Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

Chepe’s work gives off a creative and artistic first impression. He showcases a strong passion for street art, graffiti, and illustrations. The vibrant colors, detailed designs, and unique styles suggest that he has a deep appreciation for visual art and enjoys creating it.

His work reflects a bold, expressive personality, with a focus on creativity and originality. Overall, it gives off a vibe of someone who values artistic expression and enjoys exploring various forms of visual culture.

Jah’Nyah Spencer is an internationally acclaimed Boston-area artistleveraging illustration, muralism, and multimedia portraiture to embolden internal dialogue. While Spencer’s art style ranges from Japanese-inspired cartoons to what she coins “eccentric realism,” a whimsical approach to portraying her subjects. Her work is deeply expressive, commanding, and confrontational, often navigating trauma, life lessons, and self-acceptance. Spencer’s murals can be enjoyed across the Greater Boston Area, as well as in exhibitions from Massachusetts, South Carolina, and Japan.

In my practice, I’ve discovered that art isn’t meant to be a series of definitive answers to specific questions. The purpose of a body of work isn’t to act as a series of final-forms that capture the perfected results of a well-researched experiment– rather, artwork is meant to be a visual representation of the messy, imperfect process one goes through in pursuit of such conclusive answers. A documentation of every question asked, every discovery made, every disappointment and success along the way.

Just like we all listen to stories we already know the ending to, my work centers the journey through ideas rather than the outcome of them– featuring paintings that act as ever-evolving invitations to witness each unique process of exploration.

Marilyn Daniel

Marilyn is a multidisciplinary artist based in Maine, She enjoys switching between ceramics, digital art, and videography, while always keeping painting as a constant. She primarily works in acrylics and her paintings often reflect the creativity of others, whether it’s a live performance by a band or the stillness of an empty practice room. She is heavily inspired by the energy we bring in and the impressions we leave behind.

She has always been creative but only in recent years has she started sharing her work publicly. She has little classic training but instead finds joy in learning from friends, studying on her own, experimenting and following intuition.

Boston based Haitian American multidisciplinary artist, Sophia Dubuisson, known as Phia, has been honing her skills in drawing, painting, and various mediums for the past 10 years.
While completing her high school studies, she discovered a passion for art. Since then, she has paired her love for Art with her fascination with the human mind. In 2021 she graduated from the university of Massachusetts with a B.A. in Psychology.
I blend my portraiture skills with my experience in my field of study to bring about the perfect marriage of her two passions on a canvas.
My evolution as an artist is a depiction of the essence of life itself. Dabbling into different mediums in the search of “the” one. Trapping the most basic, yet overly complex thing that is emotions. I challenge my viewers to find themselves, in the visual depictions of my memories on canvas. Representation matters.

My practice explores the tension between progress and collapse within the built and imagined world. Through
constructed fortifications, assemblages, and textured drawings, I examine how civilizations rise and decay:
how architecture, politics, and material form mirror the fragile dance between ambition and vulnerability.
Working with clay, wood, cement, and discarded construction materials, I transform remnants of human
production into symbolic structures that speak to both resilience and ruin.
I am interested in politics embedded within materials. Raw clay, for example, functions as a metaphor for
governance where it begins wet and malleable yet is predetermined to dry and expire. Much like law or
ideology, it shapes and restricts us. My work asks –how much agency do we possess in shaping systems that
seem fated to harden over time?

Drawing from Yi-Fu Tuan’s notion of mythical space and Gaston Bachelard’s Poetics of Space, I see built
environments as matter of psychology, spaces where disillusion and optimism coexist. These ideas inform my
ongoing body of work, which reflects on the ways capitalism and the politics of financial return have eclipsed
wellness and social responsibility in contemporary practice and general society. Everything must be
monetized, and in this process morals and quality begin to decay with inherent algorithmic bias.

Using a personal visual language of abstracted architectural fragments: Textural stylization, brittle façades,
false floors, floating columns, I build installations that oscillate between stability and collapse. Each structure
functions as a poetic ruin: an allegory for the modern condition caught between the euphoria of innovation
and the dread of inevitable decline.

As Tom McGlynn wrote in From the Ruins, Brooklyn Rail, May 2015.
“…given its ideal of progress, the fragmentary nature of modern existence continues to swing perpetually from
the shock of the new to the dread of possible end and back again. Its ruins are not stable representations of the
past but a constantly recycled aggregate of ideals, constructions, habitats, and tools that indict the present
with its historical and potential future demise.”

I find beauty in this pendulum from the tragedies that potential exist through endurance, entropy, and
renewal. I find these ideas quite poetic due to the nature of action and chance. My work situates itself where
utopia and ruin, permanence and impermanence, dream and reality converge.

Fula is a contemporary American artist whose work explores identity through fragmentation, reconstruction, and psychological tension. His paintings exist between figuration and abstraction, where the human form is never fixed but continually shifts reshaped through layered surfaces, distortion, and symbolic weight.

His practice developed outside traditional academic systems, not by design, but by necessity. From that path emerged a visual language that is unfiltered, self-directed, and resistant to imitation. Each work carries this independence, constructed through repetition, revision, and a refusal to resolve too cleanly.

Rather than presenting identity as stable, Fula treats it as something continually dismantled and rebuilt. His compositions operate as internal landscapes where memory, pressure, and perception collide. The painted surface becomes evidence of change of resistance, vulnerability, and the effort to reclaim control.

Working in Lowell, Massachusetts, and exhibiting throughout the Boston area, Fula is developing a body of work rooted in emotionally raw and psychologically driven figuration. His paintings do not seek easy resolution. They remain deliberately unsettled, holding space for the contradictions and tensions that shape how identity is formed, fractured, and reconstructed.

Josh Beckett, a contemporary mixed media artist, draws inspiration from a diverse range of sources including sex, anime, hip hop, and street wear fashion. Through his artwork, Beckett explores the intricacies of human relationships, delving into themes of mental health and authenticity with a blend of sincerity and humor.

