Katrina Sánchez Standfield explores themes of connection, healing, and security through her distinctive approach to soft sculpture. In Looking for el Carnaval, she creates vibrant, three-dimensional forms by combining knit and woven textiles. She crafts each ‘knitted noodle,’ which is both knit and stuffed, to act as an exaggerated version of the traditional warp and weft. This process transforms color and texture into a dynamic exploration within the physical space, offering a vivid, tactile experience.

Thomas Campbell’s sculptural installations, Pines and Piedmont, offer a profound connection to North Carolina’s landscapes through distinct yet complementary approaches. “Pines” draws its inspiration from the serene experience of meandering through a pine tree forest, aiming to instill a sense of calm and introspection. As part of Campbell’s Broken Volumes Series, this piece leverages the aesthetics of industrial steel fabrication, utilizing bends or “brakes” to sculpt form, depth, and dimension, mirroring the forest’s natural architecture.

Piedmont adopts a more organic perspective, employing similar brake techniques to evoke North Carolina’s iconic rolling hills and valleys. The sculpture’s form undulates in a manner that suggests the gentle slopes of the region, while a carefully applied gradient of blue paint adds an illusion of depth, reminiscent of gazing towards the horizon. Together, these works by Campbell not only celebrate the beauty of natural landscapes but also showcase the versatility of steel in capturing the essence of the environment.

Owl adopts an alias to navigate the art world, maintaining anonymity to ensure their work stands independently of their personal identity. Their signature style emerges through abstract patterns and lines, repetitively laid down without prior sketching, using spray paint or markers. Owl captures the essence of spontaneous creation, akin to freestyle dancing, where the next move is unknown yet intuitively guided by practice.

THOMAS CAMPBELL, Pines, 2022, painted and blackened steel. Site-specific commission.

Raishad Glover approaches art with a focus on diligence and simplicity, bridging innovative culture with traditional media. By employing foundational principles and design elements like rhythm, value, line, and color, Glover steers his creative development, crafting works that resonate with both modernity and tradition.

Ellie Richards’ Tufted Timekeeper series presents a collection of clocks, each uniquely crafted from machine-tufted wool. This innovative use of materials blends functionality with artistic exploration, reimagining the conventional clock through the warmth and texture of tufted fabric.

Martha Clippinger’s colorful dimensional murals, Hot Fun and Buoy, activate the corridors with vibrant energy and dynamic forms. Buoy utilizes a continuous horizontal line and circle to create a landscape where water meets sky. The shift in the placement of each circle, slightly higher or lower, creates movement across the series of panels, suggesting a setting sun or a bobbing buoy. In Hot Fun, the arrangement of sixteen panels relates to four four-petaled dogwood flowers. The triangles of the panels and their varied orientations are inspired by quilts, where color and repeated geometries create a sense of rhythm.

MARTHA CLIPPINGER, Hot Fun, 2022, dimensional mural. Site-specific commission.

Katrine Hildebrandt brings her unique perspective to the project with artwork inspired by sacred geometry and the exploration of space and time. Utilizing distinctive techniques, such as burning paper, she crafts layered, geometric patterns that invite viewers to consider the balance between chaos and order, and the fleeting nature of existence. Hildebrandt’s work serves as a visual anchor for the space while inviting a deeper appreciation for our interconnectedness through the lens of her meticulous patterns and meditative approach.

KATRINE HILDEBRANDT, Eternal Loop II, 2023, hand burnt lines, hand dyed fabric, reed and wire on dyed paper. Site-specific commission in collaboration with BK Art Projects.

Cassandra C. Jones’ Dandelion is a digital collage that encapsulates our technology-driven, image-obsessed society, offering a space for growth and exploration. Through a meticulous assembly of photographs, Jones weaves together sociopolitical narratives with elements of pop culture, presenting a layered exploration of American life that blends the whimsical with the profound and the beautiful, highlighting the complexity of our contemporary existence.

Pelle Casse’s photographic series is a testament to the art of capturing time and movement within a single frame. Employing a meticulous technique, Casse sets his camera on a tripod, shooting up to a thousand pictures over a span of one to two hours from an unchanging vantage point. He then intricately compiles selected figures into a final image, creating a unique still time-lapse effect. Despite the high level of editing, Casse’s process involves no alteration of the content itself; he does not change a single pixel but instead chooses what to include and exclude. The finished works are complex compositions and layered portrayal of a moment in time.

CASSANDRA C. JONES, Dandelion, 2019, archival inkjet on alpha-cellulose paper. Acquired through Abigail Ogilvy Gallery.

Woody De Othello’s works on paper extend his exploration of animating the inanimate. Focusing on common domestic items, these pieces showcase Othello’s skill in giving life to everyday objects, now transformed into engaging subjects on paper. Drawing from the African “Nkisi” belief of spirits inhabiting material objects, he infuses each piece with a unique spirit and personality. The objects, portrayed with a sense of humor and whimsy, appear to move and emote across the paper, stretched or slumped as though reacting to unseen forces. These works underscore Othello’s talent for blending traditional themes with contemporary artistry, turning static household items into captivating narratives of movement and emotion.

Karmimadeebora McMillan’s series of works on paper unfolds as a vibrant tapestry of color stories, echoing the intricate patterns and warmth of Southern quilts. Drawing from her childhood in the South, McMillan crafts these pieces into a cohesive narrative that, when displayed together, mirrors the communal and storytelling nature of quilt-making.

WOODY DE OTHELLO, Shifting Through Space, 2021, color aquatint and softground etching. Acquired through Paulson Fontaine Press.

Created through a precise and distinctive process of drawing, tracing, taping and painting, hand-cutting, perpetual addition and subtraction, Leigh Suggs’ work is simultaneously tactile and conceptual, methodical and instinctual. Through the manipulation of shadows, color and reflections, the intricate cut and seemingly woven patterns bring the painted surface to life.

LEIGH SUGGS, The Better Half, 2023, handcut, acrylic on Yupo paper.

Natalie Cheung’s art emerges from the interplay of light, gesture, and the natural world, creating pieces that range from calm to intensely dynamic. Utilizing alternative photographic processes, she captures direct experiences onto photosensitive paper without a camera. Her work, an exploration of abstraction and the essence of photography, reflects a deep engagement with the medium’s history and its evolving relationship with reality.

NATALIE CHEUNG, Intersections of Light #083, 2022, color pinhole photograph. Acquired though Morton Fine Art.