the culmination of a year’s worth of travel across the U.S., as Brennan Hinton spent extended time in residency in Corsicana, TX, Martha’s Vineyard, MA, and Fishers Island, NY. Brennan Hinton’s practice focuses on the sustained act of observation, the plein-air discipline, and painting’s ability to capture the essence of a place. The time spent in three distinctive towns, each in its own ways divergent from Brennan Hinton’s familiar Ontario, required the artist to meet each place with open eyes and a fresh palette. To situate himself, Brennan Hinton leaned on two formative texts, Lonesome Dove by Larry McMurtry and Moby Dick by Herman Melville, which are each set in the same landscapes in which he painted. Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016. His work is held in the permanent collections of the Ogunquit Museum of Art, Ogunquit, ME and The Dennos Museum Center, Traverse City, MI. Past international solo shows of Brennan Hinton’s work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2023, 2021); Nicholas Robert Gallery, Ontario (2022); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among others. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY. Keiran Brennan Hinton, The White Pine, 2025. Oil on linen, 70 x 60 in. Photo by Lauren Finlay. Courtesy the artist and Charles Moffett.   Keiran Brennan Hinton, Texas Sky (Sunrise), 2024. Oil on linen, 56 x 44 in. Photo by Daniel Greer. Courtesy the artist and Charles Moffett. Keiran Brennan Hinton, Fishers Island Living Room, 2025. Oil on linen, 9 x 12 in. Photo by Zeshan Ahmed. Courtesy the artist and Charles Moffett.

Leslie Smith III (b. 1985) was born in Silver Spring, MD and lives and works in Madison, WI.  Smith’s interests lie in our conscious effort to alter personal perception. Recent works explore Abstraction’s inherent personal and political properties as they relate to broadening notions of Black representation and expression. Smith creates paintings with a mindset that it’s possible to present a new interpretation of contemporary abstraction. One with expectations of a different sensibility than that offered by the 1950’s and 60’s, he offers an alternative worldview; one of inclusion and acceptance.  Leslie Smith III earned a BFA at the Maryland Institute College of Art and an MFA at the Yale School of Art. Smith exhibits nationally and internationally. His work can be found in the permanent collections of the High Museum of Art, Atlanta; the Virginia Museum of Fine Art, Richmond; the Birmingham Museum of Art; the Abroms-Engel Institute for the Visual Arts, Birmingham, AL; and the FRAC Auvergne, France. Leslie Smith III, Ancestral Meeting, 2025 Oil on shaped canvas and sewn upholstery fabric, 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist Leslie Smith III,  Under the Skin of Light, 2025 Oil on shaped canvas 45 1/2 x 36 in 115.6 x 91.4 cm, Copyright The Artist Leslie Smith III, Night Scene From a Moving Train Window, 2025, Oil on shaped canvas and sewn upholstery fabric 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist

Charisse Pearlina Weston (b. 1988, Houston, TX; based in Brooklyn, NY) is a conceptual artist who works across sculpture, writing, installation, and photography. Utilizing techniques such as concealment, repetition, and enfoldment, her work posits Black interior life as a central site of Black resistance. Weston often integrates glass into her work due to its inherent nature. Whether it be through photographs, fragments incorporated into a canvas, or an element within a sculpture, the duality of the material speaks to Weston’s understanding of Black resistance. Both fragile and susceptible to shatter at the hand of an act of violence, glass is also highly malleable despite that risk. Etched and embedded into the surface of her works are poetic fragments, as well as historical and autobiographical images. These intimate moments are often concealed and ensnared through intentional folds, offering a layer of protection and privacy to the object on display. The artist writes: "Central to the artistic methodology is the reuse and re-articulation of materials.” From photographs of past installations or fragments of discarded glass, Weston formulates “yet another representation of meaning’s capacity to shatter." For the artist, "these recurrences develop into new forms that represent the ways in which repetition is both a symbol of black cultural production and its reliance on an order of temporal engagement in which the second time encodes an emergent originality.” Charisse Pearlina Weston, untitled long before the squeeze, 2024 inkjet print on Hahnemühle canvas, matte medium, epoxy, frit, glass 44 x 132 inches (each) 88 x 132 inches (overall, unframed). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago Charisse Pearlina Weston III. final test of the prefixal squeeze, 2025 inkjet print on Hahnmühle canvas, oil stick, frit, epoxy, silicon carbide 49 x 74 x 9 inches. © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago Charisse Pearlina Weston, untitled (after the squeeze and the fuse and the lift), 2025, fused Mirropane, Solarcool breeze surveillance glass, and Solexia glass panels with embedded and oxidized, photographic decal, lead, 26 x 51 1/4 x 28 inches (overall), 33 1/2 x 60 x 40 inches (with pedestal). © Charisse Pearlina Weston. Courtesy of the artist, Jack Shainman Gallery, New York and Patron Gallery, Chicago

