Anthony Acock 
On Listening, 2019 
offset print 2/2 (3 copies for display), vinyl record, record player 
24 x 36"
Courtesy of the artist  

Artist Statement
On Listening is a publication designed for the Los Angeles Forum of Architecture and Urban Design. The concept of the publication is to capture the gradient of income disparity in Los Angeles without falling into the tropes of ruin porn or art school fetishization of poverty. To accomplish this, I was given an audio recording of the sounds from the street on a walk westbound –from roughly the area around Skid Row, to east bound, roughly to the area near the Broad, the Library, Central Market etc. The recording was preserved on a vinyl record, with the publication creating a protective sleeve around the record. The images within the publication are taken by me, replicating that same walk from Skid Row to Downtown, documenting the scenery along the way, and utilizing the architectural scenes to form the underlying grid of the document itself. There are no photos of people in the documentation as the environments represent the humanity that occupies these spaces. Additionally, by removing a human face from the document you avoid the unconscious bias that can occur from looking at people versus places. Any one can occupy these spaces, and that is entirely the point. The colors are gleaned from the flag of Los Angeles, the green showing ‘west bound’ and the red showing ‘east bound’. This is important because this piece, as well as this organization, are distantly Angeleno. Finally, the typefaces chosen for this document are Interstate and Courier, neither typeface I particularly like, however both are distinctly Los Angeles. Interstate, for the obvious obsession of automobile entitlement in Los Angeles. The same entitlement that obliterated what was once a well organized city and turned it into the smeared and illogical grid that is Los Angeles. Cars exasperate poverty and draw lines between socio economic stratas. Juxtaposed with Interstate is Courier, again, not a particularly elegant font, however it’s been described as ‘the typeface that built Los Angeles’ as Courier was originally designed to maximize the time it takes to read Hollywood scripts. In the end, the record is housed in a folding booklet that doubles as a poster, and can be represented by the way it’s displayed as distantly East Side, or West Side.

Anthony Acock 
Lock Down Painting 1 from the Lock Down Paintings Series, 2020 
spray paint on canvas 
16 x 24”
Courtesy of the artist  

Artist Statement
A lot can be written about the psychological effects of the pandemic, and in particular the lockdowns, and how that specifically effected families. A lot will be written, by people much more qualified than me. These paintings are a few of the many paintings created in that precarious time between Spring of 2020 and Fall of 2021 as a parent of two children tasked with the role of normalizing what felt apocalyptic. As a family, we sought out crafts as a way to pass the time. These paintings, completed with the help of my children are reflective of exactly that. A canvas to pass the time, in hopes of normalizing what was hopefully not the end of time.

Anthony Acock 
Lock Down Painting 2 from the Lock Down Paintings Series, 2020 
spray paint on canvas 
16 x 24”
Courtesy of the artist  

Artist Statement
A lot can be written about the psychological effects of the pandemic, and in particular the lockdowns, and how that specifically effected families. A lot will be written, by people much more qualified than me. These paintings are a few of the many paintings created in that precarious time between Spring of 2020 and Fall of 2021 as a parent of two children tasked with the role of normalizing what felt apocalyptic. As a family, we sought out crafts as a way to pass the time. These paintings, completed with the help of my children are reflective of exactly that. A canvas to pass the time, in hopes of normalizing what was hopefully not the end of time.

Anthony Acock 
Lock Down Painting 3 from the Lock Down Paintings Series, 2020 
spray paint on canvas 
36 x 48”
Courtesy of the artist  

Artist Statement
A lot can be written about the psychological effects of the pandemic, and in particular the lockdowns, and how that specifically effected families. A lot will be written, by people much more qualified than me. These paintings are a few of the many paintings created in that precarious time between Spring of 2020 and Fall of 2021 as a parent of two children tasked with the role of normalizing what felt apocalyptic. As a family, we sought out crafts as a way to pass the time. These paintings, completed with the help of my children are reflective of exactly that. A canvas to pass the time, in hopes of normalizing what was hopefully not the end of time.

Anthony Acock 
Skoolz Out Fundraiser Board 
from the Skoolz Out Art Show Series, 2022 
8 x 32” 
spray paint, acrylic paint, paint marker, varnish on skateboard deck 

Artist Statement
This board was painted as part of a fundraiser for Skoolz Out, in Upland. This was a juried group exhibition in which selected artist were able to purchase boards, paint them, and potentially sell them in an effort to raise money for art supplies in Upland’s K-12.

