Ruth Borum-Loveland was born in 1982 in Oklahoma City, Oklahoma.Â She graduated with a BFA in studio art from The University of Oklahoma in 2005 and lives and works in Norman, Oklahoma. She has exhibited work in Chicago, New Orleans, Kansas City, and Oklahoma. Her current work consists of mixed media two dimensional work, but her background is in painting, conceptual drawing, writing and collecting projects. She is currently represented by Weinberger Fine Art in Kansas City.
Sean Nash (b. 1980, Memphis, TN) is a visual artist and food fermentation experimentalist. Nashâ€™s work integrates fermented foods into sculptures as edible, time-based, and socially engaged components of installations. His work has been shown nationally, with solo shows at the Kniznick Gallery at Brandeis (Krautsourcing, 2019), Plug Projects in Kansas City, MO (Lactobacillus Amongus, 2017), and Black Ball Projects in Brooklyn, NY (They/Them/Their, 2016).
He received a 2017 Rocket Grant Research and Development award for Garden Variety Soda Fountain, a sculptural soda cart built for naturally fermented sodas made with community garden grown ingredients. In 2017, he was a panel presenter at the inaugural Food, Feminism, and Fermentation conference at McGill University in Montreal. Sean co-authored the essay â€śBubbling Bodies and Queer Microbes: Dispatches from the Foundation of Fermentation Fervorâ€ť with Stephanie Maroney, published in Fermenting Feminism, 2017. He is currently the William T. Kemper Visiting Assistant Professor in Painting at the Kansas City Art Institute. Sean received an MFA in painting and printmaking from Yale University in 2005 and a BFA in painting from the University of Tennessee, Knoxville in 2003.Â
Lydia Cheshewalla is an Osage artist with a passion for community, social justice, and environmental activism. Over the past four years she has led womenâ€™s circles and co-founded the art collective Holy Mother, which served to connect, encourage, and support femme-identifying creatives in Tulsa, OK. Collaborating with artists, activists, and organizations within her community, Lydia has striven to facilitate meaningful experiences and generate inclusive narratives through thoughtful art events centering community care, systems of equitable exchange, and healing practices.
She has created and taught art curriculum to children ages 4-12 with the purpose of encouraging curiosity and understanding of our unique place within the symbiotic systems of nature. Prior to the outbreak of Covid-19, she worked as a studio assistant for multiple artists within the Tulsa Artist Fellowship and led community conversations around art as remediation and responsible activism in a time of climate change. Currently she serves on the board of PostTraditional, an organization raising the visibility of Indigenous contemporary artists; curates a project called Spatial Intimacy, a responsive archive of creative ways to stay connected in a time of physical distancing; and is creating two new bodies of work exploring non-anthropocentric interdependence within a framework of borders and pandemics.
Kateri Kosekâ€™s poetry and essays have appeared in such places as Orion, Terrain.org, Catamaran, Northern Woodlands Magazine, and Creative Nonfiction, where, most recently, she was awarded for best essay. Her poetry recently won a contest at Briar Cliff Review. She teaches college English and mentors in the MFA program at Western CT State University, where she earned an MFA. Kateri writes for a local magazine, and for the past few summers, has worked surveying bird populations in northwest Connecticut. She has been a resident at the Kimmel Harding Nelson Center for the Arts in Nebraska, and lives in the Berkshire mountains of western Massachusetts.
Selected Works and Interviews
Bryce Lafferty is an artist and educator based in Jacksonville, Alabama. His watercolor drawings, that center on his interest in the natural world, are represented by Momentum Gallery in Asheville, NC. He is also an Associate Professor at Jacksonville State University where he teaches drawing and painting. Although originally from the Northeast and having received his MFA from the University of North Texas, Bryce currently lives in Alabama with his four children. He is enamored by the abundant variety of ecosystems and geologic features to be discovered in the Southeast.Â
Dora Agbas arrived to the edge of Kansas from Hungary three decades ago as a biomedical research scientist. Now she is a full time artist, still based in the Kansas City area, pursuing her MFA degree at the University of Kansas.
Her primary medium is fiber; her practice explores place through investigating its materials. Inspired by our natural surroundings she is harvesting and using overlooked and ephemeral plant waste as building element for her work, which invites a closer look at the otherwise unnoticed. She believes that this quiet observation is so needed in order to increase our respect for the environment.Â
Will Metcalf is a landscape designer and geographer based in St. Paul, MN. Though a native Kansan, he has lived between Minnesota and Kansas for the last 9 years. His work combines field sketches, notes, historical imagery, and digital mappings to produce small- and medium-scale drawings. Reflecting on environmental history and relational ecologies, his landscape practice investigates the ways we perceive nature and produce space.
He now works as a researcher and designer with Travis van Liere Studio in Minneapolis and is affiliated with DRAW Architecture in Kansas City. His academic work has taken him through the Midwest, British Columbia, Spain, and the Netherlands. He holds a BA in Geography from Gustavus Adolphus College and a Master of Landscape Architecture from the University of Minnesota.
I am a choreographer, interdisciplinary collaborator, dancer and sociologist. I explore what it means to be human, often from visceral experiences that reside in the memory of my cells and spirit. My personal history, which includes being adopted and losing someone to suicide, fuels the essence of my raw and often intimate dance works. These deeply personal experiences only serve as inspiration for exploring broader community and social issues.
I use movement as a tool to excavate emotions and thoughts to transcend boundaries. These lines can become blurred through immersive movement experiences. Social and cultural explorations ask the audience to be present and active contributors to the art work. These performance collaborations, between community and artist, are often followed by facilitated dialogue that sparks important conversation about topics such as vulnerability, gender, race, technology and communication and how we see our bodies in everyday spaces.