Boston based Haitian American multidisciplinary artist, Sophia Dubuisson, known as Phia, has been honing her skills in drawing, painting, and various mediums for the past 10 years. While completing her high school studies, she discovered a passion for art. Since then, she has paired her love for Art with her fascination with the human mind. In 2021 she graduated from the university of Massachusetts with a B.A. in Psychology.

“I blend my portraiture skills with my experience in my field of study to bring about the perfect marriage of her two passions on a canvas. My evolution as an artist is a depiction of the essence of life itself. Dabbling into different mediums in the search of “the” one. Trapping the most basic, yet overly complex thing that is emotions. I challenge my viewers to find themselves, in the visual depictions of my memories on canvas. Representation matters.”

There are 2 main series that I focus on, Cityscapes and Structural/Perception. In my Cityscapes series I portray what a landscape feels like, what I remember about it. I paint everyday urban scenes that have some familiar subject matter, but painted through the eyes of someone from another dimension. I’m using color as value. I’m using alien color schemes.
I’m abstracting scenes, using expressionism and impressionism. I’m not limiting my decision making to stay within the boundaries. When I have an idea, I paint it without a second thought. The first idea is always the most exciting. Which brings in the second series. Structural/Perception series reflects the more personal and emotional side of my work. Each painting, sometimes plastered with collage and cut paper, is another realm I can visit, away from our own dimension.
Some pieces delve deeper into humanity. These structural dimension paintings are linked to current events, life’s trials and tribulations, and primal instincts. Where the cityscapes are more figurative, more outward and are based on my observation and memory.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

Brand Rockwell, aka Brandalizm, a visual storyteller based in the historic city of Boston. His work is heavily influenced by the raw and rebellious nature of graffiti. Through visionary creations, he aims to challenge societal expectations and norms, and instead, pave his own bold and unapologetic path. Each stroke of paint and every intricate detail in his pieces represents a powerful message of personal expression and social commentary. The goal is to ignite a spark within the audience, inciting them to challenge the status quo and embrace their own unique identity.

My work is a continually evolving way of translating my story. As a multidisciplinary artist, I create from instinct, allowing each piece to take shape before ascribing meaning to it. I figure out what it means once the pieces form, often a meditation on reflection and community.
I moved to Boston from Sierra Leone when I was a 12. I’d always been around artists growing up, but it wasn’t until recently that I began to see it as something I could truly call my own. Making art has become a space of calm and discovery for me, a way of weaving together everything that matters to me, influences me, and moves me. Much of my early work was influenced by black culture and women, often depicted in scenes reflective of grace and strength. My work, now it feels, is so obviously a home for my experiences to rest.

Lately, my paintings explore the layered personalities and histories of cats, creatures that have always felt deeply connected to my life. Growing up in Sierra Leone, cats were often our only pets, and they’ve always carried a sense of familiarity and resilience for me. My first painting in this series, Tuxedo Cat, began as a playful response to a friend’s new cat, but quickly became a study in elegance and presence. Subsequent works draw from the Warriors series, stories that revealed cats as fierce, independent beings, symbols of instinct, dignity, and survival. In hindsight, it feels natural that I was drawn to tales of instinct and resilience, qualities reflected in the cats I’ve painted and in the lessons from my West African upbringing while growing up in America. Like the thin line of white on Tuxedo Cat’s face, the boundary between these two worlds was subtle yet defining.

Chepe’s work gives off a creative and artistic first impression. He showcases a strong passion for street art, graffiti, and illustrations. The vibrant colors, detailed designs, and unique styles suggest that he has a deep appreciation for visual art and enjoys creating it.

His work reflects a bold, expressive personality, with a focus on creativity and originality. Overall, it gives off a vibe of someone who values artistic expression and enjoys exploring various forms of visual culture.

Rory Beerits has developed a sculptural style that employs the traditional methods of metalworking and found object assembly as a lens through which to investigate the spiritual power of the natural world. Utilizing decidedly human materials from our anthropocentric era, Beerits reworks these unremarkable artifacts from our environment into icons of animal mythology. His process begins like ritual, focusing deeply on animal anatomy while seeking out specific objects to suit the form and function of the creature. Sourcing materials from junkyards, street corners, and fellow up-cyclers, the seemingly mundane becomes subject to metamorphosis; scythes transform into wings, colanders into scales, wrenches into pincers, and oil drums into feathers. The creatures manifested sit between the immediately identifiable and the otherworldly, invoking the possibilities beyond our constructs of history and memory. Through these objects Beerits reminds us of our great capacity for personal transformation. Like meditations, these vessels combine elements of the everyday, the sublime, and the transcendent to touch upon a sacred space at the crossroads of instinct and intuition.

Youveline Jospeh’s body of work embodies the notion of power, purpose and divinity by both challenging and changing the Black narrative. Society is saturated with negative images of Black men and women via social media, propaganda, news outlets, books etc. Youveline counteracts this by creating beautiful portraits of people of color. Her work places Black people as the subject matter and focal point as they often get overlooked. She believes, positive representation in all aspects of life is essential to solidifying the upcoming generations’ acceptance and love of their individuality. In short, her work is an ever changing visual diary, of her self love and acceptance, trials and tribulations, and growth.

As a painter and muralist, I see color as my way of battling the weight of life’s challenges. Life can be tough, filled with struggle and uncertainty, but through bold, vibrant colors, I find a way to break through that heaviness and create something uplifting. For me, color isn’t just decoration—it’s a force that transforms spaces, uplifts spirits, and offers an escape from the negative energy we all encounter.

Each piece I create, whether a mural that covers an entire wall or a painting on canvas, is a burst of life and energy, meant to remind us that there’s always beauty to be found, even in the midst of difficulty. I use rich, intense hues to express resilience, joy, and hope—things that can feel distant in a world that often feels overwhelming. My work is about creating moments of connection and offering a brief, colorful escape from the chaos. Through color, I want to remind people that there’s always light, always beauty, even when life gets hard.

