Interviews by Brainard Carey

Based in Brooklyn, NY (b. 1986, Taishan, China), Ye Zhu is an interdisciplinary artist focused on painting, public art, and social practice. He has presented solo exhibitions at DIMIN (2023) and Harkawik (2022) in New York, NY; at Moskowitz Bayse (2021) in Los Angeles, CA; and at the Andrew Freedman Home in the Bronx, NY (2022). His work has been included in group exhibitions at The Sugar Hill Museum in Harlem, NY (2022–23), Gavlak Gallery in Los Angeles (2023), Galerie Marguo in Paris, Harper’s (2023, 2021), and James Fuentes (2021) in New York. Over the past year (2024–25), he completed residencies at the Lower Manhattan Cultural Council (LMCC), Dieu Donné Workspace in Brooklyn, and Wave Hill in the Bronx. Zhu has created numerous public projects, including a tribute installation for healthcare workers at the Yale School of Medicine (2022), a billboard project with Kingsgate Project Space in London (2021), A Universe in Strafford, NH (2021), and CONSTELLATION on Governors Island (2021), featured in The New York Times. He is a founding member of Haven Arts Park (2020–2023), an initiative dedicated to transforming contaminated land into an art park, and was a recipient of the Andrew W. Mellon Foundation grant (2022–2023). The Cosmos of Seeds, 144″ x 96″ Ego Decay, 96″ x 48″ Star Studded Snail, 42 x 39

Ron Norsworthy is an interdisciplinary artist whose broad practice engages the fields of art, architecture, filmmaking and design. Informing his work is a foundational belief that the rooms, spaces and environments we inhabit and interact with speak volumes not only about who we are now, but also about our dreams, aspirations and our struggles as well. Through the creation of collaged reliefs, decorative objects, textiles and installations, his work carries the viewer through a non-linear, layered story of his life, one shaped by his lived experience as a queer person of the global majority. Norsworthy was born in South Bend, Indiana and currently lives and works in Connecticut and New Jersey, respectively. His work has been exhibited at the Studio Museum of Harlem, NY; The Old Stone House, Brooklyn, NY; Visual Arts Center of New Jersey, Summit, NJ; The Wassaic Project in Wassaic, NY; Five Points Gallery, Torrington, CT; Standard Space, Sharon, CT; Project for Empty Space, Newark, NJ; the International Quilt Museum, Lincoln, NE; the New York Historical Society, NYC; the Governor’s Island Art Fair, Governors Island, NY; the Armory Show, NY; Paris Photo; and it is also in the permanent collection of the Newark Museum of Art. In 2023, Norsworthy was awarded a MacDowell Fellowship in Visual Arts. Ron Norsworthy, Do You Know What You’re Looking For?, 2025, Mixed media collage in relief on wood panel Ron Norsworthy, More or Less, 2025, Mixed media collage in relief on wood panel Ron Norsworthy, Trying to Remember the Future, 2025, Mixed media collage in relief on wood panel

Xanthe Burdett Xanthe Burdett (b. 1995) is an artist from Devon currently living and working in London. Her practice is led by painting but also encompasses drawing and installation. She graduated from MA Painting at the Royal College of Art in 2024, and received her BA in Education, English and Drama at Cambridge University. Her work explores the relationship between the body and nature, questioning the notion of the body as nature itself. Through a personal mythology deeply rooted in place, Xanthe weaves bodies and stories into layered works where the boundary between the human and non-human shifts and stretches. Her pieces, which move between extreme scales, evoke a dynamic interplay as strange, otherworldly creatures emerge through the layers of glazing. Xanthe approaches her practice as a mesh, with her paintings existing within an interconnected web. One thread extends to the monumental hunting tapestries at the V&A, another to the way light dances across a fallen tree on the riverbank of her childhood. Xanthe is a recipient of the De Laszlo Foundation Young Artist Award and has been shortlisted for the Jacksons Painting Prize.  Xanthe Burdett, The Lily Pickers , 2025 Oil on linen 72⅞ x 55⅛ in (185.00 x 140.00 cm) Xanthe Burdett, Voices caught in the earth , 2025 Oil on linen 13¾ x 11¾ in (35.00 x 30.00 cm) Xanthe Burdett, Psychopomp, 2025 Oil on linen 28 x 42 Inches (71.12 x 106.68 cm)

