Carlos was born in Los Angeles, CA, in 1995. He was raised in Redmond, WA, where he lived until the age of 25. Carlos was self-taught until his early twenties. He refined his painting and drawing abilities at the Pratt Fine Arts Center and the Gage Academy of Art. In 2020 Carlos moved to Seattle to pursue a career as an artist. He initially worked on artwork commissioned by private individuals and local organizations such as the Seattle Public Library and Seattle Children's Hospital. In the summer of 2021, Carlos left his full-time job to work exclusively as an artist. Carlos’s work is rooted in the surreal imagery found in dreams, nature, and his afro-indigenous background that traces to Oaxaca and Guerrero, Mexico. He finds inspiration in the childlike and wondrous emotions left after profound dreams that leave lasting impressions. His paintings collide items found in nature with celestial bodies, botanicals, and exotic birds.

I am a visual artist working primarily in the disciplines of printmaking and painting. I have always been drawn to objects that show evidence of their history: old books and photos, vintage toys and clothes, diaries and letters. The ways that different materials are altered by time as well as the untold stories they contain give a bittersweet sense of both loss and connection. My sensibility can be a bit dark, but I hope I balance that with humor. My process typically begins with a visual cue, something I observe that I connect with on an emotional level. I seek a partnering of image and medium that amplifies the emotional response. I alternately build and obliterate the surface with printed, drawn, and painted elements, letting the images come together over many layers of material. I view my materials as collaborators and feel a piece is successful when it shows me something new.

Alison Stigora is a site-specific artist who explores relationships between physical spaces, materials, and the body. Often using found and natural objects, her work evokes awareness of the human scale within the expanse of the natural and constructed world. Emphasizing the transformation of familiar materials, Stigora creates worlds simultaneously vast and intimate, inviting viewers to pause and notice themselves and their environment in new ways.  Stigora is a Seattle resident from the East Coast who holds an MFA from the Pennsylvania Academy of Fine Arts. She enjoys working on large-scale projects with others and has collaborated with architects, composers, engineers, dancers, and lighting designers to develop her projects. Previous installations include projects at the Philadelphia International Airport, MadArt Studio, and Nes Artist Residency (Iceland); permanent works can be found at Arte Sella Sculpture Park (Italy), Blackfoot Pathways Sculpture Park (Montana), and Domaine de Chaumont sur Loire (France).

Hanako O’Leary is a craft-based sculptor and installation artist. She was born and raised by her Japanese mother and American father in the American Midwest. She grew up speaking Japanese at home but English in school and elsewhere. This deeply influenced her spiritual beliefs, artistic voice, and feminine ideals. Through handmade objects, installations, and storytelling, Hanako explores her matriarchal lineage and the complexities of feminine love, sexuality, and power. Her major artistic accomplishments include solo shows in galleries such as Method, Edmonds Community College, King Street Station, and most recently, the Frye Art Museum. Major awards include the Seattle Office of Arts and Culture's City Artist Grant, Bernie Funk Fellowship, Robert B. McMillen Grant, Neddy Award, and Artist Trust Fellowship, to name a few.

Lad Decker is an artist who likes to engage with complexity. Her expressionist paintings investigate war, power, and human conflict. She was born in Oklahoma in 1971 and has a BFA from the Kansas City Art Institute. Three events collectively shaped her curiosity about the world: the Vietnam War, the Pentagon Papers, and Watergate. Inspired by investigative journalism, photography, and history, she pursues challenging subject matter that sits between journalism and science fiction, inviting critical thinking and reflection. Lad’s current project, "Hostile Witness," examines how we view truth.

Lauren Iida is a paper-cut public artist whose practice lies at the intersection of art and social justice. Iida was born in Seattle and earned a BFA from Cornish College of the Arts (2014). Her main medium is intricately hand-cut paper incorporating ink, multiple layers, negative space, and shadow play. Her recurring 30-foot-long hand-cut paper temporary installation/performance piece, the Memory Net has traveled the world, taking on new meaning and engaging communities in each new contexts. Much of Iida's artwork is influenced by Cambodia, where she has been active for more than a decade working on projects to support and mentor local artists. Other influences include her family's Japanese American heritage and incarceration during WWII and her grassroots work with Seattle’s houseless community. Iida’s work has recently been featured at Seattle Art Fair (ArtX Contemporary), Galerie Lee (Paris), Wing Luke Museum (Seattle), McNichols Civic Center Gallery (Denver).Her work has been collected by the Seattle Public Library Foundation, Meta, The City of Bellevue Portable Art Collection, Washington State Arts Commission, King County Public Art Collection, City of Seattle Portable Works Collection, Seattle Convention Center, and Sound Transit.

Mary Anne Carter is a Seattle-based artist and curator. She has a lifelong attraction to the odd, unusual, and other. She creates environments that transport the viewer to  brightly colored, boldly patterned utopias governed by humor, self-expression, and irregularity. Her work has appeared in galleries and museums, including AMcE Gallery, J. Rinehart, The Bellevue Art Museum, Museum of Museums, The Factory, King Street Station, The Columbia Tower, NY Art Book Fair, Junior High LA, Get Nice Gallery, Mount Analogue, Vermillion, Geheim, and more. Since 2016, she has elevated emerging artists through her gallery and creative studio Party Hat.