Elliot’s work explores the human figure as a study of presence, control, and honesty. Using a pen as my primary medium, each line is a commitment—capturing tension, weight, and motion in real time. He is drawn to contrast: strength and softness, exposure and restraint.
He primarily draws women, working in the space between objectification and study—acknowledging desire while insisting on attention, structure, and form. These drawings aren’t about fantasy; they’re about looking closely, holding the gaze, and letting discipline give the body its weight

Maritza Flores (23) is a Mexican-born painter and illustrator whose work flows
between the real and the dreamlike, rooted in magical realism. She blends cultural
memory, personal history, and myth to create art that explores healing, resilience,
and transformation. Her background as an asylum-seeker and survivor of sexual
assault shapes much of her visual narrative, giving voice to trauma, survival, and
rebirth.
Maritza draws deeply from Mexican folklore, memory, and her lived experience to
reclaim agency and rewrite narratives often erased or silenced. Her work uses
subtle symbolism, dreamlike atmospheres, and vivid realism to merge the ordinary
with the uncanny, reflecting the magic of hidden inner worlds through everyday
imagery. This approach echoes the tradition of magical realism in visual art, where
ordinary scenes carry a quiet mysterious depth that invites reflection.
Her art refuses to hide pain but transforms it. Through each painting and
illustration she offers a space to process, heal, and imagine, not just for herself, but
for others who have felt unseen. Maritza’s work stands as testimony that art can
challenge trauma, reclaim identity, and inspire cultural transformation rooted in
vulnerability, memory, and strength

Reilly’s artistic journey began with a childhood fascination for graffiti, a passion he cultivated for over two decades. What started as rebellious expression has evolved into a refined, versatile artistic style. Working professionally in both sanctioned public art and the tattoo industry (15+ years),

His work is featured in prominent local venues such as Trina’s Starlite/Parlor Sports (Somerville), Viale (Cambridge), and B/SPOKE Studios (South Boston). Nationally recognized installations range from the historic 5 Pointz (NYC) to the prestigious Art Basel in Miami.

Boston based Haitian American multidisciplinary artist, Sophia Dubuisson, known as Phia, has been honing her skills in drawing, painting, and various mediums for the past 10 years.
While completing her high school studies, she discovered a passion for art. Since then, she has paired her love for Art with her fascination with the human mind. In 2021 she graduated from the university of Massachusetts with a B.A. in Psychology.
I blend my portraiture skills with my experience in my field of study to bring about the perfect marriage of her two passions on a canvas.
My evolution as an artist is a depiction of the essence of life itself. Dabbling into different mediums in the search of “the” one. Trapping the most basic, yet overly complex thing that is emotions. I challenge my viewers to find themselves, in the visual depictions of my memories on canvas. Representation matters.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

Brand Rockwell, aka Brandalizm, a visual storyteller based in the historic city of Boston. His work is heavily influenced by the raw and rebellious nature of graffiti. Through visionary creations, he aims to challenge societal expectations and norms, and instead, pave his own bold and unapologetic path. Each stroke of paint and every intricate detail in his pieces represents a powerful message of personal expression and social commentary. The goal is to ignite a spark within the audience, inciting them to challenge the status quo and embrace their own unique identity.

My work is a continually evolving way of translating my story. As a multidisciplinary artist, I create from instinct, allowing each piece to take shape before ascribing meaning to it. I figure out what it means once the pieces form, often a meditation on reflection and community.
I moved to Boston from Sierra Leone when I was a 12. I’d always been around artists growing up, but it wasn’t until recently that I began to see it as something I could truly call my own. Making art has become a space of calm and discovery for me, a way of weaving together everything that matters to me, influences me, and moves me. Much of my early work was influenced by black culture and women, often depicted in scenes reflective of grace and strength. My work, now it feels, is so obviously a home for my experiences to rest.

Lately, my paintings explore the layered personalities and histories of cats, creatures that have always felt deeply connected to my life. Growing up in Sierra Leone, cats were often our only pets, and they’ve always carried a sense of familiarity and resilience for me. My first painting in this series, Tuxedo Cat, began as a playful response to a friend’s new cat, but quickly became a study in elegance and presence. Subsequent works draw from the Warriors series, stories that revealed cats as fierce, independent beings, symbols of instinct, dignity, and survival. In hindsight, it feels natural that I was drawn to tales of instinct and resilience, qualities reflected in the cats I’ve painted and in the lessons from my West African upbringing while growing up in America. Like the thin line of white on Tuxedo Cat’s face, the boundary between these two worlds was subtle yet defining.

Chepe’s work gives off a creative and artistic first impression. He showcases a strong passion for street art, graffiti, and illustrations. The vibrant colors, detailed designs, and unique styles suggest that he has a deep appreciation for visual art and enjoys creating it.

His work reflects a bold, expressive personality, with a focus on creativity and originality. Overall, it gives off a vibe of someone who values artistic expression and enjoys exploring various forms of visual culture.

 

Rory Beerits has developed a sculptural style that employs the traditional methods of metalworking and found object assembly as a lens through which to investigate the spiritual power of the natural world. Utilizing decidedly human materials from our anthropocentric era, Beerits reworks these unremarkable artifacts from our environment into icons of animal mythology. His process begins like ritual, focusing deeply on animal anatomy while seeking out specific objects to suit the form and function of the creature. Sourcing materials from junkyards, street corners, and fellow up-cyclers, the seemingly mundane becomes subject to metamorphosis; scythes transform into wings, colanders into scales, wrenches into pincers, and oil drums into feathers. The creatures manifested sit between the immediately identifiable and the otherworldly, invoking the possibilities beyond our constructs of history and memory. Through these objects Beerits reminds us of our great capacity for personal transformation. Like meditations, these vessels combine elements of the everyday, the sublime, and the transcendent to touch upon a sacred space at the crossroads of instinct and intuition.

