Vickie Aravindhan is a queer Indian-Chinese Singaporean artist, curator, big eater, and sometimes singer based in Los Angeles exploring the ramifications of assimilation and hybridization as a result of colonial diaspora and the functions of myth as history, codes and truth. She mainly works with, video, installation and sculpture. Never opposed to play, experimenting, dialogue and building community.

Lexy Ho-Tai is a multi-discplinary visual artist and teaching artist, interested in the intersection between art-making and making the world a better place. She disrupts the exclusive and elitist tendencies of the art world by working in non-traditional art spaces, repurposing discarded and recycled materials, collaborating with artists working across multiple disciplines, and engaging with diverse audiences. Through soft sculptures, performance, installation, murals, and workshops, her public and participatory practice employs humor, play, and absurdity to invite viewers to contemplate pressing social and environmental issues. She believes that joy is a radical act of resistance, and that play forges a powerful space for audiences to envision and work towards alternative futures.

Abigail Rothman (b. 1997, Phoenix, Arizona) is a multidisciplinary artist and activist exploring subversion. Her work challenges and critiques tradition within society, art history, and its political and social manifestations. Through digital and physical abstraction pre-existing content is removed from its’ original context, existing as objects and realities the viewer must confront.  Acknowledging and altering the relationship between people and these scenarios confronts the conventional understanding and priorities of traditional art making processes. In turn, questioning the social transparency and accessibility of knowledge as a reflection of extreme political and social hierarchies. 

Oree Holban is a visual-installation artist, a performer, and a singer-songwriter. He likes to play with words, plasticine, and create childlike-neon-Rock’n’Roll-meditative worlds. His work is very much inspired by nostalgic American 50s of the previous century, Buddhist life and aesthetics in queer present time, and the Fabulous 50s of the 21st Century. He would like to share his ongoing colorful journey with others, explore hidden truths and transcend together the barriers of our own bodies and minds. 

Craig Deppen Auge is an artist currently residing in Kansas City, Missouri. His works explore the relationship between material, shape, color, gesture, mark-making, site and self. He merges and flows between collage, alternative bookmaking, salvage assemblage, and impromptu public intervention. Ephemeral, formal explorations reflect through-lines of self, and potentially activate collective deja-vu. Craig previously attended the ON::VIEW Residency at Sulfur Studios in Savannah, GA. He is a 2019-2020 Charlotte Street Foundation Studio Resident in Kansas City

Kylee Jo recently finished her BFA in drawing from the University of Florida, and is still figuring out her identity as an artist. In her multi-media paintings and installations (which sometimes incorporate film and/or sound) she tends to use humorous modes such as cartoons and warped realities to present gendered stereotypes. Materials she uses range from crudely sewn fabrics, to used popcorn bags, horse stickers, and plaster.

Mimi Allin is a visual artist working with performance, photography and video. She uses her body as a visual territory for knowledge production, healing and exploration. Her practice is based in conceptual, performance art, photography and video. The practice’s conceptual intent seeks to activate a critical commentary on gender, power and human relationships. Allin’s work explores contemporary 4th wave feminist themes, encompassing oppressed/oppressor dynamics, the relationship between contemporary discourses about landscape and the self’s internal processes. Allin, while acknowledging death, also seeks paths of regeneration, opening a dialogue between relationship and function, in a proprietary culture that isolates the subject from its production. She reaches and teaches transformation by reclaiming her body and its charged relation to the landscape. The gestures in her work are poetic, ritual-based, seductive, fluid and playful. She falls cathartically in and out of rhythm with the world, aiming to elicit reflection and to disrupt the basic structures of things, real and imagined. 

Kyla Gilbert's practice investigates the changeability of matter and the fusion of organic materials and industrial products, in parallel to the human body within its environment. Coming from a background in performance, Kyla is drawn to the intersection between movement, design and building. Her main interest lies in materiality as it relates to domesticity and commodity/consumption. She's interested in the metaphorical and physical weight of the objects we surround ourselves with, and how our lived patterns act on and modify our environments and our bodies. Kyla builds using repurposed and found materials collected from her surroundings in an attempt to explore her connection to place whether it be temporary or for an extended period of time. 

Kyla created Someday My Prince Will Come.