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These works remind us that body hair is normal and should be celebrated in glamorous ways.
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Courtney Knight studied Illustration in Boston, MA. She explores word play, sex, intimacy, and intimacy through technology. Courtney has been making commission work, small publications, local shows, and started a collaborative illustration magazine called Medium Orange- she would like to expand her creative community.
Amelia Galgon has lived and worked in Brooklyn since receiving her B.A in Art and B.S. in Computer Science from Lehigh University in 2017. Her work predominately focuses on the portrait and the figure and typically depicts close friends and family as well as her own self. Her most recent work uses the body as a vessel to play and experiment with line and color as a way of exploring queerness and her own queer lens. Her work has been featured in exhibitions across Philadelphia and New York City and in multiple online exhibitions, including with Tussle Projects, Visionary Art Collective, and Philadelphia Sketch Club. Most recently, she received the award for Excellence in Watercolor from Philadelphia Sketch Club in their 2021 Works on Paper Juried Exhibition.
Originally from Baltimore, Cat Gunn (they/them/theirs) is an artist living and working in San Diego who identifies as non-binary transgender and queer. They create abstract paintings with layers of oil paints and mediums built up over time, using a variety of techniques to manipulate the alchemy of the paint.
A video and book artist-turned-painter, Troy still hasn't lost the wonder of new materials like toys, molding paste, and most recently flower-patterned plastic bags. Rather than playing fixed roles in a prefabricated play, his works together explore a constellation of loosely related sentiments like serious absurdity, the ineffable scale of cosmic time, surveyor marks, and rat traps around New York. These moments when existential issues suddenly intrude into everyday life or vice versa are most pronounced in the contrast between the digital hot pink he frequents and the scratched, worn out textures like peeled subway ads that accompany it.
Have you ever looked at a portrait and felt as if it was looking right back at you? Gabriella Moreno explores this power dynamic, not through piercing eye contact, but through reclining nudes and unconventional materials that question negotiations of power in sexual contexts. Femme central subjects are painted on silk and satin instead of the traditional canvas. Materials used for bedding and clothing combine the potential intimacy of their traditional uses with poses that empower the sitter. In her paintings, strength and softness induce each other and reflect back on you through the sheen of the stretched silk and satin.
Painter, sculptor, and musician Ryan Patrick Martin is one of those rare people who creates his own reality - one of playfully strange objects and environments. His works are often informed by an interest in sound synthesis, movement, vibrancy, multi-sensory experiences and an endless search to find humor and harmony in the slop.
Fukuko's objects are totally non-functional, but in that way, functional in their own worlds. She doesn't try to hide or elevate the textures of cheap, common materials like cardboards, cupcake papers, and loofahs. If anything, her contraptions amplify original materials with bright colors and patterns like seeing an onion flowering for the first time.
Hanna Washburn’s soft sculptures sag and bulge in shapes that reference human anatomy. Their plush forms grow almost organically from clothing, furniture, and found objects. Hanna’s work is focused on associations; the materials she uses come from objects with previous stories told in fabrics that come from domestic interiors (upholstery, gingham table cloths, curtains) and the sculptures she creates blend the feminine, grotesque, maternal, modest, and sexual.
Gyan Shrosbree revels in her material. Like a third grader’s confidence outfit, her artwork weaves together bold color combos and a little bit of glitter in multimedia textile-like works. Gyan works intuitively and never on one piece at a time. Moving back and forth between works in a series, she carries out marks and movements while bouncing from one to the next, keeping the series related and each unique piece from being overworked into overcomplicated shreds. Most importantly, her process ensures that she continues to have fun and is connected to her art, which draws on the colorful moments of her everyday life.