Rachelle Dang makes installation-based work and sculpture that considers the exchanges between colonial legacies, botanical sciences and personal history. Rachelle talks about how audience activates her work, shifting from painting to sculpture, her “Savages of the Pacific” project, breadfruit, finding tremendous happiness through making art and the endless responsibility of dealing with history.

Adam Helms makes drawings and paintings that often depict masked faces, opposition groups, portraits of women, or scenes from comic books and film. Adam talks about posturing and symbolism through identity, image appropriation, subcultures and black metal, divorcing himself from his own work and looking for the emotional resonance in images.

Brian Chippendale is a visual artist, drummer and singer in Lightning Bolt and Black Pus, and a founding member of the seminal work-live-performance venue Fort Thunder. Brian talks about the similarities and distinctions between his different modes of making, mistakes as the living parts of his work, the fury of parenthood, selling artwork outside of the gallery system and enthusiasm as a way to generate new ideas. This is part 2 of a 2-part episode.

Brian Chippendale is a visual artist, drummer and singer in Lightning Bolt and Black Pus, and a founding member of the seminal work-live-performance venue Fort Thunder. Brian talks about creating immersive and expansive worlds in his work; handmade masks; playing drums; improvisation as an important tool, and capturing energy, multiplying it and blowing it back out. This is part 1 of a 2-part episode.

Monona Rossol is a chemist, sculptor, singer and an industrial hygienist that specializes in visual and performing arts health hazards. Monona talks about how most artist studios fail OSHA safety regulations, her book “The Artists Complete Health & Safety Guide”, kid’s art supplies, being born into a vaudevillian family, scientific facts, human denial and the challenge of being persuasive, and a steadfast desire to contribute to the arts in multiple ways.

Ryan Travis Christian makes graphite drawings on paper that often depict invented cartoon characters immersed in a world of provocative activity and goofball scenarios. RTC talks about processing emotional and political turmoil through his art, making work that transcends scene, seeing a demon and homage as a way to keep ideas alive.

Butt Johnson makes highly rendered and labor intensive drawings. Butt talks about using a pseudonym as part of his artistic identity, his technical process and drafting system, patient execution as a form of peacefulness, looking for rigorousness in art, a love for sub-cultures, biology and gardening, and setting up his own parameters of challenge in art.

Tau Lewis makes sculptural work that often utilizes fabrics, industrial debris, plaster and found objects. Tau talks about her admiration for Souls Grown Deep, the history and memory of materials, identifying as a self-taught artist, black geographies, black imagination and black resourcefulness, childhood drawings of Michael Jackson, mermaids, healing and joyfulness through making.

Maia Ruth Lee makes paintings, sculpture, jewelry and video-based works. Maia talks about growing up in Nepal, being patient and flexible with her ideas, utilizing source material like vintage clip art books, art education and her role as the director of Wide Rainbow, how motherhood has helped her become a more relaxed artist and her recent solo show at Jack Hanley Gallery.

Ellie Rines is the founder and director of 56 Henry and co-director at Ceysson Bénétière’s New York location. Ellie talks about paintings as memory banks, the relationship between gallery and artist, slowing down the discussion of an artwork, shower stalls as storage spaces, her recipe for ideal studio visits and acting as a conduit for the artists she represents.