May 232025
 

Moones Zeydabadi, “Curtain’s Tale”, 2025

The Delaware Contemporary is currently showing The 2025 University of Delaware Master of Fine Arts Thesis Exhibition. It’s an excellent chance to see what recent students have been creating.

The artists included: Abigail Dudley, Anna Freeman, Arend Neyhouse, Candy Fordjour Frimpong, Emmanuel Aboagye, Fuku Ito, Mikhail Shulga, Moones Zeydabadi, Priya Dave, Shoshi Rosenstein, Taylor Gordon, and Yoosef Mohamadi

This exhibition will be on view until 5/25/25.

Below are a selection of works from the artists and their statements about their work.

Moones Zeydabadi

Moones Zeydabadi

I make drawings and paintings depicting human and nonhuman figures in scenes of intimate encounter with each other and their environments. These narratives draw from deeply personal experiences which embody a more universal experience of being. I weave together fragments of recollection, imagined environments, and symbolic gestures to visually represent the complexity of identity and the way it shifts and fractures into new territories as one journeys through life.

My practice explores the liminal territory in which identity, memory and legacy seep through our collective subconsciousness. Through my interest in casting light on overlooked or forgotten stories, I infuse them with living qualities and complex non-linear narrative paths, I model a new, broader, and alternative space of belonging.

Foreground sculptures by Priya Dave

Detail from the interior of one sculpture by Priya Dave

Priya Dave

As an Indian, my art spectrum seeks to disrupt the cycle of disempowerment by integrating self-studied neuroscience research to explore the microbiology of the mind affected by culturally restrictive and arbitrary rules. The societal norms often resulted in mental health challenges, including depression and self-doubt, which left many struggling to trust their judgment or make decisions. Through my work, I strive to create immersive environments that map the brain’s physiological structure, fostering public engagement and raising awareness about mental health through a scientific and artistic lens.

My artistic practice encompasses various mediums, including painting, drawing, printmaking, immersive and video installations, and multi-sensorial experiences. Drawing from my Indian heritage, l often incorporate culturally and historically significant materials like kumkum, fabrics, and spices. These elements are deeply rooted in tradition and carry themes of memory, and identity. By transforming these materials into multisensory artworks, I reimagine their traditional meanings and bring them into contemporary conversations.

Through this fusion of culture and neuroscience, I create spaces that stimulate multiple senses, including sight, touch, sound, smell, and proprioception, encouraging deeper introspection. My work seeks to bridge the gap between personal experience and universal understanding, addressing the amalgamation of mental health, identity, and sensory perception. It is a reflection of my commitment to exploring how art can transcend cultural boundaries and inspire meaningful connections while fostering mental well- being and self-awareness.

Paintings by Abigail Dudley

Abigail Dudley

My paintings celebrate the singularity of perception and the way it entangles how one perceives the world. I am captivated by the slow build-up of forms and the subtle shifts in color that allow me to infuse a soft atmosphere of memory and temporal transitions into my paintings. My work is connected by my search for meaningful encounters with my surroundings through the act of painting, and a search to find surprising moments in life and painting.

My work focuses on the visual slippage between personal narrative and creating a space between harmony and contradictions of visual elements. Through this process, I tie together a space through intimate moments of perception. I aim to cultivate the idea of what it means to linger within a place and how that response can translate into a painting to act as a form of resistance to fast-looking in a culture that values a fast pace of life.

Work by Mikhail Shulga

Mikhail Shulga

My introspective nature is rooted in my identity as a Russian. Long winters and limited sunlight compel us to seek solace indoors, fostering a culture of deep spiritualism and reflection. Over generations, resilience has emerged from the hardships, shifting political regimes, and wars that define our history, further shaping this introspective tradition.