Anthony Acock 
Schools of Thought: The Future of the Design Studio Winter Workshop with 2019 Paul Hello Fellow, Nader Tehrani from the Cal Poly Pomona Department of Architecture Winter Workshop, 2019 
Offset printed, perfect bound 
11 x 11”
Courtesy of the artist and collaborators

Artist Statement

About the Artwork
On Listening is a publication designed for the Los Angeles Forum of Architecture and Urban Design. The concept of the publication is to capture the gradient of income disparity in Los Angeles without falling into the tropes of ruin porn or art school fetishization of poverty. To accomplish this, I was given an audio recording of the sounds from the street on a walk westbound –from roughly the area around Skid Row, to east bound, roughly to the area near the Broad, the Library, Central Market etc. The recording was preserved on a vinyl record, with the publication creating a protective sleeve around the record.

The images within the publication are taken by me, replicating that same walk from Skid Row to Downtown, documenting the scenery along the way, and utilizing the architectural scenes to form the underlying grid of the document itself. There are no photos of people in the documentation as the environments represent the humanity that occupies these spaces. Additionally, by removing a human face from the document you avoid the unconscious bias that can occur from looking at people versus places. Any one can occupy these spaces, and that is entirely the point.

The colors are gleaned from the flag of Los Angeles, the green showing ‘west bound’ and the red showing ‘east bound’. This is important because this piece, as well as this organization, are distantly Angeleno. Finally, the typefaces chosen for this document are Interstate and Courier, neither typeface I particularly like, however both are distinctly Los Angeles. Interstate, for the obvious obsession of automobile entitlement in Los Angeles. The same entitlement that obliterated what was once a well organized city and turned it into the smeared and illogical grid that is Los Angeles. Cars exasperate poverty and draw lines between socio economic stratas. Juxtaposed with Interstate is Courier, again, not a particularly elegant font, however it’s been described as ‘the typeface that built Los Angeles’ as Courier was originally designed to maximize the time it takes to read Hollywood scripts.

In the end, the record is housed in a folding booklet that doubles as a poster, and can be represented by the way it’s displayed as distantly East Side, or West Side.

Melissa Flicker 
002, from the Underwatercolor Series, 2022 
watercolor and ink pen  
14 x 10”
Courtesy of the artist 

Artist Statement
The Underwatercolor Series explores the relationship between automatism and perception. Automatism, or automatic drawing, is defined by movement that attempts to paint without consciously controlling the medium. The specific automatism technique used here is the decalcomania technique. The term originates from the French word “decalquer” meaning “to transfer.” The technique involves the application of paint to one surface and pressing it against the substrate revealing random shapes with a variety of hues.

The immediacy and fluidity of watercolor lends itself well to exploring this aspect of chance. The decalcomania is executed first with Sennelier l’Aquarelle on cold press watercolor paper and allowed to dry. Next these shapes are studied and subsequently serve as departure points for whimsical ink drawings. The watercolor blots are embellished with Micron ink pen revealing what was seen in each random shape. Through these drawings, the element of playfulness is allowed to occur.

Melissa Flicker 
003, from the Underwatercolor Series, 2022 
watercolor and ink pen  
14 x 10”
Courtesy of the artist 

Artist Statement
The Underwatercolor Series explores the relationship between automatism and perception. Automatism, or automatic drawing, is defined by movement that attempts to paint without consciously controlling the medium. The specific automatism technique used here is the decalcomania technique. The term originates from the French word “decalquer” meaning “to transfer.” The technique involves the application of paint to one surface and pressing it against the substrate revealing random shapes with a variety of hues.

The immediacy and fluidity of watercolor lends itself well to exploring this aspect of chance. The decalcomania is executed first with Sennelier l’Aquarelle on cold press watercolor paper and allowed to dry. Next these shapes are studied and subsequently serve as departure points for whimsical ink drawings. The watercolor blots are embellished with Micron ink pen revealing what was seen in each random shape. Through these drawings, the element of playfulness is allowed to occur.

Melissa Flicker 
004, from the Underwatercolor Series, 2022 
watercolor and ink pen  
14 x 10”
Courtesy of the artist 

Artist Statement
The Underwatercolor Series explores the relationship between automatism and perception. Automatism, or automatic drawing, is defined by movement that attempts to paint without consciously controlling the medium. The specific automatism technique used here is the decalcomania technique. The term originates from the French word “decalquer” meaning “to transfer.” The technique involves the application of paint to one surface and pressing it against the substrate revealing random shapes with a variety of hues.

The immediacy and fluidity of watercolor lends itself well to exploring this aspect of chance. The decalcomania is executed first with Sennelier l’Aquarelle on cold press watercolor paper and allowed to dry. Next these shapes are studied and subsequently serve as departure points for whimsical ink drawings. The watercolor blots are embellished with Micron ink pen revealing what was seen in each random shape. Through these drawings, the element of playfulness is allowed to occur.

