I am influenced by the art, culture and attention to detail of street fashion and incomplete style. I like the simplicity and pureness of certain materials that will change in color and status over time, and I use them in my art. I believe elements of traditional Chinese characters, Zhuyin (Mandarin Phonetic Symbols), and personal aesthetic experiences will inspire new works. I hope to take this opportunity to experiment and create better textures and atmospheres.

Painting and sculpting have became a way for me to deal with new environments. I relieve my solitude by collecting bits of stuff and making collages to ground myself within foreign worlds that I have inhabited, developing a deep kinship with materials along the way. My interest in color and materials began with noticing unfamiliar things everywhere and how they differed from what I had seen and experienced growing up in Korea. Even a simple cookie box, its shape and colors, fascinated me. In retrospect, I can see that my current work - my preoccupation with color, materials, and abstraction - began there.

Jimmy uses his background in drawing as a foundation for his entire practice. With a wide range of influences, he employs traditional mediums to create observational studies of everyday moments, as well as abstract compositions that are about discovery within the process. He uses these disparate methods to create images and environments that take joy in the act of making.

Some of my works embrace an architectural and a quasi-geometric character to accomplish individual, immaculate composition; others maintain my interest in abstract and relief forms.

Through investigations of the body as a miniature world, her work yanks at the scale of self in nature’s reflection. She often harnesses biological synchronicities in order to calibrate the body’s array of landscapes, weather patterns and systems of self maintenance that produce a spectrum of artifacts. Literally ‘mining’ herself as an archeological site, she adapts such extractions into poetic reflections and devices, often utilizing laboratory protocols to set the stage. 

Mengxia makes art inspired by her everyday lived experience and concern for social issues, specifically, women's rights in China which have been affected by poor access to education, and sexual and physical abuse. She is also pays close attention to human individuality and the body, both of which are themes in her work. 

My oil paintings and videos capture “The Rise To The Top”  in power, success and dominance over one's field. In order to communicate my message I use references found in popular culture. Many hip-hop artist and athletes have managed to climb to the TOP by constantly asserting themselves through words and symbols.These reference primarily include lyrics found in rap songs but often include other content such as text from world literature and images from athletes etc. Aesthetics that reference graphic design and commercial art are incorporated into my work, magnifying today’s visual codes. 

In my paintings, I manipulate traditional patterning to reveal the interstitial, liminal and in-between spaces that open up when imposed identities collide.

Our memories play a vital role in how we connect to the world.  We tend to remember fragments of events and these fragments come together to form an interpretation of these experiences. I am attracted to how memories are made; I want to understand how they connect with our actual experiences, and the role that imagination has in their creation.  Just like the construction of memory, my work makes connections between multiple layers to form the overall imagery.  Working with a variety of media allows me to work in the appropriate medium for that memory or piece.  

Jihyun explores an uncertainty that she felt in her everyday life through her works. In there, she seeks to find reasons and alternatives about the anxiety and confusion of everyday life through uncertainty. 

For the family issues, I am very intrigued by the possibility of expressing the “forbidden” emotions, such as anger and depression, in a family. Unlike the “normal” familial themes of order, respect, and dignity, for me, the forbidden emotions are the unspeakable undertone of everyday family life. Gender is another major theme of my artworks that is so closely intertwined with the issues of primitive desire, sex, love, and marriage. I bravely embrace all the emotions and pain that occur to me as a woman and take them as the nutrition of my artistic creation. Focusing on mixed media, such as photography, video, collage and performing art.

Owen is an interdisciplinary artist working with photography, sculpture, book-making, and digital media. 

Recently, Young Min has worked on portrait painting. She also has painted Korea traditional themes such as Korea traditional houses, gardens and Dalhangari (Korean Moon Jar).

My artwork questions the importance of racial identity. I use personal family photos from my childhood/ current photos that fills me with the feelings of distance and past, as my source material for my paintings. It is my intention to invoke a sense of uneasiness, despair, and anguish within the viewer. My art is often associated with the German expression and fauvism era due the colors, mood, and feelings in my paintings. Outside of the fine arts realm, other inspiration comes from filmography such as, Tim Burton, the Brothers Quay, and vintage 1920's silent films and German Expressionist Films.

