2025 Scholarship Recipients

Metamorphosis
Acrylic paint on reclaimed construction pallet
23-1/2 x 25-1/2 x 1-3/4
$500
2024

I work primarily with acrylic paint on canvas, graphite, and pens/ink on paper. Most recently I've been exploring wearable art like fabric patches and jewelry as well as ceramic sculpture. My art is deeply personal to me and my experience as a transgender gay man growing up witnessing rampant misinformation and hostility towards my community in the media. I use my art as a form of liberation – an expression of myself in a world that often seeks to define or limit us. To some my work may look grotesque or uncomfortable but my goal is to produce compositions that tell my story with honesty and sincerity. I hope to create a space where the viewer can witness the vulnerability, strength, and complexity of my experience – and perhaps recognize pieces of their own story within mine. Sharing pieces of myself in my work is not only about self-expression but also about community and connection. As an LGBTQ person, I know how powerful it can be to see oneself reflected in art, and I hope that my work resonates with others who may be navigating their own paths of transformation, healing, or acceptance. Through my art, I invite the viewer to question norms, to embrace their true selves, and to celebrate the unique and powerful stories we all carry. I want my art to offer connection, empathy, and the reminder that it's okay to be in the process and never stop speaking up.

Lucid Dreams
Acrylic paint on canvas
23-1/2 x 29-1/2 x 1
NFS
2023

I work primarily with acrylic paint on canvas, graphite, and pens/ink on paper. Most recently I’ve been exploring wearable art like fabric patches and jewelry as well as ceramic sculpture. My art is deeply personal to me and my experience as a transgender gay man growing up witnessing rampant misinformation and hostility towards my community in the media. I use my art as a form of liberation – an expression of myself in a world that often seeks to define or limit us. To some my work may look grotesque or uncomfortable but my goal is to produce compositions that tell my story with honesty and sincerity. I hope to create a space where the viewer can witness the vulnerability, strength, and complexity of my experience – and perhaps recognize pieces of their own story within mine. Sharing pieces of myself in my work is not only about self-expression but also about community and connection. As an LGBTQ person, I know how powerful it can be to see oneself reflected in art, and I hope that my work resonates with others who may be navigating their own paths of transformation, healing, or acceptance. Through my art, I invite the viewer to question norms, to embrace their true selves, and to celebrate the unique and powerful stories we all carry. I want my art to offer connection, empathy, and the reminder that it’s okay to be in the process and never stop speaking up.

Change
Charcoal on paper
23-3/4 x 18 x 1
$500
2024

I work primarily with acrylic paint on canvas, graphite, and pens/ink on paper. Most recently I’ve been exploring wearable art like fabric patches and jewelry as well as ceramic sculpture. My art is deeply personal to me and my experience as a transgender gay man growing up witnessing rampant misinformation and hostility towards my community in the media. I use my art as a form of liberation – an expression of myself in a world that often seeks to define or limit us. To some my work may look grotesque or uncomfortable but my goal is to produce compositions that tell my story with honesty and sincerity. I hope to create a space where the viewer can witness the vulnerability, strength, and complexity of my experience – and perhaps recognize pieces of their own story within mine. Sharing pieces of myself in my work is not only about self-expression but also about community and connection. As an LGBTQ person, I know how powerful it can be to see oneself reflected in art, and I hope that my work resonates with others who may be navigating their own paths of transformation, healing, or acceptance. Through my art, I invite the viewer to question norms, to embrace their true selves, and to celebrate the unique and powerful stories we all carry. I want my art to offer connection, empathy, and the reminder that it’s okay to be in the process and never stop speaking up.

Alondra Mora
Blueberry Cheesecake
Watercolor
18 x 24 x 1
Framed
NFS
2023

I like to create photo realistic paintings and drawings, the mediums I use are oil, watercolor, or charcoal. Photo realism is a challenge I enjoy doing, it keeps me busy trying to replicate every small detail. My style is niche, using dark imagery and chiaroscuro to further enhance my artistic vision. My work often has psychological themes which include the struggles of mental health, mainly creating self portraits that depict my thoughts and emotions. I like to pick topics that may be uncomfortable to talk about to most people, as they are serious. I feel that with my level of skill my work can be seen as beautiful even though the theme can be disturbing. "Art should comfort the disturbed and disturb the comfortable" is a quote by Cesar A. Cruz which I find fitting to my work. Although not only do I create self portraits I also create portraits of actors or band members that I am fond of. I also create still life pieces, most recently I took interest in creating watercolor food paintings. A goal that I have set for myself is not only to create a piece as realistically as I can, but to also make it as captivating for the viewer to feel the reality of my work.

The Flesh And Blood Of Christ
Watercolor
22 x 32 x 1
$450
2023

I like to create photo realistic paintings and drawings, the mediums I use are oil, watercolor, or charcoal. Photo realism is a challenge I enjoy doing, it keeps me busy trying to replicate every small detail. My style is niche, using dark imagery and chiaroscuro to further enhance my artistic vision. My work often has psychological themes which include the struggles of mental health, mainly creating self portraits that depict my thoughts and emotions. I like to pick topics that may be uncomfortable to talk about to most people, as they are serious. I feel that with my level of skill my work can be seen as beautiful even though the theme can be disturbing. “Art should comfort the disturbed and disturb the comfortable” is a quote by Cesar A. Cruz which I find fitting to my work. Although not only do I create self portraits I also create portraits of actors or band members that I am fond of. I also create still life pieces, most recently I took interest in creating watercolor food paintings. A goal that I have set for myself is not only to create a piece as realistically as I can, but to also make it as captivating for the viewer to feel the reality of my work.