Katie Simmons is an artist, educator, and wildlife biologist from the Appalachian mountains in east Tennessee. She holds baccalaureate degrees in art history, visual art, and wildlife biology and her MA in education and MFA in drawing and fiber art. Katie is an instructor of drawing and fiber art at Colorado State University and Front Range Community College. Her artwork has been exhibited internationally in numerous group and solo shows in the United States, western Europe and South America. Her research on feminist aesthetics, the uncanny, and the commodification of bodies through sex trafficking has also been published and presented at regional and national conferences. Katie has been the recipient of the Charlie and Gwen Hatchette Creativity Award, the Keith Foskin MFA Scholarship, the Boynes Artist Award, the Oak Springs Garden Foundation Residency, Centrum Residency, and a finalist for the Women United Art Prize and Prisma Art Prize. She is also a vocal advocate for the Sexual Assault Victim Advocate Center in Colorado. In her free time, Katie loves ultra trail running, spending time with her family, and watching bad tv with her dog. Katie’s work has most recently been exhibited in a solo exhibit at Metropolitan Community College’s Gallery of Art and Design and she has upcoming shows this spring and summer at the Sanger Gallery in Key West, Florida, the Gregory Allicar Museum of Art in Fort Collins, Colorado and Manifest Gallery in Cincinnati, Ohio.  Pinecone Quilt I (Side A and B) 2025 Plastic refuse, embroidery thread, found curtains and bed sheets with ballpoint pen drawing and homemade walnut bark ink 85 x 85” Digitalis purpurea, 2025 Ballpoint pen and ecoprinted common foxglove (Digitalis purpurea) on silk 70 x 48” Invasive Species I: Rubus phoenicolasius, 2025. Ballpoint pen and homemade natural dye made from wineberry (Rubus phoenicolasius) on cardstock, 50 x 38″

Paul Scott in print studio with cut Wild Rose detail Paul Scott (b. 1953, United Kingdom) is a UK-based artist, living and working in Cumbria, with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft, and design, he is well known for his research into printed vitreous surfaces, as well as his characteristic blue-and-white artworks in glazed ceramic. Scott’s artworks can be found in public collections around the globe, including the National Museum, Norway; the Victoria and Albert Museum, London, UK; National Museums Liverpool; the Carnegie Museum of Art, Pittsburgh, PA; and the Brooklyn Museum, Brooklyn, NY. Commissioned work can be found in a number of UK museums, as well as in public places in the north of England, including Carlisle, Maryport, Gateshead, and Newcastle upon Tyne. He has also completed large-scale works in Hanoi, Vietnam, and at the Guldagergård public sculpture park in Denmark. A combination of rigorous research, studio practice, curation, writing, and commissioned work ensures that his practice continues to develop. His work is fundamentally concerned with the reanimation of familiar objects, landscape, pattern, and a sense of place. He was professor of ceramics at the Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelor of Art Education and Design from Saint Martin’s College and his PhD from the Manchester Institute for Research and Innovation in Art and Design in England. His current research project, New American Scenery, has been supported by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. Cumbrian Blue(s), New American Scenery, Souvenir of Portland OR Black Lives Matter (After Killen & Howard)/Trumpian Campaigne, No.5, 2021. Transfer print collage on partially erased Staffordshire transferware souvenir plate by Rowland & Marsellus, c.190010.25″ Dia. x 1” D Cumbrian Blue(s), New American Scenery, Residual Waste (Texas) No.5/1, 2022Transfer print collage, shell-edged pearlware platter, 13″ H x 17.25″ W x 1.25” D Cumbrian Blue(s), New American Scenery, The Sleep of Reason, Wood Cuts (After Spode’s Woodland/Wild Rose) 2, 2024Transfer print collage on pearlware plate with Kintsugi, 11″ Dia. x 0.5″ D Cumbrian Blue(s), New American Scenery, Sampler Jug, No.7 (After Stubbs), 2021Transfer print collage on pearlware jug, 15″ H x 14″ W x 11.75″ D

