Kevin Umaña did not plan on becoming the artist he is today. His path moved through architecture school, printmaking, photography, graffiti, ceramics, construction jobs, and years of uncertainty before arriving at the hybrid ceramic paintings he is now known for. For Umaña, the work developed less from a single vision and more from persistence, experimentation, […]
Mason Dowling approaches painting like a risk. Not in theory, but in practice, where each move has the potential to undo everything that came before it. There is no fixed image he is working toward, no clean endpoint. The work is built through a series of decisions that could just as easily collapse the painting
There’s a moment in talking to Noel W. Anderson where everything shifts from art as object to art as something closer to confession. Not performance, not presentation, but release. For him, making work isn’t about building toward a career milestone or chasing validation. It’s about leaving something behind so it doesn’t follow you. Something you
There’s a belief in Madjeen Isaac’s work that the world, as it exists, is not fixed. That it can be reimagined, reassembled, and cared for differently. Her paintings don’t just depict environments; they propose them. Born, raised, and based in Brooklyn, Isaac builds immersive, layered scenes that draw from her Haitian American identity, her upbringing
There is a moment early on where Sam Brandon admits something that feels both fragile and absolute. He says it feels like he has put all his eggs in one basket, pursuing art as the only thing he is interested in at this point in his life. What follows is not hesitation but a kind
Amy Bravo’s work unfolds as a raw, layered exploration of emotion, memory, and identity. An ever-evolving practice rooted in intuition, material history, and lived experience. Raised between Queens and New Jersey, Bravo draws deeply from her upbringing, where domestic spaces, family objects, and cultural inheritance shaped her earliest understanding of creativity. Her work today still
Cathleen Clarke has always been drawn to the spaces where memory begins to thin out. Not the sharp, documentary version of the past, but the gaps that form over time. The voids. The moments that cannot be fully retrieved. She is interested in what happens next, when imagination steps in to fill what is missing.
Originally from New Orleans, Louisiana, Hill Spriggins has been living and working in Brooklyn, New York for the past seven years. She identifies herself simply and decisively as a painter. While people often ask whether she draws, photographs, or works in other mediums, her answer is consistent. Painting is her focus, the only practice she
Caroline Absher describes painting with oils as “the most enjoyable thing in the world,” it’s a way of living inside the material rather than controlling it. For her, oil paint is not something to be mastered through precision or restraint. It is something that wants to move, to change, to figure itself out. Control enters
Nancy Goldring remembers her first studio vividly. It was not a grand loft in New York or a well-lit atelier in Italy, but a corner of her family’s basement in St. Louis, Missouri. She was a child, and her mother, wanting to keep her occupied, gave her a small space to call her own. “My