Chicken Soup
Watercolor
16 x 20 x 1 F
$250
2024

I like to create photo realistic paintings and drawings, the mediums I use are oil, watercolor, or charcoal. Photo realism is a challenge I enjoy doing, it keeps me busy trying to replicate every small detail. My style is niche, using dark imagery and chiaroscuro to further enhance my artistic vision. My work often has psychological themes which include the struggles of mental health, mainly creating self portraits that depict my thoughts and emotions. I like to pick topics that may be uncomfortable to talk about to most people, as they are serious. I feel that with my level of skill my work can be seen as beautiful even though the theme can be disturbing. “Art should comfort the disturbed and disturb the comfortable” is a quote by Cesar A. Cruz which I find fitting to my work. Although not only do I create self portraits I also create portraits of actors or band members that I am fond of. I also create still life pieces, most recently I took interest in creating watercolor food paintings. A goal that I have set for myself is not only to create a piece as realistically as I can, but to also make it as captivating for the viewer to feel the reality of my work.

Aevah Rios
Brain
Acrylic and paint markers on stretched
canvas
$350
2025

Growing up, self-confidence issues were always prevalent in my day-to-day life and still can be to this day. These issues have ranged from self-image related insecurities to my character as a person. Loneliness helped fuel this fire as time went on, now I’ve been blessed with wonderful friends who support and care about me, but as a little kid and teenager, things were rough sometimes. Instead of putting my focus solely on finding friends as a kid, I pursued the things that I really enjoyed and loved doing, such as drawing/painting, listening to music, watching my favorite movies and television, and collecting. One thing that sticks out to me the most is horror, specifically old horror. I never enjoyed reading as a kid but as I’ve gotten older, I’ve been able to read some of the old horror classics, such as Bram Stoker’s Dracula, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, and my favorite, Mary Shelly’s Frankenstein. As a child, I had enjoyed the black and white films created for these characters, but Frankenstein had always stuck out to me. I’ve never been sure why, if it had been the imagery of a tall man with stitched up skin and neck bolts, or just the overall feeling of the film. However, while reading through the book, I couldn't help but find myself relating to the “monster” created by Victor Frankenstein. The mistreatment from the humans towards the monster in the book reminded me of the bullying I had faced growing up in my small hometown. The humans were fearful of the monster because of his appearance, similar to how I had been mocked for the way I looked. The monster’s feelings described in the book also reminded me of the feelings that I harbor myself, feelings of isolation, loneliness, self-hatred, etc. Because of this, and my ironic fondness for self-portraits, I felt inspired to create my own works of art relating to these feelings that I was having.

“Brain” represents this through the way I depicted myself but also represents the things I enjoy such as music, bright colors, and the imagery from the Frankenstein film. I decided to portray myself as the main focus of the piece, with green skin and stitches, to help represent the feelings that I was having. Surrounding me are song lyrics that I often also find myself relating to, from some of my favorite musicians and bands. The lyrics represent the feelings previously mentioned that I have on a pretty regular basis. The painting was created using a larger scale canvas, acrylic paint to compose the figure and the chair the figure is seen sitting on, and Posca paint markers to write out the lyrics I had chosen for this piece. One word of the lyrics, however, is written on a piece of paper that was then glued to the canvas.

“Brain” has a complimentary color palette with a dark, almost blood red background, contrasting against the bright, lime green skin of the figure. The computer chair the figure is sitting on is glossy black, and the clothes the figure is wearing are purple (sweater) and dark green (pants). The lyrics come in a variety of colors, such as black, white, purple, green, yellow, blue, pink, and orange. I wanted the figure to be the main focus of the piece, the thing that your eyes focus on first, then the lyrics as sort of an “afterthought.” The expression of the figure is contemplative, as is the expression in my piece “NowhereFast,” avoiding eye contact with the viewer, looking off to the side.

Aevah Rios
Nowhere Fast
Acrylic on stretched canvas
$250
2024

Like the first painting, “Brain,” “NowhereFast” has the same theme of Frankenstein imagery representing insecurity. This painting, again like “Brain,” features a figure (me) sitting down, but this time sitting crisscrossed on the floor. The figure is also looking slightly off into the distance, and also has lime green skin, with stitches on the arm and neck. In “NowhereFast,” one eye is bright orange, while the other is distorted into a spiral. Both paintings also feature song lyrics behind the figure that reinforce the meaning/theme of the paintings. The lyrics come from the song of the same name, Nowhere Fast by The Smiths. This painting also has a complimentary color scheme, with the background being magenta and green. The figure, while having green skin, also has dark blue hair, and is wearing a black tank top and grey sweatpants; the text bubble seen above the figure is purple, and the text is black. Also similar to “Brain,” “NowhereFast” has the figure shown in the foreground, meant to catch the focus of the viewer first. Then, the viewer goes on to read the song lyrics as an afterthought. The figure of the painting is shown to have a sort of “contemplative” expression, looking off into the distance away from the viewer, almost avoiding eye contact with the viewer.

Magpie
Acrylic on handmade stretched canvas
$200
2023

“Magpie” was created using acrylic paint on a homemade, hand-stretched canvas. This piece is also a self-portrait, as the figure shown on the left-hand side of the painting is me. The painting features me, again, looking off to the side, away from the viewer. However, in this piece, I am conveying a more curious-looking expression. Arranged all around me are some of my favorite items that I have displayed around my bedroom, such as toys, a record, a cd, and two movies. The piece is a still-life painting and was created for an assignment in my Painting Foundations class during my first year at Cochise Community College. To create the image, I placed down a violet cloth, then arranged the items in a specific way, so that they were all generally visible to the viewer. Then, I laid down beneath the items, had lights placed around me, and then took the picture. I decided to use items from my personal collection at home because of how much they mean to me. I enjoy collecting things from my childhood, such as toys, movies, music, both vinyl and CDs, as it gives me a nostalgic feeling, and I like to incorporate the feeling into my art. For the assignment, we were initially instructed to just paint certain items that we enjoyed, but I was encouraged by my teacher to feature myself in the piece. I wanted “Magpie” to feel sort of “dramatic” in a way, through the lighting that is almost directly on my face, but also to be very vibrant and eye-catching, through the use of bright colors and the items I picked out. I also wanted the piece to feel like it had a lot of depth, by overlapping the items seen above the figure, the texture of the hair, and the position of the figure’s face.