An Afro-Cuban Artist born in South Florida and shaped by Boston’s streets, Yotron’s artistic journey began with graffiti, where he found expression through markers and slaps. Over time, Yotron evolved from posting these works around the city to framing them as art. Completely self-taught, he draws inspiration from within, channeling the emotional depth and resilience forged by life’s challenges. Yotron’s purpose is to create and share art with the world, transforming raw experience into visual expression.

Youveline Jospeh’s body of work embodies the notion of power, purpose and divinity by both challenging and changing the Black narrative. Society is saturated with negative images of Black men and women via social media, propaganda, news outlets, books etc. Youveline counteracts this by creating beautiful portraits of people of color. Her work places Black people as the subject matter and focal point as they often get overlooked. She believes, positive representation in all aspects of life is essential to solidifying the upcoming generations’ acceptance and love of their individuality. In short, her work is an ever changing visual diary, of her self love and acceptance, trials and tribulations, and growth.

Elena Campos, Catherine Delio, YaQI Cai, Mia Rose, August Sunseri, Jinju Stanalucia, Abby Frank

CORE, presented by Glitch Collective, aims to build an alternative model for the
traditional gallery space. As working and emerging artists from the School of the
Museum of Fine Arts, we strive to access the innermost ideologies that fuel our desire
to create.
This show is in conversation with the Senior Thesis program at SMFA, challenging
ideas of institution and elitism. Our work deals with contemporary craft, as we question
what it means to bring fine art out of the white wall space and into a more dynamic
environment. The art world does not have to be exclusive – CORE emphasizes
accessibility and learning from those around us, accruing layers as we move throughout
the world.

Catherine DiLeo thinks about organizing information. She works primarily with fiber arts,
found objects, and drawing to create careful displays which showcase repetition. Grids
have been of particular interest to Catherine. The grid is everywhere in our world. It’s a
visual guide for its own construction – the mass manufacture of bent iron, or delicacy of
handwoven linen. However, the grid is often masked, in that it holds anti-sensual
information. It is a simple but rich structure: an interpreter, a transmitter, a template. The
grid is a great example of a space that is easy to describe, but difficult to fully
understand. Catherine wants to explore other spaces of this type – how can we
construct them, and how can we understand the rules that govern them?

Mia Rose
I aim to investigate the effectiveness of art in exploring childhood trauma across
mediums by drawing on concepts from art therapy. I approach trauma through a
personal lens, as my practice is led by the exploration of my phobia of insects and the
intrapersonal relationship with my sexuality as a Latina woman. The repetitive
fiber-based techniques of my process suit the investigation of my dreams, memories,
and lived experiences, forcing me to sit with them for extended periods of time. Having
strong emotional responses to the tactility of the materials I work with make them
comforting vehicles that allow me to confront my traumatic experiences, allowing them
to become extensions of myself that let me attempt to regain control over my mind and
body. Equally, exploring nostalgic concepts of home, family, and my Colombian culture
are essential to my world building. Through engaging with feminist craft, I seek to create
dialogue between traditional associations related to craft and the contemporary
approaches crucial to my practice. The presence of abstraction in my work embodies
different aspects of trauma, as I aim to inspire people to engage with their own emotions
through interacting with my work. I aspire to foster connections with those dealing with
trauma to create avenues for them to explore their own narratives and heal in more
meaningful ways.

Jinju Santalucia
I foster an alternate universe. Experiences are alive in my work, and conjoin to create a
mythology of figures concerned with the seams and edges of their intersections. With
this in mind, the idea of bodies expands to include plants, animals and found objects
existing in hybrid conjunction with humanity. They are often morphed together in ways
that respond to my personal hybridity through the lenses of race, sex, and gender,
forming a narrative of raw emotion that reaches beyond the body.
To consider materiality is to consider past lives. As I retain memory, so do the found
objects and materials I manipulate. My practice aims to deconstruct the clarity of
physical materials in order to align them with the complexities of emotion. While my
basis for creation resides in painting, my process is expanded by medium and
technique exploration. I’m interested in physical and implied texture through the layering
of materials, and seek to confuse viewers in terms of what exists above, beneath, and in
between.
I present myself through a repetition of canine hybrids. These become a vessel through
which I translate my own life. Dogs are significant because they have evolved alongside
human beings, domesticated in our footsteps. As a species we have curated them to be
reliant on us for survival, tied together by love, loyalty and protection. By investigating
this relationship, I am able to translate my own dependencies on others. I consider the
permeability of bodies and the ways in which their spaces of overlap can reveal
intangible truths.

Abby Frank
Abby Frank is an interdisciplinary artist that focuses her practice on ceramic works that
reflect her interactions with clay as ecological and geologic material. She creates animated organic vessels inspired by the natural world. Her work often includes fluid
strokes of clay on the body of the vessel to emulate the flow of water within the
ecosystem of each piece, calling to the way clay was originally formed in conversation
with the medium. Clay is soil that is usually found in or around areas where there are
streams. To emulate the flow of water within the ecosystem of each piece, she intuitively
sculpts dynamic patterns and textural forms that present as fluid strokes of clay on the
body of vessels. Collaborating with the kiln and wheel, she creates functional vessels
that are made to be held, or to hold a person.

——
Elena Campos
My work is a presentation of my personal conceptions of objects and the space they
occupy, with a focus on the ambiguity of representational and imaginative space. I’m
using distorted representations of objects in order to set up a window for contemplation
into not only the mundane, unnoticed, and forgotten items we carry with us, but also
how objects alter the way we interact in these spaces, what worlds we imagine in order
to fuse the two, and what happens to the space when scale is distorted. I work through
these thoughts by making delicate and small things, as I’m captivated by the fragility of
these ideas. Through minimizing, there is an ability to condense concepts and control
them, while still having this unique ability to enlarge the environment around the object.
There is an implication of care as well as an invitation to look closer.

Yaqi Cai

Yaqi (it/its) uses digital fabrication to translate industrial forms—kiln posts, paper plates,
ceramics transmission tower insulators—into uncanny, labor-intensive reproductions.
Working across digital modelling, mold-making, and slipcasting, it creates extruded kiln
furniture, slipcast robot cats, and fermentation jars. Through material hybridization and
ritual failure, its practice transforms everyday forms into absurd artifacts—meditating on
food, waste, and a speculative robot cat future.