In my installations, I repurpose discarded electronics – objects imbued with nostalgia and unrealized promise. Once luxurious and cutting-edge, these items now lie abandoned on sidewalks. Many come from the ’90s and ’00s, my childhood years, when such technology symbolized hope for a better future. But that promise feels unfulfilled. While our lives have become more convenient, we are left grappling with existential questions: How does technology impact our sense of self and the meaning of human existence? Does the rapid advancement of technology amplify or diminish alienation, freedom, and authenticity? How do virtual spaces, social media, and digital communication shape our perceptions of reality, relationships, and identity? Perhaps the answers lie not in outside but in our own reflections. – “We don’t know what to do with other worlds. We don’t need other worlds. We need a mirror.” Tarkovsky, A. (Director). (1972), Solaris [Film].

Work by Emmanuel Aboagye

Emmanuel Aboagye

My work uses the language of painting to explore ideas of visibility and invisibility as it relates to issues of identity, memory and belonging in a post-colonial context. I explore the complexities of identity, be it class, race and nationality. I give agency to memory not as a tool to investigate the past but a medium for evaluation in the present. I investigate the nuances and specificity of the idea of belonging.

Having been trained as a painter, I employ modern sensibilities in engaging the materials I work with, utilizing them as a lens to examine notions of liberation. I work with materials like, acrylic paint, oil paint, brush, linen, canvas, sequence, wrappers, frost sheet, junk mail flyers, patterned plastic bags and electric iron. I consider the histories and attitude of the materials I work with. They are not merely tools but collaborators in an emancipatory process.

I lean on improvisation as a radical approach for self-liberation in my practice. This allows for spontaneity, fluidity, and the unexpected, reflecting my commitment to embracing uncertainty and possibility.

Paintings by Arend Neyhouse

Arend Neyhouse

My work weaves historical notions of art into the tapestry of our contemporary world. Specifically, while dealing with elements of myth and fable, I tell stories in the space of suburban America. As a consumer of fiction, and spending the majority of my life in suburbia, I explore the synthesis of these elements. My work exists at the crossroads of fable and familiar.

With my figurative paintings, I continue to explore realist arts position in the contemporary art world. I think that through the exploration of the mundane parts of our daily lives lies a time capsule for posterity – a captivating exploration of quietude transformed into an everlasting narrative.

My images exist in the in between. Moments before or after a great change. I am not trying to tell the whole story, but merely a single page, or even a single line; leaving whole worlds both before and after each image. A testament to the sense of sonder as the world churns around us.

Creating epic scenes through my technical approach and unwavering craftsmanship; humanity is laid bare. Through my art, I aspire to create not just paintings, but windows into the soul of our shared existence.

Head to the next page to see more of the artists from the show.

May 222025
 

For Mia Fabrizio’s installation in the lobby of The Delaware Contemporary, Pull Up A Chair, she has created several sculptures that use domestic objects to explore a variety of social issues. It is part of the museum’s Winter/Spring three-part exhibition, Dinner Table.

From the museum-

Mia Fabrizio is an interdisciplinary artist creating mixed media portraits, freestanding sculptures and installations composed of building materials and domestic items. She carves away, mends, and cobbles together assemblages from a domestic landscape that is both nostalgic and full of pathos.

In these works, Fabrizio explores the power structures and cultural paradigms associated with, “having a seat at the table.” Fabrizio reveals how furniture conventions can grant power to the user. It is the “power to be seen, power to be heard, and power to contribute to the framing of a society” that Fabrizio aims to scrutinize. The chair sculptures become vessels for memories with details that reference labor, gender, and cultural constructs. Her multilayered constructions toggle between tearing apart and memorializing her personal experience. The assembly and material choices subvert the basic understood function of a “seat” and reveal illusions of functional space. She asserts that, “these seats are invitations in name only, token representations.”

Mama Liked the Roses links past to present by combining images and materials from Fabrizio family home with images collected from regions in Italy where her great grandparents had originated. The details within the piece reference labor, food, gender and religion.

And from the artist-

I am an interdisciplinary artist. Mixed media portraits, freestanding sculptures and installations are composed of building materials and domestic items. Multilayered concepts relating to identity and social constructs are presented through a variety of artistic mediums and processes. Consumed with hidden and exposed structure, my investigation of physical construction, cultural paradigms and their relationship, originates from the framework most familiar to me, the house in which I grew up. Contradictions within this space spark my desire to highlight the fluidity of perceived binaries, particularly those relating to feminine and masculine, public and private and modern and traditional.