Self-Portrait with Bar of Soap
Ceramic, wax finishing paste, gel crayon, unfired porcelain, glaze
26 x 8 x 8
NFS
2024

view the interactive video:  https://youtu.be/UQPAAIsuGAA

My current line of artistic inquiry utilizes a combination of ceramic objects and actions to craft external, physical metaphors that explore the internal, metaphysical landscape of my selfhood. I gain understanding of difficult concepts and tackle complicated questions through these metaphors. This use of artistic analogues combines with my interest in the intersection of art and action, allowing me to create art objects that help me navigate my lived reality and gain insight into my perpetually emerging self. Intersections and contradictions– interior and exterior, sharp and soft, beautiful and grotesque– form contrasts and collisions that allow me to explore the point at which the inner world of my self meets the outer world around me.

To create new work, I focus on a concept that I’m looking to understand and begin searching for metaphors in the world around me. I find these mostly in natural forms. Being outdoors and getting in touch with my physical body allows me to slip into that liminal space at the intersection between internal and external, and the forms I see– rocks, seed pods, leaves– build up into a cache of artistic imagery. Simultaneously, I engage with the material quality of ceramics, seeking to evoke those natural forms in the studio. I am particularly interested in developing texture and using the repeated imagery of the vessel, spikes, and moving forms. I enjoy combining traditional ceramic finishes such as engobes and glazes with more experimental approaches such as flocking and wax to create surfaces that prompt interaction and interest.

Something That has to be Done on Purpose
Ceramic, Flocking, Satin Pillow
60 x 60
NFS
2024

My current line of artistic inquiry utilizes a combination of ceramic objects and actions to craft external, physical metaphors that explore the internal, metaphysical landscape of my selfhood. I gain understanding of difficult concepts and tackle complicated questions through these metaphors. This use of artistic analogues combines with my interest in the intersection of art and action, allowing me to create art objects that help me navigate my lived reality and gain insight into my perpetually emerging self. Intersections and contradictions– interior and exterior, sharp and soft, beautiful and grotesque– form contrasts and collisions that allow me to explore the point at which the inner world of my self meets the outer world around me.

To create new work, I focus on a concept that I’m looking to understand and begin searching for metaphors in the world around me. I find these mostly in natural forms. Being outdoors and getting in touch with my physical body allows me to slip into that liminal space at the intersection between internal and external, and the forms I see– rocks, seed pods, leaves– build up into a cache of artistic imagery. Simultaneously, I engage with the material quality of ceramics, seeking to evoke those natural forms in the studio. I am particularly interested in developing texture and using the repeated imagery of the vessel, spikes, and moving forms. I enjoy combining traditional ceramic finishes such as engobes and glazes with more experimental approaches such as flocking and wax to create surfaces that prompt interaction and interest.

Favorite Colors (Myself with Others)
Ceramic, glaze, paper clay, wood, glue, nail polish
18 x 18 x 18
NFS
2023

My current line of artistic inquiry utilizes a combination of ceramic objects and actions to craft external, physical metaphors that explore the internal, metaphysical landscape of my selfhood. I gain understanding of difficult concepts and tackle complicated questions through these metaphors. This use of artistic analogues combines with my interest in the intersection of art and action, allowing me to create art objects that help me navigate my lived reality and gain insight into my perpetually emerging self. Intersections and contradictions– interior and exterior, sharp and soft, beautiful and grotesque– form contrasts and collisions that allow me to explore the point at which the inner world of my self meets the outer world around me.

To create new work, I focus on a concept that I’m looking to understand and begin searching for metaphors in the world around me. I find these mostly in natural forms. Being outdoors and getting in touch with my physical body allows me to slip into that liminal space at the intersection between internal and external, and the forms I see– rocks, seed pods, leaves– build up into a cache of artistic imagery. Simultaneously, I engage with the material quality of ceramics, seeking to evoke those natural forms in the studio. I am particularly interested in developing texture and using the repeated imagery of the vessel, spikes, and moving forms. I enjoy combining traditional ceramic finishes such as engobes and glazes with more experimental approaches such as flocking and wax to create surfaces that prompt interaction and interest.

The Forms
Bronze, Wood
15 x 15 x 6
$10,000
2025

In Seoul, South Korea, my mom was an embroidery artist for over 30 years. I remember when I was very little, seeing my mom work while sitting on the floor and sewing on the silk fabric. My best memory is lying down underneath the frame when my mom was working, looking at the needle moving up and down into the drawing. Ever since then, I have been interested in craft and art.

I was educated in a high school for the arts and studied textile design at Myongjii University. I was self-supporting, working my way through college, sometimes on the street, selling my jewelry and metalsmithing. I continued to make jewelry until my early thirties. During that time, I founded a handmade jewelry business in downtown Seoul, where I managed over ten full-time employees and oversaw 300% growth in revenue. I crafted and sold my original designs in festivals, galleries, and private businesses.

But I was always interested in learning new things, especially in art. After I married, moved to America and had my family, I went back to school and studied sculpture, focusing on metal sculpture and foundry. I graduated Magna Cum Laude from Arizona State University with a BFA and a 3.63 grade point average in 2019. I started working as an intern at Bollinger Atelier, a high-end fine arts foundry during my studies. After graduation, I worked full-time in the foundry studios from 2018 to 2020. I worked in their metal chasing, mold-making, and patina departments, where I worked on museum and gallery-level sculptures by international artists. I continue to participate in ASU’s and Scottsdale Community College cupola iron-pouring events.

I then continued work as a skilled assistant for my sculpture professor, Mary Neubauer, for five years in a range of capacities including challenging silicone mold-making for large-scale work, TIG welding, metal chasing and finishing, pouring metal, and patination. During this time, I gained wide experience working with bronze, aluminum, white bronze, and cast iron. I am currently helping her get ready for several large exhibitions. I also do commissions from other artists, as well as making art for myself. My education is never ending.