Melissa Flicker 
005, from the Underwatercolor Series, 2022 
watercolor and ink pen  
14 x 10”
Courtesy of the artist

Artist Statement
The Underwatercolor Series explores the relationship between automatism and perception. Automatism, or automatic drawing, is defined by movement that attempts to paint without consciously controlling the medium. The specific automatism technique used here is the decalcomania technique. The term originates from the French word “decalquer” meaning “to transfer.” The technique involves the application of paint to one surface and pressing it against the substrate revealing random shapes with a variety of hues.

The immediacy and fluidity of watercolor lends itself well to exploring this aspect of chance. The decalcomania is executed first with Sennelier l’Aquarelle on cold press watercolor paper and allowed to dry. Next these shapes are studied and subsequently serve as departure points for whimsical ink drawings. The watercolor blots are embellished with Micron ink pen revealing what was seen in each random shape. Through these drawings, the element of playfulness is allowed to occur.

Ron Husband
Circus 1930, 2019
pen and ink
31 x 36"
Courtesy of the artist

Artist Statement
Capturing the emotion and experience of African-Americans is the central theme and aim of my work. I depict stories, histories, and narratives in an entertaining way. I care deeply about preserving our stories and expanding the experience and exposure of minority and other communities to Black artists; an experience I did not have growing up. Through this exhibition I want to continue broadening the scope and breadth of art and artist like myself whose roots are in the Black community.

These illustrations are not black ink on white paper, that is found in newspaper print. These illustrations are emotions captured in shades of grey on paper. My pen and ink illustrations present the human condition from a Black perspective. Specifically, my art centers on snapshots of the Black African-American experience in the 1930’s southern United States. This was a time under ‘Jim Crow’ laws, severe institutionalized poverty and limited opportunity for African-Americans. Yet, in the midst of all this and more, my people found joy, solace, satisfaction in each other, their faith, families and made the most of difficult situations.

Though it is a particular era and geographical place, there is universal appeal. I use the universal language of love, hate, excitement, sadness, disappointment and an array of other emotions that transcend time and can be felt and understood by all.

One example of this is titled Circus 1930. The illustration depicts what is called the ‘plausible impossible’. In that time and place Black folks would not have been allowed to gather up close and watch a circus come to town. But this scene imagines if the situation could happen, this is what it would have looked like.

Each piece contains multiple stories of individuals or groups and are thought provoking, conversation pieces, inviting you back to take another look to see something you missed the first time.

I have been moved by watching other people experience my artwork. I have seen tears in their eyes, various facial expressions and heard in their voices the deep emotions that these stories have stirred in them. Face to face, in writing and or in reviews others have expressed how they were affected in a positive way by experiencing my artwork.

Through this exhibition my hope is many others will share in this visual and uplifting experience.

Ron Husband
Wedding Photo 1930, 2017
pen and ink giclee print
31 x 36"
Courtesy of the artist

Artist Statement
Capturing the emotion and experience of African-Americans is the central theme and aim of my work. I depict stories, histories, and narratives in an entertaining way. I care deeply about preserving our stories and expanding the experience and exposure of minority and other communities to Black artists; an experience I did not have growing up. Through this exhibition I want to continue broadening the scope and breadth of art and artist like myself whose roots are in the Black community.

These illustrations are not black ink on white paper, that is found in newspaper print. These illustrations are emotions captured in shades of grey on paper. My pen and ink illustrations present the human condition from a Black perspective. Specifically, my art centers on snapshots of the Black African-American experience in the 1930’s southern United States. This was a time under ‘Jim Crow’ laws, severe institutionalized poverty and limited opportunity for African-Americans. Yet, in the midst of all this and more, my people found joy, solace, satisfaction in each other, their faith, families and made the most of difficult situations.

Though it is a particular era and geographical place, there is universal appeal. I use the universal language of love, hate, excitement, sadness, disappointment and an array of other emotions that transcend time and can be felt and understood by all.

One example of this is titled Circus 1930. The illustration depicts what is called the ‘plausible impossible’. In that time and place Black folks would not have been allowed to gather up close and watch a circus come to town. But this scene imagines if the situation could happen, this is what it would have looked like.

Each piece contains multiple stories of individuals or groups and are thought provoking, conversation pieces, inviting you back to take another look to see something you missed the first time.

I have been moved by watching other people experience my artwork. I have seen tears in their eyes, various facial expressions and heard in their voices the deep emotions that these stories have stirred in them. Face to face, in writing and or in reviews others have expressed how they were affected in a positive way by experiencing my artwork.

