Art under $2000 is your destination for buying art featuring works from emerging and mid-career artists. We offer original artworks in collaboration with represented and exhibiting artists under $2000.00. This is a great way to acquire new artists for your collection or as a gift. This is not a complete list of available work, please email the gallery to request a list: art@galleriurbane.com Shipping is not included in the price, the gallery will invoice the shipping costs separately once the purchase is confirmed.

Meghan Borah

Meghan Borah’s paintings combine oil with the fragile medium of distemper in ways that evoke the faded surfaces of vintage fabrics and decorative textiles. Her expressionless,female-presenting figures occupy dreamlike scenarios that may not be tranquil as they firstappear. Their faces appear aloof and almost impatient, suggesting the presence of sometype of negotiation between the public, outward facade and private inner longings. In this way Borah’s paintings are an ongoing examination of how we see and present ourselves, and how we may sometimes ache to become something else.

Borah (born 1990) lives and works in Chicago, IL. Borah earned her MFA from The School of the Art Institute of Chicago, Chicago, IL and was a resident at The Vermont Studio Center in October 2018. Borahs work has  been featured in publications such as New American Paintings, ArtSlant, Chicago Magazine, Time Out Chicago and Stay Cool Mom Blog.

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Gail Peter Borden

Gail Peter Borden: The way in which we see the world and spend time actually processing what we see is how we understand our environment and ultimately our place within it. Simplicity of form and articulation removes ornament and establishes order. The clarity of geometric, prismatic and perspectival forms provides an essentialism. Through their focus and reduction, form, proportion, material, color all become dominant players that allow us to engage with the touchstones of perception. Through the less we find more by foregrounding those primal elements of our biological and intellectual selves.

Gail Peter Borden attended Rice University, simultaneously receiving Bachelor of Arts degrees (all cum laude) in fine arts, art history, and architecture. He went on to Harvard University’s Graduate School of Design to complete a post-professional Masters of Architecture with distinction. Borden is the Director of Graduate Studies in addition to holding a tenured position as a professor at the Gerald D. Hines College of Architecture and Design at the University of Houston and principal of Borden Partnership since 2002. His artwork is an integral component of a vibrant research based practice. His projects are dedicated to craft across a variety of scales and media. From books, to installations, furniture to paintings and exhibitions, his work continues to act as proof that art has the power to transform the everyday. Borden received artist-in-residence awards from the Chinati Foundation in Marfa, Texas; the Atlantic Center for the Arts; the Borchard Fellowship; and the MacDowell Colony. Borden  has published 7 books on materiality: Material Precedent: The Typology of Modern Tectonics, 2010 (Wiley Press); Matter: Material Processes in Architectural Production, 2011 (Routledge); Principia: Architectural Principles of Material Form, 2013 (Pearson); Process: Material and Representation in Architecture, 2014 (Routledge); Lineament: Material, Representation and the Physical Figure in Architecture, 2017 (Routledge); New Essentialism: Material Architecture, 2018 (AR+D), and City of Refugees, 2020 (AR+D) all focus on materiality. As an architect designer, artist, theoretician, and practitioner, Professor Borden’s research and practice focuses on the role of materiality and architecture in contemporary culture.

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Drea Cofield

When Drea Cofield basks in water, there is an intensification of color, refraction; a deepening. Water fills all holes and also reflects the surrounding world, creating a kaleidoscopic experience that is sensual and psychedelic. Water itself is the content and container for much of Cofield’s work. It encases, it drips, it caresses, it carries scent and rides warm air, then ripples into patterns. It connects and reflects and resides within absorbent bodies.

Cofield’s work flows freely between the imagined and the observed. Painting outside alla prima has fine-tuned and heightened her relationship to color, movement, and life. It has also fleshed out her understanding of desire and its position within the narrative scope of her paintings. Desire exists in the mind as movement, the journey, the moment before touching - the space beyond. Always tantamount is the importance of looking; how color operates in relationship to the physics of sight and light, and how it is used as a means of seduction in the natural world. The landscape behaves as subject, frame, and referent. In this regard also is the aperture, the thing that seeks and captures the gaze: a sun setting, a nipple, the stamen of a hibiscus. Imagination weaves in and around these subjects through juxtaposition and invention. They are forms and moments chosen from Cofield’s life. She has experienced them with her eyes and her body. They are organized by her relationships, humor, and desires. Within this narrative of making, you see form tenderly rendered then dissolving into painted marks on surface. Puns play out in their turn. The paintings are best viewed with slow, tracing and lingering looks.