In 2025, I went back to school again at Arizona State University, as a graduate student. I have already produced 20 small to medium scale bronze sculptures, and will have a show of these in May. My goal is to go on to get my MFA in Sculpture. I am finding ways to be a role model for our women’s metal casting community, especially for the younger women in our class. Now that I am extending my career as a woman in foundry I feel I have found my true place in life, communicating through art with other artists and my audience. By continuing to be a role model for women entering the field of foundry, I feel my story can be an inspiration to others.

My work submissions explore material transformations as reflections on personal growth. In Reflection of Yourself, I consider how imperfection is perfect or if perfection is imperfect. Nobody is perfect and we are living in the past and present and the future at once. The Forms shows how material changes in the same form elicits different strong and visceral reactions. The Lego Army inspiration is from my childhood. I never had “LEGO” toys when I was little, but now I can create so many things in so many different ways.

Lego Army
Bronze
10 x 10 x 6
$2,500
2025

In Seoul, South Korea, my mom was an embroidery artist for over 30 years. I remember when I was very little, seeing my mom work while sitting on the floor and sewing on the silk fabric. My best memory is lying down underneath the frame when my mom was working, looking at the needle moving up and down into the drawing. Ever since then, I have been interested in craft and art.

I was educated in a high school for the arts and studied textile design at Myongjii University. I was self-supporting, working my way through college, sometimes on the street, selling my jewelry and metalsmithing. I continued to make jewelry until my early thirties. During that time, I founded a handmade jewelry business in downtown Seoul, where I managed over ten full-time employees and oversaw 300% growth in revenue. I crafted and sold my original designs in festivals, galleries, and private businesses.

But I was always interested in learning new things, especially in art. After I married, moved to America and had my family, I went back to school and studied sculpture, focusing on metal sculpture and foundry. I graduated Magna Cum Laude from Arizona State University with a BFA and a 3.63 grade point average in 2019. I started working as an intern at Bollinger Atelier, a high-end fine arts foundry during my studies. After graduation, I worked full-time in the foundry studios from 2018 to 2020. I worked in their metal chasing, mold-making, and patina departments, where I worked on museum and gallery-level sculptures by international artists. I continue to participate in ASU’s and Scottsdale Community College cupola iron-pouring events.

I then continued work as a skilled assistant for my sculpture professor, Mary Neubauer, for five years in a range of capacities including challenging silicone mold-making for large-scale work, TIG welding, metal chasing and finishing, pouring metal, and patination. During this time, I gained wide experience working with bronze, aluminum, white bronze, and cast iron. I am currently helping her get ready for several large exhibitions. I also do commissions from other artists, as well as making art for myself. My education is never ending.

In 2025, I went back to school again at Arizona State University, as a graduate student. I have already produced 20 small to medium scale bronze sculptures, and will have a show of these in May. My goal is to go on to get my MFA in Sculpture. I am finding ways to be a role model for our women’s metal casting community, especially for the younger women in our class. Now that I am extending my career as a woman in foundry I feel I have found my true place in life, communicating through art with other artists and my audience. By continuing to be a role model for women entering the field of foundry, I feel my story can be an inspiration to others.

My work submissions explore material transformations as reflections on personal growth. In Reflection of Yourself, I consider how imperfection is perfect or if perfection is imperfect. Nobody is perfect and we are living in the past and present and the future at once. The Forms shows how material changes in the same form elicits different strong and visceral reactions. The Lego Army inspiration is from my childhood. I never had “LEGO” toys when I was little, but now I can create so many things in so many different ways.

Reflection of Yourself
Bronze, Iron, Wood, Mirror, Steel
18 x 8 x 13
$15,000
2025

In Seoul, South Korea, my mom was an embroidery artist for over 30 years. I remember when I was very little, seeing my mom work while sitting on the floor and sewing on the silk fabric. My best memory is lying down underneath the frame when my mom was working, looking at the needle moving up and down into the drawing. Ever since then, I have been interested in craft and art.

I was educated in a high school for the arts and studied textile design at Myongjii University. I was self-supporting, working my way through college, sometimes on the street, selling my jewelry and metalsmithing. I continued to make jewelry until my early thirties. During that time, I founded a handmade jewelry business in downtown Seoul, where I managed over ten full-time employees and oversaw 300% growth in revenue. I crafted and sold my original designs in festivals, galleries, and private businesses.

But I was always interested in learning new things, especially in art. After I married, moved to America and had my family, I went back to school and studied sculpture, focusing on metal sculpture and foundry. I graduated Magna Cum Laude from Arizona State University with a BFA and a 3.63 grade point average in 2019. I started working as an intern at Bollinger Atelier, a high-end fine arts foundry during my studies. After graduation, I worked full-time in the foundry studios from 2018 to 2020. I worked in their metal chasing, mold-making, and patina departments, where I worked on museum and gallery-level sculptures by international artists. I continue to participate in ASU’s and Scottsdale Community College cupola iron-pouring events.

I then continued work as a skilled assistant for my sculpture professor, Mary Neubauer, for five years in a range of capacities including challenging silicone mold-making for large-scale work, TIG welding, metal chasing and finishing, pouring metal, and patination. During this time, I gained wide experience working with bronze, aluminum, white bronze, and cast iron. I am currently helping her get ready for several large exhibitions. I also do commissions from other artists, as well as making art for myself. My education is never ending.

In 2025, I went back to school again at Arizona State University, as a graduate student. I have already produced 20 small to medium scale bronze sculptures, and will have a show of these in May. My goal is to go on to get my MFA in Sculpture. I am finding ways to be a role model for our women’s metal casting community, especially for the younger women in our class. Now that I am extending my career as a woman in foundry I feel I have found my true place in life, communicating through art with other artists and my audience. By continuing to be a role model for women entering the field of foundry, I feel my story can be an inspiration to others.

My work submissions explore material transformations as reflections on personal growth. In Reflection of Yourself, I consider how imperfection is perfect or if perfection is imperfect. Nobody is perfect and we are living in the past and present and the future at once. The Forms shows how material changes in the same form elicits different strong and visceral reactions. The Lego Army inspiration is from my childhood. I never had “LEGO” toys when I was little, but now I can create so many things in so many different ways.