Through this exhibition my hope is many others will share in this visual and uplifting experience.

Ron Husband
Baseball 1930, 2016
pen and ink giclee print
31 x 36"
Courtesy of the artist

Artist Statement
Capturing the emotion and experience of African-Americans is the central theme and aim of my work. I depict stories, histories, and narratives in an entertaining way. I care deeply about preserving our stories and expanding the experience and exposure of minority and other communities to Black artists; an experience I did not have growing up. Through this exhibition I want to continue broadening the scope and breadth of art and artist like myself whose roots are in the Black community.

These illustrations are not black ink on white paper, that is found in newspaper print. These illustrations are emotions captured in shades of grey on paper. My pen and ink illustrations present the human condition from a Black perspective. Specifically, my art centers on snapshots of the Black African-American experience in the 1930’s southern United States. This was a time under ‘Jim Crow’ laws, severe institutionalized poverty and limited opportunity for African-Americans. Yet, in the midst of all this and more, my people found joy, solace, satisfaction in each other, their faith, families and made the most of difficult situations.

Though it is a particular era and geographical place, there is universal appeal. I use the universal language of love, hate, excitement, sadness, disappointment and an array of other emotions that transcend time and can be felt and understood by all.

One example of this is titled Circus 1930. The illustration depicts what is called the ‘plausible impossible’. In that time and place Black folks would not have been allowed to gather up close and watch a circus come to town. But this scene imagines if the situation could happen, this is what it would have looked like.

Each piece contains multiple stories of individuals or groups and are thought provoking, conversation pieces, inviting you back to take another look to see something you missed the first time.

I have been moved by watching other people experience my artwork. I have seen tears in their eyes, various facial expressions and heard in their voices the deep emotions that these stories have stirred in them. Face to face, in writing and or in reviews others have expressed how they were affected in a positive way by experiencing my artwork.

Through this exhibition my hope is many others will share in this visual and uplifting experience.

Sooyun Im
Point, Line, and Plane # 9 from the Point, Line, and Plane Series, 2020
digital print
25 x 25”
Courtesy of the artist

Artist Statement
“The point digs itself into the plane and asserts itself for all time. Thus it presents the briefest, constant, innermost assertion: short, fixed and quickly created. Therefore, the point, in its outer and inner sense, is the proto-element of painting and especially of the “graphic.”

― Wassily Kandinsky Point and Line to Plane

This series of compositions explores the geometric elements: Point, Line, Plane and their expressive qualities. These compositions are inspired by Kandinsky’s abstract paintings: The point which is the beginning of a shape, the line which has a direction, and the plane which creates a space, are the most basic building blocks of composition; everything else is made of these fundamental forms. Image, energy, rhythm, visual language, and emotional impact all begin with point, line, and plane. A mass of points forms a line and lines become planes. Line exhibits an immediate sense of intention and belief. The encounters between lines, planes, colors, textures, and geometric forms on an asymmetrical grid radiate energy from within. This compositional series is imbued with the power of point, line, and plane, combined with subjective effects created by their orientations and various formal qualities.

Sooyun Im
Point, Line, and Plane # 7 from the Point, Line, and Plane Series, 2019
digital print
25 x 25”
Courtesy of the artist

Artist Statement
“The point digs itself into the plane and asserts itself for all time. Thus it presents the briefest, constant, innermost assertion: short, fixed and quickly created. Therefore, the point, in its outer and inner sense, is the proto-element of painting and especially of the “graphic.”

― Wassily Kandinsky Point and Line to Plane

This series of compositions explores the geometric elements: Point, Line, Plane and their expressive qualities. These compositions are inspired by Kandinsky’s abstract paintings: The point which is the beginning of a shape, the line which has a direction, and the plane which creates a space, are the most basic building blocks of composition; everything else is made of these fundamental forms. Image, energy, rhythm, visual language, and emotional impact all begin with point, line, and plane. A mass of points forms a line and lines become planes. Line exhibits an immediate sense of intention and belief. The encounters between lines, planes, colors, textures, and geometric forms on an asymmetrical grid radiate energy from within. This compositional series is imbued with the power of point, line, and plane, combined with subjective effects created by their orientations and various formal qualities.

Raymond Kampf 
Lost Spirits Distillery Poster, October 31, 2022 
Adobe Illustrator and Procreate printed 
36 x 24”
Courtesy of the artist  

Artist Statement
Inspired by the unique Lost Spirits Distillery in Las Vegas, I strived to mirror the sophisticated whimsy of the 3D space in this 2D poster. The distillery offers tours of their revolutionary rum making process amidst burlesque entertainers performing in rooms inspired by1920s Singapore jazz clubs and Captain Nemo’s Nautilus submarine.

