Announcing our
2023-24
First Ten Artists
Kristine Moran
Katie Parker
Fay Ray
Christy Matson
Rachel Mica Weiss
Bari Ziperstein
Kristine Moran
Kristine Moran’s work is featured in Phaidon’s painting anthology, Vitamin P2: New Perspectives in Painting. Her work is included in the collections of the Buffalo AKG Art Museum, the Glenbow Museum, and the University of Toronto, among several other corporate and private collections. She has exhibited at Monica DeCardenas Gallery, Milan; Western Exhibitions, Chicago; Nicelle Beauchene Gallery in New York City; The Hole NYC; the Daniel Faria Gallery in Toronto; and the Glenbow Museum in Calgary. Her work has been reviewed in Artforum, FlashArt, MOMUS, and Artslant.com, as well as in NYArts Magazine, Canadian Art Magazine, Bordercrossings, Art Papers, Elle Magazine, and Harper’s. Moran holds a BFA from the Ontario College of Art and Design University and an MFA from Hunter College, NYC.
Katie Parker
Founded in 2008, Guy Michael Davis and Katie Parker have been collaborating under the name Future Retrieval, mining archives and museums to digitally collect and make objects that re-examine the history of decorative arts. Davis and Parker currently reside in Scottsdale, Arizona where Parker is an Associate Professor in the School of Art at Arizona State University. Their most recent solo exhibitions include Crystal-Walled Seas at Denny Gallery in 2022 and Close Parallel at the Cincinnati Art Museum in 2021. Future Retrieval’s work is held in numerous collections such as Arizona State University Ceramics Research Center (AZ), Cincinnati Art Museum (OH), 21C Museum/Hotel (NC), Society of Dresden Porcelain Art (Germany), and Jingdezhen International Studio (China). They have exhibited both nationally and internationally and received prestigious awards and residencies such as the Smithsonian Artist Research Fellowship, IASPIS, and Bemis Center Arts Residency. Their work has been reviewed and featured in Artforum, Vogue, Sculpture Magazine, AEQAI, Los Angeles Times, and Hyperallergic. Davis and Parker both received their MFA from The Ohio State University and BFA from the Kansas City Art Institute.
Rachel Mica Weiss
Rachel Mica Weiss (b. Rockville, MD, 1986) is a sculptor and installation artist based in Gardiner, NY. Her sculpture and large-scale installation work creates a discourse about human boundaries and limits, ranging from the architectural to the topographical, to our own formless psychological constructs. Employing a wide range of materials, Weiss’s work draws attention to the constraints within our physical and psychological spaces, asking us to reimagine those so-called barriers as flexible, passable, porous. Weiss earned a BA in psychology from Oberlin College and an MFA in sculpture from the San Francisco Art Institute. She is the recipient of an Investing in Professional Artists Grant from the Pittsburgh Foundation and The Heinz Endowments (2020) and a San Francisco Foundation Murphy and Cadogan Fellowship (2011). Funded residencies include: Fountainhead Residency, Miami, FL (2020); 100 W Corsicana Artist and Writer Residency, Corsicana, TX (2020); Lux Art Institute Residency, Encinitas, CA (2018); and Marble House Project Residency, Dorset, VT (2015), among others. Weiss has been the subject of seven solo exhibitions sited across the United States, and has created public artworks for venues worldwide, including for the US Embassy in Bishkek, Kyrgyzstan; Airbnb, Seattle, WA; and The Pittsburgh International Airport. Recent projects include: The Wild Within for the deCordova Sculpture Park and Museum in Lincoln, MA, and Boundless Topographies, her largest permanent installation to date, funded by the Gates Foundation for the University of Washington’s Hans Rosling Center for Population Health in Seattle. Weiss is represented by Carvalho Park New York.
Christy Matson
Christy Matson (b. 1979) lives and works in Los Angeles, CA. Matson’s woven, wall-mounted works combine the skill, sensitivity and craft of painting and hand weaving with the artist-directed process of an industrial Jacquard loom. The result is an object of beauty and depth that reveals important details with regard to art objects, how we make them, and how we look at them. Matson begins her process with watercolors, ink drawings, collages and other works on paper. She then uses a digital process to translate these compositions into instructions her loom can understand, and, as she works the machine, improvises on the weft (horizontal rows) with creativity and nuance.Matson opened the solo exhibition, Currents 38: Christy Matson, at the Milwaukee Art Museum in February 2022. Other recent solo exhibitions include the Cranbrook Art Museum, which featured a special commission for the US Art in Embassies Program and the Long Beach Museum of Art. Her work has been in dozens of group exhibitions including the Contemporary Arts Museum, Houston, the Museum of Contemporary Art Chicago, the Renwick Gallery of the Smithsonian Museum, the Craft and Folk Art Museum Los Angeles, the Asheville Art Museum and The Knoxville Museum of Art. Matson's work is in the permanent collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Milwaukee Art Museum, the Cranbrook Museum of Art and the Smithsonian Museum of American Art’s Renwick Gallery.
Fay Ray
Los Angeles-based artist Fay Ray explores the fetishization of objects and the construction of female identity through high-contrast, monochrome photomontages and metallic sculpture. For her three-dimensional works, Fay Ray compiles cast aluminum objects, bored volcanic rocks, wire, chain, and natural materials into suspended sculptural masses. Conflating worlds of worship and desire, the works across mediums borrow from the symbolism and composition of traditional religious relics and the visual language of the occult. Ray’s sculptures and collages hint at the presence of a rematerialized body through a mysterious yet systematic organization of abstract form.
Bari Ziperstein
Bari Ziperstein (b. 1978, Chicago; works in Los Angeles. MFA CalArts 2004, BFA Ohio University 2000.) Ziperstein's mixed media, ceramic-based sculpture practice engages ideas of consumerism, propaganda, and the built environment. Her plural and fluid practice includes discrete objects, large-scale installation, site-specific public sculpture, and her line of functional ceramics, BZIPPY. Her objects and sculptural tableaux reflect her interest in the political dimensions of capitalist economies, examining American aspiration through a historical lens.
