Emilie Louise Gossiaux
(b. 1989, New Orleans, LA) is a multidisciplinary artist based in New York City. As a visual artist who is also blind, Gossiaux brings their inner worlds into the physical realm through drawings, ceramics, and sculptural installations based on dreams, memories, and their sense of touch. Gossiaux has shown their work at David Peter Francis Gallery; CASTLE Gallery; Busan MOCA; Kunsthall Trondheim; Wave Hill House; the Queens Museum; Kunstverein Hannover; MoCa Cleveland; The John Michael Kohler Art Center; MoMA PS1; Museum für Moderne Kunst Frankfurt; The Shed; and SculptureCenter, among others. Gossiaux earned a BFA from the Cooper Union for the Advancement of Science and Art in 2014, and an MFA from Yale School of Art in 2019.
Sleth
is an accomplished performer, playwright and screenwriter involved in New York’s queer cabaret and experimental theater scene. His performances combine the aesthetic languages of camp, shock, TedTalks, art history lectures and satire. His original performance work has been presented at Flux Factory, Wassaic Project, Brick Theater, 3 Dollar Bill, Bartschland Follies (including several Suzanne Bartsch parties), Parkside Lounge, Bonnaroo 2024, Bushwig Drag Festival, and House of Yes. In 2024, Sleth was awarded a NYSCA Artist Grant to create and produce the new play horsefacts.gov/, which premiered to a sold-out run at The Brick Theater in 2024. He has written three full-length plays, four short films/pilots, and one full-length feature. He plans to premiere a new play, The Wreck of the Unbelievable—a cheeky commentary on Damien Hirst’s ‘bad boy’ status in 2026. He intends to produce his first short film, Princess Hole, by the end of 2026.
Dylan Rose Rheingold
(b.1997, New York) is a painter based in New York, NY. Her practice explores identity, girlhood, memory, and nostalgia within American contemporary culture. Rheingold received her MFA from the School of Visual Arts in 2022, and her BFA from Syracuse University in 2019. Her paintings have been featured in exhibitions at M+B, Los Angeles, California; V1 Gallery, Copenhagen, Denmark; T293, Rome, Italy; The Historic Hampton House Museum of Art & Culture, Miami, Florida; Rusha & Co., Los Angeles, California; Sow & Tailor, Los Angeles, California; Latitude Gallery, New York, New York; Thierry Goldberg Gallery, New York, New York; China Academy of Art, Hangzhou, China; Backhaus Projects, Berlin, Germany; London Paint Club, London, United Kingdom; amongst others. Rheingold lives and works in New York.
Lucy Kim
(b. 1978, Seoul, South Korea) is an artist working across painting, sculpture, and biological media. She received the 2022 Creative Capital Award for her project printing images with bacteria that has been genetically modified to produce melanin. Kim is also a recipient of the 2024 Howard Foundation Fellowship, 2019 Mass Cultural Council Grant, 2017 ICA Boston James and Audrey Foster Prize, 2014 Artadia Award, and MacDowell Fellowship. From 2018 to 2021, she was an artist-in-residence at the Broad Institute of MIT and Harvard. Kim has exhibited her work at the Henry Art Gallery, Seattle, WA; Institute of Contemporary Art, Boston, MA; Institute of Fine Arts at New York University, New York, NY; Moody Center for the Arts, Houston, TX; Praise Shadows, Brookline, MA; and Oddkin, East Providence, RI among others. Kim is Associate Professor of Art at Boston University.
Vyczie Dorado
(b. 1998, Killeen, TX) is a New York City-based painter originally from central Florida. Born into this cyber age, Dorado’s practice examines the personas we construct online, digital echo chambers, and manicured profiles that gloss over the realities of climate change. Dorado was a recipient of the Oxbow Residency in 2021, recently participated in RicanVisions at the Latinx Project, and is currently part of the Be Here Now project with Scope Art Fair. She has been featured in publications for Smack Mellon’s “Hot Picks: 2023,” Fondazione Imago Mundi “Curatorial” series, Hyperallergic’s “A View from the Easel,” ”Emergency Index Vol. 9,” an annual book publication published by Ugly Duckling Presse, “Ecotone” and drawing anthology, and most recently on Future Fairs “The Ecosystem of Collecting: Artists, Collectors, Gallerists.” She received a BFA at The Cooper Union for the Advancement of Science and Art.
Katherine Bradford
"Boats and swimmers appear in my paintings because the surfaces I create with paint tend to resemble water. I love wide expanses of brushed on color."
Tamara Gonzalez
“Drawing is a constant companion and informs most, if not all, of my work."
Yevgeniya Baras
“My drawings record intentional and chance-driven activities, creating a kind of compacted evidence of my understandings, memories, and physicality. Doubling and symmetry is a constant in the work."
EJ Hauser
"Building on themes of transformation and mythology, Hauser uses drawing as a starting point for pushing the language of painting into new territories."
Adrianne Rubenstein
"On Broccoli: On the way to the studio I pick up a couple of sticks of broccoli. The first time I had the idea I was thinking about insects and the dollhouse of nature that they live in. The broccoli makes for a great drawing tool."
Brad Kahlhamer
“Starting last summer, (now 15 books and counting) I returned to my longtime interest in the sketchbook, reconnecting my drawing practice with the emerging artistic social circles surrounding my Bushwick studio."
Susumu Kamijo
"Yes. I like poodles. But I also like medium-rare ribeye steak, vintage scotch, my new iphone with no stupid cracks on the screen, clean underwear, curling players, fat penguins in Antarctica, and probably a few hundred or thousand other things in the world."
Michael Berryhill
""For me drawing is visual thinking. Variation and invention is the rule, and abundance is the game."
Annette Wehrhahn
“Moving around inside my vessel I am transmitting and receiving messages. I hear something said and get a mental picture, catch a glimpse of my shoes as I write an e-mail."