The poster was created to thank the owners, who generously welcomed twenty Visual Communication Design students studying

Environmental Design to their facility this past autumn for a private tour.

Gina Lawson Egan
Full Moon, 2020
cone 1 ceramic, colored slip, underglaze, stain and glaze, wood, steel, rubber, wire and fiber
96 x 32 x 37"
Courtesy of the artist

Artist Statement
Love, companionship, family, celebration is a central theme evident in my sculpture. I am grateful to be exploring new forms and new ideas through my craft. Clay is a passion for me, and I enjoy sharing this medium via teaching Ceramics at Cal Poly Pomona.

The large totem, titled Full Moon is constructed in parts that slide on a steel pole. Working with mixed media in this manner allows me to construct a sequence of elements that form a narrative that is whimsical and celebratory. Benevolent Spirit, a figurative sculpture is also created in separate elements that explores the importance of home, whether it be a dwelling or a safe space of acceptance and love.

Flora and Fauna and Roberta are two works that represent the human spiritual interaction with nature.

Gina Lawson Egan
Benevolent Spirit, 2021
cone 1 ceramic, colored slip, underglaze, stain and glaze
72 x 20 x 27"
Courtesy of the artist

Artist Statement
Love, companionship, family, celebration is a central theme evident in my sculpture. I am grateful to be exploring new forms and new ideas through my craft. Clay is a passion for me, and I enjoy sharing this medium via teaching Ceramics at Cal Poly Pomona.

The large totem, titled Full Moon is constructed in parts that slide on a steel pole. Working with mixed media in this manner allows me to construct a sequence of elements that form a narrative that is whimsical and celebratory. Benevolent Spirit, a figurative sculpture is also created in separate elements that explores the importance of home, whether it be a dwelling or a safe space of acceptance and love.

Flora and Fauna and Roberta are two works that represent the human spiritual interaction with nature.

Gina Lawson Egan
Flora and Fauna, 2022
cone 1 ceramic, colored slip, underglaze, stain andglaze
32 x 19 x 23"
Courtesy of the artist

Artist Statement
Love, companionship, family, celebration is a central theme evident in my sculpture. I am grateful to be exploring new forms and new ideas through my craft. Clay is a passion for me, and I enjoy sharing this medium via teaching Ceramics at Cal Poly Pomona.

The large totem, titled Full Moon is constructed in parts that slide on a steel pole. Working with mixed media in this manner allows me to construct a sequence of elements that form a narrative that is whimsical and celebratory. Benevolent Spirit, a figurative sculpture is also created in separate elements that explores the importance of home, whether it be a dwelling or a safe space of acceptance and love.

Flora and Fauna and Roberta are two works that represent the human spiritual interaction with nature.

Crystal Yachin Lee
King of the Avalon, from the Water Series, 2020
digital photography on archival paper
21 x 16-1/2”
Courtesy of the artist

Artist Statement
“I believe photography is a tool to express our positive assessment of the world. A tool to acquire ultimate happiness and belief.”

— Ansel Adams

The most recent body of work, Synesthesia, contains images taken in the French-Canadian region (Ciel series), White Sands, New Mexico (Blanc series), the coast of California (Water series), and higher elevations of Nevada and California (Fire series) in which I enjoy creating work that inspires the coexisting thoughts of peace and happiness. This work is included in my solo exhibition in John Wayne Airport in October 2021.

With the tendency to declutter, I strongly follow what Antoine de Saint-Exupéry (the author of The Little Prince) once said: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

To accomplish the ideal final composition, I use Photoshop as my paintbrush to edit my photographs. Instead of creating drama, the digital technologies are utilized to enhance the wonderful colors and atmosphere from the natural environment.

Inspired by traditional Chinese landscape painting, vertical compositions and large areas of negative space are employed.

The texture of the archival watercolor paper delivers a lightness to the colors within the images, which are often challenging to translate from the computer screen to print.

Through the work, I want you to see the zen in me.

Crystal Yachin Lee
Whisky, from the Water Series, 2020
digital photography on archival paper
21 x 16-1/2”
Courtesy of the artist

Artist Statement
“I believe photography is a tool to express our positive assessment of the world. A tool to acquire ultimate happiness and belief.”

