Jessica Drenk transforms everyday paper waste into layered sculptures that evoke geological formations. Made entirely from used materials such as junk mail, catalogs, and cardboard, her work highlights the contrast between the fleeting nature of human consumption and the enduring processes of the natural world. Through a process-driven exploration of material, Drenk examines how parts combine to form new textures, shapes, and meanings.

Her work often operates at the threshold between surface and space, where shifts in color, texture, and structure create a sense of quiet movement. By shaping textile into layered, three-dimensional forms, she establishes a spatial rhythm that interacts with light and responds to its surroundings. The result is an environment that encourages slower looking, inviting viewers to notice subtle transitions and the calming presence of material thoughtfully arranged.

ANYA MOLYVIATIS, Amber Descent, 2025, 3D textile, cotton, mohair. Site-specific commission in collaboration with Ivester Contemporary.

Anna Elise Johnson constructs layered, dimensional compositions. Drawing from photographs of structured gatherings, she abstracts the source material to create atmospheric works that suggest movement, stillness, and the trace of human presence. Shapes emerge and dissolve across the surface, forming a visual space suspended between clarity and ambiguity. Through this process, Johnson explores how images can be deconstructed and reassembled into something both familiar and unknowable.

Rachel Mica Weiss’ thread installations draw on the historical use of textiles to divide and shape space. In this work, polyester threads are hand-strung in a process that mimics the warping of a loom. As each thread crosses the center, the overlapping lines intensify in color and build dimensionality. Like weaving cloth, the process reveals a transformation: from one-dimensional thread to a taut two-dimensional plane to an undulating, sculptural surface.

Rooted in minimalist traditions, Kate Shepherd’s work examines the intersections of color, structure, and spatial logic. Drawing from architectural prototypes and computer-generated imagery, her hand-rendered forms bring subtle variation and warmth to otherwise precise, grid-like compositions.

Kristen Cliburn’s canvases offer distilled impressions of the natural world, achieved through a subtle isolation of color and light. Though minimal in appearance, her paintings reveal an intense depth that unfolds slowly, inviting viewers into an unexpected sensory experience. Through the act of “slow seeing,” Cliburn’s work encourages stillness, contemplation, and transformation.

Adrian Esparza draws from architecture, landscape, and cultural symbolism to explore the relationship between form and identity. In his drawings, sharp linear perspectives and geometric structures echo the architectural grid while referencing the threads of personal and cultural memory. Known for his deconstructed serape installations, Esparza brings a similar sense of tension, precision, and reinvention to works on paper.

KRISTEN CLIBURN, Blue For You, 2015, acrylic on canvas. Acquired through Cris Worley Fine Arts.