I strongly believe in automatism and how it plays an eminent role in the creation of the overall structure and forms, that are mostly manifested in the configuration of lines, in my case. My work draws on my roots in Hindustani Classical music and dance. The process is performative and instinctive, and the result of bodily acts are intended to be cathartic and transformative.

I am a painter whose practice synthesizes the elements of culture I find most of interest. These include but are not limited to: pastoral idylls, early 8 and 16-bit video games, Ukiyo-e prints, Quattrocento Tuscan painting, Kafka, and Anime.  My aim is to build a visual language that recasts reality in paint -- to give my paintings their own breathing room and sense of place, their own weight and depth and color. I want them to be like the world without being beholden to it, to hover and exist without exertion or exhaustion, for themselves.

Marianna's recent drawing projects use representational imagery to consider agency of the body, memory, and identity. She is interested in the duality of drawing as a permanent and ephemeral medium, creating a parallel between drawing and the function of memory. Drawings on paper are delicate and can tear or be smudged with ease, yet they can also withstand hundreds of years with integrity. Similarly, memory can fade, become colored, be manipulated, etc. Ultimately the drawings aim to simultaneously solidify a moment and emphasize the transience of time and memory.

Through Robinson illustrates the ability to be youthful regardless of age and the endless freedom that is embroiled in that prospect. Her ability to combine and recombine the everyday objects that blend into the background of our lives allows the intended purpose of these them to be broken, realigned and set into new meanings. By allowing the original structures of her materials to fragment into draping folds, fibers and lines, the surface of these pieces are given the ability to come alive with interweaving patterns and the intimacy of home and self. 

Arantxa Ximena Rodríguez (AXR) had been inspired by fractals in her early work. She had a self taught practice before 2017 when she decided to take a step outside the acquired knowledge and expand her horizons by pursuing an MFA at SVA. Her work took a radical turn and now she has been exploring the art of performance and installation. Producing “architectural moments” such as string sculptures as well as creating and incarnating three characters which she uses to explore three main aspects of her life: her physical self and the emotions that come with it, her spiritual quest and her exploration through art itself. AXR is delving into her newfound creative path with the same goal with which she started: to evolve in her spiritual practice and inspire to help others through her art practice.

I’m trying my best to deal with the relationships existing in each painting itself by using these abstract painting languages. Each traces, each colors and each lines need to be constantly, and sometimes could be toughly, judged during the whole creative process, thus, to achieve the ultimately accuracy of my perception.

I have been creating work that studies the characteristics of changes in consciousness or materials by pausing a certain moment. It can be observed in our surroundings from various perspectives. For example, taxidermy represents a moment of a real animal’s life as if they are alive. Since it has, however, lost its liveness as an animal, it is a preservation and simultaneously an incomplete reproduction, revealing double meaning. It is an outcome that shows both incompleteness of the idea of a moment and its contradictions; it is a desire to convert incompleteness into a complete status.

Shannon Stovall is interested in exploring our projected ideal personas and their deeply rooted history in the performance of gender, sexuality, and the societal norms that control them. She would describe her style as narrative realism, with a touch of the surreal. Lately, she has been interested in the conversation between inanimate objects and the animate body. 

Primarily working with found photographs, collaged houses, and charcoal on paper, Zac Thompson invents queer new worlds, often using the history of photography as a renewable resource for his creative practice. His work is a reimagining of historical artifacts, taking what he needs from a hegemonic culture to construct his own lineage, family, and history.

Three passions have governed my creation: the devotion to literature because of the immersive experience of reading, the perception of music because of searching the parallel soul of mine, and unquenchable pity for the humankind because of the awareness of their suffering. The three passions are enough to draw me out of my silent exile. The first gives me the consistent enthusiasm to discover the world’s abundance; the second grants me the ability to receive the most delicate quivering of spirit; the last affords me the indestructible courage to hear the pain all around me and seek to heal the wound.

Megan’s work consists of large-scaled oil paintings and small intricate watercolors that explore femininity and queer sexuality. Paint, like sexuality is fluid and has so many possibilities that a person is required to have an open mind to be accompanied by the sensations that are provided.

I am re-thinking my complex of natural materials, sometimes, preference will take control of the authority during compositing. Recently I have focused on the spots or positions that the observer stands during a process. The question does not go straightly, it turns out as different specific questions in different situations. Interactive projects, installations, time-based works are my main media in this pace, but questions go back from nature to myself, which retrospect to time, personal space and memory.