Drea Cofield is an artist currently working in Brooklyn, NY. She has exhibited in the U.S. and internationally including New York, Los Angeles, and Italy with recent solo exhibitions at DePauw University in Greencastle, IN, and Exeter Gallery in Baltimore, MD. Upcoming shows include Heaven Gallery in Chicago, IL and Library Street Collective in Detroit, MI. Her work has been featured in the Brooklyn Rail, Artnet News, Juxtapoz, and Contemporary Painting (World of Art). She is the recipient of an Elizabeth Greenshields Grant and the Yale Gloucester Painting Prize. Residencies include the Guild of Adventure Painters Mobile Residency in 2019 and a Yaddo Residency in Saratoga Springs, NY, in 2023. She is the Founder and Director of Bomb Pop-Up, a pop-up art and music initiative that focuses on providing visibility in exciting contexts to emerging and established artists and musicians. Cofield received her B.A. from DePauw University (Greencastle, IN) in 2008 and her M.F.A from Yale School of Art (New Haven, CT), in 2013.

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Aron Barath

Aron Barath is best known for his abstract paintings, marked by color and the seductive qualities of paint as a substance. Art historian and art critic Rona Kopeczky describes the artist as a chromatogologue and a chromatophone, handing over his place in a noble manner to the colour. The colour dictates the gesture of the artist, freeing itself from contemporary visual culture or communicational trends. What is left is pure, genuine and truthful. Light, substance and colour. Laying his canvases on the floor, Barath uses colors freely, painting with various materials and tools. Tested and mixed himself are water-based paints which allow his multiple layers to all easily be perceived at once. He uses a variety of brushes, brooms, sponges, and sprayers of different shapes and sizes alongside his handmade tools. Barath chooses to explore the essence of traces of light, substance, and color in his work, absent from contemporary trends of communication. The selected paintings in the exhibition are studies of light and color through a series of intuitively completed steps. A euphoric kind of action takes place in Barath's studio as he paints interpretively and sometimes dances around his canvases.

Aron Barath (b. 1980, Novi Sad, former Yugoslavia) resides and works in Budapest, Hungary. Barath has had group and solo shows predominately in his home country Hungary. However, the past three years his work has been noticed and lauded internationally, resulting in exhibitions in Warsaw, Poland, Berlin, United States, Vienna, Austria and Kortrijk, Belgium.

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Emily Bartolone

Stemming from her infatuation with the formal elements of painting, Emily Bartolone’s work pairs down simple, anthropomorphized shapes in an effort to explore paint and color theory while simultaneously creating tension and humor through color, edges, and texture. In utilizing color theory to create color relationships that result in sensory optical experiences upon viewing, she tricks her viewers into seeing colors as other than themselves, adding a layer of humor to the production of the works. The playful, human qualities of painting are incorporated into the work through the use of amorphous shapes animated within the picture plane. A long, slim shape with rounded off edges starts to feel like an arm. A chunky oval with a modest circle balanced on top begins to resemble a body. A sharp corner and soft curve begin to feel at war with one another. The introduction of curved shapes allows for a push back against the bravado of minimalism and geometric abstraction she has experienced as a female artist in those fields, adding feelings of tension that mimic her own relation to those ideas.

Emily Bartolone obtained her BFA from the University of Dayton and her MFA from Kent State University. She is currently working and living in northeastern Ohio where she is the Curator of the Malone Art Gallery at Malone University, Canton, OH. Her work has been seen in publications such as Art Hole Magazine, London, ENG, and Okay Cool Magazine, New York, NY. Within her career, she has shown at Project Gallery V, New York City, NY, the Cincinnati Contemporary Arts Center, Cincinnati, OH, The Contemporary, Dayton, OH, the Pittsburgh Cultural Trust, Pittsburgh, PA, the Oceanside Museum of Art, San Diego, CA, and the St. Louis Artists’ Guild, St. Louis, MO, among others, including an upcoming solo exhibition at Studio M within the Massillon Museum, Massillon, OH, in 2024.

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Michael Berman

Michael P. Berman wanders the terrain of the American West, Mexico, Norteno and the extensive grasslands of Mongolia. Mr. Berman’s classically executed black and white photographs participate in and extend the tradition of western landscape photography; each body of work is distilled from extensive exploration of a cohesive landscape over time. After completing a series of photographs he cuts up the negatives and prints and uses them as the basic medium for installations and paintings.

Berman was awarded a Guggenheim Fellowship in 2008 to photograph the remnant grasslands of the Chihuahuan Desert. His photographs are included in the collections of the Metropolitan Museum of Art, the Amon Carter Museum and the Museum of New Mexico. In 2013, he received the Governor’s Award for Excellence in the Arts in New Mexico and has also been a recipient of Painting Fellowships from the Arizona Commission on the Arts and the Wurlitzer Foundation; his installations, photographs, and paintings have been reviewed in Art in America, and exhibited throughout the country. Berman’s work has been published in several books including Gila: Radical Visions; The Enduring Silence and the first and third books of a border trilogy with writer Charles Bowden, Inferno and Trinity. His most recent book, published by Museum of New Mexico Press, available October 2019, is Perdido: Sierra San Luis. Berman was born in New York City in 1956, and went west to Colorado College where he studied biology and worked with peregrine falcons before embracing his photographic exploration of the land. He lives in Southwestern New Mexico in the Mimbres Valley, and is a founding and current board member of the Gila Resources Information Project. He has received grant support for his photographic and environmental work from the McCune and Lannan Foundation.

