Lauriston Avery (b. 1968, Norwich, CT), lives and works in New York, having studied at the San Francisco Art Institute, he received a BFA from the Maryland Institute College of Art in 1990. Avery’s selected solo exhibitions include Full Moon, Platform Project Space, Brooklyn, NY; Deaf Bats Blind Shepards, Wildpalms, Düsseldorf, Germany; and To be Continued, The Hogar Collection, Brooklyn, NY. Recent group exhibitions include Embers, Platform Project Space, Brooklyn, NY; Magical Operations, Wildpalms, Düsseldorf, Germany; Zip City, Left Field Gallery, Los Osos, CA; Walk the Line, Platform Project Space, Brooklyn, NY; Big Ringer, Andrew Edlin Gallery, NY; Come a Little Closer, DC Moore, NY; and After the End, NADA. His work has been featured at the Bridge Art Fair, Miami; NEXT Art Fair, Chicago; Untitled Art Fair, Miami; and NADA, New York.

For Avery, this practice can be interpreted as conjuring. Alternating between feverishly building and impulsively excavating, he champions intuition as an interface with the metaphysical. His obsessive process and transmutation of material on the picture plane and in space summons that which is hidden within the tangible. Shimmering between the fantastical and the objective, Avery draws upon his attraction to the mystical and esoteric, where the laws governing what is visible are influenced by what is not.

Colin Brant makes oil paintings on canvas, in a range of sizes from handheld to the scale of his outstretched arms. Beginning with thin washes of color, the pigment deposits in the grooves of the weave and emphasizes the texture of the fabric. Using reference materials such as linen postcards and 19 th century colorized stereoscope images, the layered colors are reminiscent of these old printing methods. Overlapping tones of dusty pinks and violets tinged with orange suggest things seen through grainy atmospheric distance as well as across the distance of time. Scumbled marks of thicker paint over these thinner layers coalesce into images. Brant isinspired by artists who use representation as a starting point for the imagination to wander, including Post Impressionists like Pierre Bonnard, early American self-taught artists, and Chinese landscape painters.

Although landscape is a recuring motif, there are a variety of subjects that he paints including animals, minerals, and celestial phenomenon. A certain range in the Canadian Rockies has been the subject of a series of paintings. Using a variety of vintage postcards which show the range from slightly different angles with different light and color situations, the paintings become a study of mutability and subjectivity. No matter the subject, things are constantly in flux or shifting between one state and another. Mountains fracture and dissolve in light, animals appear then vanish, reflections turn a landscape upside down, everything is in transformation and slipping between the recognizable and fantastical. Whether the subject is plankton or a vast fjord, the painting becomes a meditative exploration of how he sees and understands the natural world.

Marjorie Norman Schwarz earned her BFA from Southern Methodist University in Dallas, TX. She has exhibited across the United States, with recent solo shows at SOCO Gallery in Charlotte, 12.26 in Dallas, Culture Hole in Dallas, Dutton in New York City, Art Palace in Houston, and the Goss Michael Foundation in Dallas. Additionally, her work has been featured in group exhibitions at The Valley Taos in New Mexico, the Art Museum of South Texas in Corpus Christi, the University of Texas at Dallas’ SP/N Gallery, Erin Cluley Gallery in Dallas, The Reading Room in Dallas, and ArtSpace 64 in New York City, among others. Schwarz’s work is in the permanent collections of the San Antonio Museum of Art and the Dallas Museum of Art, and the artist has received recognition in print and online publications, including Patron, Athenaeum Review, Glasstire, and Dallas Morning News. The artist currently lives and works in Dallas, TX.

Selby Warren was an Australian bushman who spent his life in the small settlement of Trunkey Creek and began making visual records of his life experiences in 1963 on found materials using brushes he made with his own hair. that are elemental and soul-stirring. Memory paintings are anchored in rural scenes of his life shearing, as a stockman, itinerant laboring, and in expressions of rural folklore; poems and ballads he liked to recall; iconic Australian landmarks and political figures, fusing his paintings with elaborate frames that are constructions. 

Discovered when he was 85 years old when a painting was seen hung at local pub the Black Stump, Warren drew a great deal of attention over a period of three years after his first exhibition at the age of 85 at Rudy Komon's legendary gallery in Sydney in 1972 - followed by exhibitions in Melbourne and Brisbane which led to much critical and media acclaim. As Komon remarked Warren was "one of Australia's greatest art finds"... "one of a half a dozen like him in the world."