6 x 6 x 4 inch
wool, wood, live video rendering, custom networking software co-authored with claude code, openWeatherMap api, AWS Health Dashboard, html and css, raspberry pi 5, LCD screen, nvidia 5090
volumetric cloud rendering references
Three Volumetric Clouds by Farazz Shaikh https://github.com/FarazzShaikh/three-volumetric-clouds
Nubis Evolved by Andrew Schneider https://www.guerrilla-games.com/read/nubis-evolved
live interactive link
https://altheamrao.github.io/projects/strike
Description
On March 1, 2026, drone strikes hit three Amazon Web Services (AWS) facilities in the United Arab Emirates and Bahrain, marking the first publicly confirmed military attack on a hyperscale cloud provider. The strikes targeted the data centers’ role in supporting U.S. military and intelligence networks. Beyond this specific military function, however, data centers and their related infrastructure also exert a chokehold on civilian technological development and on the conditions of everyday life. The heavily guarded and proprietary cloud holds hostage people’s data, memory, and intelligence. Few of us have access to these buildings; we usually see them in ads or news.
This distance is part of the cloud’s power. Since the early 1990s, the tech industry has appropriated the word cloud to describe a technical system that benefits from the atmospheric, diffuse, and seemingly immaterial associations the term evokes. Yet the cloud is not abstract. It is physical, territorial, resource-intensive, and vulnerable.
minor implosion (2026) takes up this tension between metaphor and materiality. The work features a digitally rendered volumetric cloud in virtual space, driven by real-time weather data from Bahrain and the UAE, as well as health data from the AWS Health Dashboard. Visitors can scan a QR code or visit altheamrao.github.io/projects/strike to drop a missile onto the digital cloud and watch it recover over time. In translating the attack on cloud infrastructure into an interactive simulation, the work collapses the distance between remote military violence, planetary computation, and the symbolic language through which the cloud has been made to appear natural, inevitable, and untouchable.
Bio
Althea Rao is an artist and researcher working critically with data as infrastructure, participatory systems and multispecies intelligence. Her practice explores the intersection of computation, materiality, performance and collective agency, often engaging audiences in playful, embodied interactions that challenge dominant narratives and systemic power structures.
Rao has lived and worked in China, Japan, and the U.S., with a background in journalism, media arts, and filmmaking. She holds PhD of Digital Arts and Experimental Media from University of Washington, and her work has been supported by fellowships and residencies at tiat x Mozilla Foundation, the Coalesce Center of Biological Arts, Seattle Opera, MIT Feminist Future(s) Hackathon, Theater MITU Hybrid Art Lab, More Art, Artspace New Haven, Flaherty Film Seminar, NYFA, Signal Culture, and Halcyon Arts Lab.
In addition to her artistic practice, she writes for Chinese readers about gender justice and translates manifestos, film scripts, poetry and resources for domestic violence survivors between English and Chinese. Rao is an Assistant Professor of Digital Media Art with a focus on creative code and AI at San Jose State University.
Natalie Krick
4 x 5 x 1
Chromogenic print PVC Panel
$250
Artist Statement
Six weeks before her death in 1962, Marilyn Monroe was photographed by Bert Stern for a Vogue magazine assignment. Two decades later, Stern published The Last Sitting, a book that pairs his photographs—including many that Monroe had rejected with bold Xs—with his eroticized narrative of the sessions. Stern’s desire to strip Monroe bare, to possess her both physically and photographically is made explicit in his text.
These words expose Stern’s fixation on Monroe and reveal how widespread the cultural impulse to claim her body and image had become. He recounts photographing Monroe nude in bed in his makeshift studio at the Hotel Bel-Air. Exhausted and intoxicated after hours of posing and drinking champagne, Monroe eventually falls asleep. Stern decides to kiss her, briefly waking her. He continues to touch her beneath the sheet despite her refusal. Ultimately, he leaves the room bu presents his choice to stop as an act of virtue, romanticizing the assault and concealing his violent desire.
My rigorous reworking of Bert Stern’s photographs echoes Marilyn Monroe’s own acts of mark-making and refusal. I fragment, cut, peel, and rephotograph—transforming these images into objects that interrupt our gaze and resist the trivialization of her image. Through my strategies of fragmentation and abstraction, she is no longer rendered as a cliché, a sex symbol, or a tragic icon, but instead exists as enigmatic and unknowable.
The visual puzzles I construct do not seek to explain or resolve. Rather, they bewitch, enchant, disrupt, and ultimately protect.
Bio
Natalie Krick (b. 1986 Portland Oregon) is a Seattle based interdisciplinary artist whose work investigates the medium of photography, visual perception and pleasure through a feminist lens. She holds a BFA from the School of Visual Arts and an MFA from Columbia College Chicago. In 2017 her first monograph Natural Deceptions was published by Skylark Editions and Krick was awarded the Aperture Portfolio Prize. Krick’s work has recently been exhibited at The Frye Art Museum, LACMA, Silver Eye
ralph salazar
4” x 3” x 2.5”
Laser print, water, conch shell, website
Description
My Water is Finite considers and combats the capitalist necessity of overconsumption, which depends on treating natural resources as if they were unlimited. With a small conch shell filled with water and a note, like a message in a bottle, like a message in a fortune cookie, this sculpture whispers a website to visit. At the listed URL, www.mywaterisfinite.com, a continuous feed of videos are available to scroll through. This seemingly unlimited feed consists of seven videos from salazar’s practice which all include water. These videos range from performance documentation to video art which have functioned as resources or materials embedded in salazar’s assemblage sculptures.
