via works (partial list)

Randy Aguilar "_PHOTOS:)" 2022 print 17"X 23" [$420]

Randy Aguilar "PLANT&HUMAN&TREE&FACE" 2021 Electronics on wooden board 36"x28"x3" (still) [not for sale]

Love Aridou and Danielle Pratt (installation view)
Love Aridou "Untitled", 2019-2020 burlap, muslin, cotton, indigo, twine, wood 40x42 in [$1500]
Love Aridou "Untitled: Form 5" (detail)
Love Aridou "Untitled: Form 5" 2022 Found Objects, Rug, Beans, Rice, Rice Sack, Chair, Broom, Dustpan, audio from “Renaissance Haitian Baptist Church 5th Year Anniversary” 2hr 55min [not for sale]

Love Aridou "Untitled: Form 2" 2018 Video, Projector, Speaker 14 minutes (still) [not for sale]

John Bennett 2020 12.5x15.5 in [contact artist]
John Bennett (left) "Metropolitan Textura #IV" 2020 12.5x15.5 in [contact artist] (right) "Metropolitan Textura #I" 2020 12.5x15.5 in [contact artist]

Patrick Brennan :Singularity Cultures" 2021-2022 PLA Plastic, Petri Dishes, Backlight 25 x 18 inches [$5000]
Patrick Brennan "Polyethylene Python" 2022 Acrylic on Plastic 21 x 8 x 15 inches [$4000]

(left) This series of bioplastic sculptures aim to explore the emotions associated with delicate biological/ micro-organic inspired structures trapped within the confines of rigid geometric forms symbolizing the struggle between boundless conscious minds/ complex social structures and the limiting language we use to define and divide them from one another in the broader context of the world. 
To bring a discussion around individualism and group dynamics in the postmodern internet age and to critique the toxic narcissism that has been so promoted and propagated through the current state of social media and consumerism, by showing these individual organic forms as trapped by their narcissistic, ego feeding cliques. In essence, they are meant to show what happens when one defines their inner being by the people they spend time with and the aesthetics they consume. A vision of the current world as being full of “unique individuals” which are really mostly the same with superficial quirks, like memetic iterations of each other, and the anxieties one faces as an artist knowing pretty much every idea we ever come up with has already been thought of by someone.
Polylactic acid, the material I use for the organic forms is created from processing corn and other organic matter into a strong, durable, and beautiful material that is also biodegradable and nontoxic, I wish to draw parallels between PLA bioplastic and human bodies through their impermanence and fragility. while the forms surrounding them are made of acrylic (cubes) and polyethylene (Petri dishes) materials that are non-biodegradable, products of the petroleum industry, and toxic when heated, which has both a permanence and a context of industrial/ corporate structure of oppression and dehumanization that works as a cage for these forms to be trapped in.
PLA bioplastic forms are placed inside acrylic cubes and Petri dishes to elaborate on concepts of isolation, individualism, hierarchy, group dynamics, connection, and complex systems of patterns within patterns associated with human socialization and the struggles of fitting into that order.

(right) A discussion on the role of plastics as an army waging total war on humankind and the planet. These toys are both the literal facsimile of soldiers as well as being produced from Polyethylene (a petroleum byproduct that never biodegrades, is rarely recycled, and releases greenhouse gasses when exposed to sunlight). Thus, its very material takes up arms against our ecosystems and civilization. These pieces aim to bring attention to the militaryindustrial complex through their formal shape (the Ouroborus: a monstrous snake who eats its own tail) as a metaphor for the way weapons and technologies manufactured by these companies are used on both sides to kill, thus creating a larger meta-machine that continuously eats itself. They critique the use of symbols and weapons of war as children's toys, exemplified by the toy soldier, and how children are indoctrinated from an early age to find war aesthetics to be socially acceptable.