— Ansel Adams

The most recent body of work, Synesthesia, contains images taken in the French-Canadian region (Ciel series), White Sands, New Mexico (Blanc series), the coast of California (Water series), and higher elevations of Nevada and California (Fire series) in which I enjoy creating work that inspires the coexisting thoughts of peace and happiness. This work is included in my solo exhibition in John Wayne Airport in October 2021.

With the tendency to declutter, I strongly follow what Antoine de Saint-Exupéry (the author of The Little Prince) once said: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

To accomplish the ideal final composition, I use Photoshop as my paintbrush to edit my photographs. Instead of creating drama, the digital technologies are utilized to enhance the wonderful colors and atmosphere from the natural environment.

Inspired by traditional Chinese landscape painting, vertical compositions and large areas of negative space are employed.

The texture of the archival watercolor paper delivers a lightness to the colors within the images, which are often challenging to translate from the computer screen to print.

Through the work, I want you to see the zen in me.

Crystal Yachin Lee
PT4601, from the Fire Series, 2021
digital photography on archival paper
21 x 16-1/2”
Courtesy of the artist

Artist Statement
“I believe photography is a tool to express our positive assessment of the world. A tool to acquire ultimate happiness and belief.”

— Ansel Adams

The most recent body of work, Synesthesia, contains images taken in the French-Canadian region (Ciel series), White Sands, New Mexico (Blanc series), the coast of California (Water series), and higher elevations of Nevada and California (Fire series) in which I enjoy creating work that inspires the coexisting thoughts of peace and happiness. This work is included in my solo exhibition in John Wayne Airport in October 2021.

With the tendency to declutter, I strongly follow what Antoine de Saint-Exupéry (the author of The Little Prince) once said: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

To accomplish the ideal final composition, I use Photoshop as my paintbrush to edit my photographs. Instead of creating drama, the digital technologies are utilized to enhance the wonderful colors and atmosphere from the natural environment.

Inspired by traditional Chinese landscape painting, vertical compositions and large areas of negative space are employed.

The texture of the archival watercolor paper delivers a lightness to the colors within the images, which are often challenging to translate from the computer screen to print.

Through the work, I want you to see the zen in me.

Jian Lee
Yellow Swamp, November 2022
acrylic on wood panel with augmented reality animation
18”x 24”
Courtesy of the artist

Artist Statement
My drive to create art comes from my identity.

I explore themes of discovering and expressing who I am and how I connect my art with the world. Living in the US as an immigrant hasn’t necessarily been easy, but for the most part,

I have been trying my best to live a positive and satisfying life. Unfortunately, after the breakout of the COVID 19 pandemic, I have been witnessing and experiencing a lot of changes in negative ways. The hate crimes against Asian women and elders have made me consider my safety and placement in this society.

The Invisibles is a painting of a woman’s head made of glass. When you view the image with the AR app, you can see the color of the head change from blue to red, and animated abstract shapes appear. As a multidisciplinary artist, I incorporate augmented reality into my sculptures and 2D works to add sound and motion to support the concept. With this piece, I wanted to talk about how hate crimes against Asian Americans have comparably little attention from the media and are not treated as important matters in this society.

Art is a tool for me to communicate with people and the world. Especially for certain subjects, it feels right to express through art forms than in words. Yellow Swamp is an acrylic painting with an AR component. When you activate the AR app, you can see yellow lumps falling from the sky. With this image of a woman stuck in a yellow swamp, I wanted to share the feeling of lassitude and inability to escape.

Currently, I am exploring different ways to incorporate AR and VR into my artwork.

I believe there are infinite ways to use the combination of traditional art and emerging technology to convey my artistic concept and message to the viewers.

Sarah A Meyer
Textus Righted (no. 37), from the Textus Series, 2022
collaged letterpress, type specification, press makeready,brayer,platen inking waste material, and stamps.
28.25 x 20.375”
Courtesy of the artist 

Artist Statement
Typography, the art of type, considers typographic style, arrangement, and appearance. Typography enhances our everyday lives, giving us implicit and explicit information. In a cityscape, typography is an enigmatic thing, simultaneously both old and new. Taken out of context, typography can become more confusing or more informative. Simplifying the noise of the environment in which the type is placed can enhance or detract from its original intent. It is this juxtaposition of purpose and use that influences my work.

This body of work examines the structure of the page in which typography lives. Historically, the aesthetics of a page were proportioned in accordance with the golden section or Fibonacci sequence. Margins were balanced, the type was static and evenly gray, and the content was symmetrical in traditional page layouts and illuminated manuscripts. However, in this work, the conventional page layout is deconstructed. The underpinnings of the page structure are exposed and distorted. On their own, each piece becomes a single altered page torn from its historical context. Viewing the artwork together, the pages become a spread, and a potential book emerges. Press make-ready, waste paper, and specimen sheets are collaged to add texture, and each unique print uses the opacity and reverse image of the copies to bring implicit depth to the content.