Artist Statement
My work explores the interconnected relationship between body, home, and nature, treating them as interchangeable, symbolic stand-ins for one another. This throughline reflects on the continuous hostility impressed upon all three elements. As Western power clings to dominance over the Global South, as marginalized communities are stripped of autonomy, and as the climate crisis rages on, my work persists as a poetic, emotional, and bodily response. I create assemblage sculptures and installations incorporating video, sound, performance, and found materials. The materials are sourced from construction sites, emergency contexts, and extractive industries. I orchestrate these materials by playing with their intended function but focus on their relationship to labor: pallets don't carry a load, windows are removed from walls, and Styrofoam breathes on in perpetuity. As world events are increasingly encountered through screens, my performances are
technologically mediated rather than witnessed in real time. The performances occur at chosen locations with specific weather conditions. The actions themselves are repetitive and Sisyphean, exposing futility while affirming resilience. Working across the interconnected layers of our existence, body, home, and earth, I aim
to provoke reflection on our collective well-being and the colonial and industrial systems that have driven us into crisis and collapse.
Bio
ralph salazar is a visual artist and actress based in Seattle, WA. She creates assemblage sculptures and kinetic installations from video, performance, sound, and found material. With a visual language conflicted between comfort and urgency salazar investigates anxieties stemming from systemic failure. She unearths the hidden
narratives of found materials that evoke notions of home, climate crisis, and the burden of labor under capitalism. She holds a BFA from the School of Visual Arts, New York and an MFA from the University of Washington, Seattle. salazar’s work has been exhibited and screened nationally and internationally and she received Best Actress at the Queens World Film Festival, NY.
Renee Adams
wood, steel
$500
Sweet Dreams #3, 2026
wood, steel
$500
Artist Statement
Renee Adams uses her mixed media sculpture to investigate the complex relationships humans have cultivated with the natural world. Her most recent body of work deviates from the delicate sculptural renderings of real and imagined plants that Adams is known for. These new works represent pared down and stylized versions of flowers, vines and leaves based loosely on Jugendstil (“young style”), a German art movement that was a spin-off of the larger Art Nouveau movement in Britain at the turn of the century. This primarily decorative arts movement is characterized by the combination of floral decorations, sinuous double curves, and geometric lines. It was a direct reaction against historicism and neo-classicism being taught academically at the time. Her interest in Art Nouveau traces back to her teen years, stemming from her German heritage, a love of plant forms, and her newfound interest in blacksmithing, a historic craft that lends itself well to linear design, paired with hand-built porcelain.
As an outdoor enthusiast and beanbag botanist, Renee finds immediate inspiration in the flora surrounding her home in central Washington State. She is active in the regional arts scene both as a curator and founding member of PUNCH Projects, a rural art collective dedicated to the promotion of visual dialogue between urban and rural art communities.
When not in her studio or working as a gallery manager at a local nonprofit arts center, Renee enjoys cultivating an edible and native plant garden, hunting for mushrooms, and exploring the wilds.
Sidney Mullis
30” x 17” x 5”
playground sand, drop cloth, fabric dye, paint, air dry clay, magic sculpt, steel wire, pleather, polyfil, false eyelashes
Description
Sidewalk City is a fragment from my ongoing “make-believe forest,” a body of work that searches for where childhood selves retreat in adulthood and whether they can be brought back. This piece suggests a miniature terrain—an invented city built from the textures of sidewalks, playground sand, and fantastical objects that seem unearthed rather than made. Forms coil, spike, and soften across the mottled ground, evoking both play and archeology.
The materials—playground sand, pleather, air dry clay, even false eyelashes—are drawn into combinations that feel at once domestic and alien, familiar and estranged. Each element in Sidewalk City gestures toward performance, play, or ritual, as if the city is animated by the presence of absent children. In transforming these materials, I return to what is known in order to relearn it as an adult—opening its meaning, reshaping my relationship to it, and hopefully inviting others to do the same.
At once a ruin and a playspace, the work points toward the architectures we inherit as adults and the imaginative architectures we construct. Like other works in the forest, Sidewalk City holds space for mourning childhood selves while imagining their possible regeneration in adulthood.
Bio
Sidney Mullis (b. 1992) is a sculptor whose work explores childhood as a site of imagination, rupture, and return. Through building invented landscapes, Mullis searches for where childhood selves retreat in adulthood and if it is possible to bring them back.
Her work has been exhibited internationally in Berlin, Tokyo, England, Croatia, and The Hague. Solo exhibitions include the Leslie Lohman Museum (NYC), Wick Gallery (NYC), Bunker Projects (PA), Neon Heater Gallery (OH), Bucknell University (PA), Rowan University (NJ), and the University of Mary Washington (VA). She has been an artist-in-residence at The Children’s Museum of Pittsburgh, The Wassaic Project, MASS MoCA, Women’s Studio Workshop, and Ox-Bow School of Art, among others. Her work is held in the collections of Fidelity Investments, Powerhouse Arts, the University of Mary Washington, and Women’s Studio Workshop. Her practice has been featured in Sculpture Magazine, Hyperallergic, Two Coats of Paint, and Maake Magazine.
Afroditi Psarra
E-textile antenna, software-defined radio
Artist Statement
My research interweaves media art, technology and craft through the creation of artifacts shaped by a critical lens. I view the act of crafting technological objects—through textiles, electronics, or handmade visual forms—as a form of resistance to black-box systems. Drawing on Cyber-and Techno-Feminisms and on Haraway’s notion of SF (string figures, speculative fabulations, science facts/fictions), my practice juxtaposes the softness of textiles with the rigidity of data infrastructures, proposing new visual and material vocabularies. Over the past few years, my work has explored energetic phenomena like electromagnetic radiation, particle physics, and technologies such as radio-frequency sensing, fractal antennas, and software-defined radio. Sound plays an extremely important role in my practice. I adhere to its use as a verbal and gestural language to analyze the ever-changing technological environment we inhabit.
Bio
Afroditi Psarra is a multidisciplinary artist and an Associate Professor of Digital Arts and Experimental Media (DXARTS) at the University of Washington in Seattle where she runs the DXARTS Softlab. Her practice builds on and extends the work of Cyber and Techno-Feminism(s) and the idea of gendered bodies as matrices of information. Her work has been presented at international media art festivals such as Getty PST, Ars Electronica, Transmediale and CTM, Eyeo, Piksel, Videobrasil and WRO Biennale, and exhibitions in venues like EMST, Onassis Stegi, Bozar, and Walker Art Center, among others.