Cameron Boyce (installation view)
Cameron Boyce "Hausaufgaben" 2021 Acrylic, marker, and collage on insulation foam 24in x 24in x 1in [$900]
Cameron Boyce "Not a Real Smile" 2021 Acrylic, marker, oil pastel, and chalk on insulation foam 24in x 24in x 1in [$900]
Cameron Boyce "Emo Boy Graffiti" 2021 Acrylic, marker, chalk, and collage on insulation foam 24in x 24in x 1in [$900]

Jose Cortez "Pieces of Home: Prototype" 2022 Cardboard, Prints, Envelopes
Jose Cortez "Pieces of Home: Prototype" (detail)

Jeannie Dale (top) "I cant come, im reading" 2022 acrylic paint 11.6x16.6" [$60](bottom) "divine intervention" 2022 watercolor , markers, pencils 11.6x16.6" [$60]
Jeannie Dale "theres no cold that could cut through" 2022 watercolor 5.5x8.5" [$45]

Jon Ericksen "untitled" 2018 Oil on Brass 6"×12" [$700]
Jon Ericksen "untitled study of a woman" 2018 Oil on Steel 12"×18" [$500]
Jon Ericksen (untitled study of a man (placemat)" 2018 Oil on Brass 12"×6" [not for sale]

Jon Ericksen oil on paper [not for sale]
Jon Ericksen charcoal on paper [not for sale]
Jon Ericksen charcoal on paper (inside)

(untitled) Atelier study done over one sitting. The base gesso layer has been scrapped off in homage to layering done on traditional Japanese hanging scrolls

(study of a woman) Atelier study done over one sitting. A layer of gesso is first applied to the metal before work begins

(study of a  man) Atelier study done over one sitting. Used as a utilitarian placemat, wear can be seen from daily use

Emily Falcigno (installation view)
Emily Falcigno "Into the Blue" 2012 Acrylic on wood board and art school loans 22 x 10 x 1in [contact artist:]
Emily Falcigno "Diver" 2016 Acrylic on wood board 4 x 4 x 1in [$800]
Emily Falcigno "Diver" 2016 Acrylic on wood board 4 x 4 x 1in [$800]

The artist in me feels wasted and constrained in my corporate law firm job down by Faneuil Hall. 4 years in, I am itching to get-the-fork-out. 8 years in, my bank account is overflowing and my energy levels are plummeting.

I want to dive in to something new, but I don’t know exactly what.

Cue the Red Bull Cliff Diving World Tour at the ICA. Have you ever seen a kayaker parachute down from a helicopter irl?

Exhilarating! This is the excitement I want in my LIFE!

The divers not only confront their fear, they excel at making a scary jump fun! They refine it again and again and again. I photograph them from all different angles.

10 years in, I make these paintings to hang in my office as a reminder to make a career changing leap of faith.

I want to get back to being a Professional Photographer, like Lou Jones, who photographed the Millennium Tower construction workers. You might remember his photo installation on the windows of abandoned buildings here in Downtown Crossing.

12 years in, an attorney calls me into the conference room looking out to the half-finished Millennium Tower. (Hi Lou!) I’m assuming I need to fix the TV for him. I sit down next to him. Two voices are on the speaker phone between us.
Of the surreal jumbled words coming from my bosses over the phone, all I hear is “Cobra”, and my inner voice. “Am I getting laid off?? Thank God! I’m getting laid off!! I can go be a photographer!!” I give two thumbs up to the attorney, and walk out.


My colleagues are sobbing and confused at my elation.


The universe pushes you right off a cliff when you’re too far down the wrong path.

What do I land on?

*The ICA. As a VA giving gallery talks.
* A billboard in Times Square with my In Her Words Diary photos on it. See if you recognize some past VAs.
* The Visionary’s Journey Podcast about jumping into something new without knowing what you’re doing. Every single episode is a practice in refining my jump.

Emily Falcigno teaches Manifesting to Savvy Singles. Find her photo projects, and workshops at Life is an experiment. Embrace imperfections and learn as you go.

