Adriana Woll (São Paulo, Brazil) is an observer and visual storyteller, drawing inspiration from her travels to uncover the narratives hidden within images. Since graduating from the Panamericana Art School of São Paulo, she has explored diverse styles and techniques to best express her reflections. Her work, described as “re-tropicalismo,” pays homage to the 1960s Tropicália movement while reinterpreting its themes for the 21st century.

Woll’s art is a deliberate play on perception, where vibrant colors and fluid forms mask deeper, often unsettling themes. The choice of materials—canvas, paper, or plexiglass—is as intentional as her color palettes, guiding the viewer down an ambiguous path. While her imagery evokes joy and naivety, the titles disrupt this comfort, revealing the sobering realities of globalization, urban life, and societal contradictions. Issues of social injustice, moral decay, and political turmoil resonate universally, making her work relevant far beyond its Brazilian roots.

By uniting aesthetic appeal with intellectual provocation, Woll crafts a distinct artistic language—bold, critical, and unmistakably her own. Her work challenges viewers to engage with contrasts, finding beauty in discomfort and meaning beneath the surface.

“ Carol não voltará mais sozinha do colégio (Carol won’t go home again by herself, after college) underscores the lack of security for female students. Many young women in Brazil can only take classes after work. If they can’t find a ride home, they may not take any classes at all, for fear of being raped and murdered. This is how Carol died. “

Artwork: Acrylic on paper, 4″x 6″, displayed in 14″x 14″ frame

Alessandra Dimitra was born in Greece. She currently lives and works in Berlin and Athens, as a dipl. fine artist and communication designer studies. She has been featured in exhibitions throughout Europe and the U.S. as well as in China. Since 1999, she has worked as an instructor in Arts, Visual Communication and Cultural Education in Berlin.

Artwork: Booming East, DigitalArt Print, 4″x6″, displayed 12″x 12″ 

Elizabeth Casqueiro is a visual artist who is drawn to the pieces of our lives — traces, remnants, and overlooked elements — and to the ways we make sense of them through a constant process of mental and physical rearrangement and reinterpretation. She is particularly interested in the notion of resilience and hope in the face of adversity and injustice. Trained as an architect, she is attuned to how structures hold both strength and fragility, and how space remembers.

As a Portuguese immigrant, she has learned that displacement shapes both body and mind, leaving traces of absence, rupture, and adaptation. Casqueiro has shown her work in solo and group shows in the United States and Europe, including New York, Washington DC, Maryland, Virginia, Georgia, UK, Portugal, and Italy. She is a recipient of multiple art awards from, among others, the London Art Biennale, DC Arts and Humanities, and the Maryland State Arts Council.

Casqueiro has degrees in architecture and fine arts, and teaches at Georgetown University, in addition to practicing art in her studios at the Jackson Art Center in Washington DC and Easton, Maryland. Her artwork is in private and corporate collections, including the World Bank Group.

Artwork: Amazing Maze,  24 x 30 inches, framed, Gouache and ink on archival handmade paper

Artist Statement:

“I view my practice as a way of thinking — a poetics of assembly of different pieces of our lives. It allows for multiplicity and moments of unpredictability where image and material drift between what they were and what they are becoming. I am conscious of edges — the seams, gaps and overlaps where meanings blur, where brokenness begins to cohere. Architecture, nature, and the quotidian come together as collective themes that mirror the disparate yet inherently codependent essence of lived experience, suggesting that what is fractured can be regenerated, and that beauty, insight, and belonging often emerge from the pieces we carry.

Emon Surakitkoson is a Thai-born artist who immigrated to the USA in 2005. After transitioning from a hospitality career, she began painting professionally in 2020. A self-taught artist, her work reflects themes of belonging, cultural transition, and human connection, using heavy power tools to symbolize strength and resilience. Based in Baltimore, she draws inspiration from both her Thai heritage and the local art scene.

Her clients include Kimpton Hotels, Marriott, Hyatt, Capital One, and American Express. Emon has collaborated with Strathmore and the John F. Kennedy Center for the Performing Arts, and mentors local students while organizing events to support emerging artists in the D.C. and Baltimore area. She aims to empower the next generation of artists to find their creative voices.