Alexandros Skouras
Book, 5.5 x 8.5
Laser prints, UV prints, plasticine prints, charcoal rubbings, chain stitch hand binding, various paper
$99
Description
During my residency at Officina Stamperia del Notaio in October 2025, I spent my days walking through the commune of Terra Tusa in Sicily—wandering its courtyards, squares, alleys, and narrow streets. Along the way, I documented traces of everyday life: graffiti, decorative wrought ironwork, tiles, hand-painted house numbers, trinkets, signs, mailboxes, letterforms, manholes, doors, and patterned pavements.
I gathered hundreds of photographs and scans, and created plasticine impressions, charcoal rubbings, and cyanotype prints from the details that caught my attention. This book is a small atlas of these encounters—a collection of fragments that record my time spent observing, collecting, and moving through Tusa.
Bio
Alexandros Skouras was born and raised in Tripoli, Greece. He emigrated to the United States
in 2009 and currently lives and works in Binghamton, NY. He is an Assistant Professor of
Graphic Design in the Department of Art & Design at Binghamton University. His work and
research have been showcased and presented,
Andy Fallat
https://www.instagram.com/andyfallat/
26 cm x 17cm x 55cm
Steel
Bloom, 2026
16cm x 9.5cm x 23cm
Steel, Red Elm.
Description
Both works are constructed by welding steel with a torch. One is built out of welding in air and the other is fusing the metal shop floor sweepings. I am discovering form that is reflective of the material as it transitions from ore to alloy to waste. These pieces consider the voids and piles created to maintain this miracle of a material.
Bio
Andy Fallat is a sculptor that works in Seattle, Washington. He has worked as a fabricator, a technician and a lecturer in the field. He and his family are raising 4 chickens and a cautious cat.
Memory Beans, 2026
8" x 6" x 6"
Phaseolus Vulgaris, fresnel lens, steel
$300
Artist Statement
Arthur Derksen is obsessed with remembering and destined to forget. Their work flows through preservation and transformation, grasping at matter while reaching for meaning. They are guided by the haptics of physical experimentation and allured by technological paradigms that add noise to human thought. Arthur's sculptural artifacts and environmental interventions reckon the values of sustainability with the temptation of technology. Arthur is in pursuit of poetic synthesis that oscillates between remembering and renewing.
Bio
Arthur was born in a suburb on the South Platte River Basin, East of the Rocky Mountains. They grew up wielding rocks, sticks, and mud as implements of endless creativity. Early on, the mouse and keyboard were introduced to this repertoire of magical tools. Arthur spent as many childhood days manipulating worlds inside a humming box at 1024x768 as they did chasing crickets and wandering cracked asphalt in bare feet. Nowadays they inhabit the concrete banks of the Salish Sea, where the Duwamish River once wandered. They still play with computers and make art with mud.
Cristina Brambila
Oniric Infinity Viewer, 2026
3” x 3”
Procedural animation made with p5.js, 3d printed slide viewer, raspberry pi zero, round display.
$270.00
Description
Inspired by vintage slide viewers, this piece consists of a small viewing device through which speculative infinite oniric landscapes can be seen. The animation presented within is generated procedurally, meaning that what we witness is a truly infinite animation, each moment unfolding uniquely.
Bio
Multimedia artist and curator based in Seattle, WA. Her work focuses on the creation of poetic technology. She is currently interested in developing astronomical exploration devices through media art to reframe the way we engage with the universe. Co-founder of MESETA an interdisciplinary collective dedicated to the research, education, and creation of projects related to art, city, and technology. She was awarded with the Young Creators Grant (2019-2020 & 2023-2024) by the National Fund for Culture and the Arts, FONCA in the
category of New Technologies. She is currently pursuing a doctoral degree at DXARTS at the University of Washington.
Henry Jackson-Spieker
7.5"dia x 6"
Glass, neon Argon, transformer
$1000
Artist statement and Bio
Henry Jackson-Spieker is a multidisciplinary artist, based in Seattle, WA focusing on sculpture and site-specific installations. He works with three main elements: tension, perception, and environment to examine the physical and philosophical perceptions placed on public spaces. Jackson-Spieker’s work looks at how these perceptions are influenced by individualizing factors such as race, cultural upbringing, history, and education. These factors can impact the way we understand and move through the world. His work combines: glass, bronze, steel, wood, fiber, and light to explore elements of tension, perception, and environment. His site-responsive Installations build off existing architecture to call attention to our perceptions and movement through spaces to encourage new forms of engagement, discovery, and self-reflection from the community
Jackson-Spieker received his BFA from Western Washington University and his MFA of Sculpture and Dimensional Studies from Alfred University. Jackson-Spieker currently has public artwork at Midtown Commons in Seattle and the Bellevue Art Museum. He has shown, MAD Art, San Juan Islands Museum of Art, Method Gallery, and Wa NA Wari Gallery. Jackson-Spieker is now the new Assistant Professor of Glass and Dale Chihuly Endowed Chair of Glass at the 3D4M, School of Art, Art History and Design, University of Washington.
