Winky Lewis
‘Shadow Kids’ is Winky’s most important work—her signature series that will define her career and resonate far beyond it. This is the kind of breakthrough that matters now and will endure.
Rob Strati
Rob transforms the negative space of loss into creative possibility. The energy of the accident remains—viewers can almost hear the crack of porcelain, the moment life shifted from whole to fractured. But instead of chaos, Strati offers grace. Each line, each extension, is a meditation on repair, on the unexpected beauty that follows destruction.
Ellen Jong
Jong situates the body—and specifically the Asian-American female body—as an active site of authorship within a long history of image-making. She began in photography, not as diaristic confession but as method.
Celia Martine Pickering
Celia creates vibrant large-scale botanical works on paper using emulsions. Her art draws inspiration from retro floral textiles, vintage advertising and mid-century aesthetic, along side the world around her.
Ben Mazey
Ben typically uses slab-built ceramic with occasional experiments with lost wax casting bronze. He’s prone to duality (some pieces half gold, half raw), a lo-fi palette and layering glaze like a mask. He subverts the domestic with sculptures of familiar household objects. He has them take on a mimetic quality, like out of a cartoon world—a joyful yet nihilistic fantasy.
Nelson
Drawing from horror films, family mythologies, and the complexities of memory, Nelson’s work inhabits the space between personal history and collective trauma. By reclaiming matrilineal craft, she transforms the domestic into the political. Her works are sculptural paintings: layered, padded, stitched, and unapologetically feminine.
Zena Blackwell
Zena’s work explores the mysteries of childhood, memory, and identity. Her portraits — often of children — inhabit a space between the familiar and the imaginary, capturing the tension, beauty, and vulnerability of family life.
Blaire Hawes
Hawes’ portraits — whether of dancers, mothers, or models — are stripped of artifice. Skin, wrinkles, and blemishes intact. She photographs people as they are, and in doing so, leaves something of herself behind: a deep tenderness, a faith in what’s good and beautiful in us all.