Oliver Coria (he/him; sculpture) experimented with creating an installation by covering the ceiling, floor, walls, and symbolically appropriate objects with the artificial grass, in a body of work called “American Homeowners Association,” an exposition of obsessive appearances through obsessive lawn care.
Anna (AK) Deese (any except she/her; art history/social practice) used social practice methodologies to meet with locals and listen to their stories, while simultaneously drawing charcoal and pastel portraits of them.
Christina Hall (she/her; photography) experimented with building sculptures out of natural materials sourced nearby GPS and, in the community, and pair these sculptures with photographs drawing attention to the environmental issue of plastic bag litter.
Amiah Jones (she/her; painting) worked with a model to paint two sides of the same person as a diptych. The content of each side will be determined by the model, rather than the artist, based on how they choose to represent themselves.
Ernest Kroi (he/him; drawing/painting) worked on writing and illustrating a series of three children's stories about the absurd but morally innocent adventures of Cat and Owl, two regally and eccentrically clad friends who live in a treehouse in the forest of Clovernook above the seafaring town of Doverbrook.
Jasper Rutledge (he/him; painting) began a body of paintings and mixed-media works addressing themes of identity and belonging, particularly as a queer person who grew up in the American South.
Ashe Smith (she/they; sculpture/ceramics) created a space that can be healing, by working with found objects from nearby GPS and the community to create an installation that focuses on anxieties and mental illness.
Abigail Weatherholtz (she/her; painting) explored the collaboration of traditional fine arts and sewing crafts in the context of couture as a painter, working towards the possibility of creating garments made from paintings – a three-dimensional canvas for (semi-) practical wear.