Ronan Stewart also approaches steel with patience, inviting time itself to be a material in his process. His sculptures emerge one bead of molten MIG wire at a time. They accumulate like wax into forms that resemble the slow rise of stalagmites. These fragments are pruned and sutured together to form figures that echo the fragile posture of withering plants. In Stewart’s Husk (2025) series, the stability of steel confronts the ephemerality of flora, presenting an arrested encounter between what endures and what fades.

Mahsa Farzi is motivated by the liberatory potential of de-creation. Her installation Untamed (2025) draws together images and text from Persian miniature painting, folklore and literature. Farzi cuts limbs, orifices, sexual organs and flowers out of acrylic panels, to which she applies diluted metal paint which shocks the plastic, creating an etched and stained effect. She then works with a high-temperature propane torch that distorts and deforms the figures. Farzi’s process materializes the disorientation of cultural and ideological alienation, which slowly renders the world fragmented and unfamiliar. In her work, she explores the potential for release and renewal that this psychic and social erosion offers.

Evan McGraw’s calligraphic work is a ritual of precision and calculated experimentation. He plays with the visual and syllabic form of single words and short expressions in ways that unravel their legibility. Through repetition, letters drift, float, coil and dissolve. Ruin, Seraphic and Get Bent (2025) convey unique energetic states, expressing elegance, destruction and refusal. Repeating each word vocally is a form of incantation that both summons their energy and diffuses it.

Marcel Lessard also works with repetition. His graphite mosaics 1.31 (1 & 2) (2024) present iterations of two environments: the shoreline and an abstraction of space. He develops the compositions sequentially from the outside in, and each unit is a unique drawing that builds off of elements in the previous one. Lessard is interested in these two geographies as physical and psychological boundaries. He is curious about how the perception of each space is altered through reduction and reoccurrence.

In Shayne Weston Abbott-Arcan’s portfolio of sketches and drawings, the phenomenon of transfiguration frequently rears its head. Bodies of real and imagined animals are hyphenated or morph into one another. Some beings have anthropomorphic features, while others express qualities of a more-than-human spirit. For Abbott-Arcan, drawing was a means of wandering through his emotional and sensual experience of the world. He wasn’t afraid to explore the darkest corners of his encounters. In them, he often found a stray thread that led back to the light.