Tuesday Night Specials

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Louis Wootton-Davies, Was A Youth Club, Now Just A Church, c. 2026 and Half Her Pension In A Christmas Card, c. 2025

both acrylic on MDF board

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Kim Keever

Large-scale abstractions created by pouring paint into a 200 gallon tank of water.

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Jennifer McCandless, With the In Girls, c. 2017

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Lily Rose Fine

Sinner, c. 2025, oil on wood and antique washboard Tempted, c. 2025, oil on wood in handmade hinged frame

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Sonja Peterson, Juice, Good Boy, Main Squeeze, and Guilty as Charged, c. 2025

stoneware porcelain, glaze, gold luster

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Blake Blanco

Sterile Eyes, c. 2024, acrylic and oil on panel

In this room, c. 2023, acrylic on canvas

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Dirk Staschke, Still Life with Inverted Vase, c. 2023

Ceramic with wood frame

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Hibiki Miyazaki, Shuffle, c. 2020

Casein, color pencil, and graphite on paper

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"to be nobody but yourself in a world which is doing its best, night and day, to make you everybody else - means to fight the hardest battle which any human being can fight; and never stop fighting." - e.e. cummings

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Michalina Janoszanka, Wiosna (Spring), c. 1920s see more here

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 a.p.gath, Slay and The Monitor c. 2025

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Daisy Makeig-Jones for Wedgwood

'Ghostly Wood' plate from the 'Fairyland Lustre' series, 1916-1932 Porcelain, lustre glaze.

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Maria A. Guzmán Capron

Recuerdos Que Arden, c. 2023

Me Veo En Ti, c. 2022

Duo, c. 2021

fabric, thread, batting, spray paint, acrylic paint

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Ruth Speer, Asking my mother for my baby teeth, c. 2024

Oil on built wood panel with drawer, human hair

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Jeanine Brito, After Spring Comes Summer, c. 2024 and Zärtlichkeit als Erbe (Tenderness as Inheritance), c. 2022

both acrylic on canvas

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"We all know (for we are told it so often) that girls who linger in the woods meet terrible fates. They are devoured by beasts. They lose the path. They succumb to temptation.

They do not marry; they do not rule.

What truly goes hungry - when it is denied girls to devour - is the castle.

May we live to see it starve."

Melanie Gillman, Other Ever Afters

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Melissa Meier, Masks

"In “Masked” I use masks as a form of expressed emotion rather than concealed disguise. I fabricate oversized masks out of clay and ceramics bringing them to life using glass eyes, paint, and human models; I then photograph them in both abstract and commonplace settings. Sculpted stylistically, the masks appear to breathe and live, whether a person is posing behind them or not. With each mask I work to capture the private emotions that are expressed when one is alone. ... In this series I am using masks as a form of revelation. Through the masks I am able to explore one’s true sense of self - not one that is formed by culture, gender, race, age or experience."