“Through my abstract art, I address the complexities of identity, the assumptions placed upon me, and promote unity across cultures. Each piece is a narrative of my personal journey, celebrating cultural duality and empowerment, fostering connection in a world that often feels divided.”

Artworks:

• Grounded (Acrylic on canvas, 40” x 65” x 2”) 
• Qui Qui (Acrylic on canvas, 48” x 48” x 1.5” )

• No 81222 | Lost in Translation (Acrylic on canvas (48” x 48” x 1.5”)

Erin Friedman is an abstract artist based in Bethesda, Maryland. Her work grows out of the layered experience of being both an artist and a mother of three young children. Motherhood has reshaped the way she moves through the world. It has altered her sense of identity, expanded her emotional landscape, and changed how she approaches time, attention, and care. These shifts naturally find their way into her paintings.

Her work has been exhibited in galleries and is included in private collections across the United States and abroad.

Artworks: Over the Hump, 18 x 24, and Youre Gonna Go Far, 18 x 24 

Artist Statement:
Art has been a central part of my life since childhood. It is how I process the world and connect with myself. When I paint, I am completely immersed. The layered and beautiful complexity of emotions inspires me most. I try to capture the essence of being human in my work through conflict, change, joy, and sadness.

I begin my pieces with poured acrylic on raw canvas which sets an unpredictable foundation. From there I build layers with a palette knife, brushes, oil pastel, charcoal, and at times collaged pieces of unstretched canvas that introduce structure and rhythm. My work mirrors the mental landscape of my days, moving between clarity and disruption, searching for a sense of steadiness. The process becomes a quiet record of resilience, adaptation, and the ongoing work of staying grounded within a life full of competing demands. My paintings do not aim to depict specific moments. Instead they express the emotional undercurrent of them through color, movement, and texture. I am interested in the tension between chaos and order, overwhelm and calm, loss of self and return to it. The final works invite viewers to bring their own experiences to the surface and to find something familiar within the work.

Raised in a quirky, artistic family, Erin Power‘s journey into art was natural. Growing up in a creative environment centered around a production print shop outside Seattle, WA, she was exposed to the symbiotic relationship between design and commercial art. These formative experiences instilled in her a deep appreciation for the foundational principles of art and design.

Having pursued Art Education and Art History at Western Washington University, Erin embarked on a career as an art educator upon graduating in 2004. Over the past two decades, she has honed her craft through ongoing professional development, collaborating with artists across disciplines such as drawing, painting, photography, and printmaking.

 Artworks: All three artworks are created with watercolor, ink, and ammonia-free friskit on paper,  4″x 6″, displayed 12″x 12″ as part of the Project H2O initiative 

Gongsan Kim holds a BFA from the Corcoran School of the Arts and Design at George Washington University. Her work confronts the division of Korea and the repression of human rights in North Korea. Using burned natural materials, simplified forms, and minimal colors, she creates visual poems of lament that both memorialize loss and amplify silenced histories.

Through her practice, Kim seeks to bear witness to the past seventy years of division while envisioning a future where freedom and human rights are restored. A member of Soho20 Gallery since 2012 and A.I.R. Gallery since 2023, she received a Special Award from Passion for Freedom in London (2018).

Her work has been exhibited internationally, including in New York, Poland, Denmark, Prague, Italy, Korea, and Washington, D.C., with solo and group exhibitions.

Artwork: Camp’s Night, 30”x30”, acrylic on burnt linen

Guadalupe Victorica is a Mexican visual artist, professor, and social science researcher who has focused on topics such as family violence, drug use, and adolescents and boys living on the streets in Monterrey, Mexico.

Dr. Victorica earned her Bachelor of Arts in Plastic Arts from San Diego State University and a Doctorate in Mass Communication Research. As a volunteer at the Migrant Shelter Saint Martha in Monterrey, she organized two solo art exhibitions on migration in 2006, one for the shelter in Monterrey and another at the Centro de la Raza in San Diego, California, in 2007.

Since 1998, Victorica has offered free painting workshops and human development courses to girls in religious houses, youth groups, and mothers from low socioeconomic backgrounds. She has also led Art for Social Change workshops with university students since 2005.