Aglaé Bassens, Photo: Jenny Gorman Aglaé Bassens (b. 1986, Belgium) has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University (2007) and an MFA in Fine Art Painting from the Slade School of Fine Art, London (2011). Her work has been exhibited internationally, with solo presentations at the Institute of Contemporary Art, Miami; HESSE FLATOW, New York; 12.26, Dallas; Nars Foundation, Brooklyn; CRUSH Curatorial, New York; and Cabin Gallery, London; as well as group exhibitions at Gowen Contemporary, Geneva; STEMS Gallery, Paris; The Valley, Taos; and Workplace Gallery, London. Bassens’s works can be found in the permanent collections of the Institute of Contemporary Art, Miami and Colección SOLO, Madrid, Spain. She lives and works in Brooklyn, NY. Aglaé Bassens (b. 1986) What was that, 2025 Oil on canvas 39 3/8 x 51 1/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986) Stone Tiles, 2025 Oil on canvas 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986), Deflated, 2025, Oil on canvas, 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.

Janet Echelman is an artist known for sculpting at the scale of buildings and city blocks, creating large-scale, fluid installations that merge art, architecture, and engineering. Her work transforms with wind and light, inviting viewers into immersive experiences rather than static observation. Echelman uses unconventional materials—from atomized water particles to fiber stronger than steel—blending traditional craft with advanced computational design. Her monumental works anchor public spaces across five continents, in cities including New York, London, Sydney, Shanghai, and Singapore. Permanent installations in locations such as San Francisco, Vancouver, and Porto continually evolve with shifting light and air. Echelman’s unconventional path includes a degree from Harvard, five years living in a Balinese village, and graduate studies in both painting and psychology. Oprah ranked Echelman’s work #1 on her List of 50 Things That Make You Say Wow!, and she received the Smithsonian American Ingenuity Award in Visual Arts, honoring “the greatest innovators in America today.” Recipient of the Guggenheim Fellowship, she has taught at MIT, Harvard, and Princeton. Her interdisciplinary approach challenges artistic boundaries and redefines urban space through experiential public art. Her recent book, Radical Softness The Responsive Art of Janet Echelman is now available. Remembering the Future, on view at MIT Museum, and its maquette at Sarasota Art Museum retrospective. Photos: Anna Olivella Study (Butterfly Rest Stop 1/9 scale), on view at Janet Echelman: Radical Softness, Sarasota Art Museum through April 26, 2026. Photo: Ryan Gamma. Noli Timere, Echelman’s sculpture-dance collaboration with choreographer Rebecca Lazier, currently traveling the eastern seaboard. Photos: Julie Lemberger

Isaac Lythgoe is a sculptor, painter and writer based In Paris, FR. His practice is world-building; reimagining narrative traditions and modes of storytelling, he creates interconnected works that probe power structures, contemporary ethics, and shifting social norms. Within this constructed universe, arcs of romance and mortality intersect, inviting viewers to consider how collective memory is formed—and what future societies might resemble. This temporal drift between past and future is mirrored in Lythgoe’s aesthetic language, where tensions between the natural and the synthetic unfold through form, material, and gesture. Recent and forthcoming shows include Phantasmagoria: Folkloric Sculpture for the Digital Age, The Henry Moore Institute, Leeds, UK, (2026), Would I lie to you, Duarte Sequeira, Seoul, KR (2024), Production Residency at Lafayette Anticipations, Paris, FR, (2024), Cute!, Somerset House, London, UK, (2024), After Laughter Comes Tears, MUDAM, Luxembourg, LX, (2023) amongst others. Beautiful losers, 180cm x 140cm, oil on canvas, 2025. I pretended there was nowhere to love, 80cm x 60cm, oil on canvas, 2025 Everyone’s a bad guy, 110cm x 80cm x 80cm fibreglass, carbon fibre, epoxy, cast aluminium, scarab beetles

