Never out to twist arms, these paintings instead guide us to the delights of seeing strangeness in the everyday. Reeder sees painting as an act of discovery and an offering of generosity and boundless pleasure.

Mr. Reeder is a colorist of subtly and odd emotive power. The soft pastel shades and the just slightly unexpected color choices of his palette undercut perfunctory and direct drawing. The paintings feature the curve of a shoreline, the outline of a chopper, or the orderly shelves of a shoe store as he turns his attention to his dayto- day experience.

I make figurative paintings that are built of art-historical influences, personal photography, and other visual languages. For me, painting offers a space to pose questions of representation. My response to the painting process is one of humor, absurdity, and anxious excitement. The figure’s construction becomes a playground where I resolve these impulses while discovering and representing individuals through painting.

My practice encompasses a variety of media—including painting, drawing, sculpture, and writing—though I am best known for watercolor animal paintings in animations I make collaboratively with artist and writer Steve Reinke. In this body of work, I write melancholic and absurdist dialogue for the creatures that Reinke animates.

My work concerns the duality of the mind’s ability to transform and mirror the physical realities surrounding it. Through imagery, proximity, and reflection, the elements of space, time, and place are modified to transport the viewer into a mental landscape. These biomorphic constructs curate a sense of mystery and are catalysts for bringing out differences in human perceptions. This painting series utilizes collaged maps, recycled cardboard, scrap material from other shaped canvases, and vinyl. The narratives pose questions but give no answers. They remain undeclarative

My paintings are constructed on a foundation of visual effects— faux finishes, faux worlds, and phantasmagoric qualities—in an attempt to create a feeling of polyphony or mixed response, difference in sameness, repulsion in attraction. I employ the constructed still life to engage and pull together incongruent images to make an intense psychological space. The works are dangerously alluring, their propensity to transform rooted in their fragmentation. I am interested in visceral metamorphic elements and how they combine to create autonomous feminine

In my painting practice, I use images of flowers sent to me by friends. In a double entendre of multiple folds, these images reflect how my friends think of me. Through the images, I mediate the subjectivities of flowers as well as my own. The weight of each image is unfolded in several compositions, fading away each time it is transferred, becoming less visible and less subjectified, becoming ground, becoming a gestural trace of sensations and elusive temporalities. Tracing their outlines and negative spaces to form propositions for a language that is not here yet, making

This body of work began as way for me to process, through visual means, certain aspects of my life as the father of a child with special needs. While the experience of raising my boy has been incredibly enlightening and joyful, self-doubt and concerns about the future have also been present in my journey as a parent. Initially, this series portrayed narratives describing personal situations—metaphorical self-portraits, if you will. However, this subject eventually became less personal and more about the universal uncertainty of the quietly powerful moments that

My work delves into the world of adolescence, depicting groups of girls within carefully constructed scenes: at school, in the home, or out in nature. It tackles themes of gendered socialization, anxiety, group dynamics, and performance within scenes of girlhood play and interaction that often stylistically reference children’s storybook illustrations. The narratives depicted are meant to be sweet and somewhat familiar to the viewer, yet on closer inspection take a mysterious or unsettling turn. Sometimes conveying innocence and curiosity, at other times confronting

Dee Clements is an artist, designer, and entrepreneur working under the name Studio Herron. Her practice spans soft product design, craft, and art. She uses weaving, tufting, drawing, and painting to investigate well-being and meaning in the realm of the domestic, and views textiles as an ever-changing and flexible way to examine the emotional side of soft objects. In a hard, technologically advanced world where anything and everything is accessible on a screen at the push of a button, she aims to slow down, with work that offers a tactile and sensory experience, one

Process, the way work is created, is crucial to my paintings, which operate in the way a puzzle is solved. Through a process-oriented methodology I arrive at a very specific quality. By solving these unpremeditated puzzles, I create form.