• Please note: All of Berman’s images can be printed a larger format or commissioned as one of Berman’s signature Plate Compositions. Please email the gallery for a complete list of available images and additional information.

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Arden Bendler Browning

Arden Bendler Browning is a Philadelphia-based artist who creates large paintings, small works on paper, virtual reality (VR) environments, and public art.  Her work explores movement, questions the desire for travel, the effect of digital imagery on perception and memory, and finding wonder and escape through immersive spaces.  Her work hovers between landscape and abstraction. 

Bendler Browning’s works are included in several public collections including the West Collection, the Pennsylvania Convention Center, Microsoft Art Collection, Dream Hotel Nashville, Toyota, and numerous private and corporate collections. Her work is represented by Bridgette Mayer Gallery in Philadelphia, Galleri Urbane in Dallas, and Tinney Contemporary in Nashville.  Press includes The Washington Post, Hyperallergic, New American Paintings, Bmore Art, The Studio Visit, Nashville Scene, I Like Your Work podcast, D Magazine, Philadelphia Inquirer, Atlanta Journal-Constitution, Drawing Magazine, and more. Selected group exhibitions include American University Museum at Katzen Arts Center, Pennsylvania Academy of Fine Arts, Penn State University, Weatherspoon Art Museum, Michener Art Museum, Swarthmore College, University of the Arts, West Chester University, Delaware Contemporary, and more.  Public works include "Nonstop" (2017), a commissioned Percent for Art project for the City of Philadelphia at the Philadelphia International Airport, and "Elastic Geography" (2021), a Mural Arts Philadelphia project.   She recently completed artist residencies at Interlude Artist Residency in Livingston, NY and at the Pouch Cove Foundation in Newfoundland, Canada. Bendler Browning holds a BFA from Carnegie Mellon University (1997), a Master of Studio Art from Sydney College of the Arts (2000), and an MFA from Tyler School of Art (2003).

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József Csató

József Csató draws inspiration from motifs borrowed from nature, combining them with dreamlike figures and other fantastic creatures in the creation of beautifully quirky compositions that are simultaneously figurative and abstract. Csató’s paintings speak a very unique visual language and fuse a number of art-historical references in his world of fantasy. His compositions often feature totemic figures and hybrids reminiscent of ancient, prehistoric cultures and civilisations, which the artist deliberately fuses with European compositional schemas such as still life, landscape or even portraiture. In his unfettered visual world, characterised by humour and playfulness, it is not unusual for strange forms resembling plants and anthropomorphic hybrid figures to emerge from the surfaces of his brightly coloured paintings. His figures and forms are part of a kind of psychedelic and personal symbolism, in which the amorphous shapes seem to represent real, existing beings

József Csató (b. 1980, Hungary) lives and works in Budapest, Hungary. He completed his studies at the painting department of the Hungarian University of Fine Arts in 2006, under the instruction of Dóra Maurer. A three-time recipient of the Gyula Derkovits Art Scholarship, he is also the winner of the Esterházy Art Award in 2013, a prestigious award for young artists in Hungary. He has held solo exhibitions at PLUS-ONE Gallery, Antwerp; Semiose Gallery, Paris; Double Q Gallery Hong Kong; Galerie Krinzinger, Vienna. His works can be found in numerous private and institutional collections, including Ludwig Museum, Hungarian National Bank and Beth Rudin DeWoody.

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Stephen D’Onofrio

Stephen D’Onofrio’s thematic image-making is broadly characterized by an interest in the home decor market, the mass commodification of art, and the generic visual language that accompanies commercial design. His paintings explore the relationship between physical spaces and the objects we fill them with. Often alluding to typical domestic decor and household ornaments, his canvases make these inherently empty objects into simplified symbols and patterns that can then be rearranged and compressed to carry a formal sensibility. The “Produce(d) Paintings” series serves as an historic exemplar of still-life painting that is as old as the medium itself.

Currently, D’Onofrio addresses the idea of painting as ornament, incorporating stock subjects of landscape, still life, and portraiture becoming knickknacks into his lexicon. The painter distills, consolidates, and appropriates the overwhelming amount of generic design aesthetic in the commercial decor market. Rather than fight the inherent kitschiness of this visual language, he embraces the imagery so his canvases can, in turn, become a critique of the subject it represents.

