Monia Ben Hamouda’s artistic practice is based on exploring the human condition, especially its oppressing and traumatic characters. Significantly inspired by calligraphy, which stands as an extended part of Arabic culture, as well as on her own personal history, her works explore topics such as sociocultural identity, fatigue, anger and politics.

Jasmine’s mixed-media work gathers narratives — taken both from personal memories of her Carolinian family and childhood as well as stories of past generations — to create dialogues around the Black female identity in the south in predominantly white spaces.

Sarmar creates delicately embroidered textile pieces that channel her Palestinian heritage through the “historical choreography found in craft practices,” while simultaneously touching on the conceptual paradigms of social constructivism, ethnology, and the ethos of modernity.

Lynnea’s large-scale paintings deal with human connection, somatic memory and sensation. Her work addresses processes of healing, comforting and mourning — human responses to trauma and grief that were upended during the pandemic.

Born in East Germany, a country that “no longer exists,” Anna’s glass art exposes states of fluid uncertainty, physical extremes, the hope for a society in which a multiplicity of realities can be accepted. In her recent curatorial work, she opened a gallery space during the pandemic for immigrant artists, artists with an activist practice and recent graduates who were without a place to exhibit.

Tahmina’s work draws from embodied experience, collected materials, and stories taken from her childhood in Uzbekistan, adolescence in Russia, and adulthood in the UK. Her recent work incorporates terracotta pieces and found objects such as parachutes, sleeping bags, and bedsprings. Through the physical, unyielding weight of her artworks, she seeks to transcend her personal experience of temporality — constantly moving yet never arriving — which she describes as the immigrant’s experience.

Ramekon began quilting with his grandmother while growing up in the Jim Crow south during the Civil Rights Movement. Today, his sculptural work combines crochet, embellished lace, and other textiles with broken and discarded decorative pottery and other symbolic materials. Speaking to his own experiences as Black and queer, Ramekon’s art also channels universal themes such as desire, destruction, and the beauty that emanates from the act of creation.

Amy’s work is influenced by working class people, their stories, workplaces, homes, and bodies; specifically those living in mobile homes—informed by memories of her experience growing up in a mobile home community and interviews with residents in over 30 different sites across the country. She also explores the queer female body at work, as another building material in her sculpture, a symbol of her own invisible labor as a queer female.

Approached through a lens of reordering and discovery, Carlie’s site-responsive installations create new topographies and narratives that highlight the structural and decorative shifts encompassing a building's lifespan. Carlie has been awarded residencies at the Joan Mitchell Center (LA), Bemis MASS MoCA (MA), Oxbow (MI), and The Luminary Center for the Arts (MO), among others, and her work has been featured in publications such as Art in America, The New York Times, and Temporary Art Review.

Born in Nigeria, “a country flooded with cast offs from the West,” Victoria-Idongesit’s work questions notions of cultural identity and post-colonial positions. Her art is driven by her interest in textiles and the potential for clothing to shape identity, informed by the histories and tacit meanings embedded in everyday materials. Her work has been exhibited internationally, at venues including the inaugural Nigerian Pavilion at the 56th Venice Biennial in Italy; the Fisher Landau Centre for the Arts, New York; National Museum, Lagos and Lokoja; and the Whitworth Gallery in Manchester.