Shelby Feltoon (installation view)
Shelby Feltoon "rendezvous" 2019 oil paint, oil pastel, chalk pastel on kodak slide reel boxes 12"x36" [not for sale]
Shelby Feltoon "home grown" 2021 pastel, oil paint, photo transfer, colored pencil, graphite, thread on rice paper 30"x40" [not for sale]
(left) Shelby Feltoon "objects at rest" 2022 oil on canvas 20"x20" [not for sale] (right) Kayla Scullin "Wunderkammer Watercolors: What Remains" 2013-2022 ink and water color [contact artist]

Artist Statment:
Floating is a rare but desirable state of being for many people. We look for it everywhere we can: bobbing in oceans, recessing into caverns, suspending above the pavement by the axles of cars, closing our eyes and traveling weightlessly into the arms of a faraway lover. Much like light, this floating sensation is at once perceived and intangible. I am interested in the ways we attempt to preserve memories and find sentimentality and magic in the mundane. I give my ideas physical form through my work, which allow me to feel like I am touching and molding moments with my hands. Through this, I have begun to feel a deep longing for invented places and versions of people that may have never existed. My work exists as a moment for untouchable collective memories to become personal, real, and valid. My work creates a space for remembering and reflecting fondly. A spot to quietly mourn something that was long forgotten. A place to release the weight of unacknowledged memories and have a moment of floating.

Jon Feng "window" 2020 Acrylic, charcoal, and oil on canvas 36x24in [not for sale]
Jon Feng "holiday" 2021 Acrylic on canvas 30x24in [not for sale]
Jon Feng "cheetos" 2022 Acrylic on canvas 20x16in [not for sale]

Lindsey Flickinger "Erratic Palpatations" 2022 Clay, yarn, acrylic paint, wood, plastic bag, cardboard 10” x 24” x 12” [not for sale]
Lindsey Flickinger "Erratic Palpatations" (back view)

Elisabeth Gerald "Traces" 2022 Graphite on paper 40X30" [not for sale]
Elisabeth Gerald "Untitled #2" 2022 Micron pen on paper 17x14 " [$85]

Traces continues a recent series of drawings exploring mark making and drawing as a form of record keeping. The drawing starts without a goal or visual representation in mind, rather, marks accumulate and begin to take shape with my hand acting as the guide. These drawings aim to explore the physical act of drawing. Touch, pause, rhythm, the motion of moving across paper. My hand and graphite working in unison. The drawing remains.

Melissa Gutierrez "Cultura" 2021-Present 35mm Film 52 x 32 in [not for sale]

Cultura is an homage to the neighborhood I call home. Here, you can find Los Primos barbershop/laundromat/restaurant, colorful corner stores, and untold stories of the Americas. “Where else would I buy my favorite Diana chips?” - eastie resident

Shahin Ismail-Beigi
Shahin Ismail-Beigi (installation view)

Katelyn Leaird "Animals" 2019 digital photography 17.5 x 9 [prints available by request]
Katelyn Leaird (installation view)
Katelyn Leaird "Self-portrait" "Psychies" "Participant/Observer" "Difficulties Be Damned" "Both Sides of the Fence" 2019 digital photography 17.5 x 17 [prints available by request]
Katelyn Leaird and Elisabeth Gerald Collaboration, 2019, 2022 digital photography 13 x 7 [not for sale]

Alex Lewis "Seven Years (And Counting)" 2015-2022 acrylic containers, syringes, plastic bags, paper bags, and found materials 18"L x 15"W x 19"H [not for sale]
Alex Lewis "Fresh Water" 2021 Paper, sandpaper, gel medium, and found materials on chipboard 9"W x 12"L x 0.063"D [not for sale]
Alex Lewis "Dangerous Drinking Water" 2021 Graphite on paper 12"x15" [not for sale]

(left) Acrylic boxes packed with medical materials from syringes and needles to pharmacy bags and hormone vials are a window into seven years of the artist’s life.