D’Onofrio is a contemporary visual artist focused on painting. He received his BFA and MFA from The School of The Art Institute of Chicago in 2013 and 2016, respectively. In 2018, D’Onofrio was a finalist for the prestigious Hopper Prize. He has exhibited extensively in venues across the country, including galleries in Dallas, Boston, Los Angeles, Chicago, and Philadelphia. His work can be found in numerous private and public collections including Fidelity Investments, Estée Lauder, and the Clements Collection at UT Southwestern Medical Center, Dallas. D’Onofrio has lived and worked in Philadelphia since being awarded an artist residency in the city at Jasper Studios in 2017. His work is represented in the United States by Galleri Urbane, Dallas. 

Saskia Fleishman

Saskia Fleishman’s current series of paintings offer a metaphysical connection to the world by preserving the spirit of the landscape where she is from and other natural places she has recently spent time in. Fleishman grew up in Maryland on the Chesapeake Bay where her father was a landscape architect, her grandmother a landscape photographer, and her grandfather a pioneering wetland scientist. In recent years it has become clear, the tidewater landscape she calls home is slowly disappearing because of the bay's rising sea level eroding the land.

This body of work ties our ephemeral landscapes to Fleishman’s fascination with the spiritual complexities of our existence. The pieces often depict vivid sunsets, full moons, or sunrises; transitory times of day that highlight our fleeting nature, but are ultimately perpetual, and invite meditation. Beaches, wetlands, mountain ranges, high plains, deserts and wooded areas where she has felt the comfort and vast mystery nature holds, are sources for inspiration.

Saskia Fleishman (B. 1995, Baltimore, MD), graduated Rhode Island School of Design in 2017 with a B.F.A. in painting. She has been an artist in residence at The Jentel Foundation, Tongue River Artist Residency, Vermont Studio Center, Wassaic Project, PADA Studios, ChaNorth and Trestle Studios, and a curator in residence at Otis College of Art and Design. Saskia’s work has been exhibited at Red Arrow in Nashville, TN, Pentimenti Gallery in Philadelphia, PA, Dinner Gallery in New York, NY, Unit London in the UK, Goucher College in Baltimore, MD, The Museum of Contemporary Art Arlington, VA, and Silo 6776 in New Hope, PA, among others. In addition, her work has been featured in Make Magazine, ArtMaze, Root Quarterly, Friend of the Artists, and Galerie Magazine. Fleishman is based in Philadelphia, PA.

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Peter Frederiksen

In Peter Frederiksen’s work Nostalgia is being weaponized. The concept of the past as a "better time" is used as an aggressor and pushed out in fear of social progress. The artist uses nostalgic imagery popularized in the "Golden Age" of cartoons to show violence in art, as well as art as violence: Wile E. Coyote painting a tunnel on the side of a wall meant to capture and kill the Road Runner; a piano dangling from a fraying rope waiting to fall on an unsuspecting victim; a note in a song rigged to explode when played correctly. Drawing a parallel between these violent images and the longed-for era in which they were created, these threats of danger are rendered in soft materials emphasize their ridiculous nature. 

Peter Frederiksen lives and works in Chicago. The majority of his pieces are freemotion machine embroideries inspired by post-war Warner Brothers cartoons. Utilizing familiar imagery, the work examines fear, panic, toxic masculinity, anxiety, anticipation, and humor all through the lens of the shared visual language of Looney Tunes cartoons. Frederiksen has been exhibited most recently in New York, London, Berlin, and Milan.

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Adam Hedley

Adam Hedley’s recent works explore his fascination with the space between nature and abstraction. Working with traces of an image, the recognition of physical forms and the idea of pushing and pulling between one place and time and another, he is interested in reality, fragments from history, reimagined spaces and the crossovers between these. Gradually refining a personal palette and vocabulary of images derived from observations of the natural world and an archive of collected images, Hedley works between outdoor and indoor environments on large and small formats. He is sensitive to how place, circumstance and daily life can directly impact the production of a work, and is engaged in the very intimate, and physical relationships that the varying scales that he works in encourage. For Hedley, the activity of painting needs to feel illuminating. Finding a balance between intention and accident, his works aim to offer entry points into both direct and non-direct interactive spaces and representations, and invite the viewer to come up close and explore their layered and introspective surfaces.

Adam Hedley lives and works in Bristol UK. He gained a BA (Hons) Fine Art at Buckinghamshire New University (BNU) in 2008. He has exhibited throughout the UK with group exhibitions at Sid Motion Gallery, Arcade Fine Arts, Transition Gallery, Terrace Gallery, Kingsgate Project Space, Trade Gallery and the Gallery at Norwich University of The Arts (NUCA). Between 2012-15 Adam worked alongside Norwich based curator Alice Lee, in an intercity collaborative project entitled ‘Parallel Point’, which aimed to address the issues of art display and related events. Over the duration, Adam showed work at The Birdcage, Norwich, Power Lunches in Dalston, and several other alternative project spaces. In 2015 he was resident artist at Kentish Town Health Centre, London, where he held creative workshops for visitors, and investigated art making within a clinical setting. Works made during the residency were displayed in his solo exhibition ‘In The Waiting Room’, at The Free Space Project. With a commitment to developing inclusive and collaborative approaches to art making, and audience and community engagement, Adam Co-founded Caraboo Projects in Bristol in 2018. The organization strives to bring together artists, curators and local members of the community, for experimentation, and the development of self-organized and cross disciplinary art exhibitions and events in Bristol.