“These images are part of the Migrant Project, an initiative I have been developing since 2005. The project explores migration to the U.S. through art exhibitions, educational resources, and the award-winning documentary De Nadie by Tin Dirdamal, which has received over 25 international awards. The Migrant Project has been presented several times across Mexico, the U.S., and England.”

Artworks: All three artworks are created with acrylic on canvas paper, 4″ x 6″, displayed in  14”x 14” frame.

ONLY  Tijuana Border is available for sale. 

Featured in the Original Exhibition

Jeff Wilson trained for nearly a decade under Second Generation Abstract Expressionist painter Maryann Harmon while simultaneously earning a degree in Architecture from Virginia Tech before embarking on a 33-year career as an Art and Design teacher. His lifelong passion for painting, sculpture, architecture, and nature—and their intersections—has fueled a lifetime of artistic exploration. Influenced by the New York Color School and its lineage of artists, Jeff continuously draws inspiration from their work, offering an endless source of artistic contemplation.

Found objects, experimentation, and architectural or industrial remnants frequently appear in his art, either as physical elements or tools for texture. His students keep him engaged, curious, and attuned to contemporary culture, constantly challenging him to explore the question: “What makes great art?”

A lifelong Washington, DC native, Jeff remains an active contributor to the city’s evolving art scene.

“My work responds directly to the ongoing architectural world of order and structure and its relationship to the organic and fluid world of nature. At one moment this relationship can be simultaneously in discord and yet, also in harmony. My work is an attempt to capture this moment. Additionally, my work has heavy overtones and references to water/oceans/rivers, and often has a sense of movement that is inspired by water.”

Artworks: NA/PRIVATE COLLECTION

Ocean Splash (Variation on Blue), Ceramic, low fire clay and glazes, 12”W x 14” H x 3”D

River Bottom (mixed media),  36″ x 48″

Ljiljana Lazičić Putnik, born in the former Yugoslavia, is a Croatian artist celebrated for her dynamic and emotive artwork. Her practice spans painting, drawing, and mixed media, often infused with vivid colors and themes related to identity, nature, and cultural heritage.

With a deep connection to her surroundings, Ljiljana’s art captures both personal introspection and broader universal concepts. She has exhibited her work extensively in Croatia and internationally, earning recognition for her ability to evoke powerful emotions through her creative expression.

Artwork: Enjoy the nature, forget the violence, markers, silver ink and tempera on paper 300gr Fabriano paper, 4″x 6″, displayed 12″x 12″ as part of the Project H2O initiative

Louis-Antoine Gilbert (IG @antoine_paints) is a French-American painter whose practice bridges geometric abstraction and urban visual culture. Raised in Paris, Louis-Antoine began his artistic journey as a street artist, a foundation that continues to inform his exploration of structure, rhythm, and spatial tension.

Drawing from Cubism, modernist architecture, and the chromatic playfulness of street art, his work reimagines the city as a landscape of form and light, vibrant, precise, and surreal. Through sharp composition and architectural rigor, Louis-Antoine constructs dynamic spaces that blur the boundaries between the built environment and abstraction.

Louis-Antoine Gilbert has exhibited and sold work in Paris, Brussels, and Washington, D.C., participating in group exhibitions across Europe and the United States. Gilbert’s practice investigates the dialogue between tradition and contemporary visual language, reflecting on how order and spontaneity coexist within the modern urban experience. His most recent work includes a large-scale mural along the Metropolitan Branch Trail in Noma.

Artworks: Aplomb, oil on canvas,  20×20; and Fugue Moderne , oil on canvas, 20×20 

Artist Statement:
I am drawn to the geometries of architecture, yet I seek to reimagine them through abstraction and combining architectural elements from different cultures and eras, questioning how we inhabit, shape, and are shaped by our built surroundings. The absence of human figures in my work stems from a desire to decenter humanity, a sensibility informed by my background in environmental law. Instead of portraying people, I focus on the environments they construct, spaces that reveal our values and potential for renewal. In this sense, the city becomes both subject and metaphor, a site of resilience, where the interplay of form and color reflects the possibility of more conscious coexistence between humans and their environment. Against the backdrop of standardized development and profit-driven design, I envision playful, restorative spaces that reopen dialogue between form, function, and meaning. My work proposes that a more thoughtful urban landscape is not only imaginable, it is necessary.