(center)  This piece explores coping mechanisms used in lieu of accessibility to mental and physical health resources. Without access to the appropriate infrastructure around community health, marginalized groups often fall vicim to the void of systemic isolation. Substance abuse and sex work can be parts of that equation, which is especially prevalent among some of our most vulnerable such as transgender Black and Indigenous People of Color (BIPOC). The public spectacle of suffering is all too common for marginalized peoples as one is often left to their own devices of survival in the absence of a comprehensive public healthcare system.

(right) During bouts of homelessness garbage became treasure and every find was like rescuing a piece of myself. This collagraph plate was created from discarded pieces of found materials such as plastic and paper. Collagraphy involves creating a printing plate made by collaging materials to form a matrix which can then be sealed and passed through a press to create prints like any other plate. This piece comes from a body of work exploring abandoned objects and the lives they lead after abandonment.

Tim McCool "Shawmut Ave" 2022 Prismacolor on Paper image size: 6 x 8 inches, framed: 7.25 x 9.25 inches [sold]

Janella Mele
Janella Mele "The touch of a Friend" 2021 Watercolor and marker on Canson 22 1/8 wide x 28 1/8" high
Janella Mele

Emily Mogavero "Aufheben 110" 2018 drypoint and chine-collé on paper 13"x17" [$450]
Emily Mogavero [not for sale]
Emily Mogavero "Places of" 2020 acryllic on acetate varaiable. Minimum 3"x2" [not for sale]
Emily Mogavero [not for sale]

How can I build a sanctuary? Places of...collages patterns, images, and iconography from holy places that I have never visited and spaces that hold deep personal importance.

Isola Murray "Pockets of Refuge" 2020 Carboard, charcoal, gouache 6"x6"x6" [not for sale]

black box. when lid is lifted, the sides fall down to reveal the inside which is painted into a dark forest clearing. external is made of cardboard and bookbinding materials, internal is painted with gouache and watercolor, with charcoal detailing.

Annie Narrigan "Ruffle" 2022 Papier mache 16x20x2 inches [$200]

It's a papier mache sculpture of a potato chip, larger than life size. I'd like to think of it as a nod to the vending machines we had in the break room we spent so much time in on breaks, in between shifts, where we crossed paths with other museum staff. Food provides a common ground, a comfort, a way for people to relate to each other. This recent body of work — a series of larger-than-life-size papier mâché food sculptures — discusses the memories we experience through what we eat. Standing alone or presented in a group, these salty, crunchy, savory works of art focus on what is familiar and satisfying about food. There are lots of ways to experience food and the comfort it brings us. Each of these experiences is unique to whoever may prepare, serve, and eat the food. The whimsical scale of these sculptures impart a humorous approach to how we connect with what we eat. The blown-up details, like the unmistakable ridges on a chip, invite the viewer to explore the vast landscape of food, and fondly recall memories of their own.

Denver Nuckolls "palimpsest [1]" 2022 Video/Audio - Projected onto wall/shown on monitor 10:30 min (still) [USB Thumbstick containing alternate video, mono mix, reinventions, demo tracks, and audio stems - $50 each [30 total]; CD-R containing mono mix, reinventions and demo tracks - $20 each [50 total]]

Joel Rabadan "Postcard Paintings: May 2022" 2022 Watercolor on Paper Six 4"x6" Postcards [not for sale]

Danielle Pratt (top) "Red Thread" 2021 Cyanotype on found fabric 33x30 inches [sold] (bottom) "Pocket" 2021 Cyanotype on found fabric 25x30.5 inches [sold]

My work seeks to understand and celebrate how we leave ourselves to be remembered and potentially rediscovered. Using found or recycled fabric to make cyanotype prints, then taking the work home to collage on the sewing machine; I use the time spent in pandemic-imposed isolation to engage in traditional craft techniques. I am interested in the human impulse to catalog and understand things. By looking through photography of scientific specimens, landscapes, and printed silhouettes of actual objects; I intend on creating an archive of personal interests, inspirations, and experiences stitched together in a natural historical quilt.