Katy Stone is best known for her large-scale installations and wall sculptures. Working primarily in aluminum, Dura-Lar and plexiglass, her artworks are a proposition to reconsider landscape painting as an environmental, immersive dynamic. Suspended, or set in relief, the artist’s drawn, cutout, painted, and stitched-together elements possess a vibrancy, a spirited energy and effect. Echoing fleeting clouds, falling leaves, moving water, and scattered light, they spill, climb and spread across the wall. This mimesis of nature locates the work in an earthly sphere but in a palpably conjured world created via the distinctive visual language she has developed over the decades.  Conveying a movement from one state to another, from one moment to another, from one material to another, her compositions become universal metaphors for phenomena in nature through which we can glimpse the sublime. She received her BFA from Iowa State University and her MFA from the University of Washington and lives and works in Seattle. Red Terrain. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York. Cedar Fall and Willow Wisp (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York. Cloud Dissolve/Pond (installation view) oil on aluminum. 2025 © Katy Stone; Courtesy of the artist and RYAN LEE Gallery, New York.

Lamar Peterson (b. 1974, St. Petersburg, Florida) is a painter whose work explores the psychological and social space between refuge and exposure. For more than two decades, he has rendered the everyday experiences of Black life with a language that merges stylized figuration, domestic ritual, and surreal distortion. Across both painting and collage, Peterson creates scenes where tranquility and unease coexist: suburban gardens bloom into uncanny environments, rooms soften and dissolve into landscape, and figures pursue moments of rest and care even as the outside world presses near. Peterson’s visual vocabulary ranges from cartoon inflections and bold color to pared-down forms that verge on the symbolic. In his hands, a gesture—cooking a meal, tending a plant, pausing in thought—becomes a quietly radical act of autonomy. His subjects often appear in transitional spaces: windows, thresholds, and gardens that double as emotional terrain, reflecting the fragile distance between sanctuary and scrutiny, vulnerability and strength. Peterson has held solo exhibitions at Deitch Projects, New York; Carl Kostyál, Stockholm; and Fredericks & Freiser, New York, where he is represented. He has also had institutional solo exhibitions at The Studio Museum in Harlem; the Orlando Museum of Art; the University Art Museum at SUNY Albany; and the Rochester Art Center, among others. His work has been featured in group exhibitions at SITE Santa Fe, The Drawing Center, the Kemper Museum of Contemporary Art, the Katonah Museum of Art, the International Print Center New York, and the Yale University Art Gallery. Peterson received his MFA from the Rhode Island School of Design in 2001. He lives and works in Minneapolis, where he is Associate Professor of Drawing & Painting at the University of Minnesota. Lamar Peterson, The Proud Gardener, 2021, Oil on canvas, 70 x 85 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier Lamar Peterson, The Worrier, 2024, Oil on canvas, 30 x 24 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier Lamar Peterson, Exhilarated, 2025, Mixed media and collage on paper, 17 x 12 inches. Courtesy Fredericks & Freiser, New York, Photo Credit: Cary Whittier

Amiko Li (b. 1993, Shanghai) is an interdisciplinary artist who translates everyday stories and encounters into film, installation, and photography, to explore and contextualize the underlying complexities and themes, such as intimacy, waiting, and value. Li’s recent Exhibition and performance include Center for Art, Research, and Alliance, New York; The Shed, New York; Asia Art Archive, New York; Ulster Museum, Ireland; Haus der Elektronischen Künste, Switzerland; UCCA Center for Contemporary Art, China; Power Station of Art, China. Li’s work has been supported through fellowships and residencies at Delfina Foundation, London; Triangle Arts Association, New York; and Kunstlerhaus Dortmund, Germany. Amiko Li Kai, 2023, Inkjet print in aluminum frame, 20 3/16 x 16 3/16 x 1 in. Edition of 3 plus 1 AP Amiko Li, Another Brief Moment, 2020, Inkjet print in aluminum frame 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 AP Amiko Li, 12:54:21, 2021, Inkjet print in aluminum frame, 16 3/16 x 20 3/16 x 1 in. Edition of 3 plus 1 AP

