John Roach is a Queens-based artist and educator whose work is concerned with the often slippery role of sound in how we perceive the world. His most recent projects have explored the ability of sound to construct immersive portraits of places, and how the careful assembly of spatialized field recordings, sound design elements, and voices can connect a listener to unexpected impressions of a landscape or soundscape. Roach received his MFA from Hunter College. His work has been exhibited at Urban Glass, Parkers Box, Flux Factory, NARS, Local Project, Leslie Heller Gallery in New York; The Yale University Art Gallery in New Haven, GlazenHuis in Lommel, Belgium; and The RMIT Gallery in Melbourne, Australia. He has completed residencies at Zion National Park in Utah; Triangle Artist Workshop in Salem, New York; Pilchuck Glass School in Stanwood, Washington; Tacoma Museum of Glass; Uncommon Arts Residency in Jackson Wyoming; NARS Foundation in Brooklyn, New York; The Ionion Center for Art and Culture in Kefalonia Greece; and Marble House Project in Dorset Vermont. As an educator Roach teaches at Parsons School of Design and has taught workshops at Urban Glass and Pilchuck Glass School.

Colleen McCubbin Stepanic is an artist who was born in Newport News, Virginia and grew up in the suburbs of Chicago, Cleveland and Washington DC. Her transient childhood instilled a lifelong love of travel and exploration which heavily influences her artistic practice. She earned a BFA from the University of Dayton and an MFA from the Tyler School of Art. McCubbin Stepanic has been the recipient of many grants and awards and has successfully completed numerous artist residencies including the Joan Mitchell Center, the Millay Colony, and the Vermont Studio Center all of which were completed in 2016. She was also a Ballinglen Fellowship Artist in 2017. McCubbin Stepanic’s work has been featured in exhibitions in New York City, Philadelphia, Boston, Buffalo, and Bangor, Maine. She has been included in exhibitions at The LaGrange Art Museum (Georgia), The Susquehanna Museum of Art (Pennsylvania), The Woodmere Art Museum(Pennsylvania), and the Toledo Museum of Art (Ohio) as well as a solo exhibition at the Zillman Art Museum in Bangor, Maine. Her work has been shown repeatedly in many states including, Pennsylvania, Michigan, Illinois, Georgia, Arizona, Tennessee, Ohio, Washington D.C. and New York. She has had 15 solo exhibitions of her work since 2003 and has participated in art projects in Budapest, Hungary and Batoufam, Cameroon.

Directory of The Teton Art Lab & UA Residency Director in Jackson Hole. Travis Walker was born in Tokyo, Japan, an Air Force brat whose nomadic childhood was filled with comic books, science fiction, and drawing. After graduating with a degree in Painting and Printmaking at Virginia Commonwealth University, the allure of the western landscape drew him to the valley of Jackson Hole, Wyoming, where he has lived and worked for nearly 20 years, blending contemporary landscape painting with the fictional worlds of his past.

Travis Walker’s work can be found at Maya Frodeman Galllery in Jackson, Wyoming and Visions West Contemporary in Montana and Denver, Colorado. He has been featured in SouthWest Art Magazine, Big Sky Journal, Mountain Living, Forbes, and The Guardian. He is the founder of the nonprofit Teton Artlab,an Artist In Residence program based in Jackson Hole.

From establishing and leading Twitter’s arts engagement program — curating over 30 exhibitions around the world and reaching more than 2 million people — to designing creative collaborations, campaigns, and partnerships across cultural communities, Ariel creates opportunities for education, access, and building a better future.

As Managing Director of ART FOR CHANGE, Ariel combined her love for art with her passion for social impact, bringing new audiences to artists and new artists to collectors, all while supporting important social movements.

Through her creative practice, Artfully Awear, Ariel dovetails art and clothing into a storytelling movement and a new way to see the world.

Becky Borlan is an artist using color and light to remind us that play is essential to our growth and well-being. Artist Statement: My public sculptures act as visual puzzles that invite the viewer to pause, explore and play. The tension between order and chaos, presented in kaleidoscopic color pull the viewer into a fully saturated whimsical realm. Drawing from a variety of artistic references like stained glass, color theory, and geometric abstractionism, my artworks posit that play has the power to tap into joy that transforms our own lives and others. Constructing with a range of materials, simple modular forms are pieced together to create complex visual phenomena that can be appreciated by young and old.

• Director of Guest Culture & Experiences for the Ancil Hotel & Sound View Greenport, UA Residency Director in Greenport, & Founder of the North Fork Art Collective, Artist & Curator, Kara Hoblin works in various media, including chalk, drawing, painting, photography and collage. A sense of childlike wonder is apparent through the whimsical narratives of her work. Inspired and drawn to the natural environment she finds comfort in the feeling of the earth beneath her bare feet, icy saltwater on her skin, or crisp air brushing against her face. Working collectively to share, connect, and inspire others through creation and exploration of our natural light and darkness. “Through the work I create, I am a vessel or conduit for helping to protect, heal, spread compassion and love in our society and environment. Continually being surprised and ignited by the human psyche, a river of emotions, and oceans of understanding fuel my creative process.” The impermanence of chalk allows us to visualize how fleeting this life is. I created the interactive chalk series, the Chalk Art of Letting Go to encourage people to move forward with positivity, embracing the idea that when one door closes, another opens, and we just have to be willing to walk through it. I invited everyone to erase my work alongside me to illustrate that if we let go of the past, accept it, learn from it, and even appreciate how it has helped shape us, then our possibilities are limitless. While we can’t predict the future, we can try our best to protect it.