Samuel Guy (b.1991) is an artist and educator based in Brooklyn, NY. Through prolonged observational paintings he explores the multifaceted nature of the self, its murkiness, its chance quality and its socially buttressed construction. Through costuming and a deep relationship to the history of portrait painting he re-presents himself in various forms. The chameleon nature of these self portraits positions the artist as both real and potential, blurring those distinctions and positioning the image of the individual as within a larger cultural context. Often reflections on manhood, these paintings interrogate how it is performed, engaging with the imagery in complicated ways, ranging from the satirical and ironic, to the honorific, and even funerary. He has presented his work nationally, including recent solo and two-person exhibitions Stages Of Presence at Vardan Gallery, LA with Jenny Brillhart (2025), Hitchhike From Saginaw at Auxier Kline, NY (2025) Bildungsroman at Vardan Gallery, LA (2023) and A Distant Mirror at Auxier Kline, NY (2022). Guy has received numerous awards and fellowships including from the Constance Saltonstall Foundation, Elizabeth Greenshields Foundation, and Colman Foundation. Guy is featured in New American Paintings Issue No. 165. A three person upcoming show can be found here.  Samuel Guy, “Hobo’s Lullaby”, Oil on panel, 10 ¾ x 8 ¾ x 1 ¾ inches, 2025 Samuel Guy, “A Prairie Home Companion”, Oil on panel, 19 ¾ x 14 ¼ x 1 ¾ inches, 2025 Samuel Guy, “Axe”, Oil on panel, 19 ¼ x 4 ½ x 1 ¾ inches, 2025

photo by Janna Tew Sophie Haulman is a Brooklyn-based ceramicist and sculptor from Wilmington, North Carolina. She received her BFA (2019) from Virginia Commonwealth University’s department of Sculpture + Extended Media. While maintaining her practice, she is also a ceramics teacher and works in ceramic production and fabrication. Her evolving work explores the sensuality of space, the body and the unknown through material-based experimentation, contemplation on process, investigation of tactile form, and a constant surrender to fate.   “every month grass came” is a contemplation on mortality and the temporary nature of all that we possess – our bodies, relationships, experiences, memories, desires. As beings of the natural world, we evolve, erode, disintegrate; how do we construct a coherent sense of identity from an existence that is ever-changing?  These ceramic works question and explore these themes of impermanence, loss, and the unknown through a material which has the capacity to long outlast our own bodies while bearing moments of our time within it. Its physical fragility but potential for permanence challenges the transitory nature of self. Sophie Haulman reflects on the idea of resiliency as crucial to surviving one’s evolution.  Haulman’s work is just as much about the labor and fate of process as it is about the result, considering “process” as both an action and a passage of time. Each piece was handbuilt with slow, methodical, repetitive movements encapsulated within the material body, resulting in forms that question themselves and occlude the transformations of their identities.  The title and show are dedicated to Steffan Elijah Haulman, the artist’s deceased brother. His photo, seen daily on the side of her refrigerator, is held up by four contemplative word magnets that have become a kind of mantra: every | month | grass | came.  Sophie Haulman reckon with, or memento mori 2, 2025 Ceramic, glaze 60 × 60 × 3/4 in 152.4 × 152.4 × 1.9 cm. photo by Sophie Haulman Sophie Haulman, the well, or memento mori 1, 2025 Ceramic, glaze 13 1/2 × 19 1/2 × 19 1/2 in 34.3 × 49.5 × 49.5 cm, photo by Janna Tew Left to Right – Sophie Haulman Untitled 2, 2025 Ceramic 18 × 8 × 10 in 45.7 × 20.3 × 25.4 cm, Untitled 1, 2025 Ceramic 18 × 8 × 9 in 45.7 × 20.3 × 22.9 cm. photo by Sophie Haulman