My Pet Ram is pleased to present Towards the Sun, a solo exhibition of new paintings by Heather Drayzen, on view through November 9, 2025. This marks the artist’s second solo exhibition with the gallery. The gallery is located at 48 Hester Street on the Lower East Side. Gallery hours are Thursday–Sunday, 12–6 PM, and by appointment. Heather Drayzen (b. 1985, San Antonio, Texas) is a painter known for her intimate, small-scale depictions of quiet domestic life, often featuring herself and her loved ones. She currently lives and works in Brooklyn, New York. Drayzen received her BFA from the School of Visual Arts, New York, in 2007, and earned an MAT from the Rhode Island School of Design in 2008. Winter Bath, 2025, 14 x 18 inches, Oil on linen Winnie Rainbow, 2024, Oil on Linen, 20 x 16 inches Giverny, 2025, Oil on Linen 18 x 14 inches

Linda Daniels creates vibrant abstract paintings.Linda Daniels (b. 1954) spent her formative years in California. She earned her B.F.A. in General Fine Arts from the California College of the Arts.   In 1984, she moved to New York City, where her first solo show debuted at fiction/nonfiction gallery in 1988. Over the following decades, her art was featured in numerous solo and group exhibitions across New York, Los Angeles, San Francisco, and Palm Beach. Linda’s artwork has been reviewed in major publications including The New York Times, The Los Angeles Times, Artforum International, Art in America, and The Brooklyn Rail. In 1991, she was awarded a National Endowment for the Arts Fellowship in Painting. Linda returned to California’s Central Coast in 2014, where she currently lives and creates her artwork. Linda Daniels, Orange-Red with White, 16"x16", AcrylicCanvas, 2018 Linda Daniels, Orange-Yellow with White, 16"x16", AcrylicCanvas, 2020 Linda Daniels, Turquoise-BlueYellow-Green with White, 40"x80", Acrylic on Canvas, 2021

Mark Barrow (b. 1982) and Sarah Parke (b. 1981) met while studying at the Rhode Island School of Design. They began collaborating in 2008, when Parke first started weaving fabric on which Barrow would paint. As weaving became the primary conceptual structure through which they approached all subjects, they adopted a joint artistic moniker to more accurately reflect how ideas are generated and spread. Their work focuses on the intersection of weaving (as a spatial and mathematical system) with other visual systems. It also focuses on its intersection with textiles more generally, a tradition that has had an outsized imprint on the history and development of culture and civilization. Barrow Parke live and work in New York City. Barrow holds a B.F.A. in Painting from the Rhode Island School of Design and an M.F.A. in Painting from the Yale School of Art. Parke holds a B.F.A. in Textiles from the Rhode Island School of Design. They have exhibited widely in institutions including the University Art Museum, University at Albany, the Shirley Fiterman Art Center, City University of New York, New York; The Fabric Workshop and Museum, Philadelphia, Pennsylvania; The Rose Art Museum, Brandeis University, Waltham, Massachusetts; the Power Station of Art, Shanghai, China; Kunsthalle Bielefeld, Germany; and Musée d’art Moderne de la Ville de Paris, France. Their work is represented in public collections including Birmingham Museum of Art, Alabama; the Hammer Museum, University of California, Los Angeles, California; Yale Museum, New Haven, Connecticut; the Walker Art Center, Minneapolis, Minnesota; the University of Chicago, Illinois; and Columbus Museum of Art, Ohio. c:\ Acrylic on Hand-Loomed Linen, 29 5/8 x 23 3/4 inches, 2022 Woman IV, Acrylic and Embroidery on Hand-Loomed Linen, 15 3/4 x 19 3/4 inches, 2020 0N10N, Acrylic on Hand-Loomed Linen, 19 5/8 x 15 3/4 inches, 2019