Marcela Montalvan is a visual artist living in Los Angeles, CA. Through art, she seeks to raise awareness of the urgent need for habitat and biodiversity preservation, as well as raise awareness for environmental sustainability in communities that are most vulnerable to environmental degradation. Her work is informed by her personal experiences growing up in a community that was disproportionately impacted by environmental pollution and climate change.

She is inspired by the delicate harmony of nature. Her project “Reviving the Traditional Olla Pot” focused on bringing water conservation awareness to underserved communities in Los Angeles.

“The traditional olla pot has been used for centuries during periods of drought for water conservation in agriculture. These olla pots are highly efficient in preserving water as well as sustain healthy plant life. These pots embody the harmony of ancient wisdom and modern sustainability.”

Artworks: Both artworks made with environmentally friendly ink, recycled cardstock, 4″ x 6″, displayed 12″x12″ as part of the Project H2O initiative

Maria Coletsis (Canada) works with issues concerned with identity and the environment. She incorporates photography, painting, digital media and computer installations in her diverse artworks. Since receiving her BFA from Emily Carr University and MFA from the San Francisco Art Institute, she has exhibited her artwork in galleries internationally.

Maria continues to investigate and photograph elements from nature to explore human nature.

“Intermission is a series of images which expose the threat pollution poses to our natural world and ultimately to the human population. This sudden break from industry pollutants and the use of freshwater to transport waste away from facilities has given the environment a chance to thrive. There is now an awareness of the consequence of climate change which finally addresses what is ordinary and how it is time to collectively change our perspective.“

Artworks: ‘Fracking’ and ‘Over Fishing’ archival giclee print, 4″x 6″, displayed 12″x12″ as part of the Project H2O initiative

Mathi Durga (India) is an artisan recognized by the Development Commissioner (Handicrafts) under the Ministry of Textiles, Government of India—an apex body for the cultural sector. Based in Hyderabad, she is deeply passionate about the rich craft traditions of her region and is committed to supporting Indian artisan communities, particularly women artisans facing challenging conditions.

Mathi leads Ennela Welfare Association, a nonprofit organization dedicated to the development of the handicrafts sector. Working alongside a group of like-minded women, she implements programs that empower and uplift under-represented women artisans while preserving traditional cultural techniques and sharing their stories of resilience, daily struggles, and life experiences.

“Muggulu in Telugu (Muggu singular, Muggulu plural), also known as Rangoli or Koli in Hindi, is an ancient Hindu tradition and daily ritual. Women clean their homes, wet the ground, and create intricate white designs at the entrance, believed to invite Goddess Lakshmi, the deity of wealth. During festivals, these patterns are adorned with colors, flowers, and regional decorations.

According to Hindu tradition, without Muggulu, prosperity will not enter the home.This artwork captures the elegance of Indian women, showcasing the sari, floral-adorned plait, gold ornaments, bangles, anklets, and the bindi.

Mother and Child portrays a contemporary and expressive depiction of an Indian mother’s deep emotional bond with her child. Rooted in cultural symbolism, it captures the essence of maternal love and tradition. The red bindi on her forehead signifies her married status in Hindu culture—an auspicious mark removed upon her husband’s passing.“

Artworks: Both ‘Muggulu’ and ‘Mother and Child’ are thread paintings on eco- friendly, non-toxic, wood free, recyclable hand made paper & various color silk threads, displayed in 16”x 20” frame

Mentwab Easwaran (Mentu), artist/designer, grew up in Ethiopia, where water shortages were a daily reality. When the main water system shut down, they were sent to fetch water. For her as a child it was a task that was given but for those without easy access within the countryside, this often involved traveling miles and facing dangers from wildlife and human attacks. These perilous journeys consumed time that could have been spent on education or building a sustainable life. Women, in particular, endured these challenges by traveling in protective packs for safety.

Their unmatched resilience and strength are a lasting influence on Mentu’s art. Mentu graduated from Parsons School of Design with a degree in communication design.

