Exhibition Archive
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Rivers Qinnan Zhu
Rivers Qinnan Zhu: Thread’s Return along the Equinox
Opening Reception: Friday, August 1, 2025, 5-8pm
I come from a lineage of four generations of female artisans, with a strong tradition of lace-making in Xiaoshan, China. Lace, with its intricate yet fragile structure, carries a tension between visibility and absence, labor and ornamentation, history and transformation. Lace-making is not just about preserving techniques; it’s about understanding them as shifting, unstable, and deeply connected to the people who practice them.
Thread’s Return along the Equinox asks how traditions continue— by preserving sameness or through adaptation? Lace becomes a way of holding time, of returning through making.
Jessica Swank
Jessica Swank: Muscle Memory
Opening Reception: Friday, August 1, 2025, 5-8pm
Muscle Memory is a meditation on the significance of labor and the body in a time increasingly shaped by automation and post-biological ideals. This series represents an extension of my own body detached from myself, exploring how the body may become detached from consciousness in the digital age.. Through repetitive processes and actions, I think of my labor in creating this work as itself an act of resistance against the idea that human beings can be reduced to machines. While the work is not directly performative, I consider the labor embedded in the making of these works as a quiet performance.
Jasmine Elizabeth
Jasmine Elizabeth: Love, Lies, and Everything Else We’ve Ever Done Wrong
Opening Reception: Friday, August 1, 2025, 5-8pm
It can be compelling to think we understand something, to assert that we understand what a story is, and have that be what defines us. Art should never be clear. It should never have an easy conclusion.
Love, Lies, and Everything Else We’ve Ever Done Wrong implores the viewer to look closer than is comfortable. Subjects reduced to their most basic forms narrate the quiet moments: moments of contemplation, otherness, and selfhood. In this series of paintings, the amount of visual information stripped away in each painting varies, allowing the viewer to bring in their own conclusions about what they are seeing.
Nicole Havekost
Nicole Havekost: Proliferate
Opening Reception: Friday, March 7, 2025, 5-8pm
Proliferate, by artist Nicole Havekost, is of a series of ten works on paper. Made with traditional drawing materials, the artist pokes holes through the paper, creating a white, swollen perforation on the front. Using ovoid forms, the artist references voids and tears, and interiors and exteriors through accumulated gestures. The work speaks to unseen labor, the passage of time, and transformation.
David Najib Kasir
David Najib Kasir:Math of Four Minute Warnings
Opening Reception: Friday, March 7, 2025, 5-8pm
Math of Four Minute Warnings is an exhibition that interrogates the role Western media plays in constructing cultural narratives, while centering a caring and concerning lens on the destruction of Syria and its people through large-scale paintings. For Kasir, the works start from a personal place. “Iraq is my father’s country, and Syria is my mother’s as well as the second home of my youth. It is where my aunts, uncles and cousins were living. It is where there are buildings where I slept in and streets where I played tag and other games as a child. I’ve witnessed years of destruction of my countries from US invasion, with very little regard from Western mainstream media to civilian casualties.”
Jill Wells
Jill Wells: Sewn From Resistance
Opening Reception: Friday, March 7, 2025, 5-8pm
SEWN FROM RESISTANCE: Deconstructing Black Disability Narratives in America is a site-specific, multi-sensory installation by Jill Wells that critically examines the intersection of Black and Disability histories within the American context. This work challenges stereotypical portrayals of Black disability identities while celebrating the resilience and resistance embedded within these lived experiences. Through a fusion of installation, painting, sound, and tactile sculpture, Wells engages sensory elements that shape how individuals' access and engage with information.
Glen Martin Taylor
Glen Martin Taylor: THE DILEMNA OF BEING HUMAN
Opening Reception: Friday, August 2, 2024, 5-8pm
My work explores the brokenness in trying to be a person, the messy mending of healing, and the dilemma of being human. My work is my interpretation of the ancient Japanese art of Kintsugi.
Mandy Cano Villalobos
Mandy Cano Villalobos: DELECTABLE GOODS PROFIT NOT
Opening Reception: Friday, August 2, 2024, 5-8pm
Delectable Goods Profit Not” portrays home as a place just out of reach. A nostalgic mass of glass figurines, frayed linens, and derelict toys play upon Western stereotypes of “grandma”, comfort, and childhood memories (both real and imagined). This domestic hoard symbolizes a place of belonging, a never-changing sanctuary of acceptance and solace. But nothing is permanent. The centerpiece – a vacant chair – suggests absence and death. Red velvet stanchions block access to the familiar items that beckon viewers approach. Our desires for home, and all its associations, remain unfulfilled. In its place lingers alienation and longing.
Nichole Maury
Nichole Maury: LANDMARKS
Opening Reception: Friday, August 2, 2024, 5-8pm
I have developed a complicated, and sometimes contentious, relationship with the idea of home. A life interrupted by frequent movement, especially as a child, has left me with memories that are often uneven and ill-defined. Sometimes there are only fragments, a steep hill, an ugly red-patterned carpet, the sound of plastic on the windows in winter. Home was never a place of permanence or stability. Instead, I found comfort in the classroom, with its clearly defined rules and predictable routines. I performed these requisite and seemingly infinite acts of repetition, these rituals, stretched out on a faded flower comforter in my bedroom or tucked into some quiet corner of the house.