With acute sensitivity to his surroundings, Mantra works to create organic relationships between his subjects and their environments. His renderings of infinitely varied species are always spectacularly beautiful and scientifically accurate to the last detail. Poignantly he usually depicts these creatures as lifeless specimens displayed in an exhibit case, a heartbreaking comment on lost biodiversity.

From apartment buildings in New York City to an enormous dome in Mexico, I’ve seen Mantra persevere through extreme heat, major lift malfunctions and the usual distractions of creating art in public. His exceptional technical ability paired with his passion for nature and human experience not only enlivens our cities but alerts us to pressing global issues.

MARTHA COOPER

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In Mark, the two members of Type A (Adam Ames and Andrew Bordwin) utilize their bodies to create drawings by establishing a difference, a common ground, and opposing territories. Shot overhead, Mark consists of three video segments depicting the two artists using chalk to delineate first a personal territory, then a shared territory, and finally the territory of the screen itself.

The first segment, consisting of each member drawing a circle based on his height, begins as a way to mark the difference in bodily dimension. Once the process is repeated, the disparity between the original markings, and consequently the significance of each member‟s individuality, becomes blurred. The second segment has each of them filling in the shared space between them with chalk marks, creating a form that represents a process that is cooperative from the start. In the third segment, the floor is completely filled with chalk, taking over the entire territory of the medium. In each instance, the territories are washed clean in the end. (New York, NY) 

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(Brooklyn, NY)

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"While forms within Some Things (not meant to be contained) can accommodate numerous references, the delicate green netting specifically relates to my interest in autonomic processes and states of consciousness continually at play within the body. Utilizing an economy of line and sensitivity to line quality, channeling an interest in these processes give way to sensations of both weight and weightlessness. Oscillating between an impenetrably opaque flat surface and its inverse, dimensionality, a space or zone begins to emerge for the viewer's projections to reside. Elusive passages of gloss varnish over matte, allow for multiple viewing experiences."

"In Opposite of Oration (Quiet, Listening), a blue-green color field is intended to feel neutral and serene to act as respite from the daily onslaught of communication. The formal relationships of lines and forms intersecting the paintings mirror physical negotiations of intersecting with and connecting to an external world. Prominence of negative space is intended to function as a repository for thoughts and projections. Spaces in both paintings invite the viewer to navigate the picture plane and to complete the image on their own terms."

— Nicole Mauser (Kansas City, MO)

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Teague is a 2012 painting by N. Dash. The painting is abstract and is constructed from adobe, gesso, jute, twine on a wood support. This painting is unframed. This work was purchased in 2012 from Untitled, LP (gallery), and as of 2014 is on display in the private dining room of the Market Table restaurant on the first floor of The Alexander.  
– N. Dash (Brooklyn, NY and New Mexico)

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"Until recently, the majority of my work has explored contemporary culture through the psychologically complex domain of interior spaces. Pleasure Ground, an ongoing project started early in my career, explores elaborate environments designed for the pursuit of a myriad of pleasures. My photographs in this series have explored everything from settings oriented to beauty and entertainment to topless bars and fantasy environments such as those captures in these four hotel rooms. These spaces carry an underlying promise of pleasure and those who engage in the activities suggested by these rooms are willing participants."
— Lucinda Devlin (Indianapolis, IN) 

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"This project initially started with ads I placed on Craigslist in 2006, looking for men who would meet me blind date style in bars and allow me, literally, to throw myself at them. Using my body as a projectile, I hurled myself towards men who were waiting to catch me, subverting the usual gender expectations that women are passive, and men make the first move. The photographs that resulted (taken in Midwestern dive bars) capture a perpetual state of social awkwardness and pose questions concerning relationships, social connections, sex, gender, and the desire to form relationships quickly that are both intense and long-lasting. Adapting the language of physical comedy, I wanted to make work that wasn‟t just about desperation but about a desire to make connection by any means necessary. That positive desire is, however, tempered by the knowledge that a connection might not be possible—that the person may not catch me."

— Lilly McElroy (Los Angeles, CA) 

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"I made this series with the self-imposed constraint of completing each drawing in under ten minutes, covering paper with drywall finishing tape and painting over the tape with black paint. Starting with a ten-minute drawing, I gave myself one minute less to complete each subsequent drawing.

This drawing series was initiated when I tried on black and white checkered eye frames. I immediately knew that wearing them in Indy would be difficult due to the inevitable association with the Indy 500 checkered flag finish. I declined to buy the eye frames, but immediately began making the drawings in my studio. The series is both an elegant and playful meditation on time and the freedom that comes from working within deliberately limited systems."
— Lauren Zoll (Indianapolis, IN)

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From Chicago, IL.

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