Danny Le
Acquaintances
Oil on Canvas
36 x 48 x .75
$600
2025

I am an artist and a junior at Arizona State University pursuing a Bachelor in Fine Arts in Painting and Drawing. I am interested in many mediums, but I primarily paint in oil on canvas. I am deeply passionate about art and my future as a professional artist. I intend to establish a career as a painting and drawing professor and a practicing artist. To reach my career goals, I plan to complete a Master of Fine Arts program within five years and obtain the qualifications and experience to teach at a post-secondary institute. I have a strong commitment to my artistic growth, and I am an active participant in my art community. I recently exhibited an artwork in the 2024 Arizona Biennial. I strive for academic excellence, and I have maintained a 4.0 GPA throughout my degree as of date. I have developed numerous friendships and professional relationships within my academic and artistic career. I am greatly inspired by my interactions with the extraordinary professors and peers throughout my undergraduate experience at my community college and at Arizona state university thus far. Through my interactions with my instructors and peers, I am inspired to pursue a graduate degree in fine art and aspire to teach at a university level.

The themes and imagery that I am drawn to are of melancholy and isolation—a desire based off a lifelong feeling of solitude and otherness. Much of my work responds to observations of suburban isolation and desolation. My seascape, Acquaintances, is inspired by a brief memory and feeling awe of seeing a sunset through distant rain on a drive last year. I painted the piece as a reaction to the endless monotony of suburban living and a manifestation of a desire for excitement. I loosely recreated the split-second feeling of astonishment when I saw the scene before I had to return my attention to the road and concrete. In Embrace of the Storm—a nocturne of an isolated street—in addition to creating an atmosphere of seclusion and gloom, I aim to open a discussion about car-centric infrastructure and walking inaccessibility. I have positioned a body of water in the composition so that it is a near-necessity to use a vehicle to advance on this road. In my piece, for those who do not have access to a vehicle, the laborious act of swimming, much like walking, is the only option forward. In my drawing, Fleeting Monuments, I wanted to express the impermanence of buildings and concrete and lives within the scale of eons. I layered ephemeral representations of monuments and structures on a desolate landscape, representative of how with time, all evidence of humanity’s existence will be erased. I intend to evoke contemplation on the environmental impacts of urban life and the direction of mankind’s legacy on a macro scale. Through my work, I hope to evoke introspection on the spaces that we occupy and the relationship between humanity and nature.

Danny Le
Embrace of the Storm
Oil on Canvas
30 x 40 x .75
$500
2025

I am an artist and a junior at Arizona State University pursuing a Bachelor in Fine Arts in Painting and Drawing. I am interested in many mediums, but I primarily paint in oil on canvas. I am deeply passionate about art and my future as a professional artist. I intend to establish a career as a painting and drawing professor and a practicing artist. To reach my career goals, I plan to complete a Master of Fine Arts program within five years and obtain the qualifications and experience to teach at a post-secondary institute. I have a strong commitment to my artistic growth, and I am an active participant in my art community. I recently exhibited an artwork in the 2024 Arizona Biennial. I strive for academic excellence, and I have maintained a 4.0 GPA throughout my degree as of date. I have developed numerous friendships and professional relationships within my academic and artistic career. I am greatly inspired by my interactions with the extraordinary professors and peers throughout my undergraduate experience at my community college and at Arizona state university thus far. Through my interactions with my instructors and peers, I am inspired to pursue a graduate degree in fine art and aspire to teach at a university level.

The themes and imagery that I am drawn to are of melancholy and isolation—a desire based off a lifelong feeling of solitude and otherness. Much of my work responds to observations of suburban isolation and desolation. My seascape, Acquaintances, is inspired by a brief memory and feeling awe of seeing a sunset through distant rain on a drive last year. I painted the piece as a reaction to the endless monotony of suburban living and a manifestation of a desire for excitement. I loosely recreated the split-second feeling of astonishment when I saw the scene before I had to return my attention to the road and concrete. In Embrace of the Storm—a nocturne of an isolated street—in addition to creating an atmosphere of seclusion and gloom, I aim to open a discussion about car-centric infrastructure and walking inaccessibility. I have positioned a body of water in the composition so that it is a near-necessity to use a vehicle to advance on this road. In my piece, for those who do not have access to a vehicle, the laborious act of swimming, much like walking, is the only option forward. In my drawing, Fleeting Monuments, I wanted to express the impermanence of buildings and concrete and lives within the scale of eons. I layered ephemeral representations of monuments and structures on a desolate landscape, representative of how with time, all evidence of humanity’s existence will be erased. I intend to evoke contemplation on the environmental impacts of urban life and the direction of mankind’s legacy on a macro scale. Through my work, I hope to evoke introspection on the spaces that we occupy and the relationship between humanity and nature.

Fleeting Monuments
Graphite on Paper
22 x 30
$200
2024

I am an artist and a junior at Arizona State University pursuing a Bachelor in Fine Arts in Painting and Drawing. I am interested in many mediums, but I primarily paint in oil on canvas. I am deeply passionate about art and my future as a professional artist. I intend to establish a career as a painting and drawing professor and a practicing artist. To reach my career goals, I plan to complete a Master of Fine Arts program within five years and obtain the qualifications and experience to teach at a post-secondary institute. I have a strong commitment to my artistic growth, and I am an active participant in my art community. I recently exhibited an artwork in the 2024 Arizona Biennial. I strive for academic excellence, and I have maintained a 4.0 GPA throughout my degree as of date. I have developed numerous friendships and professional relationships within my academic and artistic career. I am greatly inspired by my interactions with the extraordinary professors and peers throughout my undergraduate experience at my community college and at Arizona state university thus far. Through my interactions with my instructors and peers, I am inspired to pursue a graduate degree in fine art and aspire to teach at a university level.