August Sunseri
August Sunseri is a Los Angeles based artist whose practice is grounded in painting
and drawing. Their work seeks to provide audiences with more questions than answers
with the intention of reflecting thought loops and ruminations. These paintings are
intended to be hazy in what they depict, containing figures that could be people, spirits,
or corpses. Regardless of their state of being, these figures each appear to be deep in
contemplation. Perhaps they are haunted by their memories, perhaps content in sitting
in the stillness that surrounds them.

——

There are 2 main series that I focus on, Cityscapes and Structural/Perception. In my Cityscapes series I portray what a landscape feels like, what I remember about it. I paint everyday urban scenes that have some familiar subject matter, but painted through the eyes of someone from another dimension. I’m using color as value. I’m using alien color schemes.
I’m abstracting scenes, using expressionism and impressionism. I’m not limiting my decision making to stay within the boundaries. When I have an idea, I paint it without a second thought. The first idea is always the most exciting. Which brings in the second series. Structural/Perception series reflects the more personal and emotional side of my work. Each painting, sometimes plastered with collage and cut paper, is another realm I can visit, away from our own dimension.
Some pieces delve deeper into humanity. These structural dimension paintings are linked to current events, life’s trials and tribulations, and primal instincts. Where the cityscapes are more figurative, more outward and are based on my observation and memory.

 

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

Ananda Toulon is an interdisciplinary artist/muralist and curator in the Greater Boston Area. With a niche for magical realism that is memory forward. She uses whimsical dreamy acrylic palettes to tackle her heaviest feelings. Capturing a surreal telling of where she is and wants to be. She is transparent and intentional with her intuition especially about the journey. Making something that is once completed, is completely up to viewer interpretation.Drawing inspiration from her deepest interactions both new and old, becoming a museum of her relationships in love and grief. There is something for everyone in a sentimental sense. She plants easter eggs of her trails reflected in emotional landscaping(sometimes literal nature). Everything is relative in her symbolism from the comedy to tragedy, exploration of self to rebellion and most importantly returning to play with your inner child/ healing your inner teenager . She celebrates her found family she takes pride in the relationships she makes.

I am an experimental fiber and mixed media artist who creates sculptures and installations. At the core of my work is the idea of duality and deconstruction in both processes and themes. I find inspiration by experimenting with my approach and gravitating toward materials with uncontrollable natures. I seek them out because I want to learn to work with them rather than fight against them and find the forms held within; I use methods such as twisting wire and yarn, hand dyeing with natural dyes, and other experimental processes to sculpt fibers and fabrics into branching forms. I use abstraction to embody the often overwhelming and complex natures of thoughts and emotions and show the messiness, darkness, and humor inherent in them. By combining elements of expressionism, abstraction, and surrealism, I aim to express the internal thorough representations of the external, find the beauty in the ugly, and distort the mundane to bring out its inherent strangeness. I ground these more abstract and conceptual elements with reminders of physicality and humanity to represent the connection between the physical and mental. My goal is to invite the viewer into a place of discomfort that encourages reflection on their physicality and the emotional processes of their conscious mind.

Brand Rockwell, aka Brandalizm, a visual storyteller based in the historic city of Boston. His work is heavily influenced by the raw and rebellious nature of graffiti. Through visionary creations, he aims to challenge societal expectations and norms, and instead, pave his own bold and unapologetic path. Each stroke of paint and every intricate detail in his pieces represents a powerful message of personal expression and social commentary. The goal is to ignite a spark within the audience, inciting them to challenge the status quo and embrace their own unique identity.

Our current aesthetic language is defined by the photography and videos we consume, and post, online. We live publicly and share more of our lives than ever before, collectively posting over a billion photographs and videos on social media each day. Because of this, the way we live, and relate is changing.

More of our time is spent interacting through the filter of an algorithm. However, the algorithms that run so much of our lives have a hard time understanding us. They operate with the biases of their creators. They tend towards simple answers when situations demand intricacy. They have a hard time with unexpected, or new information. The struggles of our machines parallel our own, and that feels like an interesting point of entry for some exploration about the destruction our misunderstandings cause, or the chaos and confusion that is inside each of us.

My paintings are collaborative efforts to explore the rapidly changing dynamics of our relationships, control, and the disconnect between our digital and real world lives.

Each series is created by posting prompts online. People are invited to respond to the ideas posted by visiting the studio to have their reactions recorded, or by photographing themselves. These images and videos are collected and arranged into digital compositions. Heavily manipulated, often going so far as to corrupt the source code resulting in glitched imagery, these compositions are used as source material for the paintings.

Rory Beerits has developed a sculptural style that employs the traditional methods of metalworking and found object assembly as a lens through which to investigate the spiritual power of the natural world. Utilizing decidedly human materials from our anthropocentric era, Beerits reworks these unremarkable artifacts from our environment into icons of animal mythology. His process begins like ritual, focusing deeply on animal anatomy while seeking out specific objects to suit the form and function of the creature. Sourcing materials from junkyards, street corners, and fellow up-cyclers, the seemingly mundane becomes subject to metamorphosis; scythes transform into wings, colanders into scales, wrenches into pincers, and oil drums into feathers. The creatures manifested sit between the immediately identifiable and the otherworldly, invoking the possibilities beyond our constructs of history and memory. Through these objects Beerits reminds us of our great capacity for personal transformation. Like meditations, these vessels combine elements of the everyday, the sublime, and the transcendent to touch upon a sacred space at the crossroads of instinct and intuition.