Art has been my steadfast companion throughout my nomadic life, providing stability across ever-changing landscapes. Having lived in various parts of the world, my artistic perspective has been profoundly shaped by these international experiences, redefining my understanding of home as I immersed myself in diverse countries and cultures.

My artworks explore the complexities of identity and emotional experiences through a range of mediums. I'm fascinated by the ways we communicate our innermost feelings through the subtle cues of our facial expressions and physical gestures. I draw inspiration from the stories, ambitions, and worries of those around me, seeking to encapsulate these rich tales within my artistic interpretation.

My interdisciplinary practice – digital art, mixed media, performance, and art commentary – deconstructs and subverts history, racism, and identity. Buddhist philosophy influences my work. I think of myself as an artist who writes about art, identity, and culture. Who decides who we are? What does it mean to be human? My work explores the intricacies of identity, and how history, culture, and external forces shape human beings as individuals and as a collective. I am committed to taking risks. Various works employ historical black stereotypes – the elephant in the room – to disarm fear and question belief systems regarding identity.

Whiting Tennis was born in Hampton, VA, the second son of an Episcopalian minister. He was raised in Buffalo, NY, and attended high school and college in the Northwest, receiving a BFA in painting from the University of Washington. In 1990, in lieu of graduate school, he moved to New York City to see and make art, and pursue gallery representation. He returned to Seattle in 2004. He has received the Pollock Krasner, Neddy, Arlene Schnitzer and the Joan Mitchell awards for paint-ing and sculpture and has had solo shows at the Tang and Hallie Ford museums as well as the Museum of Northwest Art. He is represented by the Derek Eller Gallery (NYC), Greg Kucera Gallery (Seattle), and Russo Lee (Portland, OR) for which he is currently working towards a February 2024 show. He also writes, records, and performs indie rock.

Founded in 2011, uckiood is the studio of married Swedish-American and British artists, Kim Rask and Missy Douglas. Missy is a former art history and fine art tutor, holding an M.A. and Ph.D. in History of Art from the University of Cambridge, UK. Kim is an alumnus of the University of Washington with a background in animation, sound, and design. They work out of their Burien studio, creating mixed-media sculptures and public art installations. Their current portfolio utilizes the visual language of childhood to explore the concept of outsiderness/otherness. Fueled by a desire to create moments of childlike wonder in everyday life, their sculpture is colorful, bold, tactile, sensory, and gestural, with a strong attention to detail and playful characterization. Their award-winning work is held in high-profile private and corporate collections across the world, and has been featured in major news and culture/lifestyle publications such as BBC World News & Radio, The Independent (UK), Vogue (NL), designboom, My Modern Met, Psychology Today, Shanghai Daily, The Stranger, and Athens Voice, as well as being the subject of a 2018 WebMD documentary and a 2021 Shine News podcast.

Jalila Abdullah is an abstract artist and illustrator based in Seattle. Her work is bold and vibrant with multi-layered patterns. Jalila's art is an outlet of infinite creative expression that connects the viewer's emotions with everyday life. Her art is inspired by color, nature, movement, and human forms.

Anida Yoeu Ali is an interdisciplinary artist whose works span performance, installation, new media, public encounters, and political agitation. Born in Cambodia and raised in Chicago, she is a woman of mixed heritage with Malay, Cham, Khmer, and Thai ancestry. Utilizing an interdisciplinary approach to artmaking, her installation and performance works investigate the artistic, spiritual, and political collisions of a hybrid transnational identity. Ali won the Sovereign Asian Art Prize for her series The Buddhist Bug, an internationally recognized work that investigates displacement and identity through humor, absurdity, and performance. No stranger to controversy, in 2018 Ali announced the “death” of the Red Chador, a public intervention series highlighting Islamophobia, after returning to America from Ramallah, Palestine, without the luggage containing the one-of-a-kind performance garment. Ali has performed and exhibited at the Haus der Kunst, Palais de Tokyo, Musée d'Art Contemporain Lyon, Jogja National Museum, Malay Heritage Centre, Fukuoka Asian Art Museum, The Smithsonian, and Queensland Art Gallery. Her artistic work has received grants from the Rockefeller Foundation, the Ford Foundation, the National Endowment of the Arts, and the Art Matters Foundation. Ali’s pioneering poetry work with the critically acclaimed performance group I Was Born with Two Tongues (1998-2003) is archived with the Smithsonian’s Asian Pacific American Program. Currently based in Tacoma, Ali is the co-founder of Studio Revolt, an artist-run collaborative media lab whose work on social issues has agitated the White House and garnered international awards. Ali holds an MFA from the School of the Art Institute of Chicago and a BFA from the University of Illinois, Urbana-Champaign. Ali currently serves as a Senior Artist-in-Residence at the University of Washington Bothell, where she teaches courses in performance, interdisciplinary arts, and global studies.