The themes and imagery that I am drawn to are of melancholy and isolation—a desire based off a lifelong feeling of solitude and otherness. Much of my work responds to observations of suburban isolation and desolation. My seascape, Acquaintances, is inspired by a brief memory and feeling awe of seeing a sunset through distant rain on a drive last year. I painted the piece as a reaction to the endless monotony of suburban living and a manifestation of a desire for excitement. I loosely recreated the split-second feeling of astonishment when I saw the scene before I had to return my attention to the road and concrete. In Embrace of the Storm—a nocturne of an isolated street—in addition to creating an atmosphere of seclusion and gloom, I aim to open a discussion about car-centric infrastructure and walking inaccessibility. I have positioned a body of water in the composition so that it is a near-necessity to use a vehicle to advance on this road. In my piece, for those who do not have access to a vehicle, the laborious act of swimming, much like walking, is the only option forward. In my drawing, Fleeting Monuments, I wanted to express the impermanence of buildings and concrete and lives within the scale of eons. I layered ephemeral representations of monuments and structures on a desolate landscape, representative of how with time, all evidence of humanity’s existence will be erased. I intend to evoke contemplation on the environmental impacts of urban life and the direction of mankind’s legacy on a macro scale. Through my work, I hope to evoke introspection on the spaces that we occupy and the relationship between humanity and nature.

boundary (1)
Photography
24×36
2025

My work interrogates the physical and psychological geographies of the 'American Dream." To do so I use a variety of mediums and modes of expression including film, video and photography. I am currently interested in exploring the various overlapping ideologies of “Manifest Destiny” and the manner in which they continue to sustain narratives that contribute to the contradictions of American identity. One of my current projects, titled “boundary” explores the manner in which nature is presented as distinct from civilization. The idea of “wilderness” exists as both the promise of ecological protection at the same time that it proposes a seperation that does not exist in fact. This geographical seperation, the result of the complex history of settler-colonial expansion in the American West and in various ways staged as an encounter in the Parks system, constitutes our psychic relationship to the environment. Photography in particular has a complex relationship to the representation of Western "Landscapes," and I hope that this project problematizes some of the assumptions we make about the relationship we have to the broader ecology we inhabit.

boundary (2)
Photography
24×36
2025

My work interrogates the physical and psychological geographies of the ‘American Dream.” To do so I use a variety of mediums and modes of expression including film, video and photography. I am currently interested in exploring the various overlapping ideologies of “Manifest Destiny” and the manner in which they continue to sustain narratives that contribute to the contradictions of American identity. One of my current projects, titled “boundary” explores the manner in which nature is presented as distinct from civilization. The idea of “wilderness” exists as both the promise of ecological protection at the same time that it proposes a seperation that does not exist in fact. This geographical seperation, the result of the complex history of settler-colonial expansion in the American West and in various ways staged as an encounter in the Parks system, constitutes our psychic relationship to the environment. Photography in particular has a complex relationship to the representation of Western “Landscapes,” and I hope that this project problematizes some of the assumptions we make about the relationship we have to the broader ecology we inhabit.

boundary (3)
Photography
24×36
2025

My work interrogates the physical and psychological geographies of the ‘American Dream.” To do so I use a variety of mediums and modes of expression including film, video and photography. I am currently interested in exploring the various overlapping ideologies of “Manifest Destiny” and the manner in which they continue to sustain narratives that contribute to the contradictions of American identity. One of my current projects, titled “boundary” explores the manner in which nature is presented as distinct from civilization. The idea of “wilderness” exists as both the promise of ecological protection at the same time that it proposes a seperation that does not exist in fact. This geographical seperation, the result of the complex history of settler-colonial expansion in the American West and in various ways staged as an encounter in the Parks system, constitutes our psychic relationship to the environment. Photography in particular has a complex relationship to the representation of Western “Landscapes,” and I hope that this project problematizes some of the assumptions we make about the relationship we have to the broader ecology we inhabit.

Amelia LaChance
Contorted Imagining
Ceramic with acrylic
22 x 15 x 9
$1300
2024

Starting from an analysis of personal gynecological experiences, I became interested in the way women are disconnected from their bodies as a result of the historical and ongoing gender disparities against them within the medical system. How do I and other women navigate our bodies as an entity that is hidden, foreign, familiar and sacred? How do our bodies relate to the cold harshness of the tools that are used on them? Is the obscurity of the tools the same as that of the female body? Feeling this disconnection within my own experiences, these questions became central to my practice.

In diving deeper into centuries of anatomical knowledge and treatment of women’s bodies, I began creating imagery of fantasies born of my own layers of curiosity, discomfort, and inspiration from historical witches and madonnas.

Specter
Ceramic painted with watercolor on a stuffed medical drape pillow
13 x 19 x 8
$1000
2025

Starting from an analysis of personal gynecological experiences, I became interested in the way women are disconnected from their bodies as a result of the historical and ongoing gender disparities against them within the medical system. How do I and other women navigate our bodies as an entity that is hidden, foreign, familiar and sacred? How do our bodies relate to the cold harshness of the tools that are used on them? Is the obscurity of the tools the same as that of the female body? Feeling this disconnection within my own experiences, these questions became central to my practice.

In diving deeper into centuries of anatomical knowledge and treatment of women’s bodies, I began creating imagery of fantasies born of my own layers of curiosity, discomfort, and inspiration from historical witches and madonnas.

To Touch
Embroidery on medical drape
34 x 44
$1500
2024

Starting from an analysis of personal gynecological experiences, I became interested in the way women are disconnected from their bodies as a result of the historical and ongoing gender disparities against them within the medical system. How do I and other women navigate our bodies as an entity that is hidden, foreign, familiar and sacred? How do our bodies relate to the cold harshness of the tools that are used on them? Is the obscurity of the tools the same as that of the female body? Feeling this disconnection within my own experiences, these questions became central to my practice.

In diving deeper into centuries of anatomical knowledge and treatment of women’s bodies, I began creating imagery of fantasies born of my own layers of curiosity, discomfort, and inspiration from historical witches and madonnas.