There are 2 main series that I focus on, Cityscapes and Structural/Perception. In my Cityscapes series I portray what a landscape feels like, what I remember about it. I paint everyday urban scenes that have some familiar subject matter, but painted through the eyes of someone from another dimension. I’m using color as value. I’m using alien color schemes.
I’m abstracting scenes, using expressionism and impressionism. I’m not limiting my decision making to stay within the boundaries. When I have an idea, I paint it without a second thought. The first idea is always the most exciting. Which brings in the second series. Structural/Perception series reflects the more personal and emotional side of my work. Each painting, sometimes plastered with collage and cut paper, is another realm I can visit, away from our own dimension.
Some pieces delve deeper into humanity. These structural dimension paintings are linked to current events, life’s trials and tribulations, and primal instincts. Where the cityscapes are more figurative, more outward and are based on my observation and memory.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

Brand Rockwell, aka Brandalizm, a visual storyteller based in the historic city of Boston. His work is heavily influenced by the raw and rebellious nature of graffiti. Through visionary creations, he aims to challenge societal expectations and norms, and instead, pave his own bold and unapologetic path. Each stroke of paint and every intricate detail in his pieces represents a powerful message of personal expression and social commentary. The goal is to ignite a spark within the audience, inciting them to challenge the status quo and embrace their own unique identity.

Blanco’s archival ink paintings explore the tension between order and chaos. Expressive and energetic ink is layered on top of a rubber resist,  blending colors and creating organic forms while defining precise shapes and geometric outlines. Drawing from Cuban elements and folklore, this painting depicts a daughter of Yemayá, an Orisha of Santería. Daughters of Yemayá have ties to the sea, are strong and maternal protectors, and have a compassionate spirit. The shrimp is a nod to José Martí’s cautionary tale, El Camarón Encantado. Combined, they represent a facet of Cuban identity.

Meanwhile…

Brian Huntress is a Boston-based mixed media artist and songwriter whose punk-inspired, high-energy creations captivate millions weekly. Known for time-lapse videos blending original, full-studio productions with expressive, darkly whimsical art, Huntress crafts a visceral experience through sound and visuals. His music, written and produced with the grit of early punk, infuses his visual work with raw intensity.

Theodora Earthwurms is a mixed media artist, curator, arts administrator, writer, and journalist based out of Boston, MA. She is also the cohost of Boston Art Podcast, a weekly release covering arts and culture in New England. Earthwurms’ work focuses on themes of gender experience, mental health, emotional expression, and personal documentation.

Duane Lucia is a Boston based mixed media artist, curator and filmmaker whose work is predominantly figurative. A recent show, “Urban Edge” in February 2024, featured sculptureand paintings made from upcycled organic materials found in his Fort Point neighborhood. “I often stumble upon discarded objects like wood, metal, furniture, glass, etc. that have unique qualities which resonate with me,” says Lucia, “I then take these objects and manipulate them to create a narrative art piece.”
Lucia is also owner and co-founder of Gallery East, an online pop-up venture. He has curated hundreds of exhibitions since opening the gallery in 1979 when it occupied 5000sq ft in the Leather District. From 2010 to 2017 he was the curator of exhibits at the West End Museum.His 90-minute documentary, All Ages premiered at the IFFB in 2012 and has shown at film festivals around the world. He also helped research Leonard Nimoy’s Boston in 2016 and is currently working on a three-part documentary about Urban Renewal in the 1950s, as well as an oral history project on the Fort Point arts community. Lucia’s current body of work called
“Gods and Myth” borrows from beliefs and images of Greek.

Kalin Marshall is a clay sculptor weaving narratives of women’s strength, historical depth, and the raw emotion of motherhood into each creation. Crafted with care and adorned with thrifted jewels, Marshall’s pieces become storied tapestries in clay, celebrating femininity’s enduring grace. An advocate for sustainable artistry, her innovative use of recycled materials invites reflection on beauty’s second life. Kalin’s evocative representations captivate viewers, her exhibitions speaking to shared experiences and the unspoken bonds of womanhood. As an artist, she not only sculpts form but also sculpts thought, creating a space where material meets maternal legacy.

I only paint what i feel is an Snapshot of my current life. What I love about painting is the attempt at that, even if it ends up in a landfill or in someones house. Every single line that was put down was an attempt at creating something that is hard to put into words, an experience, an auto biography of experiences. I love that I’m not alone in this, that I have an opportunity to express and not only that but to show people who don’t know me or my work a glimpse into my life. Thank you

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

ABOUT THE ARTIST
Marc Clamage attended the Tyler School of Art and then Boston University for his MFA. He
also studied at the Art Students’ League with David Leffel and the National Academy of Design
with Harvey Dinnerstein.
Mr. Clamage shows occasionally in galleries throughout the New England area. His most recent
major show was the Cambridge Art Association National Prize Show; he did not, however, win a
prize. Mr. Clamage has had one man shows in Rhode Island, Connecticut, and Massachusetts.
Mr. Clamage’s series of oil portraits, “Panhandlers of Harvard Square,” was featured in the Boston
Globe Sunday Magazine. Almost 60 portraits were painted from life on the streets of Cambridge;
the full series may be viewed at the artist’s website, IPaintWhatISee.com, or is available in print from
Lulu.com.
ARTIST’S STATEMENT
There are basically two kinds of artists: those who look inside themselves for inspiration, and those

who look outside themselves. I belong emphatically in the second group. I am not interested in self-
expression or self-exploration. I am interested in other-expression.

I consider myself a representational artist. By that I mean I paint what I see, only what I see, only
with it directly in front of me, in the moment. I work exclusively from life, premier coup, plein air, alla
prima,. I do not work from photographs, or memory, or imagination, or even from sketches; only
from life.
My intent as an artist is to experience visual reality at the source and convey that experience to the
viewer as directly, honestly and expressively as I can. It is to carve a bleeding chunk of visual reality
out of its surroundings and slap it down on a scrap of canvas.
ABOUT THESE PAINTINGS
I have been owned by cats for almost fifty years now. This is my daughter’s cat, Greta, who came to
live with us after college. Our two female cats at the time refused to give her the time of day, but our
male cat fell in love with her.
Cat personalities are as unique and varied as the human kind. Cats are people.
I collect skulls so when this skull was discovered in my neighbor’s garden, she called me in a panic.
It holds pride of place on my shelf between a caracal and a cheetah.

