Paul Valadez, TACOS AMERICAN, 2020, Acrylic on Corrugated Paper, 28 x 28 in.

Simplicity is key, humor is optional.

Marie-Ange Hoda Ackad, THE NOTEBOOK, 2020 Pigment Oil, Linquin and Inkjet on Birchwood Panel, 48 x 60 in.

Marie-Ange’s monochromatic palette and existential examinations of isolation has generated work revealing a new construct of human experience post outbreak in THE NOTEBOOK.

Emma Coyle, LINDA NO. 1, 2019, Acrylic on Canvas, 60 x 48 in.

My own artistic endeavors were always derivative of POP, as a curator the style is usually the first to catch my eye.

Gail Folwell, CAN YOU HEAR ME, 2019, Bronze, Wood and Steel, 50 x 30 x 9 in.

Much of the work I select is based on the concept of the piece as much as the execution.

Janet Milhomme, ANN IS SAFER AT HOME, 2020, Archival Pigment Print on Fine Art Paper, 26 x 26 in, Ed. of 5

Janet’s ability to find the universally relatable qualities in unexpected subjects is part of what defines her as an artist.

Madeline Walker , THE GLOVE ON MY STREET, 2020, Digital Photography, 8 x 10 Matte Print, Ed. of 3

A simple photo of a discarded item taken in March of 2020 has a familiar but inharmonious tone, relatable to viewers on a global scale.

Kayo Albert, EMOTIONAL LANDSCAPE, 2020, Oil, pastel, ink, acrylic, tempera on Mylar on wood panel, 36 x 48 in.

Acknowledging the crisis and keeping up with our own self care seems impossible at times.

Jenny Balisle, DANGER AMERICA, 2020, Aluminum, 10 x 14 in.

Pieces like DANGER AMERICA can be effective tools to at least open a dialogue about how political division may prove to be more detrimental to our society than the virus.

Gary Westford, AMERICAN LANDSCAPE (SUNRISE/SUNSET), W/ PRAYER STAND, 2020, Oil on Canvas, 48 x 60 x 2 in.

I debated about selecting this work not because I have a particular viewpoint on religion, but because I don’t want the viewer to lose the importance of the message if they take issue with the delivery.

Kushlani Jayasinha, FOLDS OF TIME, 2018, Acrylic on Canvas, 48 x 72 in.

With FOLDS OF TIME, she convincingly captures a dream in progress; leaving a block of color below as a weight or anchor for the fleeting scene above. The greater aesthetic of this piece is the representation of realized dreams by those who has lived through struggle (as we are now).

Diane Cockerill, MASK AND GLOVE, 2020, Digital Photograph, 14 x 14 in.

I’m certain that the scenes of empty streets, pop up clinics and people wearing protective clothing will become the new normal in the coming months. My selection today is representative of how our communities will forever be changed.

Iben Vestergaard, CLEAR DAY, Silicate and mixed media on canvas, 24 x 20 in

My selection today was based on my own mindful reflection. Do I have the ability to objectively self evaluate and make necessary the adjustments for both survival and social harmony?

Erin Karp, TRANQUILIDAD II, SEVILLA, 2019, Photograph; Archival Pigment, Printed Matte, 24 x 18 x 1.5 in.

My selection today is an example of one of my contemporary cross overs. The tonal qualities and linear composition pulls me in as a viewer, but the stark imagery and artistic perspective feels pertinent to the exhibition concept.

Liang Zhang, CELL, 2018, Unglazed Ceramic, 10 x 10 x 10 in.

This piece is about the human life cycle, which felt timely. Though the image is simple, the ceramic sculpture itself is a representation of how complex the process itself. The process of creating ceramic works and the progression of the human life cycle are comparative.