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI in 2018 and her BFA from Washington University, St. Louis, MO in 2013. Adesman had her first museum solo exhibition, The Birth of Flowers, at KMAC Contemporary Art Museum, Louisville, KY in 2023. She has exhibited work widely including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Ashville, NC; Mead Art Museum, Amherst College; Amherst, MA; Anat Ebgi, Los Angeles / New York; and Mrs. Gallery, Queens, NY. Adesman’s work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; Deji Museum, Nanjing, China; and Museo d’Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.  Marisa Adesman’s surreal and thought-provoking paintings often depict ordinary objects in bizarre contexts and striking states of mystical transformation. She composes tableware, candles, houseplants, flowers, linens, kitchen utensils, and furniture into strange and unusual arrangements that destabilize our notions about the proper order of a house and home. These settings are often centered around the female form and are guided by Adesman’s visionary poetics of interior space. She examines the art historical meaning of the female figure as a pliable body designed for amorous desire and protection, but also sinister and capable of deception and corruption. Adesman’s compositions mingle ethereal and phantasmagoric imagery of the surrealist period with Dutch still life and vanitas paintings from 16th and 17th century Europe. Likewise, she retains all the attendant technical mastery which defined those artistic styles. Smooth and luminous surfaces combined with a masterful use of chiaroscuro, the skillful contrastingof extreme light and dark, reveals the hand of a remarkably detailed painter whose work demands to be viewed in person. Marisa Adesman: Tug of War, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: Deadheading, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: The Turn, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman

Amy Winstanley, Photo by Alan Dimmick. Amy Winstanley (b. 1983, Dumfries, UK) is based in Scotland. She received a BA (Hons) in Sculpture from the Edinburgh College of Art (2005) and an MA from the Sandberg Instituut, Amsterdam (2019). Recent solo exhibitions include: Life Hum, Margot Samel, NY (2025); Focus, Workplace Gallery, London, UK (2025); Homing, Ginsberg Galeria, Lima, Peru (2024); Soft Spot, A_Place gallery, Glasgow (2024); Lost Hap, Margot Samel, New York, NY (2023); Slim Glimpses, Cample Line, Thornhill, UK (2023); Moral Limb, Stallan-Brand, Glasgow, UK (2021); Grief Bruise, Lunchtime Gallery, Glasgow, UK (2021); Inscapes, AndCollective Gallery, Bridge of Allen, UK (2016); Interconnections, Gracefield Arts Centre, Dumfries, UK (2015); Detritus and Other Stories, iota Gallery, Glasgow, UK (2014); and Wanderings, John Muir Birthplace Trust, Dunbar, UK (2011). Recent group exhibitions include: Tiefkeller -6, Tiefkeller, Bonn, Germany (2025); Open Return, A_Place, Glasgow, UK (2025); Myriad, Ocean’s Apart, Manchester, UK (2025); Out of Earth, The Approach, London (2024), Opening, A_Place, Glasgow (2023); Strangers, Rongwrong, Amsterdam, Netherlands (2022); tangible/intangible, The Haberdashery, Glasgow, UK (2022). Winstanley was nominated for the Sluijter prize for painting 2019 (Netherlands), and has been the recipient of the Hope Scott Trust award (2014) and the Creative Scotland Visual Arts Award (2010 and 2014). Along with the artist collective ALKMY she has published short stories and images in What Ties Ties, Ties (2020) and What Thoughts Think Thoughts (2021) both through Print Art Research Centre, Seoul, Korea. Amy Winstanley, Beautiful and Delicious, 2025, Oil on canvas, 26 x 24 in | 66 x 61 cm Amy Winstanley, Gifts, Omens, 2025, Oil on canvas, 70 7/8 x 59 in | 180 x 150 cm Amy Winstanley, They Are Just in the Other Room, 2025, Oil on canvas, 59 x 70 7/8 in | 150 x 180 cm