Ascribing to the visual context of home as well as the ethos of homemade I paint, adhere, carve and chip away at plywood, drywall and paper. I vacillate between tearing apart and tenderly memorializing my personal experience, concurrently the work points outward to larger societal conversations around immigrant status, feminism, and queerness.

This exhibition closes 5/25/29.

May 222025
 

Work by Adam Ledford

Painting by Sierra Montoya Barela

Painting by Sierra Montoya Barela

Installation by Debra Broz

Take A Seat, at The Delaware Contemporary, presents three artists whose work focuses on aspects of domestic life. The sculptures in Adam Ledford‘s installation, and Debra Broz’s porcelain creations both explore items found around the house and encourage viewers to take a longer look beyond the initial familiarity. Sierra Montoya Barela‘s still life paintings, with their bright colors and unique compositions, balance out the exhibition.

From the museum-

The dinner table recalls memories of cuisine, traditions, faces. Many of these memories are not clearly outlined but are rather assembled together through the periphery of our experiences. At the edge are small details such as decor or furniture, all of which complement the feeling and evoke emotion that registers our memories of the moments. The settings themselves often define the sensibility of the dinner table. Working within and beyond these domestic settings, Sierra Montoya Barela, Debra Broz, and Adam Ledford each contribute their distinct techniques to a larger place setting, inviting visitors to reminisce on tables past and present.

Sierra Montoya Barela is a painter of modern-day still life, capturing the spaces we exist in, but specifically the life that exists alongside us. Barela’s use of perspective composes a portal of access, one that feels like a peephole into the domestic items that capture our impression of a space. Each painting offers a scene that imbues surrealistic comfort. Plants that grow as we move around them, food that waits to be consumed, isolated hands or feet that are suggestively attached to a body. Barela’s spatial acuity combined with her use of color and pattern is multidimensional and lively, highlighting the surroundings that outline our lives.

Also questioning elements of space, Adam Ledford melds multiple mediums together to create installations that are dimensionally varied. The mixture of sparse line work directly applied on the wall with hand-crafted, two-dimensional ceramic vessels create a composite scene of domestic familiarity. Evocative of furniture found in our homes, the drawings support the elegant pots that rest on their implied surfaces. The nature of the entirely non-functional dioramas are deceivingly simple; their whimsical nature feeding into our sensibilities of space and depth, while subverting those perceptions into new spaces of disbelief.

Debra Broz also works within the composite. Broz alters found porcelain sculptures, seamlessly combining various pieces together to craft new creatures altogether. These small figurines are reminiscent of lovingly coveted trinkets that decorate our shelves and tables. Broz leans into our memories, appropriating the figurines’ normal representation and twisting them into something fantastical. As an actual conservator of porcelain goods, Broz’s technical skill leaves little room for error; enabling her audiences to jump into the sublime and become collectors of her newly constructed tchotchke.

This show is on view until 5/25/25.

 

May 212025
 

The Delaware Contemporary is currently showing several exhibitions that reflect on the theme of the dinner table. In one room Nicole Nikolich has created the installation Can I Please Eat In The Computer Room Tonight? which includes an old Macintosh desktop computer surrounded by her colorful textile pieces. The work evokes the nostalgia of a childhood spent eager to be on the computer, even in its then limited capabilities.

From the museum about the installation-

The dinner table is a place of routine and tradition, the daily ritual of which can consist of eating, sharing, and storytelling. However, the dining room is not always the location for eating a meal. Food can be served on the sofa in front of the TV or outside under the stars, and in Nicole Nikolich’s experience, these special occasions were spent in her computer room. Seeking solace as a young teen, there was an excitement in experiencing space and time alone. Nikolich reclaims this memory, reflecting on nostalgic moments through her textile practice.