Kalin Marshall is a clay sculptor weaving narratives of women’s strength, historical depth, and the raw emotion of motherhood into each creation. Crafted with care and adorned with thrifted jewels, Marshall’s pieces become storied tapestries in clay, celebrating femininity’s enduring grace. An advocate for sustainable artistry, her innovative use of recycled materials invites reflection on beauty’s second life. Kalin’s evocative representations captivate viewers, her exhibitions speaking to shared experiences and the unspoken bonds of womanhood. As an artist, she not only sculpts form but also sculpts thought, creating a space where material meets maternal legacy.

I only paint what i feel is an Snapshot of my current life. What I love about painting is the attempt at that, even if it ends up in a landfill or in someones house. Every single line that was put down was an attempt at creating something that is hard to put into words, an experience, an auto biography of experiences. I love that I’m not alone in this, that I have an opportunity to express and not only that but to show people who don’t know me or my work a glimpse into my life. Thank you

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

ABOUT THE ARTIST
Marc Clamage attended the Tyler School of Art and then Boston University for his MFA. He
also studied at the Art Students’ League with David Leffel and the National Academy of Design
with Harvey Dinnerstein.
Mr. Clamage shows occasionally in galleries throughout the New England area. His most recent
major show was the Cambridge Art Association National Prize Show; he did not, however, win a
prize. Mr. Clamage has had one man shows in Rhode Island, Connecticut, and Massachusetts.
Mr. Clamage’s series of oil portraits, “Panhandlers of Harvard Square,” was featured in the Boston
Globe Sunday Magazine. Almost 60 portraits were painted from life on the streets of Cambridge;
the full series may be viewed at the artist’s website, IPaintWhatISee.com, or is available in print from
Lulu.com.
ARTIST’S STATEMENT
There are basically two kinds of artists: those who look inside themselves for inspiration, and those

who look outside themselves. I belong emphatically in the second group. I am not interested in self-
expression or self-exploration. I am interested in other-expression.

I consider myself a representational artist. By that I mean I paint what I see, only what I see, only
with it directly in front of me, in the moment. I work exclusively from life, premier coup, plein air, alla
prima,. I do not work from photographs, or memory, or imagination, or even from sketches; only
from life.
My intent as an artist is to experience visual reality at the source and convey that experience to the
viewer as directly, honestly and expressively as I can. It is to carve a bleeding chunk of visual reality
out of its surroundings and slap it down on a scrap of canvas.
ABOUT THESE PAINTINGS
I have been owned by cats for almost fifty years now. This is my daughter’s cat, Greta, who came to
live with us after college. Our two female cats at the time refused to give her the time of day, but our
male cat fell in love with her.
Cat personalities are as unique and varied as the human kind. Cats are people.
I collect skulls so when this skull was discovered in my neighbor’s garden, she called me in a panic.
It holds pride of place on my shelf between a caracal and a cheetah.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

 

There are 2 main series that I focus on, Cityscapes and Structural/Perception. In my Cityscapes series I portray what a landscape feels like, what I remember about it. I paint everyday urban scenes that have some familiar subject matter, but painted through the eyes of someone from another dimension. I’m using color as value. I’m using alien color schemes.
I’m abstracting scenes, using expressionism and impressionism. I’m not limiting my decision making to stay within the boundaries. When I have an idea, I paint it without a second thought. The first idea is always the most exciting. Which brings in the second series. Structural/Perception series reflects the more personal and emotional side of my work. Each painting, sometimes plastered with collage and cut paper, is another realm I can visit, away from our own dimension.
Some pieces delve deeper into humanity. These structural dimension paintings are linked to current events, life’s trials and tribulations, and primal instincts. Where the cityscapes are more figurative, more outward and are based on my observation and memory.

 

Through my artistic practice, I work to celebrate life’s subtle intricacies. I elevate the ordinary and shed light on the overlooked and the underrepresented. In a world that often rushes past the beauty of the mundane, my work stands as a reminder that all of life’s moments are meant to be cherished, shared, and celebrated. From reimagining everyday objects to amplifying unheard narratives, my work is a celebration of diversity and a call to embrace even our smallest shared experiences.

I am an experimental fiber and mixed media artist who creates sculptures and installations. At the core of my work is the idea of duality and deconstruction in both processes and themes. I find inspiration by experimenting with my approach and gravitating toward materials with uncontrollable natures. I seek them out because I want to learn to work with them rather than fight against them and find the forms held within; I use methods such as twisting wire and yarn, hand dyeing with natural dyes, and other experimental processes to sculpt fibers and fabrics into branching forms. I use abstraction to embody the often overwhelming and complex natures of thoughts and emotions and show the messiness, darkness, and humor inherent in them. By combining elements of expressionism, abstraction, and surrealism, I aim to express the internal thorough representations of the external, find the beauty in the ugly, and distort the mundane to bring out its inherent strangeness. I ground these more abstract and conceptual elements with reminders of physicality and humanity to represent the connection between the physical and mental. My goal is to invite the viewer into a place of discomfort that encourages reflection on their physicality and the emotional processes of their conscious mind.

Brand Rockwell, aka Brandalizm, a visual storyteller based in the historic city of Boston. His work is heavily influenced by the raw and rebellious nature of graffiti. Through visionary creations, he aims to challenge societal expectations and norms, and instead, pave his own bold and unapologetic path. Each stroke of paint and every intricate detail in his pieces represents a powerful message of personal expression and social commentary. The goal is to ignite a spark within the audience, inciting them to challenge the status quo and embrace their own unique identity.

Chepe’s work gives off a creative and artistic first impression. He showcases a strong passion for street art, graffiti, and illustrations. The vibrant colors, detailed designs, and unique styles suggest that he has a deep appreciation for visual art and enjoys creating it.

His work reflects a bold, expressive personality, with a focus on creativity and originality. Overall, it gives off a vibe of someone who values artistic expression and enjoys exploring various forms of visual culture.