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Jeffrey Cortland Jones

Jeffrey Cortland Jones is interested in: Locating, apprehending then releasing, the resistance of a color then surrendering to it, a hard edge as it softens, the slight peeking that come from covering and layering, that space between the wall and object, when shallow and deep appear the same, what it’s like to look through the fog, when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge that place between misplacing and finding, how white can be both warm and cool at the same time, when you find that correcting is making it worse, the moment when a stable stack is on the verge of collapse, when contemplation breaks down and you go for it.

Jeffrey Cortland Jones is a painter, curator, and professor who lives in Southwestern Ohio. His work has been widely exhibited and has been written about in numerous publications including the Wall Street Journal, Contemporary Art Review LA , Arts + Culture and New American Paintings, and featured in over 200 exhibitions since 2010. Solo exhibitions have been hosted in venues across the US and internationally, including Germany and Australia. He received a Master of Fine Art from the University of Cincinnati’s College of Design, Art, Architecture, and Planning and a Bachelor of Fine Arts from the University of Tennessee at Chattanooga, both in Painting and Drawing. Jeffrey is a Professor of Art at the University of Dayton where he heads the Painting program. In addition to making work, Jeffrey also actively curates exhibitions at a number of galleries and alter- native spaces, including Divisible Projects, a project space he co-founded in 2014.

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Lori Larusso

Through her visual art practice Lori Larusso, explores issues of gender, class, and anthropocentrism through the lens of foldaways and domesticity. She embraces color as a carrier of spatial properties, and image as conduit for complex narratives. Visually rich elaborations of life-affirming subjects serve as purposeful symbols of specific time and place.

Larusso’s current research is steeped in both the tangible (material) and intangible (attitudes, rituals, customs, traditions) aspects of food and animals. This includes investigations of the ways in which social norms governing our judgement of the way our foods are produced or grown, packaged, prepared, named, photographed, presented, posted, shared, consumed, and discarded— are often arbitrary but have consequences in how we see these things as good or bad, delightful or disgusting, clean or dirty or indicative of wealth or poverty.

Adjacent to this research is my interest in humans’ paradoxical relationships with the animals that exist closest to us. From pets to livestock to synanthropes (non-domesticated animals that thrive alongside humans and our built environments), Larusso’s work highlights the tenuous line between attraction and revulsion that shapes our relationship to the different species of animals in our lives. This correlates to the tension between the appealing/palatable and unappealing/unpalatable aspect of our food systems. It also presses on the artificial divide between humanity and nature, animal and food. In dealing with these issues, her work explores how view ourselves and others.

Lori Larusso is an American visual artist working primarily with themes of domesticity and foodways. Her body of work encompasses paintings and installations that explore issues of class, gender, and anthropocentrism, and how these practices both reflect and shape culture. Larusso’s work is exhibited widely in the US and is included in numerous public and private collections. She has been awarded numerous residency fellowships including Bemis Center for Contemporary Art, McColl Center for Art + Innovation, Sam & Adele Golden Foundation, Art + History Museums Maitland, and MacDowell where she received a Milton and Sally Avery Fellowship. She is a recipient of the Kentucky Arts Council’s Al Smith Fellowship, multiple grants from the Great Meadows Foundation and the Kentucky Foundation for Women. Larusso is the 2019 Kentucky South Arts Fellow and is the recipient of the 2020 Fischer Prize for Visual Art. Lori Larusso earned an MFA from the Maryland Institute College of Art (MICA) and a BFA from the University of Cincinnati’s College of Design, Architecture, Art, and Planning (DAAP). She currently lives and works in Louisville, Kentucky.

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Melinda Laszczynski

Melinda Laszczynski’s work consists primarily of abstract, colorful paintings andsculptures made of hand built or thrown and altered ceramic and dyed and cast paper pulp. Encrusted with a jumble of materials-paint, found objects, and glitter-the surfaces read as confectionary archeological sites, she thinks of her paintings as between portals and gardens; tactile spaces that shift andreflect the body and sedimentation.

Melinda Laszczynski received her MFA in Painting and Drawing from the University of Houston and her BFA in Painting from the Cleveland Institute of Art. She is a Professor of Studio Art at Houston Community College. Laszczynski was a resident in the 2016-2017 Lawndale Art Center Artist Studio Program, the Spring 2021 Artists-in-Residence program at the Printing Museum, El Sur in Mexico City, and the Vermont Studio Center. Laszczynski has shown her work extensively across Texas. Recently, her work has been exhibited at the Art League Houston, Galveston Art Center, and Pablo Cardoza Gallery. Her work has also been shown at the Art Museum of South Texas, Corpus Christi, Gallery at UTA in Arlington, Point of Contact Gallery in Syracuse, NY, and Survival Kit Gallery in Cleveland, OH. Laszczynski’s work is included in the collections of UTSW (Dallas), Toyota (Dallas), and Lester Marks (Houston). She lives and works in Houston, TX with her partner John and their cats Agnes, Krudler, and Ira.