Janna Dyk
Series Description
"Thank you (Mom)" is the latest iteration of an ongoing series, Untitled (Journals Found & Kept) (2018 - present). The Untitled (Journals Found or Kept) series is a site and time-dependent installation of analogue photographs of handwritten journal entries, found and created, installation sizes variable. When my aunt passed away in 2017 and her brother suggested handing-around her journals as everyone mulled about after her memorial service, I began thinking about this weird and intimate posthumous portrait of selfhood that is one’s private written life. For instance, we read several seemingly unsent love poems to an unknown coworker, and many near-daily questions about her character flaws. Why do we create such vulnerable portraits that others will inevitably find, and how, upon their finding, might one honor such? Apparently upon her death, Sontag’s own journals too held an emotional rhizome, atypical of the pointed thought so marked by her other writing... How do our inner thoughts carry into life actions and perceptions that implicate the world beyond our front door? In this latest 2026 iteration, created in the sudden death of my beloved mom last summer, each
photograph reflects a different page from two of her journals. Appropriately adorned in cursive print and
surrounded by a watercolor image of flowers on the front cover of each are the words, "Thank You,” which form the title of this take. Presumably they were purchased in the 1990s from a local Los Angeles discount store, where it was then, as still now, common for most items to be made in China or another country where the English printed on them is often out of context. In the posthumous discovery of these journals, the title on them of "Thank You," which might otherwise have appeared curious in the context of an active personal journal, feels exquisitely appropriate for the grief and gratitude that they now hold for her family. The entries in the journals process my mother’s own mom’s sudden brain aneurysm in 1994, and my parents’ 25th anniversary trip to Puerto Rico followed by a family missionary trip in the summer of 1997. Taking a few emotional and artistic liberties, one of the images is not from the Thank You books, but includes a bittersweet and telling final note that she wrote to herself to call a cardiologist.
Bio
Janna Dyk is a curator, writer, and interdisciplinary artist living bicoastally between Brooklyn and the Pacific NW. As an artist she has exhibited at such spaces as the Beirut Art Museum (Lebanon), 601Artspace (NY), and 205 Hudson (NY). Her work has appeared in the New York Times, ArtSlant, Curator Magazine, SEEN, and L’Orient du Jour. She holds an MFA from Hunter College CUNY (New York), and is the recipient of residencies, grants, and fellowships from A.I.R. Projects (Beijing), Marble House (VT), NARS Foundation (NY), PLAYA Art & Scienc(OR), Byrdcliffe (NY), the Rema Hort Foundation (NY), and the Raushenberg Foundation, among others.
In the wake of recent losses, she lives with the acknowledgement that every moment is a fragile
and tender gift.
Shin Je Heon
17.5(h)cm x12.6 cm x 11.5 cm
conté on paper mache
$ 1,000
The Duet of Tears and The Trace of Excretion, 2026
17(h) x12 x 2.5 cm
conté on paper mache
$ 900
Coo Coo Che, 2026
16(h) x16 x 2.5 cm
conté on resin, epoxy, wood pannel
$ 700
Artist Statement
My work explores the body as a site where inner emotions, memories, and unarticulated sensations take form through material and gesture. Rather than representing the human figure as a stable or complete entity, I approach it as something fragmented, entangled, and continuously shifting—an affective body shaped by both human and nonhuman forces.
In my sculptures, elements such as pigeons, benches, and resting postures intersect with human forms, dissolving clear boundaries between subject and environment. These hybrid structures evoke states of pause, tension, and quiet resonance, where language fails but the body persists. I am particularly interested in the tactile dimension of sculpture—the way surfaces carry traces of action, pressure, and repetition—suggesting an embodied memory that cannot be fully verbalized.
My recent works move toward abstraction and symbolic reduction, emphasizing curved, simplified masses that retain a sense of organic ambiguity. Through this process, the body becomes less a representation and more a condition: a vessel of accumulated sensations, suspended between visibility and invisibility, presence and dissolution.
Ultimately, my practice seeks to give form to what resists articulation, allowing the viewer to encounter a silent yet deeply affective physicality.
Bio
Je Heon Shin (b. South Korea) is a sculptor whose practice investigates the concept of the affective body, a body shaped by entangled emotions, inner imagery, and perceptual experience. His research explores the “inner eye” (siman) as a site where unconscious sensations, memory, and emotion are translated into form. Moving beyond anatomical representation, Shin constructs fragmented and interwoven bodily structures that embody psychological states and relational tensions.
His work emphasizes visual tactility, engaging the viewer not only through form but also through the suggestion of touch, weight, and material resistance. Through processes such as molding, layering, and distortion, he creates sculptural surfaces that register traces of action and emotional intensity. His recent works move toward greater abstraction and symbolic reduction, emphasizing curved, simplified masses that retain a sense of organic ambiguity. Through this process, the body becomes less a representation and more a condition: a vessel of accumulated sensations, suspended between visibility and invisibility, presence and dissolution.
Shin received his MFA and BFA in Environmental Sculpture from the University of Seoul and is currently pursuing a PhD in Sculpture at Kookmin University. His solo exhibitions include Coo Coo Che (One Fifth, 2025), Collapsing Molds and Twisting Castings (The Necessaries, 2023), and Point of View (KEPCO Art Center, 2013). He has participated in numerous group exhibitions across South Korea, including Hyphen-Jungnang (Jungnang Art Center, 2025) and Phantom Vibrations (The Necessaries, 2024). In addition, he is scheduled to participate in the Changwon International Sculpture Biennale in 2026.
He has been awarded the Seoul Foundation for Arts and Culture RE:SEARCH Grant (2024) and was selected for the Seoul Public Art Project “25” (2021), among others. In 2023, he participated in the 16th Gyeongnam Art Creative Center residency. Shin continues to expand his sculptural language through research into material processes, embodied perception, and the intersection of emotion and form.
13×13.5×1.4(㎝)
(Sn95Sb3Cu2) Tin
Ed. 5 of 10 (+ 4 AP)> 3,000 USD
> Collection: National Museum of Modern and
Contemporary Art, Korea (MMCA), Private Collections
Artist Statement
Usually, the starting point of Yoon's work is when she encounters something that gives her a peculiar sense of discomfort. This something is usually social narratives or cultural assumptions that people tend to take for granted. She seeks to reveal the ways in which individuals respond to their given environment and the attitudes they adopt in order to improve their circumstances. At the same time, she also takes interest in interiority, or, in other words, inner structures that are hidden.