Elijah Gowin uses photography to speak about ritual, landscape and memory.  He was born in Dayton, Ohio in 1967 and received his BA in Art History from Davidson College in 1990 and MFA in Photography from the University of New Mexico in 1997. His photographs are in the collection of the National Gallery of Art, Houston Museum of Fine Art, and the Virginia Museum of Fine Art, among others.   His awards include the John S. Guggenheim Fellowship in 2008 as well as grants from the Charlotte Street Foundation and the Puffin Foundation.  He founded Tin Roof Press to publish his books on art and photography including “The Last Firefly” in 2024 and “Of Falling and Floating” in 2011.  Presently, he is a Professor in the Department of Media, Art and Design at the University of Missouri-Kansas City where he directs photographic studies.  Gowin is represented by the Robert Mann Gallery, New York, Photo Gallery International, Tokyo and Bond Millen Gallery, Richmond, Virginia. Elijah Gowin, Tree 1. Date: 2012 Size: 15.33x 23, Pigment inkjet print Elijah Gowin, fireflies in trees, selangor river, malaysia, 2017 Size: 22”x30.75” Elijah Gowin, House 1 Date: 2014. Size: 15.33”x 23” Pigment inkjet print

James Horner is a queer chronicler who educates the public and diverts discrimination from his community. Horner focuses on ordinary queer folk, their issues, and LGBTQ+ icons like Marsha P. Johnson, a rights activist. The artist focuses on painting, but also experiments with drawings, sculptures, and zines. Using a simple color palette, Horner starts his figurative works with a line drawing and develops them to be muscular, abstract, and sometimes humorous. A native New Yorker, Horner has an M.F.A. in painting from Lehman College and is an artist and board member at the Amos Eno Gallery in Manhattan. He has a 40-year retrospective exhibition at the gallery, “Making of an American Dandy,” as well as an exhibit, “Queer Today – Love, Power, Freedom,” with his art collective, Magenta Lounge. Horner exhibits artwork mainly around the United States – at The Bronx Museum, The Tulsa Artists Coalition Gallery, Satchel Projects, public art shows in Chicago, and The Leslie-Lohman Museum of Art. Recent residencies include the DNA Artists Residency and Atelier Artist Residency, and his work has appeared in Out and Advocate magazines. Friday Night Throwdown,” 2010, Acrylic, paper, fabric, and marker on canvas, 95” x 48” “Keith Haring – Pop Icon,” 2024, Acrylic on paper, 22” x 30” “Homebody,” 2024, Acrylic and leather/metal belt on canvas, 22” x 28”

Jeanine Brito (b. 1993, Germany) is a painter living and working in Montréal, Canada. Layered in theatrical and fairy tale imagery, she uses her likeness to play with ideas of gender and desire. Her paintings have permeated the cultural consciousness, appearing in Harris Reed’s debut runway collection for Nina Ricci, on an album cover by Clara Luciani, on the cover of the highly reviewed debut novel by Sophie Kemp, and many other crossover collaborations. Recent exhibitions include All the Better to Eat You With, Nicodim, Los Angeles (2025), The Amber of This Moment, Nicodim, Bucharest (2025), The Grumpy Girls, Nicodim, New York (2024), The Invitation: A Fairytale by Jeanine Brito, Nicodim Upstairs, Los Angeles (2023), So Softly and Sweetly, La Causa Galeria, Madrid (2022), You Me Me You curated by Rachel Keller, Nicodim, Los Angeles (2022), New Mythologies II, Huxley Parlour, London (2022). All the Better to Eat You With, 2025 acrylic on canvas 66 x 94 in. 167.6 x 238.8 cm The Lovers, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Good Girls, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Impresario, 2025 acrylic on canvas 34 x 26 in. 86.4 x 66 cm

Ryan Crotty earned his BFA in painting from the University of Nebraska-Lincoln and his MFA in painting from Syracuse University. His work has been exhibited extensively both nationally and internationally. Recent solo shows include a solo presentation at Untitled Art with High Noon, Miami, FL; Ever So Slightly Off, Rutger Brandt Gallery, Amsterdam, NL; and Underlying Issues, Galerie Robertson Ares, Montreal, QC. Recent group exhibitions include The Stage is Yours! curated by Eric Gauthier, Exo Gallery, Stuttgart, DE; Spectrum, Galerie Bessaud, Paris, FR; and Tone Poem, The Hole, Los Angeles, CA. His work has been featured in publications such as the New York Times, the Washington Post, Hyperallergic, Artillery, and Design Milk. Crotty lives and works in Auburn, Nebraska. Ryan Crotty, “Sub Rosa,” 2025, acrylic, gloss gel, and modeling paste on linen, 36″ x 30″ Ryan Crotty, “Get a Move On,” 2025, acrylic gloss gel, and modeling paste on line, 60″ x 48″ Ryan Crotty, “Exit Strategy,” 2025, acrylic, gloss gel, and modeling paste on linen, 48″ x 36″

