From top, left to right:

Maya Ciarrocchi (AIR, 2018) is a Canadian American interdisciplinary artist based in the Bronx. Her creative practice is rooted in ecological and scientific inquiry, excavating the buried pasts and imagining the unknown future. This is revealed through one of Ciarrochi’s pieces in our exhibition, which she says, “envisions humanity’s environmental impact on the planet and the irrevocably altered future… to construct a world unearthed by archaeologists long after we are dust.” (Photograph by Shawn Poynter)

Danielle Dimston (AIR, 2001, 2002, 2014), based in New York, writes of her works in WITH QUIET EYES, “these watercolors explore moments when matter concentrates, light contends with density, and form asserts itself.”

Paolo Arao (AIR, 2018) is a Filipino born visual artist based in Hudson, NY. He specializes in sewn paintings, textile constructions, and site-responsive installations that are rooted in geometric abstraction. Arao writes of his pieces in the exhibition, “I’m curious about sameness and difference. At first glance, the pair of artworks appear identical; upon closer inspection, subtle differences emerge between the two.” (Photograph by Kristina Williamson)

Kylie Heidenheimer (AIR 1986) is a visual artist who works and lives in New York. Of her work she says, “I apply pigment onto and across canvas in varying ways. A painting dialog between color, mark, surface and depth develops.” (Photograph by Chris Freeman.)

David B. Smith (AIR 2020) is an artist from Hudson, NY who specializes in fabric-based photo-sculpture, installation, and sound performance. He says, “My works are speculations – depictions of (im)possible worlds. Inspired by embodied knowing that there is something else beyond what we see, I collaborate with machines and digital tools to bring these visions into being(s).”

Shanti Grumbine (AIR 2012) writes that her “ongoing series of stippled drawings on black paper is mostly of windows seen from the street at night. Sourced from an archive of urban snapshots amassed over time from Brooklyn to Tokyo, they are laboriously drawn using a finite palette of gel pens. Offset by a graphite grid, each drawing frames an intimate scene observed ‘through a glass darkly’, obscured by light that celebrates dreamlike uncertainty over Truth.”