Alejandro Morales
BASILIO SUTUJ SARAVIA, GUATEMALA, 51 +CIUDAD JUAREZ
Woven mylar (Space Blanket), and bamboo; tracing paper
52 x 84 x 1
$3500
2025

My work generates archives that question the production and consumption of images, language, and memory, primarily addressing violence, territory surveillance, and immigration themes. My work includes the creation of archives related to crime scenes in local newspapers, Google Earth exploration of conflicted spaces, and surveillance cameras, among others.

Since 2021, I have been documenting live-streaming cameras at the Paso del Norte International Bridge, which links Juárez, Chihuahua, México, where I was born, to El Paso, Texas, USA. My observations reveal a troubling reality: in these cameras, you can see that while some enter El Paso legally, many others are escorted out by CBP agents daily, deporting them to México, creating a tense atmosphere.

As an example of this dynamics, on March 12, 2023, numerous migrants attempted to cross the bridge forcefully, underscoring their desperation. Just weeks later, on March 27, 2023, a devastating fire broke out at a migrant detention center in Ciudad Juárez, México, killing at least 40 immigrant men and injuring many others. The fire was triggered by detainees protesting poor conditions. Security footage revealed that guards abandoned their posts, leaving detainees locked inside as the flames spread. The facility lacked proper safety measures, making escape impossible for many. Disturbing images of the victim’s bodies, covered with space blankets, circulated in the media.

Among the victims was Basilio Sutuj Saravia, a father of six from Guatemala, who had worked as a freighter in the San Martín Jilotepeque market for over 25 years. His family was shocked by his decision to pursue the “American dream” and three of his children were waiting for him in the U.S. I decided to create a woven blanket that conceals in its pattern the name of Basilio, his home country, age, and year and place where he died.

I critically examine migration narratives and policies globally, incorporating diverse materials contributing to an ironic dialogue about migration. The project takes on added urgency amid increasingly strict U.S. immigration policies, including former President Trump’s suggestion to invoke the Alien Enemies Act of 1798.

After finding a redacted document where a CBP officer says  “You tell all the guys that if they feel threatened, they can beat that tonk like a pinata until candy comes out” I have been creating Piñatas with mylar (space blanket) of surveillance cameras, aliens and NASA rockets and documenting my border crossings with these objects, prompting discussions about migration dynamics.

Ultimately, this body of work aims to engage with the complexities of migration, public policy, and the experiences of those crossing the border, fostering a more nuanced understanding of these critical issues.

You tell all the guys that if they feel threatened, they can beat that camera like a pinata until candy comes out
Space blanket, cardboard, paper, wood, LED, infrared sensor, rotating engine, Arduino
27 x 35 x 14
$1500
2024

My work generates archives that question the production and consumption of images, language, and memory, primarily addressing violence, territory surveillance, and immigration themes. My work includes the creation of archives related to crime scenes in local newspapers, Google Earth exploration of conflicted spaces, and surveillance cameras, among others.

Since 2021, I have been documenting live-streaming cameras at the Paso del Norte International Bridge, which links Juárez, Chihuahua, México, where I was born, to El Paso, Texas, USA. My observations reveal a troubling reality: in these cameras, you can see that while some enter El Paso legally, many others are escorted out by CBP agents daily, deporting them to México, creating a tense atmosphere.

As an example of this dynamics, on March 12, 2023, numerous migrants attempted to cross the bridge forcefully, underscoring their desperation. Just weeks later, on March 27, 2023, a devastating fire broke out at a migrant detention center in Ciudad Juárez, México, killing at least 40 immigrant men and injuring many others. The fire was triggered by detainees protesting poor conditions. Security footage revealed that guards abandoned their posts, leaving detainees locked inside as the flames spread. The facility lacked proper safety measures, making escape impossible for many. Disturbing images of the victim’s bodies, covered with space blankets, circulated in the media.

Among the victims was Basilio Sutuj Saravia, a father of six from Guatemala, who had worked as a freighter in the San Martín Jilotepeque market for over 25 years. His family was shocked by his decision to pursue the “American dream” and three of his children were waiting for him in the U.S. I decided to create a woven blanket that conceals in its pattern the name of Basilio, his home country, age, and year and place where he died.

I critically examine migration narratives and policies globally, incorporating diverse materials contributing to an ironic dialogue about migration. The project takes on added urgency amid increasingly strict U.S. immigration policies, including former President Trump’s suggestion to invoke the Alien Enemies Act of 1798.

After finding a redacted document where a CBP officer says  “You tell all the guys that if they feel threatened, they can beat that tonk like a pinata until candy comes out” I have been creating Piñatas with mylar (space blanket) of surveillance cameras, aliens and NASA rockets and documenting my border crossings with these objects, prompting discussions about migration dynamics.

Ultimately, this body of work aims to engage with the complexities of migration, public policy, and the experiences of those crossing the border, fostering a more nuanced understanding of these critical issues.

Screenshot_Recording_20210815-075036, from the Paso del Norte series.
Photographic print on metallic paper and metallic frame
5 x 7 x 1 1/4 each
$1500
2023

My work generates archives that question the production and consumption of images, language, and memory, primarily addressing violence, territory surveillance, and immigration themes. My work includes the creation of archives related to crime scenes in local newspapers, Google Earth exploration of conflicted spaces, and surveillance cameras, among others.

Since 2021, I have been documenting live-streaming cameras at the Paso del Norte International Bridge, which links Juárez, Chihuahua, México, where I was born, to El Paso, Texas, USA. My observations reveal a troubling reality: in these cameras, you can see that while some enter El Paso legally, many others are escorted out by CBP agents daily, deporting them to México, creating a tense atmosphere.

As an example of this dynamics, on March 12, 2023, numerous migrants attempted to cross the bridge forcefully, underscoring their desperation. Just weeks later, on March 27, 2023, a devastating fire broke out at a migrant detention center in Ciudad Juárez, México, killing at least 40 immigrant men and injuring many others. The fire was triggered by detainees protesting poor conditions. Security footage revealed that guards abandoned their posts, leaving detainees locked inside as the flames spread. The facility lacked proper safety measures, making escape impossible for many. Disturbing images of the victim’s bodies, covered with space blankets, circulated in the media.