portrait by Catherine Talese Melanie Vote holds a BFA from Iowa State University and an MFA in painting from the New York Academy of Art. Having grown up on a functional farm before living and working in NYC for over 25 years, her practice straddles these two worlds. Her work investigates the complexities of the human-land relationship, the cyclical nature of life, and the impossibility of permanence. Vote was a recipient of a Pollock-Krasner Foundation Grant (2007) and was awarded residencies, including the Vermont Studio Center (2002), Jentel, WY (2009), AHAD, Abu Dhabi, UAE (2013), the Grand Canyon (2016), the Weir Farm, CT (2022), and Cill Rialaig, Ireland (2023). Her work has been exhibited nationally and internationally. Exhibitions include work at The Aldrich Contemporary Art Museum (2003) and The Hangaram Art Museum (Seoul, South Korea) (2016). Solo exhibitions include, DFN Gallery, NY (2008), Hionas Gallery, NY (2011, 2016), Galleria Farina, Miami (2017), and Equity Gallery, NY (2020, 2025). Vote presented work in a two-person show curated by Liz Garvey of Garvey|Simon Gallery at DFN Projects in October 2023, followed by her solo exhibition, Consulting with the Light Eaters, at Equity Gallery in May 2025. Her work was also included in the group drawing exhibition, “We Were Never Here,” at Kaliner Gallery in August 2025. Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 in Overalls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in

Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper Union in 2016. His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014) Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cm Willie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cm Willie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm

Matt Magee is an American contemporary artist known for his minimal geometric paintings, sculptures, prints, assemblages, murals, and photographs. Over a four-decade career, Magee has experimented widely with abstract and conceptual art practices. His compositions draw inspiration from personal history, numerology, and language. In his paintings and prints, he explores language through abstraction, repetition, reiteration, and the occasional tip of the hat to art historical precedents. His visual language relates to early hard-edge abstraction and finds inspiration in contemporary scientific, ecological, and technological ideas. His work is in the permanent collections of the Albuquerque Art Museum, NM; the Beinecke Rare Book and Manuscript Library at Yale University, CT; Black Mountain College Art Museum, NC; the Josef and Anni Albers Foundation, CT; Museum of Fine Arts, Houston, TX; Phoenix Art Museum, AZ; Scottsdale Museum of Contemporary Art, AZ; Tucson Museum of Art, AZ; and the University of New Mexico Art Museum, NM. Matt Magee, Grapheme: 16 Squares, 2021, oil on primed paper. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Black Grapheme, 2021, oil on panel. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Ryan Lee Grapheme, 2025, acrylic and pencil on canvas. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.

SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCAD Born in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects. His previous interview on Yale University radio can be found here. Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017. Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others. Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches. Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches. Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.

Photo courtesy of Elizabeth Haynes. Deborah Zlotsky received a 2019 Guggenheim Fellowship and NYFA Artist Fellowships in Painting in 2012 and 2018. Her work is in a variety of public, private, and corporate collections in the US and abroad and she has been awarded recent residencies at MacDowell, Yaddo, the Bogliasco Foundation, and the Bemis Center. Zlotsky is represented by McKenzie Fine Art and Markel Fine Art, both in New York City, Robischon Gallery in Denver, Sandler-Hudson Gallery in Atlanta, and Bernay Fine Art in Great Barrington, MA. She has a BA in art history from Yale University and an MFA in painting and drawing from the University of Connecticut. She teaches at the Rhode Island School of Design and lives in the Hudson Valley. Deborah Zlotsky, Ghost lines 3, acrylic gouache on panel, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Not a line but a constellation, oil on canvas, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Tragedy plus time, oil on canvas, 2025, 60” x 60” Photo courtesy of Liz Dejeuness.

Simone Kearney is a Dublin-born, Brooklyn-based multidisciplinary artist and writer. Her practice is an inquiry — as much visual as it is psychological — into how experience is a cobbled, fragile thing, shapeshifting, subject to time, configured and reconfigured through our bodies. In recent projects, she has been working with hand-carved stone sculpture, watercolor, and text, where the work starts to gather like archaeological fragments of the psyche. Dealing in the realm of what floats beneath the surface of consciousness — dreams, ruminations, and archetypal symbols — Kearney creates fields of objects that exist somewhere between rune and cartoon, between suggestive remnant and semi-emergent fact. In her playful receptivity to the raw stuff of stone, earth, pigment in water, or language itself, she explores all kinds of lively materialities. The tangible becomes an occasion for the intangible to reveal itself. Images arise from matter’s ambiguous zones of reference and into the nameable: as ovals, hands, eyes, vessels, ghosts, voids, animals, bodies. Forms are made and unmade. Kearney currently has a solo show of sculptures and works on paper entitled DIGS at Guest Gallery in Brooklyn, NY, on view from September 20th – November 8th. She also will have sculptures in a group exhibition at Koki Arts in Tokyo, Japan, this October. Some previous solo exhibitions include Putty’s Coronation, Brooklyn, NY; Undercurrent Gallery, Brooklyn New York; Artshack Gallery, Brooklyn, NY; and Annex Gallery, Lighthouse Works, Fisher’s Island, NY. She is a NYFA grant recipient and is the author of Dim, Dahlia, Violet, Stone, (ITI Press, 2024), DAYS, (Belladonna Press, 2021), and My Ida (Ugly Duckling Presse, 2017). She teaches at Parsons School for Design and Rutgers University. Hand (Riddle is everywhere/Because a grain shatters direction), 2025, alabaster, earth, pine pedestal, 11” X 11.5” X 36” Water Stone (xviii), 2024, watercolor on paper, 22” x 30” “Hole:Through (One by one, to see),” 2025, rhy ... pine pedestal, 11” X 11.5” X 35

