Saturday, January 30 - Sunday, March 15

Opening Reception: Friday, January 30 - 6-8pm

Fishman has spent most of her artistic career investigating the relationship between the body and disease, probing at the pharmaceutical promise of a costly “cure.” In her pursuit of these questions, she has developed a distinct visual vocabulary of sculptural wall reliefs that combine glowing fluorescent and smooth matte forms, each geometric fragment representing a medicinal dose. Sleek and collage-like, these compositions mimic the precision of individualized prescriptions.

Saturday, January 30 - Sunday, March 15

Opening Reception: Friday, January 30 - 6-8pm

Hammonds visual vocabulary fuses imagery from the decisive decades that make up the epoch of civil rights evolution in America, a visual index of soul, funk, rap and punk music. Hammonds appropriates imagery from various movements and civil rights history and combines them with decorative motifs and patterns that adorn, memorialize and abstract histories of racial identity in America.

For this exhibition Hammonds will be pulling largely from complex collages made of the last few years that deftly but unabashedly meld elements in a range from the deeply personal to the cosmological, speaking of personal and shared histories while using elements of historically tested collage, intuition, Afrofuturism, the decorative and applied arts. Hammonds’ collages incorporate illustrations of celestial bodies with images of Black figures cut from vintage magazines, such as Life, Jet, and Ebony, to create scenes that are simultaneously nostalgic and futuristic

Saturday, January 30 - Sunday, March 15

Opening Reception: Friday, January 30 - 6-8pm

Islands Are Not Forever, a series of large-scale drawings that are installed as an immersive environment, holds a mirror to the bewildering complexities of collective and personal queer histories. Brooks’ drawings create a panoramic landscape inhabited by film stars, artists, and friends, adorned with both personal and cultural motifs, locales, and artistic innuendos. His subjects are selected from past experiences or drawn from life, arranged in an ongoing stream of recollection. The resulting impressions range from forceful to dreamlike. Some figures in confronting postures demand attention; others drift softly upon the paper, the way an image is summoned from subconsciousness. Collectively they address the notion of “Queer Time”.