Artworks:

• Whirlwind of Humanity*, Acrylic paint on canvas ( 36”x 36”) –  SOLD
• The Journey*, Acrylic paint on wood (14” x16”)
• Nature’s Muse, Legacy in Bloom, Childhood’s Verdand Child, Heritage Unearthed –  all four artworks mixed media on wood board (20” x 20”) –  NOT AVAILABLE /  PRIVATE COLLECTION

* Displayed as part of the Project H2O initiative

Born in Baltimore Md in 1964, Michael Hyman (IG @tinywhitewallgallery) is a self- taught contemporary American visual artist whose paintings and sculptures are focused on objective realities of the sociocultural and psychosocial mood, feelings, expression and gesture of the human experience.

Motivated by his introspective observations, he explores with the use of various supports (canvas, paper, reclaimed materials) and mediums (oil, acrylic, watercolour, pigment, bronze and charcoal.

With painting at the centre of his practice, Michaels often paints from memory merging bold colors with figurative aspects. Other pieces takes a critical view of social, and cultural issues from a level-eye view.

His love for art began at a young age, However he didn’t start creating works of art until his late 50ths, Michael has participated in several major exhibition and some of his works are in private collections at home and abroad. Most recently his works were showcased at Miami art Basel 2025 and VENICE INTERNATIONAL ART FAIR 2025

Artwork: Young Black Girl*, Oil on canvas, 30×36

This piece was inspired by a poem by Langston Hughes, “I, too”. (replacing “darker brother” with darker girl):

I, too, sing America.
I am the darker girl.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.

Artist Statement:
“In my artistic practice, I wield form and color as a potent vocabulary through which I articulate the complexities of my identity and experiences as an artist hailing from the gritty streets of Baltimore, Md. With each stroke of the brush and every manipulation of shape, I engage in a profound dialogue with my audience, inviting them to immerse themselves in the kaleidoscope of emotions, histories, and narratives embedded within my work.

Through my palette, I seek to disrupt the monochrome narratives that often frame identity. Infusing my compositions with the vibrancy, dynamism, and complexity of art is experienced. Together, form and color converge to create a visual language that transcends the constraints of words, inviting viewers into a world where the boundaries between artist and audience, past and present, dissolve into the ether. In this space of shared resonance and reflection, I endeavor to spark conversations, provoke introspection, and foster connections that transcend the limitations of race, geography, and time. For me, art is not merely an act of creation but a vessel for transformation, a means to envision.”

Minhee Lee holds a Master of Fine Arts (MFA) in Design from California College of the Arts, San Francisco (2013-2015), and a Bachelor of Fine Arts (BFA) in Visual Communication Design from DukSung Women’s University in Seoul, South Korea (2008-2012). Her educational background in fine arts and design reflects her strong foundation in both creative and visual communication.

Artwork: Uganda and the Heart, mixed media on cardstock, 4″ x 6″, displayed 12″x 12″ as part of the Project H2O initiative

Dr. Neermala Luckeenarain (Mauritius) is a seasoned printmaker who has been practicing since 1980. She holds a Postgraduate degree from Sir J.J. School of Art in Mumbai, a Master’s from Brighton University, UK, and a PhD from Savitribai Phule Pune University, India.

Currently, she serves as a part-time lecturer at Mahatma Gandhi Institute. With participation in 97 international and 78 national exhibitions, her works are featured in various collections both locally and internationally.

Since 2004, her work has focused on the status of women, challenging outdated perceptions that reduce them to objects of admiration or commodities. Through her art, she highlights their resilience in breaking barriers and shaping their own destinies despite adversity. She advocates for the protection of women from discrimination and harassment, emphasizing their intrinsic connection to nature and the vital role they play in society.

“Women in Her Surroundings explores the dual responsibilities women shoulder both at home and in society. Each square or rectangle represents a drawer, symbolizing the need for careful organization and balance in their daily lives. The composition reflects the constant planning, reacting, and managing required to navigate these roles, ultimately posing the question: how can women structure their lives to find fulfillment at the end of the day?“

Artwork: Women In Her Surroundings, Acrylic on paper, 4″x6″, displayed in 14″x14″ frame

Nil S. Navaie, Founder / Adviser of Arts for Global Development, Inc. is a strategist and mixed-media artist with 20 years of experience exploring the intersection of the arts with behavioral, societal, and environmental change. Her cross-cultural and interdisciplinary work focuses on how the arts can drive positive human and ecological development. As a published author, she has contributed to international platforms such as the UNESCO Observatory e-Journal, UCLG/Culture 21, and Arts Marketing book by Routledge.