Farmer & Artist: Peter Treiber Jr. is an artist, farmer, and carpenter. He lives and works on his farm on the North Fork of Long Island. Drawing from life on the farm, his works demonstrate the tremendous value he places upon the handmade. With art making indiscernible from his other daily pursuits, his work includes tools, art and furniture objects, clothing, and plant material, all of which is from and of the land. He hopes to bring attention to the myriad ways in which agriculture can be adjacent to art and art adjacent to agriculture.

Franco Cuttica’s work of art has an undeniably close connection to nature. Just as wood floats down the river and trails from coast to coast, Franco Cuttica moves his particular vision of art, marking the path of his cosmopolitan career. This movement could even be described as inherent to his work. The monumentality of his many pieces, whether pertaining to horses, portraits or the different elements, involves a tedious and complex development. This evolves into part of the challenge and the adventure of the process. A chance to cross limits and expand borders. At the age of 6, his family emigrates to the US. After attending various schools in NYC, he moves to East Hampton in order to attend Ross School. This is no ordinary  school, considering the fact that it’s governed by principles and foundations of Zen Buddhism. It sits in a forest at the east end of Long Island. This intense contact with nature will be the trigger for all of his work. Franco’s work manifests itself in a variety of mediums, all intended to express the cycles of nature and what he calls “the flat circularity of time.” Franco’s “Driftwood” series “is an intervened extension of a journey”. The wood that has traveled from faraway lands, like Africa, that by happenstance ends up on a beach in Long Island, artificially “blends” in an extended expression, a final suggestion of the influence of man. In this series, Franco conducts a very thorough search of the wood by using modern methods such as Google Earth in order to detect the areas where he can find the needed materials. It isn’t a simple search. It’s quite similar to looking for a needle in a haystack. Thereafter begins the journey itself, the collection of the material, the preparation. drafts, models, assembling. Where every part must fit like a piece in jigsaw puzzle. Later on occurs the moment we could theatrically call, “setting fire to the masterpiece.” And then comes the water. Also theatrical. Almost by way of ‘cleansing,’ the work emerges renewed. The object thus rises from its ashes and takes on a new dimension. A different aura. In these works, the limit of categorization is diffuse. Sculpture and performance are mixed. Photography also comes into play as documentation of the action, then becoming a work of art itself. His bond with photography has existed from a young age. The series of photographs of Franco IGNIS, featuring the immolation of a “retired” piano, is an investigation of the physicality, the energy and the passage of time. In his own words: “do not confuse music with the instrument, music is immaterial, infinite; The instrument belongs to the cycle of nature. ” Franco suggests that this metaphor can be applied to everyday life, which often tends to focus too much on the demand and permanence of the physical world and forget “what’s most important, the music.”All of his pieces contain the union of the eminent silence, masculine strength and fragility of their endings.

STATEMENT: The human body is the touchstone of my work. My art practice runs along two parallel tracks: a solo studio-based practice and one that is collaborative and community-driven. Each series or project invents its own visual vocabulary, with imagery generated directly from my body. Body prints radiate around mandalas, fingerprints tesselate into cosmic nets, and hair lines swirl in and around human silhouettes. These works can be intimate in scale or sprawl across walls and sheets of fabric, moving from monochromatic cyanotypes to vibrant colorful palettes. Throughout, I take my body apart and reassemble it in an aim toward integration and an elusive wholeness. My public community projects and collaborations facilitate connection. These multi-faceted projects weave the bodies of participants in choreographies and public installations. The projects range from immersive video and sound installations in museums to live and drone-recorded dances on the beach. Streetside installations in windows of printed posters act as portals to private, shared narratives.A re-emergence of printmaking informs fresh takes and twists on themes that run through my work – physical presence, loss, and transformation. Plates made from hair and transferred body part prints are crafted and laid on the bed. As I turn the press wheel, I am reminded of the contact between one surface and another, and the impression one leaves behind.

Fouhy is a creative director, artist, and photographer who loves the internet. he resides in Denver, CO and enjoys traveling.

Mokshini is a multi-disciplinary artist, with a professional focus on fashion illustration. Her creative output ranges from painting to concept sketching, editorial, and textile design.

The New Zealander now resides in Brooklyn and offers art with a witty, yet sophisticated take on  fashion, women, and daily life in the city. The streets of New York and its eccentric personalities instantly became a hub for inspiration; evident in the whimsical portrayal of characters and her passion for satirical storytelling.

TJWisco, aka Tara Johnson, is an artist born in Wisconsin, learned life in NY, and currently lives in LA. Past exhibits in NYC, LA, Portland, Las Vegas, Atlanta and a Soundview, Greenport, NY residency.