Bio
Her recent exhibitions include Seeing Things the Way We See the Moon (2025, daadgalerie, Berlin, Germany), Korea Artists Prize 2024 (National Museum of Modern and Contemporary Art, Korea), Yellow Blues_ (2021, One and J. Gallery), Young Korean Artists 2021 (National Museum of Modern and Contemporary Art, Gwacheon, Korea), This Event (2020, Seoul Museum of Art), and Night Turns to Day (2019, Art Sonje Center, Seoul, Korea). Yoon's work has been acquired by major institutions including the National Museum of Modern and Contemporary Art, Korea (MMCA), Seoul Museum of Art, Suwon Museum of Art, and KADIST.
Jordan Horton
14 x 11 in.
Oil on canvas
$600
Fracture, 2026
8 x 5.75 in.
Paper collage with pastel
$200
Artist Statement
My work explores how figures, objects, and spaces are sensed before they are fully named. Through paintings and drawings, I position the viewer at the edge of legibility, where meaning remains unstable and unresolved. This instability reflects the difficulty of holding belief with certainty in a moment when authority and truth feel increasingly subjective.
I work between figuration and abstraction to address the desire for truth alongside its impossibility. Fragmented imagery, in the form of partial figures, cropped spaces, and fleeting gestures, mirrors contemporary life. As reality becomes increasingly blurred, attention to our own perception feels necessary.
My paintings offer imagery that feels potentially knowable, only to disrupt that expectation, encouraging sustained looking rather than passive consumption. By inviting potential discomfort and uncertainty, my work asks viewers to question what they are seeing and how belief is formed. I am interested in how slowness, attention, and doubt can become productive spaces for reflection at a time when immediacy and validation often replace careful looking.
Bio
Jordan Horton (b. Kansas City, MO) is a painter living in Seattle, WA. He received his BFA from the Kansas City Art Institute and his MFA from the University of Washington in 2025. Horton has exhibited nationally in Chicago, Kansas City, and Seattle, and internationally in Singapore. He is the recipient of two grants from the Elizabeth Greenshields Foundation.
Heekwang Kim
https://www.instagram.com/heekwangk/
27.3 x 22 cm
22 x 27.3 cm
$600
Geumjul_son I,II,III
15.8 x 15.8 cm
25.3 x 20.4 cm
15.8 x 15.8cm
$500
Description
I was inspired to paint Geumjul while reading the Korean literary classic Land. Geumjul is a straw rope placed at doorways and entrances or tied around sacred objects to keep out impure or harmful forces. It is used in various situations, including childbirth, making traditional fermented sauces, warding off illnesses, and marking sacred spaces. People are not allowed to freely enter places marked with this rope.
Red chili peppers symbolize a son and represent charm protection from evil, positive energy and strength. Pine leaves symbolize a daughter and represent vitality, defense, and integrity. Charcoal represents purification, filtration, and origin. Hanji(traditional Korean paper) represents sacredness, taboo, and notification. The symbolic items on the geumjul may vary slightly depending on the regions or family tradition.
Bio
HeeKwang Kim (b. Seoul) is a visual artist currently based in Namyangju, South Korea. She holds a BFA in Painting and Drawing from Purchase College (NY) and an MFA in Studio Art from Hunter College (NYC). During her graduate studies, she spent a term at the Royal College of Art in the UK as an exchange student.
She was awarded the James & Stephania McClennen Fellowship at Millay Arts and took part in the International Art Residency Programme in Meghalaya, India. Kim has held two solo exhibitions in South Korea and has participated in various group exhibitions both nationally and internationally.
Kim Smith Claudel
8.25 x 14.25 in
Acrylic, ink, thread, sequins on paper
$200
Greening 02, 2026
4 x 5 x 6.5 in
foam, plaster, acrylic, ribbon, plastic plant, pearl
$150
Greening 08, 2026
5 x 4.5 x 3.5 in
plaster, acrylic, thread, beads, dyed fake fur
$150
Artist Statement
My creative practice is one of discovery, experiment, and play—a space of slowing, of noticing, and connecting. I seek the moments where gestures of physical forces (gravity, entropy, time) intersect with the ephemeral magic of being: consciousness, intuition, wordless poetry. My work crosses painting, sculpture, performance, and installation, drawing from humble, accessible materials often juxtaposed with things gathered from nature.
I often compose spontaneously on-site, responding to architectural constraints and spatial energy in real time, treating installation as a creative ritual, a framework for discovery where formal decisions emerge through intuitive engagement. This recent work embraces the ephemeral as a rejection of the commodified art object, confronting and embracing our provisional state. Works hold form through tension rather than permanence, balanced precariously, questioning the human impulse toward what lasts.
Bio
Kim Smith Claudel is an interdisciplinary artist currently living in Portland, OR. Her work intersects painting, sculpture, and installation while using a variety of natural, discarded, and technological media—often created within limitations or rule sets. Recent solo exhibitions include End Cycle at The Vestibule, Playground at The Painting Center in NYC, In Present Space at Carnation Contemporary, and A New Science for Every Object in Kyoto, Japan. She is currently a member of WAVE Contemporary collective as well as Carnation Contemporary Gallery. She has been an artist-in-residence at Building 5 in Portland and the Boston Center for the Arts. She received an MS in Media Arts and Sciences from the MIT Media Lab, where she was a Learning Innovation Fellow for her research into hands-on learning for computation in early childhood. She has an MFA from the School of Visual Arts.
KIMColin
https://www.instagram.com/colink.images
11 x 14”
Digital Archival Print
$ 500
Artist Statement
KIMColin is an artist who records reflections on identity, beauty and art through his whimsical still-life photography. He dramatically juxtaposes objects, partial objects, flowers and fruit to build narratives of who we are in a rapidly changing world and culture. He adds personal journalism touches to the mix. The absurdity that emerges in this process shapes the narratives of our fluid identities.