 

In Chamoru, the phrase for turning on the light is “na’lå’la i kandet,” which translates to “give life to the light.” The series of five paintings in my Na’lå’la series seeks to capture a sense of light, inspired in part by Dutch portraits. The paintings integrate human and floral subjects. They are quiet and emotive, yet vibrant and dynamic. Abstract calligraphic movements hint at architectural forms. Designed to be experienced in person, the paintings feature rich textures and fluorescent highlights, enhancing their visual impact and depth.

Blanco’s archival ink paintings explore the tension between order and chaos. Expressive and energetic ink is layered on top of a rubber resist,  blending colors and creating organic forms while defining precise shapes and geometric outlines. Drawing from Cuban elements and folklore, this painting depicts a daughter of Yemayá, an Orisha of Santería. Daughters of Yemayá have ties to the sea, are strong and maternal protectors, and have a compassionate spirit. The shrimp is a nod to José Martí’s cautionary tale, El Camarón Encantado. Combined, they represent a facet of Cuban identity.

Meanwhile…

Rory Beerits has developed a sculptural style that employs the traditional methods of metalworking and found object assembly as a lens through which to investigate the spiritual power of the natural world. Utilizing decidedly human materials from our anthropocentric era, Beerits reworks these unremarkable artifacts from our environment into icons of animal mythology. His process begins like ritual, focusing deeply on animal anatomy while seeking out specific objects to suit the form and function of the creature. Sourcing materials from junkyards, street corners, and fellow up-cyclers, the seemingly mundane becomes subject to metamorphosis; scythes transform into wings, colanders into scales, wrenches into pincers, and oil drums into feathers. The creatures manifested sit between the immediately identifiable and the otherworldly, invoking the possibilities beyond our constructs of history and memory. Through these objects Beerits reminds us of our great capacity for personal transformation. Like meditations, these vessels combine elements of the everyday, the sublime, and the transcendent to touch upon a sacred space at the crossroads of instinct and intuition.

Boston based Haitian American multidisciplinary artist, Sophia Dubuisson, known as Phia, has been honing her skills in drawing, painting, and various mediums for the past 10 years.
While completing her high school studies, she discovered a passion for art. Since then, she has paired her love for Art with her fascination with the human mind. In 2021 she graduated from the university of Massachusetts with a B.A. in Psychology.
I blend my portraiture skills with my experience in my field of study to bring about the perfect marriage of her two passions on a canvas.
My evolution as an artist is a depiction of the essence of life itself. Dabbling into different mediums in the search of “the” one. Trapping the most basic, yet overly complex thing that is emotions. I challenge my viewers to find themselves, in the visual depictions of my memories on canvas. Representation matters.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.

I am an experimental fiber and mixed media artist who creates sculptures and installations. At the core of my work is the idea of duality and deconstruction in both processes and themes. I find inspiration by experimenting with my approach and gravitating toward materials with uncontrollable natures. I seek them out because I want to learn to work with them rather than fight against them and find the forms held within; I use methods such as twisting wire and yarn, hand dyeing with natural dyes, and other experimental processes to sculpt fibers and fabrics into branching forms. I use abstraction to embody the often overwhelming and complex natures of thoughts and emotions and show the messiness, darkness, and humor inherent in them. By combining elements of expressionism, abstraction, and surrealism, I aim to express the internal thorough representations of the external, find the beauty in the ugly, and distort the mundane to bring out its inherent strangeness. I ground these more abstract and conceptual elements with reminders of physicality and humanity to represent the connection between the physical and mental. My goal is to invite the viewer into a place of discomfort that encourages reflection on their physicality and the emotional processes of their conscious mind.

Chepe’s work gives off a creative and artistic first impression. He showcases a strong passion for street art, graffiti, and illustrations. The vibrant colors, detailed designs, and unique styles suggest that he has a deep appreciation for visual art and enjoys creating it.

His work reflects a bold, expressive personality, with a focus on creativity and originality. Overall, it gives off a vibe of someone who values artistic expression and enjoys exploring various forms of visual culture.

Dave “Croc” O’Connor is a Boston, Massachusetts based visual artist who primarily paints canvases and murals with spray paint as his medium of choice. In 2013, he fell in love with graffiti while attending college in Washington, D.C.. Since then, he incorporates techniques of the art form into his paintings with letters, vibrant colors, flares, and drips. Croc’s goal is to evoke feelings of youthfulness and inspiration. He often uses a bright color pallet paired with bold outlines. He strives to develop a style that is considered not only great as graffiti, but also, as contemporary art.

Rory Beerits has developed a sculptural style that employs the traditional methods of metalworking and found object assembly as a lens through which to investigate the spiritual power of the natural world. Utilizing decidedly human materials from our anthropocentric era, Beerits reworks these unremarkable artifacts from our environment into icons of animal mythology. His process begins like ritual, focusing deeply on animal anatomy while seeking out specific objects to suit the form and function of the creature. Sourcing materials from junkyards, street corners, and fellow up-cyclers, the seemingly mundane becomes subject to metamorphosis; scythes transform into wings, colanders into scales, wrenches into pincers, and oil drums into feathers. The creatures manifested sit between the immediately identifiable and the otherworldly, invoking the possibilities beyond our constructs of history and memory. Through these objects Beerits reminds us of our great capacity for personal transformation. Like meditations, these vessels combine elements of the everyday, the sublime, and the transcendent to touch upon a sacred space at the crossroads of instinct and intuition.

Meanwhile…

Alz joins Black Walls Gallery as guest curator to open its very first fine art show with Perception Vs. Perspective on Thursday, August 17, 2024.

Alz’s artistic vision is deeply rooted in figurative expressionism, captivating audiences with evocative portrayals that delve into the dynamics of power and relationships. With a masterful command of form and color, Alz skillfully conveys the intricate interplay between vulnerability and strength, intimacy and distance.

Viewers are invited to contemplate the complexities of human connection and the profound influence of gender dynamics on society. His work serves as a mirror to the human experience, inviting reflection and dialogue on themes of identity, power, and desire.