Anna Betbeze is a visual artist whose experimental work involves exploration of haptic sensation, arriving at new forms that combine elements of painting, sculpture, puppetry, performance, and pedagogy. Betbeze considers the ephemerality of lived experience alongside the supposed deathlessness of artistic creation.
Betbeze’s process of experimentation and chance encodes domestic objects such as rugs and furs with strange, intimate and elemental sensorium. Evoking a world of collapsed time, through the layering elemental processes produces haptic reliefs of sensation. Her works double as paintings and salvaged remains, referencing parallel histories of tapestry-making and maps, while evoking the psychological underpinnings of the formless and abstract object.
Pushing the boundaries of traditional visual conventions, she questions the means through which memory can be materialized, released, and renewed. Betbeze’s works evoke the historical and cultural spaces of the monument, the ruin and the garden.
Domingo Castillo lives and works in Miami. He is an artist who often works collaboratively to produce artwork and films. In 2010, the end / SPRING BREAK, a nomadic pedagogical artist-run project in Miami, FL was co-founded with Patricia Margarita Hernandez and included major contributions by Kathryn Marks and Cristina Farah. In 2013, the gallery Noguchi Breton (F.K.A. Guccivuitton and Versace Versace Versace) was co-founded with Loriel Beltran and Aramis Gutierrez. In 2016 Public Displays of Professionalism (PDP), a transdisciplinary think tank was co-founded with Patricia Margarita Hernandez, and Natalia Zuluaga
Joanna Fiduccia is an art historian, critic, and Assistant Professor of the History of Art at Yale University, where she studies the creative practices behind modern struggles for representation. At Yale, she specializes in European and American modernism and the historical avant-garde, with a focus on the politics and theory of twentieth-century sculpture. Her teaching and research interests include scale; theories and problems of figuration; the history of attention; ornament and abstraction; visual tropes of borders and territories; twentieth-century representations of gender and race; technologies of modeling and simulation; and experimental research practices.
Shaw Osha is a painter and educator based in Olympia, WA and raised in NYC. Her work circles around how conditioning, historical social and atmospheric, impacts individual lives especially the blurred areas where social orders overlap. Shaw maintains studio practices in Seattle and in the Elizabeth Foundation in NYC. She is a member of the faculty at Evergreen College and teaches an interdisciplinary arts curriculum that allows students to study broadly the intersections of intellectual, research and creative activity. She has exhibited work in such venues as the Ali Center in Louisville, KY, The Hedreen Gallery at the Lee Center for the Arts, Seattle University; New York’s Pocket Utopia; and Satellite UNC, Chapel Hill.
Hester Simpson Composing small-scale paintings in acrylic, layered color on color with a seemingly waxy patina, Simpson’s translucent fields hold geometric systems of repetition which self-destruct and re-invent themselves, veering on and off the grid in deceptively vast space.
Simpson concerns herself conceptually with celebrating the ordinary rather than the dramatic. By layering paint, she mimics life’s layering of events. As colors and surface signify moments, so she accumulates time on her canvas. The abstract images before her evolve into a language of memory. “The result,” she states, “is an irregular geometry which acknowledges imperfection, reflecting the lived life.”