"Cumbersome and assembled, Sarah Tortora’s tidy and well constructed sculptures oscillate between reality and narrative. In a statement the artist remarks that her work 'accepts the premise that every equestrian monument is truly a Trojan horse, and seeks to unveil the passive social conditioning toward our manufactured environments and histories.'" - SMS

"Tomas Diaz Cedeno’s work brings to light the inextricable links between the natural world, the industrial or synthetic, and humanity. This concept is explored both through imagery and through process, by combining the natural material of clay with industrial materials like steel. The resulting sculptures are skeletal, architectural, and organic, and almost shape shift depending on perspective. To me, the sculptures make you think about the ever blurring line between the natural and artificial, and if these realms can/should really be distinguished from one another anymore." - RC

"McGinty’s sculptures—constructed from everyday objects found throughout the artist’s home—reveal personal narratives that address ideas of self and internal preoccupations. McGinty does little to alter each object before incorporating them into her sculptures. Making it all the more impressive that she is able to convey personal memories, anxieties, and fascinations, solely by the associations and relationships she creates through assemblage." - RC

"Krienler conveys a lot through the single, repeated, form of broken terracotta hands in this installation. The work reflects on the complex history of gold, which in Pre-Columbian civilization, before the arrival of the Spaniards, was considered a sacred tool for transformation, rather than a utility of economics. Krienler evokes broader conversations about colonialism, power structures, and value systems—all symbolized in the obsessively reproduced terracotta hands. There is also something meditative and mythological about this installation." - RC

"Rachel Mica Weiss’ new sculptural works utilize the formal motif of chains to unpack the relationship between physical and psychological vulnerabilities. Created at an out-sized scale, and in luminous, translucent and gradating shades, the works supersede the utility of the links of which they are comprised—and into a surreality and sublimity, suggesting that the barriers and restraints may be transcended.Weiss’ works are often feminine and feminist in nature, negotiating the line between adornment and entanglement, brunt and malleability." - SMS

"In Clarity Haynes’s new paintings, the artist reflects on the Instagram birth community’s photographs and videos containing graphic birthing, by physically removing the mysticism of birth and revealing the realities of the natural process. The artist intends to “queer the idea of birth, so that viewers think not of rosy cis heteronormative motherhood, but of birth as conceptual, as something that many women’s bodies can’t perform, and as something that many bodies that aren’t female are capable of.” Referencing artists who have also recently explored crowning imagery in photographs, most notably Heji Shin and Carmen Winant, the viewer beholds the event of “crowning as gemlike, sexy, precious, powerful, enveloping, disturbing, beautiful and confrontational.” earth. A portion of all proceeds from the sale of these paintings will be donated to WAW (Women for Afghan Women), a majority Afghan and Muslim organization working to make Afghan women safe during this humanitarian crisis." - SMS

“Ikezoe’s surreal paintings of hybrid figures, part-human and part-animal, remind us of our relationship to the natural world. Somewhat mythological, somewhat philosophical, the paintings suggest that nature exists inside of us, just as much as we exist within nature. The paintings depict relatively minimal settings or landscapes, leaving plenty of room for Ikezoe’s sense of humor and absurdity to tell the story." - RC

"Ahearn creates life-cast portraits, monumentalizing everyday people. His subjects are often neighbors and members of his community in the South Bronx. There is something comforting about these portraits, and the figures somehow seem at home no matter the surroundings. There is also a timelessness to Ahearn’s sculptures, like Daleesha, which leaves lots of space for relatability and familiarity." - RC