Bio
KIMColin was born in Canada is currently based in Korea. He is an artist, a doubtfully fully Korean, a devoted family man, a settled nomad, a lazy cinephile, a fashionista with insufficient funds, an outdated techno fan, a hopeful environmentalist, a wannabe antique collector, selectively kind, confident at moments, part-time happy and indecisive. He notices how his present surroundings have been changing fast for the better and is nostalgic of the past. He’s a photographer who wants to document how everything and everyone is constantly changing.
Nancy Rodrigo
9”x12”
watercolor
$800
Rotten Pumpkins, 2017
12” x 9”
charcoal
$500
Artist Statement
My work emerges from a fascination with the porous boundary between the body and the natural
world. In these two pieces, cellular structures, roots, organs, fungi, and decaying plant forms
intertwine, creating imagined ecosystems that feel both microscopic and planetary. I use the
visual language of physiology—veins, membranes, bones, and connective tissue—to explore
cycles of growth, transformation, vulnerability, and renewal.
The watercolor Twilight Cells unfolds as a fluid, luminous environment where biomorphic forms
drift through fields of saturated blues, violets, and pinks. The work suggests a living network in
constant motion, evoking both underwater worlds and the unseen processes of the body. In
contrast, the charcoal drawing Rotten Pumpkins inhabits a darker terrain. Here, decomposition
becomes generative; tangled fibers, hollow chambers, and organic remnants reveal beauty within
decline and the persistence of life within decay.
Together, these works reflect my ongoing exploration of interdependence and impermanence.
They invite viewers to enter spaces where distinctions between self and environment dissolve,
and where decay, regeneration, memory, and imagination coexist. Through these biomorphic
landscapes, I seek to create worlds that are at once intimate and expansive, unsettling and tender,
reminding us that we are inseparable from the living systems that sustain us.
Bio
Nancy Rodrigo is a Brooklyn-based artist and activist whose multidisciplinary practice spans
more than four decades. Working in watercolor, charcoal, sculpture, and installation, she creates
biomorphic worlds that draw from anatomy, ecology, memory, and dream imagery. Her work
explores the interconnectedness of living systems through forms that evoke cells, roots, bones,
fungi, and imagined organisms.
Rodrigo emerged from New York’s East Village art scene in the 1980s and has exhibited in
galleries, alternative spaces, and community venues throughout her career. A longtime social
justice activist, she has worked with reproductive rights organizations, ACT UP, the NYC Anti-
Violence Project, and facilitated arts programs for people living with AIDS, cancer, Alzheimer’s
disease, and other life challenges.
Influenced by both surrealism and the natural sciences, Rodrigo’s work invites viewers into
landscapes where growth and decay, beauty and vulnerability, coexist. She continues to live and
work in Brooklyn, where she maintains an active studio practice and teaches emerging artists.
PHILIPPE HYOJUNG KIM
RAZZLE DAZZLE ROSE PERIWINKLE, 2023
apprx 5"x7"
Crayola Crayon on Bristol Paper
$550
GRANNYSMITH APPLE CANARY OUTERSPACE, 2023
apprx 8"x8"
Crayola Crayon on Bristol Paper
$550
MANGO TANGO PINK FLAMINGO, 2023
apprx 8"x7"
Crayola Crayon on Bristol Paper
$550
Bio
Philippe Hyojung Kim (b. 1989) grew up in a small town outside of Nashville, TN, and moved to Pacific
Northwest in 2013. He experiments with various materials and mediums, in response to his immediate
surroundings to make objects and environments that exist in the space between painting and sculpture.
His work often references queer identity, artificiality, and language.
In his most recent body of work, titled (Un)Earthly Delights, Philippe collages plastic casts and remnants
onto paper and acrylic in configurations that read at once as painting, text, and sculpture. He molds,
casts, and reappropriates plastic to create playful, neon-saturated sculptures that allude to our cultural
obsession with this most ubiquitous and climate-endangering material. In this process, he elevates this
quotidian material, simultaneously giving it new life and highlighting the existential danger plastic poses.
Philippe’s work has been exhibited nationally at galleries, museums, universities, and alternative art
spaces across the US. He is a current member of SOIL Artist-Run Gallery (@soilart) and a co-
founder/curator of Specialist (@specialist_sea), an experimental art gallery in downtown Seattle. Philippe
is a faculty member at Cornish College of the Arts and teaches art and design courses at Seattle Central
College. He currently serves as one of the curators for Washington State Arts Commission (ARTSWA) and
as a board member of King County Public Art Advisory Board at 4Culture, Seattle, WA. Philippe received
his MFA in Painting from Central Washington University, and he currently lives and works in Seattle with
his husband, Drew.
PILSEUNG
https://www.instagram.com/pilseung_art
9x8x7cm
Soil, gold paper
$170
the crystalline form of soil_ 2, 2025
6.5x6.5x4.5cm
Soil, gold paper
$135
the crystalline form of soil_ 3, 2025
8x5.5x7cm
Soil, gold paper
$135
the crystalline form of soil_ 4, 2025
10.5x7x7.5cm
Soil, gold paper
$135
the crystalline form of soil_ 5, 2025
8x5.5x2.5cm
Soil, gold paper
$135
Rob Rhee
17” x 13” x 6”
Mixed media: Alignate, plaster, gourd seeds, cultivated gourd, steel, wine box
$2800
Description
In fact, it is not a matter of reducing the whole of mental activity to the image in the process of genesis, but of showing that, during anticipation, then in the course of the perceptual-motor-relation, and ultimately within memory and later in invention, there exists a local activity making the subject a veritable generator of signals that are meant to anticipate, then receive, and finally preserve and “recycle,” through action, the incoming signals from the milieu.
Artist Statement
Distortion , normativity, and the body triangulate my practice. The body is perpendicular to distortion and normativity, which oppose each other as fictions. The body is a latency; an unpredictable membrane connecting cause and effect.