Kevin Moore 
Absicca, 2022 
ABS 3D printed and coated with epoxy resin, black dye, and diamond dust 
32 x 24 x 5”
Courtesy of the artist  

Artist Statement
My work is predicated on questing the nature of dimensional space. Each painting is a flattened out three-dimensional model while my sculptures are lofted two dimensional splines. The resulting piece is not a self-contained illusion for the viewer to project a visual expectation, it is an integration of geometry and space to create a subtle interaction with the surrounding environment. 

Layering colors and painted boundaries challenge the properties of two-dimensional and three-dimensional space. I seek autonomous geometric forms inserted a priori in the mind and not derived from the outside world. I am searching out new spaces and new forms with a transitive stylistic purity based in the pleasure of the subjective. 

Kevin Moore 
Vinculum, 2022 
ABS 3d print coated with epoxy resin and painted with Flashé vinyl paint 
17 x 8 x 6”
Courtesy of the artist 

Artist Statement
My work is predicated on questing the nature of dimensional space. Each painting is a flattened out three-dimensional model while my sculptures are lofted two dimensional splines. The resulting piece is not a self-contained illusion for the viewer to project a visual expectation, it is an integration of geometry and space to create a subtle interaction with the surrounding environment. 

Layering colors and painted boundaries challenge the properties of two-dimensional and three-dimensional space. I seek autonomous geometric forms inserted a priori in the mind and not derived from the outside world. I am searching out new spaces and new forms with a transitive stylistic purity based in the pleasure of the subjective. 

Kevin Moore 
Oblate, 2022 
ABS 3D printed and coated with epoxy resin, blue dye, and diamond dust 
10 x 11 x 8”
Courtesy of the artist  

Artist Statement
My work is predicated on questing the nature of dimensional space. Each painting is a flattened out three-dimensional model while my sculptures are lofted two dimensional splines. The resulting piece is not a self-contained illusion for the viewer to project a visual expectation, it is an integration of geometry and space to create a subtle interaction with the surrounding environment. 

Layering colors and painted boundaries challenge the properties of two-dimensional and three-dimensional space. I seek autonomous geometric forms inserted a priori in the mind and not derived from the outside world. I am searching out new spaces and new forms with a transitive stylistic purity based in the pleasure of the subjective. 

Kevin Moore 
Zeta Function, 2022 
epoxy resin with yellow and white dye 
15 x 6 x 5”
Courtesy of the artist  

Artist Statement
My work is predicated on questing the nature of dimensional space. Each painting is a flattened out three-dimensional model while my sculptures are lofted two dimensional splines. The resulting piece is not a self-contained illusion for the viewer to project a visual expectation, it is an integration of geometry and space to create a subtle interaction with the surrounding environment. 

Layering colors and painted boundaries challenge the properties of two-dimensional and three-dimensional space. I seek autonomous geometric forms inserted a priori in the mind and not derived from the outside world. I am searching out new spaces and new forms with a transitive stylistic purity based in the pleasure of the subjective. 

Kevin Moore 
Bump, 2022 
epoxy Resin with black dye 
15 x 5 x 5”
Courtesy of the artist  

Artist Statement
My work is predicated on questing the nature of dimensional space. Each painting is a flattened out three-dimensional model while my sculptures are lofted two dimensional splines. The resulting piece is not a self-contained illusion for the viewer to project a visual expectation, it is an integration of geometry and space to create a subtle interaction with the surrounding environment. 

Layering colors and painted boundaries challenge the properties of two-dimensional and three-dimensional space. I seek autonomous geometric forms inserted a priori in the mind and not derived from the outside world. I am searching out new spaces and new forms with a transitive stylistic purity based in the pleasure of the subjective. 

Ann Phong 
Human’s Traces In The Ocean, 2022 
acrylic with used objects on wood panel  
23 x 14”
Courtesy of the artist  

Artist Statement
I have lived in many different countries in my life, from Asia to America. Each nation has given me unique memories about its culture and living environment. 

I like to wander, to listen to the voices of people, to blend into the crowd and to watch, as people juggle their everyday lives. In each one of my art pieces, I let my feelings flow from my past to the present, and seek to record most memorable scenes. 

Having seen cities embrace and protect nature, it is painful to witness some other places that have such destruction due to human greed. It seems like the more convenient we make our lives, the more pollution we create and the more carelessly we deplete the earth’s resources. Mother nature has given a home and we should be treating it as such. 

