Deep Color Joseph Hart

Jesse Wine makes ceramics sculpture that combine body parts like arms, legs, hands, and feet, along with abstract shapes that are deflated, pulled, and stacked. Jesse talks about making sculptures that are self-aware, the expressiveness in our hands, leaving work unfinished, empathy as a gesture, being illusionistic with his surfaces, knowing when to destroy a sculpture, a great football match as the ultimate narrative, becoming more optimistic through experience, and the long game of being an artist.

Celia Pym makes textile-based artwork by repairing items like tattered sweaters, worn out socks, or torn paper pastry bags. Celia talks about the exchanges between making functional and non-functional art objects, finding pleasure in the tactility of her materials, different types of art transactions and preferring to return work to their original owners, damage and repair as driving concepts, how portraiture and body can be seen in garments, interacting with stories about grief, being intentional about contrast and “not matching”, repair work as a political act, being suspicious of virtue, how mending can unstick a stuck feeling, and navigating her emotional life through practicalities and making things.

Alvaro Barrington makes mixed-media paintings that underscore a reverence for art history and hip-hop culture, craft and handwork, and how and where his own lived experience weaves into the work he is making. Alvaro talks about self-evaluation and how one can be a great painter but a bad artist, innovation and social impact as barometers for successful art, stealing from other artists, paintings as monologues, partnering with multiple competing galleries, debt as a kind of violence, searching for freedom through his paintings, and complete awe and gratitude for being able to live his life as an artist.

Matt Rich makes paintings, drawings, sculpture, and installations that center themselves around form and shape, color relationships, and different systems for mark making. Matt talks about time as a resource and the safety of a studio space, the importance of procedure in his practice, colliding intentional and accidental gestures, wanting his work to be unpretentious and light, the influences of writing graffiti as a teenager, color as a mess of ever-changing experiences, ampersand symbols as an aesthetic and conceptual muse, and artistic discontent as a way to drive his work into new places.

Andrew Schoultz makes drawings, paintings, prints, installations, and large-scale murals that reference how history and turmoil follow patterns, and how power dynamics, spirituality, and environment can shape our experience of the world. Andrew talks about comic books and graffiti as early influences, obsessive compulsiveness as an artistic asset, handwork and the beauty of imperfection, the connections between skateboarding and art making, style and what can dictate it, how the art market interferes with sincerity, fitness as a powerful force in his studio practice, autonomy as a form of success, and finding a sense of purpose and pride through being an artist.

Ashley Bickerton makes sculpture, assemblages and painting-like objects that reference the grotesqueness of commodification and consumerism. Ashley talks about how a work of art can hold contrasting meanings, avoiding typecasting and being fluid with his artistic language, pacing an art career and gallery relationships as business arrangements--not friendships, operating on the edge of the contemporary art world, how a harmonious homelife allows him to flourish in the studio, being diagnosed with ALS and researching new ways to make art, mortality and the beauty in each day, and preferring ideas and dreams to the crud and muck of our physical word.