Sophie Haulman

photo by Janna Tew Sophie Haulman is a Brooklyn-based ceramicist and sculptor from Wilmington, North Carolina. She received her BFA (2019) from Virginia Commonwealth University’s department of Sculpture + Extended Media. While maintaining her practice, she is also a ceramics teacher and works in ceramic production and fabrication. Her evolving work explores the sensuality of space, the body and the unknown through material-based experimentation, contemplation on process, investigation of tactile form, and a constant surrender to fate.   “every month grass came” is a contemplation on mortality and the temporary nature of all that we possess – our bodies, relationships, experiences, memories, desires. As beings of the natural world, we evolve, erode, disintegrate; how do we construct a coherent sense of identity from an existence that is ever-changing?  These ceramic works question and explore these themes of impermanence, loss, and the unknown through a material which has the capacity to long outlast our own bodies while bearing moments of our time within it. Its physical fragility but potential for permanence challenges the transitory nature of self. Sophie Haulman reflects on the idea of resiliency as crucial to surviving one’s evolution.  Haulman’s work is just as much about the labor and fate of process as it is about the result, considering “process” as both an action and a passage of time. Each piece was handbuilt with slow, methodical, repetitive movements encapsulated within the material body, resulting in forms that question themselves and occlude the transformations of their identities.  The title and show are dedicated to Steffan Elijah Haulman, the artist’s deceased brother. His photo, seen daily on the side of her refrigerator, is held up by four contemplative word magnets that have become a kind of mantra: every | month | grass | came.  Sophie Haulman reckon with, or memento mori 2, 2025 Ceramic, glaze 60 × 60 × 3/4 in 152.4 × 152.4 × 1.9 cm. photo by Sophie Haulman Sophie Haulman, the well, or memento mori 1, 2025 Ceramic, glaze 13 1/2 × 19 1/2 × 19 1/2 in 34.3 × 49.5 × 49.5 cm, photo by Janna Tew Left to Right – Sophie Haulman Untitled 2, 2025 Ceramic 18 × 8 × 10 in 45.7 × 20.3 × 25.4 cm, Untitled 1, 2025 Ceramic 18 × 8 × 9 in 45.7 × 20.3 × 22.9 cm. photo by Sophie Haulman

Elijah Gowin uses photography to speak about ritual, landscape and memory.  He was born in Dayton, Ohio in 1967 and received his BA in Art History from Davidson College in 1990 and MFA in Photography from the University of New Mexico in 1997. His photographs are in the collection of the National Gallery of Art, Houston Museum of Fine Art, and the Virginia Museum of Fine Art, among others.   His awards include the John S. Guggenheim Fellowship in 2008 as well as grants from the Charlotte Street Foundation and the Puffin Foundation.  He founded Tin Roof Press to publish his books on art and photography including “The Last Firefly” in 2024 and “Of Falling and Floating” in 2011.  Presently, he is a Professor in the Department of Media, Art and Design at the University of Missouri-Kansas City where he directs photographic studies.  Gowin is represented by the Robert Mann Gallery, New York, Photo Gallery International, Tokyo and Bond Millen Gallery, Richmond, Virginia. Elijah Gowin, Tree 1. Date: 2012 Size: 15.33x 23, Pigment inkjet print Elijah Gowin, fireflies in trees, selangor river, malaysia, 2017 Size: 22”x30.75” Elijah Gowin, House 1 Date: 2014. Size: 15.33”x 23” Pigment inkjet print

James Horner is a queer chronicler who educates the public and diverts discrimination from his community. Horner focuses on ordinary queer folk, their issues, and LGBTQ+ icons like Marsha P. Johnson, a rights activist. The artist focuses on painting, but also experiments with drawings, sculptures, and zines. Using a simple color palette, Horner starts his figurative works with a line drawing and develops them to be muscular, abstract, and sometimes humorous. A native New Yorker, Horner has an M.F.A. in painting from Lehman College and is an artist and board member at the Amos Eno Gallery in Manhattan. He has a 40-year retrospective exhibition at the gallery, “Making of an American Dandy,” as well as an exhibit, “Queer Today – Love, Power, Freedom,” with his art collective, Magenta Lounge. Horner exhibits artwork mainly around the United States – at The Bronx Museum, The Tulsa Artists Coalition Gallery, Satchel Projects, public art shows in Chicago, and The Leslie-Lohman Museum of Art. Recent residencies include the DNA Artists Residency and Atelier Artist Residency, and his work has appeared in Out and Advocate magazines. Friday Night Throwdown,” 2010, Acrylic, paper, fabric, and marker on canvas, 95” x 48” “Keith Haring – Pop Icon,” 2024, Acrylic on paper, 22” x 30” “Homebody,” 2024, Acrylic and leather/metal belt on canvas, 22” x 28”