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Sam Mack

Sam Mack makes sculpture with ceramics, metal, found objects, and fabricated materials to build a grammar of materials that reference historic and contemporary vessels to disrupt simplistic myths of place in the South and Midwestern United States with trans legibility informed by trans studies and institutional critique. The vessels are built to encourage cracks and rips in the clay, creating a method of mark-making that values surface variation created from the materials’ transition as it changes states from clay to ceramic. The vessels and objects are arranged into still life vignettes of semi-diaristic representative sculpture pulling from ceramic histories and contemporary methods of archival display and exhibition.

Mack is an artist originally from and currently based in Saint Louis,MO and Cedar Falls, IA . They received their Bachelor of Fine Arts in Studio Art with an emphasis in Ceramics from the University of Missouri and their Master of Fine Art in Studio Art in May 2019 from the University of Arkansas. Their work is formulated through installation, ceramic objects and is centered around the allegorical potential of formally arranged material and objects. Mack has shown nationally and internationally at the JEAE International Arts Center in Jingdezhen, China, and at the Aichi Ceramics Museum in Seto City, Japan, as well as the Clay Studio in Philadelphia, Pennsylvania.

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Paho Mann

In Paho Mann’s work, he investigates personal and cultural relationships to the objects we surround ourselves with, addressing shifts in values, perceptions, and memory. The use of present and cutting-edge technologies to observe and transform the world is central to his investigations. Mann is fascinated by how these tools mediate how we see and understand our world. These images serve as metaphors for the constant transition of photographic and imaging technology. The new technology displaces the old, reflecting a turbulent relationship between the two.

Mann’s most recent works combines traditional photographic approaches with 3d scanning. He constructs tabletop arrangements in his studio from broken and old camera equipment and cell phones, then combined these old pieces of technology with objects found in traditional still-life paintings, including flowers, vases, and the aftermath of consumption in the form of recycling. From 100s of still photographs made of these arrangements, he builds 3d models using photogrammetry software. As the software works to measure and interpret the photographic images to construct a model of the 3d space, he extracts temporary files that were never meant to be seen by humans. These temporary files are intended to be used by the computer to interpret depth and are only made as tools to help the computer build the final 3D model. Mann works with these files to create new, abstract compositions. The resulting images are amalgamations of the photos needed to make a 3d model of the arrangement in front of the camera. The final images distort and reconstruct the original scene, providing fluidity and conversation between computer vision and human vision.

Paho Mann’s work has been included in exhibitions at the Arizona State University Art Museum (Tempe, AZ), Tucson Museum of Art (Tucson, AZ), Walker Art Center (Minneapolis, MN) and the Carnegie Museum of Art (Pittsburgh, PA) among others. Mann’s work is included in the collections of the Tucson Museum of Art, the Museum at Texas Tech University, the Nerman Museum of Contemporary Art, and the City of Phoenix Public Art Program. Mann was born in 1978 on his parents homestead near Snowflake, Arizona. In 1992 he moved with his family to Albuquerque, New Mexico where in 2001 he received a BFA from the University of New Mexico. He received his MFA from Arizona State University in 2007. Currently, Mann lives and works in Dallas, Texas where he is an Associate Professor of Photography at the University of North Texas.

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Samantha McCurdy

Substituting traditional canvas for thin, stretchable spandex, the works call to mind form-fitting attributes of yoga pants or a swimsuit. Hidden behind the painted stretched fabric, each painting conceals spherical objects that bulge beyond the confines of the rectangular frame. Painted in vivid tones of orange and pink, or a nude that more directly alludes to a human figure, viewers are enticed to imagine what remains concealed. Tightly arranged, each work’s protrusions extend to its neighbor and seemingly reach for physical contact but ultimately never overstep that boundary. Each painting creates moments of tension through its invitation to imagine what lies hidden underneath the delicate surface and through its suggestive physical orientation, all the while maintaining its own unwavering agency.

Living and working in Los Angeles, Samantha McCurdy is a native of Philadelphia and graduated from the Maryland Institute College of Art in Baltimore. Her work has been included in gallery exhibitions in Philadelphia, Dallas, Los Angeles and New York City. Samantha had a solo booth at Spring/Break Art Fair L.A premiering a performance piece, she allows selected by the Standard Hotel Hollywood for a site-specific installation and recently exhibited with Galleri Urbane at the Dallas Art Fair. In addition to her own practice, Samantha also runs an art space and “intellectual pavilion” called That That, which relocated with her move from Dallas to Los Angeles.

