Bianca MacPherson

My work weaves personal and collective histories, challenging racial hierarchies and the constraints of identity. The ceramic forms I create verge on the formless, built on open-ended intention. The absence of my hand is deliberate, a nod to the historical erasure of mixed-race individuals. What remains is smoothness, forms that ripple subtly in space, an imprint of presence without recognition.

I use black and white, with gradients in between. Simple, familiar, a reflection of society’s expectations of me. Yet within this stark palette lies a contradiction. It inverts the viewer, mirroring the assumptions placed upon me and exposing the paradox that simplicity and complexity coexist. In this tension, I invite nuance, a deeper acceptance of what lies beneath the surface.

Kristy Moreno

My work focuses on the imagined personas of radicalized future ancestors. The hand crafted ceramics are fictional characters often resembling feminine personalities paused in space and time. I examine the essence of these future communities through the use of body language and attitudes to further explore themes of rage, empathy, and curiosity.

Individualizing these characters grants me the freedom to be curious about the influences they might have inherited from past societies, and I try to observe how the past often shapes future worlds. I’d like to imagine that these ancestors survived by refusing to participate in the patriarchal systems that came before them. They are no longer conditioned to believe that they have to live in someone else’s reality.

Maxwell Henderson

The vessels in my work are deliberate in their form, reflecting systems that confine and restrict. Their uniform shapes and rigid frameworks speak to the structures that trap us in cycles of scarcity and survival. The assembled fragmented parts, punctuated with perforations, are coated in an unassuming matte glaze—often black in color—emphasizing their impenetrable density. These forms are inflexible, resisting change even under transformative forces like heat.

The “gloop” glazes, however, are the antithesis of the vessels. They begin in the same controlled way, molded to fit within the vessel’s perforations, as if destined to conform. But when exposed to transformation, they respond unpredictably. Each glaze component asserts itself in its own way—some quietly soften or turn inward. Yet many refuse containment altogether. They leap from their molds, spilling over boundaries with spontaneity. Their presence is unapologetic and defiant, actively reshaping the vessel that tried to contain them. They reject rigidity, radiating joy and freedom as they resist the structure meant to define them.

Yoon Hwang

Based in traditional ceramics techniques, my practice has evolved into combining western and eastern art and modern visual language to create works that are reminiscent of nature and ancient art. My statement as an artist is that in pursuit of my art, I seek out the mysteries of the human experience and to express myself honestly. I live my life in pursuit of this because life is so puzzling and everything feels like a mystery and if I don’t at least do this, I will have lived for nothing and will never have figured out and experienced a single mystery of life and my own potential.