Jaylan Ramos "dinner for 2" 2022 watercolor 18"x24" [$3000]
Jaylan Ramos "what you left behind: the field notes" 2021 mixed media: pieces of hand written letters over watercolor. glue. 8"x11" [not for sale]

(left) Two figures engaged in an intimate moment. This deals with feelings of vulnerability, exposure, longing and desire. I felt uncomfortable even painting such an intimate image and showing it to people, but I really wanted to challenge myself to make something that made me feel overexposed. The image is supposed to be a hazy memory: hence the soft, almost unfinished strokes. I often spend a lot of time daydreaming about my past experiences and after some time, these scenes become a little rosier and hazier as the days pass—sometimes for better or for worse.

(right) A collection of written material both sent and unsent to a person from the past. I took the handwritten letters from a small journal we shared and glued them to a watercolor painting of a lake reflection that I had visited with this person. I wanted there to be pieces of the letters in sort of disjointed conversations to represent the range of emotions that come with the end of a relationship. The table with the field notes notebook is presented as the source of these now cut up letters, where all of this began.

Anna Reidister "By Sword We Seek Peace" 2019 custom polyester flag, flagpole, fan, speaker 3'x5'/ 2:53 min [$1000]
Anna Reidister "Cat" 2021 SD video/ceramic, scrap fabric/soccer ball 2:31 min 41.5''D x 18''W X12.25''H [$500 for cat, $250 for soccer ball]
Anna Reidister "Cat" (detail)

"By Sword We Seek Peace" is a multimedia installation featuring a reappropriated version of the state flag of Massachusetts, blown by a fan. The "All Hail Massachusetts" plays into the fan. This piece brings the state seal's white supremacist imagery to the forefront, with a full-bodied Miles Standish poised to strike.

“Cat” is an experimental pop song about a cat with an absent father. The accompanying music video matches the childlike qualities of the song, from the image quality to the imagery itself.

Ryan Ricci "VA Shadow" 2019 Black fiber and gallery paint on drywall 24”x17”x1/2” [$250]
Ryan Ricci "VA Shadow" 2019 Black fiber and gallery paint on drywall 24”x17”x1/2” [$250]
Ryan Ricci "VA Shadow" 2019 Black fiber and gallery paint on drywall 24”x17”x1/2” [$250]

This body of work is a kind of “meta” representation of VAs in the gallery space; actively showing their absence or the evidence of them having been there. It turns the VA presence into the artwork that visitors are suddenly meant to view & consider; for this reason, the paintings were made as objects separate from the wall itself. the shadows never physically leave the surface of the drywall, which nods to an everlasting presence of VAs in the galleries. Their placement in the gallery space is signifcant as well; displayed on the sides or at the ends of walls, or in corners, at "shoulder-to-butt-level," they occupy the spaces where the VA would typically stand.

Hannah Rust "Sparkle and The Townies" 2022 Oil on canvas 36x48 in [$3500]

Having been born and raised in greater Boston, I relish in the spectacle and absurdity of everyday Bostonian life. We are a city of conflicting narratives: working-class people built so much of the local culture, but we are one of the most gentrified and expensive cities in the country. People here can be notoriously guarded and cold, yet community is incredibly important to us here. When I ride the T, I’m sometimes overcome with the overwhelming desire to talk to the people around me but I rarely act on it. Although we usually occupy our own universes on the subway, I like to imagine our bodies collectively enmeshed into one, and the boundaries between our individual lives and histories dissipating.