Brendan Fernandes, born in Nairobi, Kenya 1979. Currently based in Chicago, his practice addresses issues of race, queer culture, migration, protest, andother forms of collective movement. Constantly seeking to create new spaces and forms of agency, Fernandes’work often takes on hybrid forms: part ballet, part queer dance party, part political protest always rooted in collaboration and fostering solidarity. Fernandes is a graduate of the Whitney Independent Study Program (2007) and has been the recipient of numerous awards, including a Robert Rauschenberg Residency Fellowship (2014), a Smithsonian Artist Research Fellowship (2020), an Artadia Award(2019), a Louis Comfort Tiffany Foundation Grant (2019), and most recently, the PlatformAward (2024). In 2024, he was also honored with the Creative Voice Award by Arts Alliance Illinois. His work has been presented at prestigious venues such as the 2019 Whitney Biennial at the Whitney Museum of American Art, New York; the Museum ofContemporary Art Chicago, Chicago; the Solomon R. Guggenheim Museum, New York, the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; theNational Gallery of Canada,Ottawa; and the Musée d’art contemporain de Montréal, MAC;among many others. Fernandes is an Associate Professor in the Department of Art,Theory, and Practice at Northwestern University. He is represented by Monique MelocheGallery in Chicago and Susan Inglett Gallery in New York. Recent and upcoming projectsinclude performances and solo presentations at the Pulitzer Arts Foundation, St. Louis,MO; the Museum of Contemporary Art Denver, Denver, CO; the Fabric Workshop andMuseum, Philadelphia, PA; and Prospect.6, New Orleans, LA. In spring 2026, a major newcommission and solo exhibition will debut at the Driehaus Museum in Chicago.

Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well. Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens. Maria Antelman, Conjurer, 2024. Archival pigment print, 21 1/2 x 27 1/2 inches. © Maria Antelman. Courtesy Yancey Richardson, New York Maria Antelman, Hypnos, 2020. Archival pigment print, 58 x 52 inches. © Maria Antelman. Courtesy Yancey Richardson, New York Maria Antelman, Hall of Mirrors, 2020. Archival pigment print, 39 x 19 inches. © Maria Antelman. Courtesy Yancey Richardson, New York

Benjamin Freedman is an artist whose practice spans multiple mediums including photography, video and computer-generated imagery with an interest in the restorative potential of photographic research and play. He received his bachelor’s degree in photography at the Toronto Metropolitan University (TMU) in 2013 and his Masters at The Ecole cantonal d’art de Lausanne in 2023. While probing the relative truths and deceptions of photography, he purposefully adopts visual vocabularies from cinema and television in an effort to create expanded documentary projects. He has exhibited extensively across the greater Toronto area and internationally at the Aperture Foundation in New York City, Chung-Ang University in Seoul, Foto-Undustria Biennale in Bologna and in the Riga Photography Biennale in Latvia. He recently presented work at the Images Vevey Biennale, Vontobel in Zurich, Switzerland and at Ptolemy Gallery in Queens, New York. Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025. Installation view: Benjamin Freedman: Surface Imperfect. Ptolemy, Glendale, NY, 2025. Benjamin Freedman, "I Spy," 2025. C-Print, 24 x 29 in. Benjamin Freedman, "Musings," 2025. C-Print, 24 x 29 in.