To obtain a peaceful life, one first needs to make peace with mother earth. 

Ann Phong 
Your Food Order Is Delivered, 2022 
acrylic with used objects on wood panel  
22 x 16”
Courtesy of the artist  

Artist Statement
I have lived in many different countries in my life, from Asia to America. Each nation has given me unique memories about its culture and living environment. 

I like to wander, to listen to the voices of people, to blend into the crowd and to watch, as people juggle their everyday lives. In each one of my art pieces, I let my feelings flow from my past to the present, and seek to record most memorable scenes. 

Having seen cities embrace and protect nature, it is painful to witness some other places that have such destruction due to human greed. It seems like the more convenient we make our lives, the more pollution we create and the more carelessly we deplete the earth’s resources. Mother nature has given a home and we should be treating it as such. 

To obtain a peaceful life, one first needs to make peace with mother earth. 

Ann Phong 
Contemplation, 2019 
acrylic with used objects  
12 x 12”
Courtesy of the artist  

Artist Statement
I have lived in many different countries in my life, from Asia to America. Each nation has given me unique memories about its culture and living environment. 

I like to wander, to listen to the voices of people, to blend into the crowd and to watch, as people juggle their everyday lives. In each one of my art pieces, I let my feelings flow from my past to the present, and seek to record most memorable scenes. 

Having seen cities embrace and protect nature, it is painful to witness some other places that have such destruction due to human greed. It seems like the more convenient we make our lives, the more pollution we create and the more carelessly we deplete the earth’s resources. Mother nature has given a home and we should be treating it as such. 

To obtain a peaceful life, one first needs to make peace with mother earth. 

Natasha Shoro 
Summer Rainstorm from the Earth, Air, Fire & Water Series, 2019 
mixed media collage on canvas 
36 x 36”
Courtesy of the artist  

Artist Statement
Each day I reflect and find myself inspired by the gift of life. My love for nature has led me to live in the moment and thus be aware of my inner being and emotion. My emotions respond to the elements: Earth, Air, Fire and Water, which are themes prominent to my work. This body of work celebrates my emotional relationship with nature, and it is through these elements that I can unfold my inner being. 

Earth fascinates me as I fly through aerial abstract landscapes embedded in my mind, revisiting childhood memories of looking out the airplane windows. The mapped boundaries overlap and interact as interlocked relationships of patterns and textures. These memories and thoughts ground me and remind me of my existence. My mind wanders to capture my true inner essence of being as I am reminded of who I am and where I came from. 

Air is delicate and gives a feeling of breathing. It is being, present and fully aware. Air provides a rhythmic movement in my work and of my being. As I breathe air, I am able to outpour my inner being onto the canvas, which brings me good energy and the power to feel grateful. 

Fire is the illuminated light and energy source that exists within nature. My mind entertains thoughts of the sun shining on me while swimming as a child. I feel an urge to paint the flames onto the canvas with a burst of passion and bold energy. 

Water has been my deepest inspiration as I am sure that the feeling of me being in the womb is the true basis of my being in this world. Focusing on the fluid movement of body through swimming I imagine the water to be part of me as it finds its way onto my canvas.

Natasha Shoro 
Precious Life from the Earth, Air, Fire & Water Series, 2019 
mixed media collage on canvas 
36 x 36”
Courtesy of the artist  

Artist Statement
Each day I reflect and find myself inspired by the gift of life. My love for nature has led me to live in the moment and thus be aware of my inner being and emotion. My emotions respond to the elements: Earth, Air, Fire and Water, which are themes prominent to my work. This body of work celebrates my emotional relationship with nature, and it is through these elements that I can unfold my inner being. 

Earth fascinates me as I fly through aerial abstract landscapes embedded in my mind, revisiting childhood memories of looking out the airplane windows. The mapped boundaries overlap and interact as interlocked relationships of patterns and textures. These memories and thoughts ground me and remind me of my existence. My mind wanders to capture my true inner essence of being as I am reminded of who I am and where I came from. 

Air is delicate and gives a feeling of breathing. It is being, present and fully aware. Air provides a rhythmic movement in my work and of my being. As I breathe air, I am able to outpour my inner being onto the canvas, which brings me good energy and the power to feel grateful. 

Fire is the illuminated light and energy source that exists within nature. My mind entertains thoughts of the sun shining on me while swimming as a child. I feel an urge to paint the flames onto the canvas with a burst of passion and bold energy. 

Water has been my deepest inspiration as I am sure that the feeling of me being in the womb is the true basis of my being in this world. Focusing on the fluid movement of body through swimming I imagine the water to be part of me as it finds its way onto my canvas.