Lauren Krasnoff’s work references memory, art history, pop culture, and contemporary trends. She sees making art as her way of contending with the over-saturation of imagery and media we experience on a daily basis.

Anna Frants’ approaches her work naturally, often allowing the constant steam of her subconscious to dictate the flow of her brush. She allows her emotions and thoughts to pour through onto the canvas, leaving behind deeply personal works that remain with the viewer long after seeing them.

Ponzi grew up in Harlem during the Hip Hop era. Black heritage, music, metaphysics, and spirituality prevail vibrantly in PonziArt.

Philadelphia-based artist, Taj Poscé, analyzes the beauties and plights of his life through color, abstraction and informal narrative paintings, designs and poems. He truly has a pure, raw and optimistic gaze on art making and on the world.

Based out of Lake Hopatcong, New Jersey, Kyle Jorgenson’s art serves as a reflection of his mind’s thoughts. Oftentimes, he finds himself fixated on a specific topic, current events, personal issues, life experiences, or his surroundings and emotions.

Often implementing the use of mise-en-scène, Brandon Bravo stages his figures in a (manner) that not only critiques frequently overlooked social norms, but also challenges the viewer’s own preconceived notions.

Fundamentally, Angel Duran’s works serve as an exploration of the relationship between painting and photography. Thematically, they inquire into the role urbanization plays in social fragmentation and the disintegration of human interactions.

Katherine Gonzalez’s main mode of expression is portraiture. Whether it's abstract expressionism, minimalism, or hyper realism, her main focus is to translate emotions through portraits: not only capturing a moment, or person’s profile, but capturing the internal essence of her subject.

In its simplest form, Martina’s work is an impulsitionary reaction to the social and political climate around her. Although primarily a painter, she explores these issues using different methods such as video, media installations, performance, and drawing.

Torn between wanting to make work that addresses the ugly or celebrates the good, Krishna Schroth usually finds herself exploring the in-between—saturating the grey area with an acidic palette and comic-y imagery that nods to the boldness of pop art—looking towards all forms of satire for influence, from comics to comedy, even the erratic yet seemingly honest practice of Gonzo writing.