Artist Statement
Sarah Wang's writing across genres focuses on mass incarceration, psychoanalysis, surveillance, colonized bodies, contemporary art, class, race, and feminism.
NEW SKIN, a novel by Sarah Wang. Buy it wherever books are sold!
Amy Dryansky
Artist Statement
Amy (she/her) was born in Cleveland and raised by Socialists who valued art as expression and resistance and grew up in Syracuse, New York, at a time of social and political unrest, but also of hope and optimism. She has tried to carry that optimism, activism and connection to community with her throughout her time as an artist, along with a love of play, formal precision, and a deep connection with the natural world. “Aha, she cried, as she cracked her wooden leg!,” a quote from one of her favorite childhood books, Where the Lilies Bloom, by Vera and Bill Cleaver, is probably her favorite line ever written. Amy will work on her fourth collection of poems while at Marble House, inspired in part by her experience caring for her late partner, who had ALS.
Amy Dryansky_Book Cover, Grass Whistle_Cover artwork by Barbara Reid
Bio
Amy Dryansky (she/her) earned a BFA with a focus on Painting and Philosophy of Art from Syracuse University and an MFA in Poetry from Vermont College,. Her first book, How I Got Lost So Close to Home, won the New England/New York Award from Alice James Books. Her second, Grass Whistle (Salmon Poetry) received the Massachusetts Book Award. Individual poems appear in Adroit Journal, Harvard Review, Massachusetts Review, MER, New England Review, Orion, Radar, The Sun, Tin House, Waxwing and other journals, as well as several anthologies. She’s a former poet laureate of Northampton, Massachusetts, received the Cecil Hemley Memorial Award from the Poetry Society of America, and two artist fellowships from the Massachusetts Cultural Council. She parents two children, works as a grant writer and occasionally teaches creative writing, most recently as the James Merrill Visiting Poet at Amherst College.
amydryansky.com
Ledah Finck
Artist Statement
I am a classical- and jazz-trained violinist, violist, and composer. I write songs and concert music, and have had a deep practice of improvised music for the last decade. I grew up in the Blue Ridge Mountains playing Celtic and old-time fiddle. These elements each contribute to my artistic output, and by creating my own music, I strive to build a very personal sound world in which the vast joy I find through listening, collaborating, performing, and writing is at the center of something that’s more than a collection of disparate influences. Current projects include development of a second album with Freddy & Sally, a third solo album, and concert music for Bergamot Quartet.
Still from Freddy & Sally's video "Sycamore"
Bio
Ledah Finck is a violinist, violist, improviser, and composer based in NYC. A passionate performer, creator, and curator of contemporary classical music, she plays violin with and is a founding member of the contemporary-music string quartet Bergamot Quartet. She participates regularly with a number of other ensembles as a performer and composer, including Tropos (“outer-space chamber music” quartet with a jazz/improvising foundation), Earspace (new music ensemble based in North Carolina), and Freddy & Sally (acoustic duo with Eli Greenhoe, playing original folk-inspired songs). Always seeking playfulness and community in her artistic pursuits, Ledah’s roots in the Blue Ridge Mountains have shaped her creative philosophy and aesthetic. She holds undergraduate and master’s degrees in violin performance and composition from the Peabody Conservatory, and completed the Mannes School of Music’s Graduate String Quartet in Residence fellowship with Bergamot Quartet. She plays a violin, viola, and hardanger d’amore all made by her father, David Finck.
www.ledahfinck.com
Angeline Meitzler
Artist Statement
Angeline Marie Michael Meitzler is a writer and experimental 3D animator (b.1992, Warren, MI). Her work utilizes fiction, history and natural phenomenon to engage with the complexities of cultural value. Inspired by etiological myths and causation stories originating from the Philippines, her work contends with familial and personal narratives that remain in-service to colonial legacies through embodying natural phenomenon and the environment as a dynamic character; a radical global and local force possessing the potential to be both destructive and liberatory.
Angeline Marie Michael Meitzler, Still from The Bird, the Girl and the Typhoon, animated experimental short film
Bio
Angeline Marie Michael Meitzler is a writer and experimental 3D animator based in Berkeley, California (b.1992, Warren, MI). Her chapbook, A Drop of Sun, was published in 2023 by Fauxmoir Lit Press. Her work has been awarded support by Asian Cultural Council Individual Fellowship, Jerome Hill Artist Fellowship, The City of Berkeley Civic Arts Program, The Studios at MASS MoCA Fellowship, MAAF & the New York State Council of the Arts (NYSCA), Philippine American Writers and Artists (PAWA), and Harvestworks. She received her MFA through the School of the Arts Institute of Chicago as a New Artists Society Scholar and is a VONA alum.
https://angeline-meitzler.com
Nima Amiri
Artist Statement
Nima Amiri’s artistic practice is driven by a desire to create new culinary experiences that challenge familiar ideas of taste. He works through fermentation and low-waste processes to explore how flavor is shaped by history, environment, and attention, and how it can carry memory and shared experience. Fermentation sits at the center of his practice as a slow and living process. It allows ingredients to move beyond their expected forms, opening space for curiosity and reflection. By working with overlooked ingredients and repurposed materials, Nima reframes waste as a site of possibility and questions how value is defined within contemporary food culture. Participation is integral to his work. Cooking becomes a shared act rather than a service, and learning unfolds through collective making. Through workshops and communal meals, he challenges the separation between chef and guest, returning food-making to a relational and communal practice.