Jeanine Brito (b. 1993, Germany) is a painter living and working in Montréal, Canada. Layered in theatrical and fairy tale imagery, she uses her likeness to play with ideas of gender and desire. Her paintings have permeated the cultural consciousness, appearing in Harris Reed’s debut runway collection for Nina Ricci, on an album cover by Clara Luciani, on the cover of the highly reviewed debut novel by Sophie Kemp, and many other crossover collaborations. Recent exhibitions include All the Better to Eat You With, Nicodim, Los Angeles (2025), The Amber of This Moment, Nicodim, Bucharest (2025), The Grumpy Girls, Nicodim, New York (2024), The Invitation: A Fairytale by Jeanine Brito, Nicodim Upstairs, Los Angeles (2023), So Softly and Sweetly, La Causa Galeria, Madrid (2022), You Me Me You curated by Rachel Keller, Nicodim, Los Angeles (2022), New Mythologies II, Huxley Parlour, London (2022). All the Better to Eat You With, 2025 acrylic on canvas 66 x 94 in. 167.6 x 238.8 cm The Lovers, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Good Girls, 2025 acrylic on canvas 66 x 50 in. 167.6 x 127 cm Impresario, 2025 acrylic on canvas 34 x 26 in. 86.4 x 66 cm

Ryan Crotty earned his BFA in painting from the University of Nebraska-Lincoln and his MFA in painting from Syracuse University. His work has been exhibited extensively both nationally and internationally. Recent solo shows include a solo presentation at Untitled Art with High Noon, Miami, FL; Ever So Slightly Off, Rutger Brandt Gallery, Amsterdam, NL; and Underlying Issues, Galerie Robertson Ares, Montreal, QC. Recent group exhibitions include The Stage is Yours! curated by Eric Gauthier, Exo Gallery, Stuttgart, DE; Spectrum, Galerie Bessaud, Paris, FR; and Tone Poem, The Hole, Los Angeles, CA. His work has been featured in publications such as the New York Times, the Washington Post, Hyperallergic, Artillery, and Design Milk. Crotty lives and works in Auburn, Nebraska. Ryan Crotty, “Sub Rosa,” 2025, acrylic, gloss gel, and modeling paste on linen, 36″ x 30″ Ryan Crotty, “Get a Move On,” 2025, acrylic gloss gel, and modeling paste on line, 60″ x 48″ Ryan Crotty, “Exit Strategy,” 2025, acrylic, gloss gel, and modeling paste on linen, 48″ x 36″

Sigrid Sandström  earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001). Sandström has exhibited her work internationally in solo exhibitions at museums including Vandalorum Museum, Värnamo, Sweden; Västerås konstmuseum, Västerås, Sweden; Frye Museum, Seattle, WA; and at galleries including Anat Ebgi, Los Angeles / New York; Perrotin Shanghai and Tokyo; Inman Gallery, Houston, TX; and Cecilia Hillström Gallery, Stockholm, Sweden. Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT. Sandström is currently a professor at the Academy of Fine Arts, University of the Arts, Helsinki, and has previously held positions as a professor at the Royal Institute of Art in Stockholm (2010-2020) and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden. Sigrid Sandström, Ravel V, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Ravel X, 2025 Acrylic on canvas Frame 40″ x 59 ⁵⁄₈” x 1 ⁵⁄₈”  Sigrid Sandström, Approaching Times Three, 2025 Acrylic on canvas Frame 40″ x 40″ x 1 ⁵⁄₈” 

Maureen McQuillan (photo credit: Etienne Fossard)Pictured in front of “Crystal Blue Persuasion,” her permanent public art installation, completed 2018, which spans three sides of the 36th Avenue N/W station in Astoria, Queens, and was commissioned by Metropolitan Transit Authority/Arts & Design. Maureen McQuillan creates process-focused, system-based paintings from multiple layers of ink and acrylic polymers that convey a deep but elusive sense of space. Vibrantly hued, she uses rippling, wave-like linear elements and undulating rounded forms to suggest shapes in nature as well as the human body. Her systematic approach to color results in a luminous and complex optical mix reflecting her interest in how our perceptions of color have changed as technology has advanced. Born and raised in New York City, Maureen McQuillan is a graduate of Columbia University and the New York Studio School.  Since the early 1990s she has been exhibiting her work in solo and group shows in galleries and museums throughout the United States as well as in France, the UK, Costa Rica, and Hong Kong. McQuillan’s work has been reviewed and reproduced in many publications, among them The New York Times, The New York Daily News, The Brooklyn Rail, Two Coats of Paint, The Boston Globe, The San Francisco Chronicle, Artnews, Architectural Digest, and Art on Paper; and her work is held in public and private collections all over the world. Maureen McQuillan, Untitled (C/T), 2025 Acrylic polymer, ink and acrylic on wood panel. 10 x 10 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/B2), 2025 Acrylic polymer, ink and acrylic on wood panel 30 x 40 inches. Courtesy the artist and McKenzie Fine Art, New York. Maureen McQuillan, Untitled (C/RB/BG), 2024 Acrylic polymer, ink and acrylic on wood panel. 16 1/4 x 16 inches. Courtesy the artist and McKenzie Fine Art, New York.