Sigrid Sandström  earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001). Sandström has exhibited her work internationally in solo exhibitions at museums including Vandalorum Museum, Värnamo, Sweden; Västerås konstmuseum, Västerås, Sweden; Frye Museum, Seattle, WA; and at galleries including Anat Ebgi, Los Angeles / New York; Perrotin Shanghai and Tokyo; Inman Gallery, Houston, TX; and Cecilia Hillström Gallery, Stockholm, Sweden. Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT. Sandström is currently a professor at the Academy of Fine Arts, University of the Arts, Helsinki, and has previously held positions as a professor at the Royal Institute of Art in Stockholm (2010-2020) and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden. Sigrid Sandström, Ravel V, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Ravel X, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Approaching Times Three, 2025 Acrylic on canvas Frame 40″ x 40″ x 1 ⁵⁄₈” 

Maureen McQuillan (photo credit: Etienne Fossard)Pictured in front of “Crystal Blue Persuasion,” her permanent public art installation, completed 2018, which spans three sides of the 36th Avenue N/W station in Astoria, Queens, and was commissioned by Metropolitan Transit Authority/Arts & Design. Maureen McQuillan creates process-focused, system-based paintings from multiple layers of ink and acrylic polymers that convey a deep but elusive sense of space. Vibrantly hued, she uses rippling, wave-like linear elements and undulating rounded forms to suggest shapes in nature as well as the human body. Her systematic approach to color results in a luminous and complex optical mix reflecting her interest in how our perceptions of color have changed as technology has advanced. Born and raised in New York City, Maureen McQuillan is a graduate of Columbia University and the New York Studio School.  Since the early 1990s she has been exhibiting her work in solo and group shows in galleries and museums throughout the United States as well as in France, the UK, Costa Rica, and Hong Kong. McQuillan’s work has been reviewed and reproduced in many publications, among them The New York Times, The New York Daily News, The Brooklyn Rail, Two Coats of Paint, The Boston Globe, The San Francisco Chronicle, Artnews, Architectural Digest, and Art on Paper; and her work is held in public and private collections all over the world. Maureen McQuillan, Untitled (C/T), 2025 Acrylic polymer, ink and acrylic on wood panel. 10 x 10 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/B2), 2025 Acrylic polymer, ink and acrylic on wood panel 30 x 40 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/RB/BG), 2024 Acrylic polymer, ink and acrylic on wood panel. 16 1/4 x 16 inches. Courtesy the artist and McKenzie Fine Art, New York.

Clare Grill (born 1979, lives and works in Queens, NY) received her MFA from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Parlance, Derek Eller Gallery, New York, NY; Cutwork, Galería Marta Cervera, Madrid, Spain; and Wich Language and Oyster, M+B, Los Angeles, CA. Group exhibitions include Things I Had No Words For at the Center for the Arts, Virginia Polytechnic Institute and State University; Interisland (New Paintings from New York and Hawai’i), University of Hawaiʻi at Mānoa; Of Flesh and Air, Marta Cervera Gallery, Madrid, Spain; The Feminine in Abstract Painting, Milton Resnick and Pat Passlof Foundation, New York, NY; Deep! Down! Inside!, Hales Gallery, NY; and New Skin, curated by Jason Stopa, Monica King Gallery, New York, NY. Her work has been reviewed in Artforum, ArtNews, Hyperallergic, the Brooklyn Rail, The New York Times, The Los Angeles Times, and The Boston Globe. Clare Grill, Drape, 2025, oil on linen, 80 x 112 inches (diptych) Clare Grill, Dune, 2025, oil on linen, 94 x 73 inches Clare Grill, Flit, 2025, oil on linen, 46 x 42 inches

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