Cheng Tingting activates cultural objects in different ways, using sound and sculpture as contemporary witchcraft to connect the audience and create a sense of ritual. She also brings this immersive landscape into different communities as a social practice. Her multi-dimensional works often mix natural, artificial, and folk material.
Max Tristan Watkins’ practice employs text and image in order to gesture towards injury, childhood, disaster, and (homosocial) desire. His work toys with camp melancholy, drawing on ballet training to create performances of transsexual aristocracy and shame. His poetry exposes relationships with queer pleading, surrender, ‘again-ness’ and anecdote.
Izsys Archer’s practice explores the Black women’s intrinsic need to create through physical, digital, and ritualistic spaces of the Archive. Perpetual self-portraiture becomes a performance of identity as she interrogates notions of domesticity, memory, and Black iconography to wander on a journey of self-actualization and representation.
In his practice, Frankmarlin takes a look into the invisible, sees beyond what is presented, and asks questions he doesn’t know the answers to. With a sense of urgency, his works explore themes of erasure, lineage, surveillance, healing, and the beauty of the mundane black experiences.
Chantal Feitosa-Desouza is a Brazilian United Statesian working across images, text, and the classroom. Her practice explores alternative systems of learning and knowledge distribution. She uses time-based media, collage, and language to propose slower ways of thinking, remembering, and storytelling.
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