My work is driven by this and other membranes. This way of working connects me to a bricolage tradition where found objects are remade and found scenarios rewritten via a personal restructuring of preex-
isting components. When I begin a project I often start with some object or system that is very
clearly complete and proceed as if it were not.
I spend time in the studio removing completion, unending things.
I work toward the alienation of commonplace materials.
I work with forms because of their relationships to environments. These relationships are akin to material conditions. They sculpt a boundary whose interior is form.
I work with gourds, the first domesticated plant, inserting steel pauses and planar breaks into their growing path.
I work with the tongue-tying that slurs together internal and external forces.
I work with Sēdoka, an 8th century dialogue-based poetic format, and use it as a power tool for cutting, connecting, and rerouting points of view. Instead of staging dialogues between lovers, I use its formal structure to speculate and collage.
I play characters in my work. Mainly I play the invisible roles: reenactor, rubber-necker, experimental subject, unknown craftsman.
Bio
Rob Rhee is an artist, writer and an Assistant Professor in the Interdisciplinar Visual Art program at the University of Washington. His work has been exhibited in the Pacific Northwest at the Portland Art Museum, the Frye Art Museum, the Jacob Lawrence Gallery, Hedreen Gallery, and the Sarah Spurgeon Gallery at Central Washington University. He has exhibited his work nationally and internationally at the Hunterdon Art Museum, White Columns, the Fort Worth Contemporary Gallery and the Korean Cultural Center Los Angeles, as well as in the 10th Berlin Biennale, the 2011 Changwon Biennale, and at the Ilmin Museum of Art, in Seoul, South Korea. In 2018 he was awarded the Korea Arts Foundation of America Award for Visual Art and was nominated for a
Stranger Genius award in 2016. His blog, Tabletop, was Short-Listed for an Arts Writers Grant by Creative Capital / the Andy Warhol Foundation and his critical writing on art has been published in Art in America, Art Asia Pacific, Arcade, Columbia: A Journal of Arts and Letters, and La Norda.
Robert Campbell
6” x 5” x 5”
handblown glass, magnifying glass, square video monitor, video
etc.etra, 2026
2.5” x 3.75” x 3.5”
handblown glass, magnifying glass, square video monitor, video
sub:plot, 2026
5” x 5” x 5”
handblown glass, typewriter keys
Not For Sale
Description
re:morse, 2026 : The composited video consists of a poem written out in Morse Code as an homage to my late father, who taught me Morse Code when I was 11. The code, famous for its S.O.S. message, is overlaid with
glitchy photogrammetry animations done with Agisoft Metashape and staccato Isadora treatments.
etc.etra, 2026 : A reiteration of re:morse, there is an added depth pass through Reilly Donovan’s brand new Rutt Etra software.
sub:plot, 2026 : A reference to pre-digital messaging technology, hidden in plain sight
Artist Statement
The work I submitted for the Jeju Island Artists Collective Smallish exhibition is a new iteration of a body
of work resulting from a decade-long investigation of photogrammetry techniques combined with
compositing experiments in After Effects and Isadora software programs.
Bio
Robert Campbell’s practice includes video art, digital film, digital imaging/collage, installation, and
documentary filmmaking. Since 1984 his award winning single-channel video art work has been
exhibited at festivals and exhibitions nationally and internationally in the U.S., Europe, Latin America and
Asia. For the past 20 years, his installation work has been featured in museums and galleries around the
country and included in ISEA and Santa Fe International New Media Festivals. His video/dance
collaborations have been featured at On the Boards and Bumbershoot in Seattle, Port Angeles Fine Art
Center, and Lincoln Center in New York. He has produced documentaries in the U.S., Italy, Ukraine,
Zambia and South Africa, with excerpts of his work in Africa selected for the Journey to Planet Earth
series on the PBS network.
Steve Reber
7” x 7 “ x 2 “
cardboard, metal surfacing agent
$ 500.00
Artist Statement
As an artist I am interested in being a thoughtful productive citizen that gains insight about our culture through making. I am interesting in foraging through the past to give voice to the future. I am interested in a studio practice that is self-governing yet embraces the moral and ethical responsibilities of an autonomous practice. I value exhibiting my work as it creates a dialogue and incentive for the viewer to examine the invisible components of our culture as well as our collective cultural interests. I value my workspace as an isolation chamber, laboratory and research facility.
Bio
As an educator, I’m interested in sculpture in all its forms, permutations and cross-disciplinary manifestations. My current work continues to explore 20th-century architecture and design tropes while considering personal histories rooted in enchantment and apprehension. In addition, I’m interested in building objects and structures that investigate volumetric capacities, thresholds, and spatial relationships. Currently I’m working on a larger scale to identify and locate the kinship of anatomy to design and building practices.
In 2019, Reber had a solo exhibition “Anemic Compass” at the Hyde Park Art Center in Chicago. His recent work was included as part of an exhibition at the Dock 6 Design and Art series. His solo shows include "Thought Models and Mental Habitats" at the Robert F. DeCaprio Art Gallery (2016), "Threshold Amnesia" at Threewalls in Chicago (2014), and "New Work" at the Chicago Cultural Center (2011). He has participated in numerous group shows including "Focus 5" at the Illinois State Museum (2006), "New Art from Chicago" at the Road Agent Gallery in Dallas, Texas (2008) as well as the CADD Art Lab in Dallas, Texas (2008).
Reber was the recipient of an Artadia Award grant in 2006. He received Illinois Arts Council grants in 2006 and 2000. He also received the State Arts Council finalist awards in 1999, 2004, and 2019. In 1992 and 1998 he received Maryland State Arts Council grants.
Reber can be found in private collections including the West, Jason Pickleman, Constantine Grimaldis, and William Hubbard collections. He has been an active faculty member at the School of the Art Institute of Chicago since 1998. He is represented by Devening Projects + Editions in Chicago.