Nikolich’s artistic interests varied until she taught herself how to crochet; a medium that combined her intrinsic interest in color and texture. Based in Philadelphia, she was jointly inspired by street art and the ever-increasing yarn bombing movement and so took her developing techniques to her surroundings. These early experimentations eventually led to larger projects and commissions; enabling opportunities to further explore the medium on an increased scale. Her bright colors, varied textures, and whimsical designs explode on different surfaces and in all types of environments.

Can I Please Eat In The Computer Room Tonight? is a site-specific installation in response to Nikolich’s sensorial memories, her retelling of these early moments of youth. Combining both two and three-dimensional textiles, Nikolich inserts her audience into a youthful memory that is both individually personal and collectively reflective. The space is transformed by Nikolich’s signature experimental style and bold color, constructing a portal into a textile explosion. In doing so, the installation offers audiences an opportunity to reimagine their adolescent abandon; those remembrances in which routine breaks and adventure begins.

And from Nikolich-

Can I Please Eat In The Computer Room Tonight? explores the positive and transformative view of tech from a preteens perspective growing up in the early aughts. This installation is a memorial to this fever dream of a time period where you could only access the internet in a specifically designated computer room, often decorated in brown hues and overstuffed with knickknacks and office supplies. This space, an escape to another part of your life, often felt like an oasis to explore who you were becoming for the first time without the microscope and confinements of adults and societal expectations. Swapping sandboxes for CD-ROM games and mixed tapes. Inside jokes with friends in chat rooms and staying up until way too late messaging your crush in your own secret language. Taking selfies on the front facing camera and looking at yourself in a slightly different way for the first time. Learning about yourself and the world all from the glow of a little square box in the middle of a little square room.

This exhibition will close on 5/25/25.

May 092025
 

The images above are from Saya Woolfalk‘s exhibition The Woods Woman Method at Susan Inglett Gallery this past March.

From the gallery about this show-

The Woods Woman Method is the newest manifestation of the artist’s ongoing exploration of hybrid identity, accomplished through an elaborate fiction inspired by her own family background. Combining elements of African American, Japanese, and European cultures with allusions to anthropology, feminist theory, science fiction, Eastern religion, and fashion, Woolfalk depicts the story of a chimeric species she names the Empathics, botanic humanoid beings with a highly evolved ability to understand the experiences of others.

The Woods Women, a secret society of forest dwellers, first emerged within Woolfalk’s Empathic Universe, as she prepared for her solo exhibition at the Newark Museum of Art in 2021.  While an Artist-in-Residence at the Museum from 2019 to 2021, she closely engaged with its renowned Herbarium and Hudson River School collections, leading to her reimagining of the earth and sky as she considered the “speculative fictions” of these idealized American landscapes, and her consideration of indigenous North American creation myths, oral histories of the descendants of enslaved Africans, and their uses of medicinal plants.

The exhibition features drawings, prints, mixed-media collages, sculpture, and video. Among the works on view are Birthing a New Sky: Starship Moon Cycle (2022), an inspired visualization of the artist’s sister, sitting in a lotus position, anticipating the birth of her daughter. Woolfalk writes:

“For a new sky to be born she must split herself into a million pieces. Each cell in her body replicates itself, spinning in twirling orbits. Her atomized insides burst apart, cascading into the void around her. Swirling and churning, one cell makes its way back to her center, where her heart had been. This brave new life expands, forcing its way out as new light, new land – a new sky.”

Other highlights include the landscape collages, Birthing a New Sky: Manuscripts 3 and 4 (2021),and 5 and 6 (2022),  in which Woolfalk posits an alternative American creation myth. While appearing to be simple abstractions, these works are quite complex, composed of hundreds of intricately pieced and layered elements created from handmade Japanese papers that she has painted and stained with watercolor and gouache, Japanese silver foil, and acrylic medium.

The series of large-scale prints, The Four Virtues (2017) depict the physical embodiments of Prudence, Fortitude, Justice, and Temperance, qualities that are vital to the ethos of her world.

The exhibition was held in advance of Woolfalk’s mid-career survey at the Museum of Arts and DesignSaya Woolfalk: Empathic Universe, curated by Alexandra Schwartz. That exhibition includes multimedia installations paintings, sculptures, performance, and works on paper created during the past twenty years and will be on view until 9/7/25.

