Imagine you're stepping into a bubble, a space filled with all the thoughts that drift through your mind in a single day. What do you surround yourself with? What defines you? And how do you interact or move around these objects that symbolize yourself.

Each painting is a glimpse into our inner world, specifically focusing on the objects we choose to surround ourselves with. Arranged in a deliberate, symmetrical way, these objects represent who we are. The exhibit's title is inspired by Virginia Woolf's idea of a "luminous halo"—a semi-transparent layer that envelops us from the moment we become conscious until the end.

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Cytter's short 2014 film explores the unsettling duality of American culture's ideals regarding being protectors of life and harbingers of death. This title is a reference to both the 1964 Joanne Greenburg book I Never Promised You a Rose Garden, which deals with mental illness and the 1971-84 Marine Corp recruitment campaign “We Don’t Promise You A Rose Garden.” These references are meant to clue the viewer in that the seemingly ordinary setting hides a distorted reality. As the tension builds, multiple guns and disjointed conversations between characters escalate the sense that the calm is about to be shattered. A chaotic shooting spree unfolds against the backdrop of normal daily life. The chilling final scene serves as a grim conclusion addressing violence and its pervasive presence within American culture.

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A group exhibition featuring the work of Jo Archuleta, Nehemiah Cisneros, Tommy Lomeli, Katherine Looney, October Sharify, Isaac Tapia and Cesar Velez exploring the supernatural and ethereal states of somatic responses. Guest curated by Yashi Davalos the exhibit is inspired by Aldous Huxley’s novel Brave New World, where soma was a fictional drug used to pacify civilians in a state of existential bliss and disassociation. Exploring the socialized perceptions of figures occupying space, Soma takes on confronting perceived utopia and dysmorphia in this exhibition.

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Included in this pop-up museum, made to resemble a small-town history museum, are 16 amazing stories, many so strange they may seem made-up. But they are not made up. They are all absolutely true. They are paired with amazing photographs and also fabulous objects that approximate long lost Indy icons — boxing gloves worn by Lou Thomas the night he killed Arne Andersson; the chair Cannonball Adderly tipped back in the night he discovered Wes Montgomery; James Snow’s Panama hat; Jinx Dawson’s skull; Max Emmerich’s spikes…”

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This body of work is an exploration of the physical and figurative aspects of “place.” On one hand, the word “place” refers to our built environment, choices of design, and our interactions with the physical world. On the other hand, it refers to a sense of belonging that is cultural and emotional–still deeply tied to the physical world, but able to exist without it through memory. I invite the viewer to step into the threshold separating “here and now” from”‘then and there.” 

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In this body of work, I am exploring the dream that there are still places and things we have not discovered, things we may not even comprehend. Inside of familiar volumes such as instrument cases and terrariums, I am creating spaces that give a glimpse of some other world, somewhere weird and wrong. This is Cthutopia.

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In an exploration of this concept, “Grief Etiquette” is an immersive installation about the non-linear stages of my grief, shown through archival imagery and sound.

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With “HERE IT IS IT ALWAYS IS,” Russell continues to explore themes of hope, anxiety, compassion and our place in an ever-expanding universe.

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Life-sized, sprawling canvases house images of animals that learned to live in new worlds, in habitats created by humans. Vidger’s painted canvases are aged with natural elements to move away from traditional, romanticized landscapes. She removes the animals from their environments, from their homes so we see them in this state of limbo, wondering where they go next. “By utilizing natural pigments to age my canvases, I present an alternative landscape that expresses the duality of desolation and splendor.”

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In Unearthing, Stirratt explores how natural and cultural objects are presented in collections and museum settings, and how we preserve, classify, and display them.

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