An advocate for the arts and OneHealth, Nil has curated cause-driven, non-traditional educational exhibitions, led interactive workshops, and designed and implemented award-winning campaigns—driving positive impact across the private, public, and nonprofit sectors. Her work spans diverse industries, addressing complex challenges, fostering meaningful partnerships, and implementing innovative solutions. She has also spoken at prominent global events, including those hosted by Popular Culture Association, the Association for Cultural Economics International, Columbia College’s Arts Entrepreneurship Center, the Global Leadership Forum, and King’s College’s Social and Economic Research Council.

“Tefnut” is a mixed media painting that pays homage to the ancient Egyptian goddess of rain, fertility, and water. Representing the vital equilibrium between humanity and the natural world, Tefnut serves as a symbol of cyclical transformation—bridging the generative and destructive forces that shape civilization. The work reflects on water’s sacred, life-sustaining role and issues a timely call for introspection, urging us to safeguard the elemental systems that nourish both body and planet—especially in an era defined by rapid human advancement and environmental vulnerability.

Artwork: Tefnut, mixed media on paper, 4″x 6″, displayed 12″x 12″ as part of the Project H2O initiative

After completed his postsecondary education in the Ibadan Polytechnic, Onafide Samson Olaniyi (Nigeria) continued with his arts education at SSCE (1994), NABTEB TECHNICAL (1997); and ND/ART & DESIGN PRINTING TECH (2002). He was the UN Award for the Art Poster Competition promoting the Millennium Development Goals [MDGs] in Nigeria [Best in the 25 – 30 age group].

Artwork: Untitled, Pen and wash on cardboard with cowrie shell, 4″x 6″, displayed 12″x 12″, as part of the Project H2O initiative

Rachel Singel is an Associate Professor at the University of Louisville. Rachel grew up on a small farm in Charlottesville, Virginia. She received a Bachelor of Arts from the University of Virginia in 2009 and a Master of Fine Arts in Printmaking from the University of Iowa in 2013.

Rachel has participated in residencies at the Penland School of Crafts, the Venice Printmaking Studio, Internazionale di Grafica Venezia, Art Print Residence in Barcelona, Spain, Wharepuke Print Studios in New Zealand, Proyecto’ace, an Artist-in-Residence Program in Buenos Aires, Argentina, and AGA Lab in the Netherlands.

She has studied non-toxic printmaking at the Grafisk Eksperimentarium studio in Andalusia and recently traveled to Japan to research papermaking with invasive plants. Her work has been exhibited nationally and internationally and represented in private collections and public institutions.

“It features an image of water and mussels. As they siphon water—as much as a bathtub’s worth every day—through their gills to feed, mussels also filter out bacteria and pollutants, acting like living water purifiers. In this way, their presence is vital to the health of freshwater ecosystems, and by extension, to us.“

Artwork: Untitled, print on handmade paper made with recycled cotton and invasive plants, 4″x 6″, displayed 12″x 12″ as part of the Project H2O initiative

Featured in the Original Exhibition

Originally from North Dakota, Robert Matejcek obtained his BA in Art, Magna Cum Laude, from Fontbonne University in St. Louis, Missouri. Robert’s work, a combination of traditional and new mixed-media, has been exhibited nationally and internationally. Robert and his wife, Anna, reside with their dogs, Willow and Indy, and their guinea pigs, Honeysuckle and Poppy, in La Junta, Colorado.

“As an aspiring artist challenged by verbal for neurodivergent individuals and all those who struggle to find or share their voices. At the same time, however, much of my work remains intentionally vague and relatively obscure. While many of my pieces tend to indicate unrest amongst banality and imply a potential for an unusual and significant occurrence, those specifics are often dependent upon individual communication, my process is frequently informed by a desire to advocate interpretation. I am particularly interested in establishing a dialogue between societal norms, mores, expectations, technological advances, and the more traditional aspects of my artistic practice.”

Artworks: Picture Void  and Voided Spaces (SOLD) are digital photography, print on paper, 4″x 6″, displayed 12″x 12″ as part of the Project H2O initiative