Liz Ainslie is an abstract painter based in Brooklyn, NY. Her abstractions are generated from observations and memories spanning 1970s interior decor, the Upstate New York landscape, My Little Pony, and ancient Greek wall paintings. You can read about Liz's recent solo exhibition at Deanna Evans Projects on Two Coats of Paint. Liz's work has been featured in shows at White Columns, PLATFORM, Transmitter, Good Naked, Rhett Baruch, SPRING/BREAK Art Show, Mepaintsme, Tiger Strikes Asteroid, and Tappeto Volante.

Henry Gunderson (born 1990, San Francisco, CA) is an American artist based in New York. Originally from the San Francisco Bay Area, Gunderson received his BFA from the San Francisco Art Institute. Gunderson has had solo exhibitions at 247365 (New York), Derek Eller (New York), Perrotin (New York and Shanghai), Gern en Regalia (New York), Loyal (Stockholm), Water McBeer (New York), Ever Gold (San Francisco), Carl Kostyal (London), Castiglioni (Milan) and has been included in numerous group exhibitions in the US and abroad. Henry Gunderson is represented exclusively by Water McBeer Gallery.

Chason Matthams' focus is on capturing the ephemeral experience of consciousness and pointing to its fragmentary nature. While at first glance his paintings seem to be contemplative experiments in mimesis, prolonged looking reveals threatening undertones. Matthams’ employs specific combinations of colors, angles of perspective, and exhaustive detail to anthropomorphize each of his subjects, rendering them just barely sinister. Flitting between mechanical and organic objects, Matthams’ exacting brushwork is the connective thread leading our eye through every sumptuous detail.

Matthams graduated with a BFA in Fine Art from New York University in 2004 and an MFA from New York University in 2012. Previous solo and two person exhibitions include Agape in the Spectrum, Magenta Plains, New York, NY (2024); Independent New York with Stan VanDerBeek, Magenta Plains, New York, NY (2023), Glimpse, Magenta Plains, New York, NY (2022); A Hell for Rainbows, Thierry Goldberg Gallery, New York, NY (2019); Tyler Wood Gallery, San Francisco, CA (2019, 2013); and Advances, None Miraculous, Thierry Goldberg Gallery, New York, NY (2015).

Lucia Love’s visually rich paintings are loaded with references to art history, mythology, politics, and the dynamics of power. By layering these references, contemporary allegories emerge, pushing each piece into the realm of idea painting. 

Mary Laube's work is fundamentally concerned with the contradictory nature of pictorial space, as it carries the promise of spatial expansion: an implied horizon with the illusion of spatial possibility. Yet, the physical surface of a painting agitates this illusion, as it asserts its truth as a flat surface. Within this plane her work antagonizes our relationship to culture, and the fraught process of defining it. Recent exhibitions include Morgan Lehman Gallery (NYC), the Knoxville Museum of Art, and Groundfloor Contemporary (Birmingham) among others.

Joe Fig is an artist known for work that explores the creative process, and the

Esteban Cabeza de Baca is a painter of Mexican and Native American heritage who lives and works between New York and the borderlands of the Southwest United States. Cabeza de Baca’s work entwines layers of graffiti, landscape, and pre-Columbian pictographs in ways that confound Cartesian single-point perspective. Cabeza de Baca’s works are in the permanent collections of Harvard University, North Dakota Museum of Art, Museum of Contemporary Art San Diego; Parrish Art Museum, Phoenix Art Museum and Williams College Museum of Art. He is represented by Garth Greenan Gallery and Parker Gallery.

Cordy Ryman is an abstract artist who fuses painting and sculpture using humble materials, most often acrylic paint and wood. He’s known for large-scale, site-specific installations that can be broken down into smaller components and stand-alone pieces. Ryman’s works are often responsive, reacting to their environments, their own layered histories and to one another.  He maintains a prolific resourceful playfulness in his practice, with an evolving vocabulary of form and color that informs the freshness of his work. Playful and unpretentious, he mines the rawness of his materials, elevating the imperfect with an approach that is physical, elegant and mysterious.

Kevin Umaña (b. 1989, Los Angeles, CA) is an artist who lives and works in Brooklyn, NY.  Spending his early years between Los Angeles and El Salvador, Umaña’s personal history has profoundly shaped his visual language. In El Salvador, he was immersed in a rural environment rich with natural textures, vibrant flora, and traditional crafts. While in Los Angeles, he confronted the intensity of city life and the pressures of assimilation. This duality seeded the fragmented forms and layered symbolism that define his art today. His practice continues to carry echoes of Latin American patterns, nature’s geometry, and American architectural influences, all reimagined through abstraction. Umaña’s recent works, “hybrid paintings,” combine glazed ceramics on painted canvas and fuse together conflicting styles—mess and order, biomorphic and geometric, thin and thick, matte and sheen.