I am an oil painter, a printmaker, and a documentarian of the human-built landscape. I capture specific moments in time, painting and drawing the in-between spaces and mundane objects that quietly dominate our visual experience of the world. I often work directly from life and primarily en plein air, heavily influenced by the working methods of American street photographers. What does my world really look like? What can I see today that I couldn’t see yesterday and won’t see tomorrow?

Kate Fleming is a painter and printmaker based in her hometown of Arlington, Virginia. Between 2019 and 2021 Kate traveled to and documented all 50 states alongside her partner, photographer Tom Woodruff. The small, plein-air oil paintings she created on the road capture the human-built American landscape: gas stations, parking lots, strip malls, and big box stores. This series of paintings won Kate third prize at the 2023 Bethesda Painting Awards.

Kate is currently a resident artist at MoCA Arlington and has completed residencies at Capitol Hill Arts Workshop in Washington, DC (2018); Virginia Center for the Creative Arts in Amherst, VA (2017); and Penland School of Crafts in Penland, NC (2018). Kate’s work was included in the exhibition Inside Out, Upside Down (2020) at The Phillips Collection in Washington, D.C. She has been featured in The Washington Post, East City Art, Washington City Paper, and WJLA-ABC7.

I identify as a queer feminist woman whose work explores the implication of gender through the ongoing use of embodiment. My body of work focuses on how women move through the world, navigating issues of sexual assault trauma, motherhood, and “women’s work.”

More recently, I started to explore the idea of matrescence or change of identity when

becoming a mother. While my work is deeply autobiographical, it resonates with broader cultural contexts, addressing the intersections of personal and collective experiences. My practice incorporates mixed-media painting, collage, video and installation that focuses on the replication, layering and abstraction of images. I often works with found materials reflective of women's craft and domesticity by elevating these objects. The overlapping of materials signifies the importance that these objects hold while often abstracting their true meaning. This allows my audience to explore my intent behind the remixing of these materials.

Rachelle Wunderink is an interdisciplinary artist currently based in the traditional lands of the Anishinaabe and Haudenosaunee of “Onguiaahra” or Niagara Falls, Canada. She recently finished her Masters of Fine Arts at York University, where she was awarded The Joseph Armand Bombardier Canada Graduate Scholarship, (SSHRC) for her thesis exhibition. Over the past 10 years she has co-founded two separate artist collectives working mostly abroad in Taipei, Taiwan and Grand Rapids, Michigan. She has two upcoming solo exhibitions at IA&A Hillyer in Washington D.C (2024), and Eastern Edge Artist-Run Centre in St.Johns (2025). Her work was featured in the Urban Institute of Contemporary Art’s Jump-Off exhibition, and Young Art’s Taipei with Archetype Gallery. Rachelle is a proud mother of a two year old and a newborn, and can be found in her studio listening to podcasts such as “Normal Gossip,” or “This American Life.”

Geometry is a foundational connector of people. Certain shapes are present again and again in very different cultures across the globe. The 8-pointed star, for example, is the Star of Ishtar of ancient Mesopotamia, a traditional American quilting pattern, a Morning Star of the Lakota, and an ancient Slavic protective magical symbol. In my practice, I investigate these fundamental sacred geometric shapes. I examine the rhythms the shapes create in repetition, the way light and shadow play with their folded forms, and how they exist in 2D and 3D space. Sanding down into layers of screen printed color, I uncover new color identities. Through patterning and sequencing, I create my own language of symbols and meaning. These investigations forge new links across cultures, and help me make sense of our collective heritage.

Adi Segal investigates cultural identity and context through experimental screenprinting, mixed media, and community art projects. She holds a Masters in Social Work from Fordham University, a BFA from SUNY Purchase, and a BA in Education Studies and History of Art and Architecture from Brown University. Adi has worked as an artist, art teacher, and community art facilitator in many different communities around the world including central Washington state; Cork, Ireland; and Lilongwe, Malawi. Past artist residencies include Frans Masareel Centrum/Belgium, SiM/Iceland, and Pyramid Atlantic Arts Center/USA. Adi currently lives in Washington DC, and maintains a studio at Red Dirt Studios in Mt. Rainier, MD.