Kaylie Kaitschuck uses machine embroidery to draw with yarn and create fantastical yet overwhelming landscapes. She sources her narratives from her family, symbolism, and dreams. These embroideries serve as her own chaotic maps that hold no real navigational route or exit. Drifting through the real and the fake, they are an archive of memory that may or may not have ever existed.

 Lehna Huie is a multidisciplinary artist, educator, and cultural worker of Jamaican heritage. Her work concentrates on themes such as the soul, migration, nonlinear time, and remembrance.
Huie’s works weave together multiple visual forms as cultural vignettes rooted in an archival practice. Varying in scale, medium, and surface, accumulated art pieces are brought together with personal and found objects to form representational portraiture.

 Shi ei Diné nishł´. To'ahani' nishł´, Dibe'łizhini bashishchiin, Kinyaa'áanii dashicheii doo Honágháahnii dashinalí.

 My paintings combine two realities—South Netherlandish unicorn tapestries and dated Midwestern interiors—that are both easy to tell apart because they do not belong together, and integrated because they coexist convincingly in the same space. Through careful collage, a distant past is blended into a time that is still familiar to us. While my paintings encompass large interiors and narratives, my embroideries hone in on smaller, more intimate subjects. Since embroidery has the stigma of being a homemaker’s hobby, I work from source material that rejects this stereotype.

 Utilizing the iconography of youth culture, popular branding, logos, and celebrity personalities, Griffin Goodman’s paintings and drawings present a complex devotion to self-styled identity and the contemporary phenomenon of digital narcissism. Through their free-form juxtapositions of appropriated imagery sourced from popular culture and art history, the artist creates bricolages that speak to both the hyper-layered construction of Photoshop files and the densely packed metaphoric structure of pop art.

 As an artist, I pay attention to the commonalities between people and the relationships they have with their environment. My artistic motivations and decisions draw from what I know and what I don’t, my own rational and intuitive observations, and preexisting visual and written languages. I think about painting as a space that mediates time and place, bringing together people from a globalized world and reconciling the past, present, and future into one unified form. Figures are central to my compositions.

 That first layer is a howl, a yip, a cackle in the soft morning light. I didn’t sleep well in that log cabin on the alkaline lake. The yellows poured into the room, I saw the sunrise twelve days in a row. Coyotes moaned outside all night, or maybe that was the wind? Give me peace, I wanted to feel I belonged in my skin. I was the one that wanted to exude golden light. These dogs emerged from the darkness. I watched them party all night long, and I heaved a sigh, my ribs extending out into the world and coming back in to my gut.

 To capture fragments, from here to there—a vibrant collection of figures—a poetic rumination—year after year, into the hundreds of years—all of our worlds (the journey through and beyond)—how does it feel to exist in a space that hits pause?

I negotiate and celebrate the concept of being Black with my narratives, exploration of identity, portraiture, and language. Through abstraction, representation, and assemblage I use my memories to depict the experience of being raised in a predominantly Black neighborhood. My hope is that these scenes from my journey provide nostalgia for the viewer. When it comes to innovation, I’m always in search of new ways to bring my ideas to life. Currently, I have been dissecting sneakers and attaching them in my pieces to help the viewer walk in my shoes.

 I think of painting not only as images but also as objects that act as sources of devotion and reflection. My paintings are about the struggle often experienced in attempts to articulate emotions and to provide a source through which these emotions can be felt. My attempts trapeze around the gaps in half-remembered experiences and the nearness of ideas typically seen as diametrically opposed and separate. These gaps and anti-dualistic ideas manifest in experiences of devotion, fetish, and intimacy.