May 032025
 

Bradley Hoffer’s works in the foreground, Michael McLoughlin’s photos on the wall behind

Images to the left and right by photographer Mike McLoughlin

Asbury Park in New Jersey is most famous for its music scene, but recently murals and other artworks are adding another reason to visit this seaside town. Many of these pieces would not exist without the hard work of local Jenn Hampton, who started the Wooden Walls Project in 2015. The collaborative arts initiative has worked on numerous projects in the area with local artists and others from farther afield.

One of these projects is New Jersey photographer Mike McLoughlin‘s Art Lives Here- a series of portraits of local arts community members. Each portrait is based on a famous work of art. All of them can be found here.

Below are a few of the murals and works created in collaboration with Wooden Walls. They are located around Asbury Park Boardwalk‘s Historic Steam Plant building and the Carousel Casino Complex. They include works by Porkchop and Bradley Hoffer who currently have a joint exhibition on view at The Art Spot.

Hearts by Amberella, work by Tina Schwarz and mural by Keya Tama

Mural by Keya Tama

Work by ONEQ (@negiyakisoba)

Work by Joe Iurato (left) and Beau Stanton (right)

Ray Geary “St. Shadi and the Madd Doggs” Pigmented resin on board

Work by Pau Quintanajornet (@artofpau)- “Yemaya and her Sea Birds”

Mural is by Porkchop and Bradley Hoffer

Mural by Porkchop of Yemaya

May 032025
 

Currently at The Art Spot in Asbury Park are the incredible cardboard creations of multi-disciplinary artists Michael La Vallee (aka Porkchop) and Bradley Hoffer for Anti AI: A 2025 Cardboard Odyssey. Along with the exhibitions, the gallery also serves as a studio for La Vallee and a shop selling items by him and others, including a large section of modified clothing items.

Outside of the gallery are two large murals, pictured below. The first is by Porkchop and Hoffer and the second is by artists Joe Iurato and Logan Hicks.

Mural by Porkchop and Bradley Hofffer

Mural by Joe Iurato and Logan Hicks (with Bradley Hoffer section from the previous mural)

This show is on view until May 8th, 2025.

Apr 252025
 

Work by Roger Halligan

Work by Jan Chenoweth

While visiting Lake City, South Carolina for ArtFields one must see gallery is Chenoweth. Halligan Studios. The gallery showcases the work of artists Roger Halligan and Jan Chenoweth who relocated to the area from Chattanooga, Tennessee in 2019. In addition to being a gallery, it is also a working studio with an outdoor sculpture space.

During ArtFields and other events the gallery is open to the public, but they are also available by appointment.

Work by Roger Halligan

Work by Roger Halligan

Work by Jan Chenoweth

Apr 252025
 

Mural by Donald Walker

ArtFields Community Mural by Jessica Diaz, Morgan Funkhouser, Olivia Cramer, Sam Ogden

Today’s flashback is to 2021 and a trip to Lake City, South Carolina to check out ArtFields.  Started in 2013, the event is a wonderful example of how the arts can revitalize local economies.

So what is ArtFields? Every year for one week local businesses and galleries host works created by artists from the Southeastern United States for a competition with prizes totaling over $145,000. There are also two People’s Choice Awards which are determined by the attendees of the festival. The other awards are chosen by a panel of art professionals. Special events take place throughout the week and ArtFields Jr. offers a chance to see work by South Carolina students.

This year the event runs from April 25th to May 3rd, 2025. Even if you can’t make it, it’s worth taking a look here at this year’s artwork as well as from past years.

Below are a few selections from 2021-

Mural by Lance Turner

“From This Moment Forward” by Herman A. Keith Jr. inspired by Gee’s Bend Quilters

Partially finished mural by Broderick Flanigan honoring Lake City educators Elouise Cooper and Derrick Faison.

“7 Red Wolves” by Joann Galarza Vega

About the work from the above by Joann Galarza Vega

“There may be as few as only 7 red wolves remaining in the wild. These animals, like so many others, are disappearing in the shadows of our periphery. Their very existence depends on us, as did their extinction. Let us see them, acknowledge them, acknowledge that biodiversity and the balance of life matters. They are painted bright red in order to stand out and bring attention, no longer hidden away.”

