Destruction for Reconstruction II by Phaan Howng. Acrylic and Acryl Gouache on Paper, 55x48 in. 2014.

Phaan Howng's work centers around various narratives and landscapes that reflect nature thriving in a utopian post-human planet, or what she terms an “optimistic post-apocalypse.” She intentionally places the viewer in an apocalyptic future to encourage reflection on the fate of humanity’s survival if they themselves and especially those responsible for the mass consumption and laying waste of Earth’s resources do not make changes to thwart climate change and mitigate the negative effects of the Anthropocene epoch.

New Performance by Nicoletta Daríta de la Brown coming soon.

Nicoletta Daríta de la Brown is a performance artist, installation artist, filmmaker, and mother of four. She is Black Latinx; proud to be a first-generation Panamanian born in the United States. She is a chamána (shaman) and comes from a long line of healers.

Will to Adorn by Omolara Williams McCallister. Inkjet print on silk banner, 46x68 in.

Photographic documentation of Will to Adorn performance. Omolara Williams McCallister (pronouns: O/love/beloved) is a conceptual artist working primarily with fiber based mediums to produce adornments for spaces and bodies, using art as a tool for social change.

Gold Bars by Jackie Milad. Mixed media collage on hand-dyed canvas, 48x40 in. 2020.

From the It Means Desert, Desert series. “Within her collages, Milad gives us hints of her identity as an Egyptian-Honduran-American through pictorial elements and deconstructed language. She utilizes color and texture, freeing herself up to be responsive and reactive during her process.”

Books to Bullet by Stephanie Mercedes. Melted bullets, 12 in. x 9 in. x 4 in. 2020.

Book and pencil cast out of melted bullets. Mercedes melts down weapons confiscated by the DC police and turns them into musical instruments, installations and public works of art. She also excavates the archives of missing invisible histories.

When denied home we build a Memory Palace by Sobia Ahmad. 16x32 in., digital collage on chiffon. 2018. (Diptych, Edition of 3)

When denied home we build a Memory Palace is a collage on chiffon by Sobia Ahmad. Images of the artist’s childhood home in Pakistan are mixed with repetitive writings in Urdu. These fragmented images become imagined recollections, floating on a flimsy, translucent surface that responds to the slightest changes in air and light. As these elements shift, so does this memory palace.

A Party for Sojourner by Nastassja E. Swift. Wool, tulle, natural dyes, 20 x 15 x 1 inches. 2019.

Wool Sculpture by Nastassja E. Swift entitled A Party for Sojourner is a response to Judy Chicago’s “The Dinner Party”. Comprised of 39 place settings, it attempts to commemorate important women in history. Yet it, like much of first-wave feminism during that time, fails to intentionally include women of color.