Keven Furiya is an active member of the Seattle art community who has created art in the city for more than 25 years. While pursuing his own practice and exhibiting locally, Furiya has also moderated various life drawing sessions in the art community. His art education began at Seattle Central Community College, with Graphic Design and Illustration. This was combined with work as studio assistant to Seattle-based artist William Elston. As a Nisei (American-born Japanese), Furiya is inspired by the work and shares many of the subjects that intrigued artists Kamekichi Tokita (1897–1948) and Kenjiro Nomura (1896–1956). Both immigrated from Japan at the turn of the 20th century, becoming Seattle business partners in a sign-painting shop. This was located in the Nihonmachi, that local precinct currently known as the Chinatown-International District. Prominent contributors to the Pacific Northwest art world from the early 1900s to the 1940s, each participated in the National Public Works of Art Project (PWAP). Both artists' plein-air paintings of their neighborhoods and surroundings provide a visual snapshot of their era: a time which, for the city, proved pivotal. They continue to influence Furiya’s urban landscapes, interiors, and portraits of fellow artists.

Philippe Hyojung Kim (b. 1989) grew up in a small town outside of Nashville, TN, and moved to the Pacific Northwest in 2013. He experiments with various materials and mediums in response to his immediate surroundings, making objects and environments that exist in the space between painting and sculpture. His work often references queer identity, artificiality, and language. In his most recent body of work, (Un)Earthly Delights, Philippe collages plastic casts and remnants onto paper and acrylic in configurations that read at once as painting, text, and sculpture. He molds, casts, and reappropriates plastic to create playful, neon-saturated sculptures that allude to our cultural obsession with this most ubiquitous and climate-endangering material. He elevates this quotidian material with this process, giving it new life while highlighting the existential danger plastic poses.

Over the past 40 years, Eliaichi Kimaro has used writing, music, photography, film, storytelling, and mixed media art to explore her personal and family narratives. She previously worked for 12 years as a crisis counselor with survivors of rape and abuse before turning to creative work. In 2003, she found filmmaking and went on to produce over 80 videos addressing social justice for nonprofits.

Born and raised in Texas, I moved to Washington state in 2017. I currently reside and work full-time as an artist in Port Townsend, Washington. Visual art was brought to the forefront of my life under unusual circumstances around the age of 30 (I am 51 now) when I lost my hearing, as well as typical use of my dominant right side, due to the growth and removal of brain tumors discovered on my balance nerves. Losing my hearing was a devastating experience, as I very strongly identified creatively as a singer-songwriter and was heavily active in the music scene. I was forced to redefine myself, both as an artist and a person, after those surgeries.

Carol Milne was born in Canada and spent her first 18 years at 18 addresses in Canada, the US, and Germany. She received a degree in Landscape Architecture from the University of Guelph, Canada, but realized in her senior year that she was more interested in sculpture than landscape. Her senior thesis, “Landscape as Art/Art as Landscape,” drew her into the realm of sculpture, and the die was cast. She attended two years of graduate school in sculpture at the University of Iowa, where she learned about metal casting and experimented with glass. She has been working as a sculptor ever since.

Barbara Earl Thomas is a Seattle-based visual artist with numerous national exhibits to her credit and an active artmaking career that spans 35 years. A skilled painter, Thomas now builds tension-filled narratives through papercuts and prints, placing silhouetted figures in social and political landscapes. She pulls from mythology and history to create a contemporary visual narrative that challenges the stories Americans tell about who we are. Thomas is also known for large-scale installations that use light as an animating force, inviting her viewers to step inside her world of illuminated scenography. Thomas’s works are included in the collections of the Seattle, Tacoma, and Portland Art Museums; Chrysler Museum of Art, Minneapolis Institute of Art, Microsoft, the Bill and Melinda Gates Foundation, Washington State and Seattle City public collections. She received her BA and MFA from the University of Washington School of Art. Thomas recently completed commissioned work at Yale University's Hopper College as well as two major exhibitions: Geography of Innocence, Seattle Art Museum, Nov. 2020 through Jan. 2022; and Packaged Black, a collaboration with New York artist Derrick at the Henry Art Gallery, University of Washington, Oct. 2021 through May 2022. The artist's recent and upcoming solo exhibits include Claire Oliver Gallery (New York, NY), November 2022, Chrysler Museum of Art  (Norfolk, VA), February 2023, Wichita Museum of Art, (Wichita, KS) October 2023, and UPenn, (Philadelphia, PA) February 2024.

Brandon Vosika composes intimate portrait paintings utilizing bright colors and expressive brush strokes, connecting viewers with nostalgic, often fantastical stories he feels an almost painfully desperate need to tell. In opposition to the superficially flooded era we’ve found ourselves wading through with predictably disposable “content” taking the place of genuine human connection, Brandon extends a hand for you to hold and delivers surprisingly heartfelt sentiments he often plainly refers to as “feelings I’d like to share.”