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Mel Prest

Mel Prest explores color phenomena she observes in landscape and light. She wants her color to seem like a flavor, or feel like a kind of touch or scent. Prest’s color combinations create optical mirages (called film color) that appear and hover above the surfaces. The lines are painted by hand, and become wobbly strata, accumulating as soft geometry, extending across the panel’s surface and over the edges, creating perceptual puzzles that tangle the illusion of two-dimensional space. Multiple panel arrangements cast shadows on the walls, linking spaces between the panels, reuniting the panels as one. Prest has worked with color and line in paint since the year 2000, and the paintings now feels like an object or a place for her own contemplation and inquiry, a background for a conversation, or a place that holds a memory. Her hope is that the work can be observed in person, from a distance and up close, and that these paintings can be a space for time that we can focus in and out of.

Mel Prest is a non-objective painter whose work is focused on color and perceptual visual relationships and synaesthetic response. She received her BFA in Painting from Rhode Island School of Design and MFA from Mills College in Oakland. Recent solo shows include: Lilac Aura at Chandra Cerrito Contemporary (2017); In Praise of Planetary Time at B Sakata Garo (2016) in Sacramento, COLOR CHANT at Chandra Cerrito Contemporary (2015), Oakland; MoonBrightChime at Galleri Urbane (2014), Dallas. Her works have been included in group shows at: Saturation Point ACME studios, London, UK; The Drawing Center, New York, NY; The Weatherspoon Museum of Art, Durham, NC; Zeitgeist gallery, Nashville, TN; IS Projects, Leiden, The Netherlands; Pentimenti Gallery, Philadelphia, PA. Prest has been awarded funded artist residencies at: Ragdale, The Sam and Adele Golden Artist Foundation, Willapa Bay AiR, The Wassaic Project and Vermont Studio Center, among others. As an independent curator, Prest has organized shows in Los Angeles, San Francisco, New York, Rotterdam, Amsterdam, Berlin, Munich and Zagreb. She is also a founding member of Transmitter, a collaborative curatorial gallery initiative in the Bushwick neighborhood of Brooklyn, NY.

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Irby Pace

Turn of the century French chronophotographer Étienne-Jules Marley was interested in photographic based movement and was pioneering innovative ways to capture the this in people and objects. At the end of his life he developed a smoke machine to record the the movement of smoke trails as they passed over various objects. They visually showed how the smoke was interrupted and altered depending on their placement within the smokes path. Marley’s introduction of objects to interrupt the smoke’s path influenced Irby Pace as he injected smoke into the landscape to disrupt the visual spaces that they temporarily inhabit. The floating phenomenons fill the void of the urban and natural landscapes. The physical space is altered with real floating colorful clouds of smoke which are allowed to combine with nature to dictate the shape and duration and are captured to show the momentary glimpse of the change in the vacant space. By using crude and readily available resources, Pace is experimenting with the tension of upward or outward movement against the downward force of gravity, creating the illusion of gravity defiance. Pace’s photographic investigation takes place in and between the states of Alabama and Texas, his home state. The work is influenced by these banal spaces which are chosen for their lack of content. Through the photographic process they are made tangible once again, if only for a small moment of time. 

Irby Pace was born in Odessa, Texas. In 2005 he moved to Lubbock, Texas to attended Texas Tech University where he received his BFA in Photography. He received his MFA from The University of North Texas in 2012. Pace is currently an Assistant Professor of photography at Troy University in Troy, Alabama. His work has been featured in Wired Magazine, The Huffington Post, Ripley’s Believe it or Not, The Dallas Observer, Paper City, Patron, among other sites, blogs, and online magazines. Pace’s work was featured on the cover of the November 2013 issue of The Dallas Observer. In 2012 he was awarded “The Best of 2012: Best Art Heist” and was considered one of “The 12 Most Newsworthy Moments of 2012.”

• Please note: This is only a small selection of Irby’s available images, please send us an email to request a full list. The artist also prints in larger sizes 36x55” and 42x63".

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Jessica Simorte

These small, acrylic paintings ultimately connect to the public through what Jessica Simorte sees as one of many universal cultural connections, the pull of place that operates on all of us. This work is an ongoing examination of personal spaces as declarations of value. Through painting Simorte is able to create environments that engage in a manner that is suggestive but not specific - these works are meditations on the infinite power of physical and psychological space.

