Maiza Hixson


I am interested in political occupations of public and private space, and contemporary social rituals that shape and define individual identity and cultural value. Weddings, dinner parties, political campaigns and museum lectures are all theoretical sites for creative intervention. Running For Mayor; Dream DisasterChance Encounters; Oh Boy! Men and Masculinity and other projects are scripted performances that draw from my background in curating, creative writing, research methods, theater and sociology. Each project is interdisciplinary and site-specific. I draw upon ideas of para-professionalism in a continuous deconstruction of my role as artist, narrator and interlocutor.
In 2011, I began an ongoing collaboration with artist Lauren Ruth called The Shaft. We founded The Shaft as a site-specific conceptual art gallery in a dilapidated Philadelphia warehouse elevator. Currently nomadic, The Shaft takes multiple forms, including gallery, restaurant, news outlet, school, and public intervention. We occupy borderless, creative territories and disseminate ideas by any media necessary. Our work additionally takes the form of facilitated romantic paperwork and surveys, sculptural installations, web-based video commercials, and street-side improvisatory interactions.

Madeleine Ignon

My process aims at a cosmic, messy convergence of place, time, and identity. I work with organization and disorganization, containment and chaos, chance and release. Mistakes inform me. I create an abstract space to make sense of the one in which I grew up. I adopted a system from the juxtaposition of and tension within industrial grids and organic land shapes in agricultural topography. I build maps of psychic topography with shapes, collage, architectural elements, lines, and text, and I obscure, connect, and re-define the pieces to camouflage the overt emotional expression.

Adam Jahnke

As a prerequisite to the transference of energy there must be an exchange and transformation. This universal exchange is what we as a species manipulate in an effort to distance ourselves from the governance of our evolutionary history. As a result of this displacement the division between technological fact and fiction is often blurred and/or removed. From the burning of coal to the consumption of livestock, our culture exists to design and accommodate mortality and growth. To free ourselves from the shackles of Natural Selection we labor to transform energy into fuel in defiance of our past and future. In this desire to supplant Darwinian law, we employ a cultural narrative that is steeped in mythology as a way to fantastically deny the impact of our species on the world at large. It is the duty of art itself to engage with this self-deceptive hubris. Through these photographic images I examine and deconstruct the unknown knowns of this historic and collective dialogue in an attempt to further my understandings about cultural constructs that often symbolize conflict within Political Ecology. Is it possible for humanity to attain an advanced technological future that operates harmoniously alongside the needs of our eco-system? Ultimately, I seek to visually explore this thought while engaging viewers with questions concerning their own personal behavior with regards to consumerism, nature, and use of energy.

Elisa Ortega Montilla


I make my art to express two fundamental parts of my self: my experience of being a woman and the commitment to social justice that has defined my professional life as a social worker. My aim is to re-frame iconographic and historical contexts by taking women out of the background and placing them in the foreground as powerful actors. My work is influenced conceptually by the feminist art movement of the 1960s, certain currents of contemporary street art, and by the way some postwar American female sculptors recast textiles and others supposed “domestic” craft-based resources as materials used for fine art.


Kayla Mattes

Kayla Mattes is an artist working in multiple disciplines including weaving, sculpture and installation. Her work examines the intersection of computing, weaving and digital culture by deconstructing the visual languages of the internet and graphics editing software.

Andrew Morrison

I pursue execution with Michelangelo as my model, pursue the immortal youthful spirit of Vincent Bell, pursue the historical accuracy of Bill Reid, pursue the bravery of George Flett, pursue the manhood of Cliff SiJohn, pursue the longevity of my grandfather, and pursue the compassion of my mother.

My art foundation is built on iron clad discipline and daily I pile effort upon effort knowing my commitment is rooted in honesty.  This honesty gives birth to the artistic momentum of a tsunami wave and the artistic faith of a monk which are continuously adapting to my process of progress. This process of progress is in accord with the Almighty Heavenly Father and I give all the credit to him. My art will stimulate thought, motivate action, continue to blossom in harmony within an infinite field of unfolding possibility, and continue to be a bright light shining into this dream of a world. This is my guarantee to you.

Echo Theohar

Echo Theohar is an artist and community technologist who researches the ways in which visualized data, graphics processing, and programming shape social, cultural, economic, and political discourse. Her affiliated gigs include voidLab, Isolor, and the Feminist Pornographic Collective Consciousness project.

Christopher Velasco

My works are visual narratives of my life. Like a storyteller, my images reveal moments of loss, redemption, and humor resulting in a variety of self-portraits using photography, collage and performance.

The process of creating allows me to convey my emotional state through visual images. Each project is therapeutic and asks for compassion, empathy and understanding from viewers.