It’s all made with Fine point pen. The scribbles satisfy the mind and the shades satisfy the eyes. Scribbling layers on top of layers of shades, to present an alternate reality, the illusion of realism on canvas filtered so that it expresses my unique vision.  The goal of each drawing is not to reproduce what I see but also to create the illusion of depth and sense of presence not found in photography. In my drawings the subject matter is means to explore my ability to communicate something unique to the viewer.

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.  

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 drips, in my case. In order to identify them with meaning, I realised how more than the outcome, the art as a bodily act resulted to be cathartic.

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´s work so far is formed by fractals. Perceived from afar we can see mandalic stars ... while closely are an endless number of small geometric formations, which form a whole. It is a graphic description that represents the fact that we are all one. For this reason, she calls her work "FRACTAL POP." An art that shapes and releases from the depths of her being, with only one goal: to evolve as a human being and inspire.

I am a storyteller and my works are stories that stem from the countless lives and experiences of people who left their countries and came to the United States in the hopes of providing a better future for their children.  My work is a tribute to my Mexican neighbor, the Puerto Rican deli owner down the block, the Salvadoran family who fled war and death from their home country, but most importantly my mother. I create my work to show my people, that we must be proud.

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.

I am primarily a painter with strongly influenced by surrealist, impressionist and psychedelic art. My initial work studied the gender roles which are enforced by law in Saudi Arabia and I used my work to make a commentary on the sexism within the government and society which many women, including myself, have experienced while living in Saudi Arabia. This has been a reoccurring theme/study in my work along side many of my other work which studies the subconscious identity through abstract/surreal/impressionist style paintings. Currently, after moving to New York and starting the MFA program at SVA, I am starting to slightly venture out of painting and onto writing, installations and creating mock institutions. After growing up in Saudi Arabia with a very strong religious impact, I have decided to create a religion called Meowism and have become a devout Meowist.  I worship Cats, I've created a holy Meow altar and made pamphlets to help spread the way of the Meow. Meowism is a religion that is a combination of identity study and a commentary on how I perceive the impact of religion in our lives. 

Vicky Healy's work transmogrifies from the universe of her conscious and subconscious mind as she tries to process the world she lives in. Sci-fi landscapes become homes for the creatures who come to life through her work. Planes and projections melt together into a mind bending, gravity defying dreamworld that intends to turn viewers’ brains into ice cream and invites imaginations to refract and diffract.

As an artist, I am the kind of person that wants to understand and change the world around me through artistic practice. As a woman I can not be indifferent to my heteronormative context and the remaining gender inequality that affects all of us. In my artwork I try to highlight and question the aesthetic condition of the people, showing images that display the mindset of a specific society.

My first contact with photography was at 17 years old. Ever since I have used photography as a medium of communication. Photography is my way of expressing myself, my way of life.