Abstraction is the framework in which Simorte investigates ideas of place dependence and the psychological need to belong somewhere; approaching abstraction as an allegorical language is ideal for connecting the nonconcrete value of belonging within space. She intends for the work to have a transparency regarding its prioritization of formal investigation and process, and strive for the outcome to be indicative of an environment that is intangible and peculiar. The works maintain a belief in abstraction’s ability to function both on a self referential level and exist as cultural objects that are discursively relevant, socially engaged, and mindful of a viewer’s emotional and intellectual experiences

Jessica Simorte completed her MFA with an emphasis in painting at the University of Cincinnati’s College of Design, Architecture, Art, and Planning in 2014. She is currently living in Texas where she coordinates Sam Houston State's University's WASH Program and teaches within their new MFA Program. She has shown regionally, nationally, and internationally and has been included in numerous publications including multiple issues of New American Paintings, Art Maze Mag, and Maake Magazine. Most recently, she was named a “noteworthy artist” in New American Paintings issue #162. Significant exhibitions include solos at Gallery Urbane in Dallas and Virginia Commonwealth University, as well as inclusion in shows at Big Medium in Austin, CICA Museum in Gimpo, South Korea, and Trotter & Sholer in NYC.

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Loring Taoka

Loring Taoka’s work is an exploration on the digital and the physical. These spaces have become inextricably linked in theory and practice with ideas about truth and authenticity, the known and unknown, and perception serving as a common thread. Through this process, Taoka looks to the ways in which he is read and identified, the ways in which he identifies himself, and works to abstract these notions.

Geometry is employed as point of departure, using a universal visual language that Taoka distorts, undos, or alters. These semi-dimensional images are isolated and decontextualized to look at the ways in which information can convey multiple and/or opposing meanings. The illustory tactic of translating the digital into the physical complicates how these images and surfaces are read while remaining solidified wholes. The fluctuation of being seen as one or the other allows the work to move in a loop between both realms.

Often times, what is deemed as real or fake, true or false, falls within relativistic terms; our point of view and the information we are given may be insufficient, however true to us it is. Loring Taoka sees much of what he does as an exploration on the periphery, the place where boundaries or edges become blurred, and what we see is not easily decipherable. Taoka wants to push that grey area by creating imagery that is simultaneously concise and exacting, convoluted and muddied.

Loring Taoka (b. 1986) is a visual artist utilizing a variety of approaches and techniques to explore notions of vagueness and authenticity. Taoka’s work questions the act of perception and what happens when we are presented with precise, yet ambiguous information. His work has been featured in numerous venues such as Western Exhibitions (Chicago, IL), CES Gallery (Los Angeles, CA), and New American Paintings.

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Benjamin Terry

In his paintings, Benjamin Terry gravitates toward crude, but slyly well-constructed object-making and a playful exploration of the relationships between implied and real space. Shallow atmospheric spaces are punctuated by hard-edged bits of plywood shapes that seemingly float past others, only to be pulled down by the weight of gravity. Outside of the studio, he has become transfixed with the observation that some people’s happiness may bring others misery.

The gradient is one of a handful of avant-garde painting tropes that recently emerged and then quickly succumbed to the clutches of kitsch. Terry observed artists as they adopted the airbrush and spray-painted gradient, oftentimes wondering if he needed to acquire an airbrush himself. It rivaled the thick, gestural, oil-painted brush stroke as an undeniably seductive painting maneuver. However, it wasn’t until an arbitrary event in the studio led him to use a sprayer, releasing the soft-edged color transitions into his own practice. There was something in the organic occurrence of the gradient that captured Terry’s attention. His work employs the risky and exciting problem solving that painting with gradients requires. Terry has infused life back into what he thought had lost its joy and freshness.

Benjamin Terry lives and works in Dallas, TX. He received an MFA in Drawing and Painting in 2013 from the University of North Texas. He has exhibited work in numerous solo and group exhibitions across the country including Atlanta, Baltimore, Brooklyn, San Francisco, Dallas, and Houston. Terry was an artist-in-resident at The Maple Terrace in Brooklyn in the spring of 2018 and 100 West Corsicana in 2020. Curatorial work has become an integral part of his practice with exhibitions curated at Kirk Hopper Fine Arts (Dallas), Circuit12 Contemporary (Dallas), and Texas Woman’s University (Denton) in 2017. He was featured in volume 96 and 132 of New American Paintings, and has received both the Clare Hart Degoyler and the Arch and Anne Giles Kimbrough awards from the Dallas Museum of Art. He is currently a Senior Lecturer at the University of Texas Arlington.

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Michelle Wasson

Michelle Wasson’s paintings offer a sensual refuge from reality. Created intuitively from memory and imagination, layers of color and light portray surreal cosmic travel, supernatural spaces, and flashes of art history. In glowing scenes, vessels spring forth life and specters emerge, evoking Mother Nature’s power to create and destroy—and create again.

Michelle Wasson is an internationally exhibiting artist based in Chicago, IL. Her work has most recently been included in exhibitions at Hyde Park Art Center, Aspect/Ratio Projects Chicago and Brand Library Art Center in Glendale, CA. An independent artist, she has served as faculty at The School of the Art Institute of Chicago, Columbia College Chicago and The University of Illinois at Urbana-Champaign. In 2016 she co-founded the artist run exhibition space Tiger Strikes Asteroid Chicago.  Wasson received her MFA from Washington University in St. Louis, MO.