Pictured above is The House on Church Street which in 2021 was used for several art installations including the two below. The first is New Histories: The Gadsden Farm Project by Michael Austin Diaz and Holly Hanessian.

About the installation-

The installation below, All Too Brief, was created by Gainesville, Florida artist Cindy Steiler.

From the ArtFields website about the installation-

All Too Brief was inspired by the movement of time and the unconscious process where our present moment is being continuously converted to memory. The elements comprising All Too Brief include a series of scrolls of cyanotype photographs and repurposed textiles wound on antique industrial weaving bobbins. Each scroll has a WW2-era laundry pin embossed with a number that corresponds to the written narrative of the images and textiles it holds. This piece is my attempt to document and archive people, places, and fleeting moments I hold dear. This piece became even more meaningful to me this year. My studio assistant at the time this piece was created has since passed.

Finally- while in town it’s also worth checking out the Ronald E. McNair Life History Center and Memorial Park. The Lake City-born astronaut and physicist died tragically in the 1986 Space Shuttle Challenger explosion.

Apr 222025
 

“Matsushima Triptych”, 2025, Monofilament, cotton, linen, kid mohair

“River Triptych”, 2023, Monofilament, cotton, linen, kid mohair

The two triptychs above are from Hiroko Takeda‘s solo exhibition, The Ten Thousand Threads at Hunter Dunbar Projects. These works evoking environmental patterns are presented along with others more focused on geometric forms.

From the gallery about the artist and her work-

Hiroko Takeda (b. 1966, Nagoya, Japan) is a Brooklyn-based artist who expresses her world in thread. She has taken her rigorous training in the Mingei Undo-the Japanese Arts and Crafts Movement-which honors and emphasizes the characteristics, capacities, treatments and beauty of materials-to boundary-crossing distances and depths in nearly 40 years of global practice. Mingei was developed in the mid-1920s in Japan by philosopher and aesthete Yanagi Soetsu (1889-1961), along with a group of craftsmen, including the potters Hamada Shoji (1894-1978) and Kawai Kanjiro (1890-1966).

The Ten Thousand Threads takes its title from the Taoist concept of “the ten thousand things.” Often attributed to the Chinese philosopher Zhuangzi, it refers to the notion that in spite of the variety visible in the world, all things are fundamentally one. Applying this to Takeda’s practice, the multitudinous variations in weft and weave, color, pattern, and structure in her work can be seen as having an underlying connection; the works reside within the “the rule-bound world of weaving” and simultaneously emphasize an “invitation  to the accidental, disorderly, or unexpected.” Takeda’s works in The Ten Thousand Threads strive to transcend boundaries between light and dark, raw and refined, geometry and fluidity, painting and sculpture. 

The exhibition features works from 2016 to 2025, consisting of varying approaches to structure, pattern, and color. The Blueprint and Still Life series utilize the ‘Giant Waffle’ technique to evoke Minimalist rectilinear patterns. The deeply structured grids created by the warp and weft of Takeda’s weaving push the compositions dramatically into three-dimensional space.

Works using transparent thread, on the other hand, imply subtle and dreamlike landscapes. In her recent Matsushima triptych (2025), for example, Takeda uses staggered horizontal passages of fine and coarse textures to suggest the seascapes and islands of tsunami-weathered northeastern Japan. Whether underscoring geometric form or expressive vistas, Takeda’s work illuminates the fundamental tensions between tradition and innovation as well as complexity and reductionism.

As Takeda points out, “the world I see, like the world of warp and weft, has rules and constraints that are supposed to be good for us, but disorder happens naturally, and the other side of tension is fluidity. I manipulate and orchestrate the elements and welcome accidental moments of material behavior.” Whether underscoring geometric form or expressive vistas, Takeda’s work illuminates the fundamental tensions between tradition and innovation as well as complexity and reductionism.

This exhibition is on view until 4/26/25.