Tivon Rice
8” x 8” x 6”
Concrete, motor, sound, real-time video animation
Edition : 1 of 2 +1 artist’s edition
$1200
2 & 3 Pattern 2-122: Voronoi Cells, 2024
3” x3” x 3” sculpture, 5x7 inch print
Concrete, archival ultrachrome print
Edition : 1 of 6 + 1 artist’s edition
$400
Artist Statement
Pattern 255: Attrition represents another chapter in Tivon Rice’s long-term research project Pattern Language 2-253, inspired by the 253 chapters of Christopher Alexander’s 1977 text, A Pattern Language. The project begins with investigations of expansive rural landscapes and gradually zooms in on cities, neighborhoods, streets, and individual architectures. These patterns function as a kind of prototypical hypertext, suggesting combinations of multiple socio-spatial forms and relationships. Rather than updating Alexander’s original text, Rice imagines 253 new, near-future patterns, creating a matrix of relationships between increasingly specific spaces and a variety of descriptive voices—paranoid, surreal, speculative, and science fictional, among others.
These micro-narratives envision future built environments where algorithmic design and artificial intelligence have blurred the boundaries between physical and virtual landscapes, cities, and architectures. Within this framework, a voronoi-fractured concrete cube endlessly tumbles in the virtual frame of a rotating video monitor. Meditating on geologic processes, attrition, erosion, and entropy, the organized form of the cube will never reassemble itself, unless the simulation – the world – is reset to zero.
Bio
Tivon Rice is an artist and educator working across visual culture and technology. Based in Seattle (US), his work critically explores representation and communication in the context of digital culture and asks: how do we see, inhabit, feel, and talk about these new forms of exchange? How do we approach creativity within the digital? What are the poetics, narratives, and visual languages inherent in new information technologies? And what are the social and environmental impacts of these systems?
Rice holds a PhD in Digital Art and Experimental Media from the University of Washington. He was a Fulbright scholar (Korea 2012), one of the first individuals to collaborate with Google Artists + Machine Intelligence, and is currently an Assistant Professor at DXARTS. His projects have traveled widely with exhibitions in New York, Los Angeles, Seoul, Taipei, Amsterdam, London, Berlin, and São Paulo.
SON, Won Young
40.9 x 31.8cm
Acrylic gouache on canvas
$700
Artist Statement
SON, Won Young is a contemporary Korean artist who explores layered relationships, memory, and the boundaries of perception through a structure in which traces of time and experience accumulate and overlap. Wonyoung’s work examines how these traces interact, forming open, non-hierarchical fields rather than fixed structures. Through both material and conceptual layering, she constructs compositions that reflect the complexity of urban environments and human relationships, often drawing inspiration from evolving landscapes and cityscapes.
Bio
SON, Won Young is a contemporary Korean artist with a Ph.D. in Fine Arts from Hongik University and B.S. and M.A. degrees from Chung-Ang University. Wonyoung has held over 20 invited solo exhibitions at venues such as SongEun Art Cube and Gallery Pam-a in Tokyo, and participated in more than 150 group exhibitions including the National Museum of Modern and Contemporary Art. She has also taken part in over 30 international art fairs. Son’s work is included in major public and private collections. She leads curatorial projects and currently serves as Co-Director of Space_Unit plus while teaching at several universities.
Haeyul Noh
25X25X35cm
YUPO, Stainless Steel, Arclyic paint on Plastic
$50
Description
In “Square Root Movement”, Haeyul Noh explores the formal order and tension generated through repetitive structures and movement. Interested in mechanical structures and the material properties of objects, he seeks to reveal the subtle variations and possibilities of movement that emerge within systematic orders, through which he investigates the sensory experience.
Bio
He has participated in numerous exhibitions both in Korea and internationally. He has also had solo exhibitions, including “square root movement”, “Realistic motion”, Mechanical, and Loading process, all in Seoul, Korea.
Haeyul Noh received the MFA and Ph.D. in Sculpture from the College of Fine Arts at Hongik University and is currently serving as a full-time assistant professor in the Department of Fine Arts at Dankook University.
Rebecca Cummins
4”x4”x9”
Spores, glass, magnets
$1000
Spore Strata II, 2023
5”x5”x6”
Spores, glass, magnets
$1000
Description
Existence has overpowered Books.
Today I slew a mushroom. Emily Dickinson, 1874
During COVID lockdown, I began to forage for fungi and to make spore prints from hundreds of mushrooms gathered in the mountains, local golf courses, UW campus, city parks and my yard.
A spore print is made by placing the cap of a mushroom on paper or glass. Over time, spores fall from the mushroom caps, producing a fine powder that varies in color and character. Witnessing the spores drop is magical; it’s as if the mushrooms are drawing themselves on the glass or paper I provide.
The piles of spores are 3-dimensional, fragile, and easily disturbed.
Bio
Cummins has exhibited widely and is active in public commissions and cross-disciplinary collaborations.
Exhibitions include Experimental Encounters, Beal Center for Arts + Technology, University of California, Irvine, CA (2025); Gallery 4Culture, Seattle (2023); Still.Moving, Bellevue Art Museum Biennial: Architecture & Urban Design (2021); Lux’Aeterna, Art Center Nabi @ Asia Culture Center, ISEA, Gwangju, South Korea (2019); Reticula, Concepción Arte y Ciencia Biennial, Chile (2019); Biennial of Seville, Spain (2008); Zendai Museum of Modern Art, Shanghai (2008); Quay Art Gallery, Images Festival, Toronto (2006); 6th Shanghai Biennial, Shanghai Museum (2006); The Museum of Contemporary Art KIASMA, ISEA, Helsinki (2004); South Australia Biennale of Australian Art, Adelaide (2002); and the traveling exhibition ILLUSION: Science Gallery, Trinity College, Dublin, Ireland (2013-18).
Public commissions have been completed for the City of Seattle Office of Arts & Culture, the Washington State Arts Commission and the Exploratorium, San Francisco.