Clare Grill (born 1979, lives and works in Queens, NY) received her MFA from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Parlance, Derek Eller Gallery, New York, NY; Cutwork, Galería Marta Cervera, Madrid, Spain; and Wich Language and Oyster, M+B, Los Angeles, CA. Group exhibitions include Things I Had No Words For at the Center for the Arts, Virginia Polytechnic Institute and State University; Interisland (New Paintings from New York and Hawai’i), University of Hawaiʻi at Mānoa; Of Flesh and Air, Marta Cervera Gallery, Madrid, Spain; The Feminine in Abstract Painting, Milton Resnick and Pat Passlof Foundation, New York, NY; Deep! Down! Inside!, Hales Gallery, NY; and New Skin, curated by Jason Stopa, Monica King Gallery, New York, NY. Her work has been reviewed in Artforum, ArtNews, Hyperallergic, the Brooklyn Rail, The New York Times, The Los Angeles Times, and The Boston Globe. Clare Grill, Drape, 2025, oil on linen, 80 x 112 inches (diptych) Clare Grill, Dune, 2025, oil on linen, 94 x 73 inches Clare Grill, Flit, 2025, oil on linen, 46 x 42 inches

photo by Colin Outridge. The exhibition Change of Scenery,  marks the painter’s third solo show with the gallery. It is the culmination of a year’s worth of travel across the U.S., as Brennan Hinton spent extended time in residency in Corsicana, TX, Martha’s Vineyard, MA, and Fishers Island, NY. Brennan Hinton’s practice focuses on the sustained act of observation, the plein-air discipline, and painting’s ability to capture the essence of a place. The time spent in three distinctive towns, each in its own ways divergent from Brennan Hinton’s familiar Ontario, required the artist to meet each place with open eyes and a fresh palette. To situate himself, Brennan Hinton leaned on two formative texts, Lonesome Dove by Larry McMurtry and Moby Dick by Herman Melville, which are each set in the same landscapes in which he painted. Keiran Brennan Hinton (b. 1992, Toronto) lives and works in Toronto and Elgin, Ontario. He received his BFA from Pratt Institute in 2014 and his MFA from Yale University in 2016. His work is held in the permanent collections of the Ogunquit Museum of Art, Ogunquit, ME and The Dennos Museum Center, Traverse City, MI. Past international solo shows of Brennan Hinton’s work include exhibitions at MAKI Gallery, Tokyo, Japan (2022); Thomas Fuchs Gallery, Stuttgart, Germany (2021); Charles Moffett, New York, NY (2023, 2021); Nicholas Robert Gallery, Ontario (2022); and Francesco Pantaleone Gallery, Palermo, Italy (2019) among others. His paintings have been featured in institutional exhibitions at the Art Gallery of Ontario, Toronto, Ontario; James Castle House, Boise, Idaho; and Katonah Museum of Art, Westchester, NY. Keiran Brennan Hinton, The White Pine, 2025. Oil on linen, 70 x 60 in. Photo by Lauren Finlay. Courtesy the artist and Charles Moffett.   Keiran Brennan Hinton, Texas Sky (Sunrise), 2024. Oil on linen, 56 x 44 in. Photo by Daniel Greer. Courtesy the artist and Charles Moffett. Keiran Brennan Hinton, Fishers Island Living Room, 2025. Oil on linen, 9 x 12 in. Photo by Zeshan Ahmed. Courtesy the artist and Charles Moffett.  

Leslie Smith III (b. 1985) was born in Silver Spring, MD and lives and works in Madison, WI.  Smith’s interests lie in our conscious effort to alter personal perception. Recent works explore Abstraction’s inherent personal and political properties as they relate to broadening notions of Black representation and expression. Smith creates paintings with a mindset that it’s possible to present a new interpretation of contemporary abstraction. One with expectations of a different sensibility than that offered by the 1950’s and 60’s, he offers an alternative worldview; one of inclusion and acceptance.  Leslie Smith III earned a BFA at the Maryland Institute College of Art and an MFA at the Yale School of Art. Smith exhibits nationally and internationally. His work can be found in the permanent collections of the High Museum of Art, Atlanta; the Virginia Museum of Fine Art, Richmond; the Birmingham Museum of Art; the Abroms-Engel Institute for the Visual Arts, Birmingham, AL; and the FRAC Auvergne, France. Leslie Smith III, Ancestral Meeting, 2025 Oil on shaped canvas and sewn upholstery fabric, 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist Leslie Smith III,  Under the Skin of Light, 2025 Oil on shaped canvas 45 1/2 x 36 in 115.6 x 91.4 cm, Copyright The Artist Leslie Smith III, Night Scene From a Moving Train Window, 2025, Oil on shaped canvas and sewn upholstery fabric 36 x 45 1/2 in 91.4 x 115.6 cm. Copyright The Artist