Among the victims was Basilio Sutuj Saravia, a father of six from Guatemala, who had worked as a freighter in the San Martín Jilotepeque market for over 25 years. His family was shocked by his decision to pursue the “American dream” and three of his children were waiting for him in the U.S. I decided to create a woven blanket that conceals in its pattern the name of Basilio, his home country, age, and year and place where he died.

I critically examine migration narratives and policies globally, incorporating diverse materials contributing to an ironic dialogue about migration. The project takes on added urgency amid increasingly strict U.S. immigration policies, including former President Trump’s suggestion to invoke the Alien Enemies Act of 1798.

After finding a redacted document where a CBP officer says  “You tell all the guys that if they feel threatened, they can beat that tonk like a pinata until candy comes out” I have been creating Piñatas with mylar (space blanket) of surveillance cameras, aliens and NASA rockets and documenting my border crossings with these objects, prompting discussions about migration dynamics.

Ultimately, this body of work aims to engage with the complexities of migration, public policy, and the experiences of those crossing the border, fostering a more nuanced understanding of these critical issues.

Community=Confinement
Charcoal
20 x 13
2024
$650

The call of duty, having been instilled in me from a young age by a family steeped in military tradition, led me to serve my community as a Deputy Sheriff for over two decades. Service was my purpose; a way to provide for my children and to live a life that was honorable and worthy.

However, years of witnessing humanity at its lowest—moments of pain, anger, and desperation—left me jaded, disconnected, and numb. In professional jargon, I was experiencing “Compassion Fatigue”. I noticed that I was losing touch with the passion and empathy that first drew me to serve. I was turning into a cynical person I didn’t recognize.

Retirement offered me the space to work on getting back to the person I saw myself as, the person I wanted to be. In searching for my way back, I rediscovered art; a path I’d set aside in my youth. With charcoal, pastels, oil paints, and mixed media, I began to process my experiences—not just as a law enforcement officer, but as a human being who bore witness to both struggles and resilience. Through my art, I explore the complexity of my journey: the weight of serving, the strain on the soul, and the duality of being both the protector and the antagonist.

My work seeks to humanize the person behind the uniform, to reveal the vulnerability, the doubts, and the moments of reflection that the world rarely sees. At the same time, it challenges me to see deeper into the lives of those I served, to find compassion for the people I once encountered only in crisis. Art has become my bridge—between my past and my present, between myself and others. It is a tool for healing, understanding, and growth.

As I navigate this creative journey later in life, burdened yet enriched by the experiences I carry, I hope my work sparks conversations about service, humanity, the minutiae of life, and the shared struggles that connect us all. Through these visual narratives, I hope to mend what has frayed within me and to invite others to see the world, and each other, with greater empathy.

Brigette McBride
Secondaries
Charcoal
24 x 18
2024
$1080

The call of duty, having been instilled in me from a young age by a family steeped in military tradition, led me to serve my community as a Deputy Sheriff for over two decades. Service was my purpose; a way to provide for my children and to live a life that was honorable and worthy.

However, years of witnessing humanity at its lowest—moments of pain, anger, and desperation—left me jaded, disconnected, and numb. In professional jargon, I was experiencing “Compassion Fatigue”. I noticed that I was losing touch with the passion and empathy that first drew me to serve. I was turning into a cynical person I didn’t recognize.

Retirement offered me the space to work on getting back to the person I saw myself as, the person I wanted to be. In searching for my way back, I rediscovered art; a path I’d set aside in my youth. With charcoal, pastels, oil paints, and mixed media, I began to process my experiences—not just as a law enforcement officer, but as a human being who bore witness to both struggles and resilience. Through my art, I explore the complexity of my journey: the weight of serving, the strain on the soul, and the duality of being both the protector and the antagonist.

My work seeks to humanize the person behind the uniform, to reveal the vulnerability, the doubts, and the moments of reflection that the world rarely sees. At the same time, it challenges me to see deeper into the lives of those I served, to find compassion for the people I once encountered only in crisis. Art has become my bridge—between my past and my present, between myself and others. It is a tool for healing, understanding, and growth.

As I navigate this creative journey later in life, burdened yet enriched by the experiences I carry, I hope my work sparks conversations about service, humanity, the minutiae of life, and the shared struggles that connect us all. Through these visual narratives, I hope to mend what has frayed within me and to invite others to see the world, and each other, with greater empathy.

Win by Fall
Charcoal and Pastel
18 x 24
2025
$1080

The call of duty, having been instilled in me from a young age by a family steeped in military tradition, led me to serve my community as a Deputy Sheriff for over two decades. Service was my purpose; a way to provide for my children and to live a life that was honorable and worthy.

However, years of witnessing humanity at its lowest—moments of pain, anger, and desperation—left me jaded, disconnected, and numb. In professional jargon, I was experiencing “Compassion Fatigue”. I noticed that I was losing touch with the passion and empathy that first drew me to serve. I was turning into a cynical person I didn’t recognize.

Retirement offered me the space to work on getting back to the person I saw myself as, the person I wanted to be. In searching for my way back, I rediscovered art; a path I’d set aside in my youth. With charcoal, pastels, oil paints, and mixed media, I began to process my experiences—not just as a law enforcement officer, but as a human being who bore witness to both struggles and resilience. Through my art, I explore the complexity of my journey: the weight of serving, the strain on the soul, and the duality of being both the protector and the antagonist.

My work seeks to humanize the person behind the uniform, to reveal the vulnerability, the doubts, and the moments of reflection that the world rarely sees. At the same time, it challenges me to see deeper into the lives of those I served, to find compassion for the people I once encountered only in crisis. Art has become my bridge—between my past and my present, between myself and others. It is a tool for healing, understanding, and growth.

As I navigate this creative journey later in life, burdened yet enriched by the experiences I carry, I hope my work sparks conversations about service, humanity, the minutiae of life, and the shared struggles that connect us all. Through these visual narratives, I hope to mend what has frayed within me and to invite others to see the world, and each other, with greater empathy.