Kayla Scullin "Going Places; "Is She Mad"" 2021 Digital Photography Image 8.5 x 6.8, framed 15.5 x 12.5 [contact artist]
Kayla Scullin "On Trend; "Kenny Broke Up With Me"" 2020 Crochet Yarn 22.5 x 8'' [contact artist]

Monica Srivastava "Projection series" 2021 oil on canvas blue:20x20 in green:24x24 in [$800 each]
Monica Srivastava "Paper Jalis" 2021 gouacha on paper 3 pieces 11x14 in [$400 each]
Monica Srivastava "Eulogy" 2021 Silkscreen on bristol 14 x 17 in [contact Monica at]

(left) These two paintings incorporate Indian block print patterning, Mughal-era architecture, and portraiture to talk about identity and belonging. Patterned screens, called jalis, were built in Mughal India to circulate light and air through an architectural space while also granting privacy to those inside. The jali, in my work, serves as a way to hide the real me. It is the thing that separates the real me from perception. In this work, you can see a jali projected on my face, giving way to another figure that lives in shadow, born out of obstruction. Which one is the real me? The one in the shadow or the one you can see?

(center) This series of three paper works explore the intersection of identity with portraiture and architecture. Patterned screens, called jalis, were built in Mughal India to circulate light and air through an architectural space while also granting privacy to those inside. I use them now in my work in a similar way. They are delicate, made of paper, and strive to hide the figure behind them. In theory, they are permeable; the figure could, in the world of paint, come through the jali. If you look long enough, she does. But the jali serves as a way to hide the real me. It is the thing that separates the real me from perception.

(right) This body of work explores portraiture, identity, and the remnants of grief after the loss of my grandfather. The prints are covered with a pattern reminiscent of Indian textiles and architecture. At the bottom of each print, there are two figures outlined in the same print – this comes from an image of my grandfather and I – in which one is filled in and the other is outlined. The remainder of each print is part of the eulogy I gave at his funeral, it fades slightly with each print until it is barely legible, in the same way that grief and memories fade with time.

Christina M Tedesco (left) "#15 Careful of the Tall Grass of The “Playground Project”" 2021 Gouache, Sharpie on paper 14 3/4” x10” (15”x 20”Frame) [$650] (right) "#7 Here We Go Loopty Loop of The “Playground Project”" 2019 Gouache, Sharpie on paper 12 3/4” x 12 3/4” (21 ½” x 17” Frame) [$450]
Christina M Tedesco "#16 Hold On, Don’t Let Go of The “Playground Project”" 2021 Gouache, Sharpie on paper 10” x 20” (18”x26”Frame) [$650]

(left) The figure is sitting on the left hand side of tire swing as it swing. The tire swing run from the four ground to the middle ground. You can see the shower of the tire swing on the green grass. The shy blue that has white cloud, in the middle ground and back ground.

(center) A figure that is swinging on a red sing. There is yellow/brown sand in the four ground with shower as the figure swing. In the middle ground you can see a brown railroad tie and the blue legs of the swing set. In the back round the is green grass.

(right) You are looking head at green monkey bars. The monkey bars are in the four ground and go all the way to the back ground. There is a beige sand in the four/middle ground around the monkey bars. The figure is haging on to the monkey bars with one hand in middle ground of the painting. You can see the monkey bars go all the way to the back ground wish is a shy blue that has white cloud.

Jarrod White "beat." 2020 digital video 8 min

Captured through the imprecise eye of a cell phone camera, White's film transforms the darkened surfaces of passing boxcars into hypnotic phantasmagorias: perhaps the abstract landscape of a graffitied zoetrope, or the belabored crawl of film through a shuddering gate.

Yolanda Yang "Promised Nowhere" 2021 wire, clay, acrylic paint 12.5 x 16 x 10'' [not for sale]
Yolanda Yang "Untitled" 2022 fishnet, holographic 10' x 10' [not for sale]
Yolanda Yang "Small Car Car", 2022 [not for sale]
Yolanda Yang "Small Car Car" (detail)

Photo credit: Yixuan Zhao