Nima Amiri_Time, Kept in Salt_Culinary Art_2025
Bio
Nima Amiri is a Toronto-based culinary artist, private chef and recipe developer whose practice bridges professional kitchen experience with community-centered food work. Shaped by years in fine dining environments, he built a strong foundation in technique and menu development while becoming increasingly aware of the limitations and hierarchies of traditional restaurant culture. Over time, Nima shifted toward more intimate and collaborative forms of cooking. His current practice focuses on private dining and interdisciplinary projects that prioritize seasonality, care, and shared process. Working extensively with fermentation and low-waste methods, he centers his work on challenging familiar ideas of taste and creating new culinary experiences. Nima is a co-founder of Neemrooz Studio, a platform dedicated to recipe development and storytelling through food. He collaborates with artists to create participatory meals and learning spaces that invite others into the act of making.
https://nima-amiri.com/
Jemila MacEwan
Artist Statement
I am known for my earthworks, installations and time-based projects created through slow acts of physical endurance, contemplation and meditation. My work takes an expansive view of time, ecology and geography. I create from an ecological and geological conception of time—both helical and entropic—my work unfolds as a ritual return, repeating across days, seasons, and years. I am here to be actively present with, and in connection to, the unfolding processes of our universe. My methods arise from the same ecological forces that shape the earth itself. Deep time, evolution, repetition, accretion, treating these forces as co-creative forces rather than metaphors. These projects are an aperture through which to behold the interconnectedness of our living planet. I believe repair of our lands and ecosystems is also a method for the regeneration of our social and cultural foundations.
Title: Dead Gods Year: 2021-ongoing Medium: Reishi mycelium, Pearl Oyster mycelium, Blue Oyster mycelium, Golden Oyster mycelium, hemp and rye substrate, custom grow-house (shrine) Dimensions: 8’ x 8’ x 8’ Description: ‘Dead Gods’ is a living monument that honors our prehistoric interspecies ancestors as sacred earthly deities. In an age where humans are driving one million species toward extinction, I am resurrecting a primordial terrestrial giant—Prototaxites, a mysterious eukaryotic organism that emerged 400 million years ago that pioneered the proliferation of life on land––by growing their likeness with fungi, their closest living descendants.
Bio
Jemila MacEwan (b.Scotland) is a conceptual artist known for earthworks, installations, films and durational performances that follow the rhythms of nature— celestial, meteorological, and biological, often unfolding over days, weeks and years. MacEwan was awarded the Anonymous Was A Woman Environmental Art Grant (2025) NYSCA/NYFA Fellowship in Architecture/Environmental Structures/Design (2022), The Philip Hunter Environmental Art Fellowship (2022), The BigCi Environmental Award (2021) and is a TEDxBoston Planetary Fellow. MacEwan is the founding director of SUPR OMEN, a performance space opening in New York in 2026. MacEwan has presented work internationally including at; Museo Universitario de Ciencia y Arte, (México), ARoS Museum (Denmark), Pioneer Works (NYC), The Walker Art Center (USA), Elizabeth Foundation for the Arts (NYC), Cambridge University (UK), Skaftfell Center (Iceland) and has a permanent earthwork at WAMA Environmental Art Museum (Australia). They are alumni to many notable residencies including; Skowhegan, Art OMI, Yaddo, LMCC, BANFF and Ox-Bow School of Painting. Their work has been featured in Art in America, Boston Globe, Hyperallergic, and SFMoMA.
www.jemilamacewan.com
Sahar Askary
Artist Statement
Sahar Askary’s artistic practice explores memory, displacement, and place through material, space, and collective experience. Working across installation, photography, video, and textile, she examines how personal narratives intersect with broader social and environmental contexts. Her work is grounded in slow, material-based processes. She often works with everyday and repurposed materials, treating them as sites of memory shaped by use, care, and time. More recently, she started experimenting with fermentation as both material and method. By engaging with its temporal, transformative qualities, she uses it as a way to think about preservation, decay, and the transmission of knowledge. Sahar’s installations invite reflection on belonging, loss, and continuity, approaching memory not as fixed or static, but as an ongoing process reshaped through interaction, material encounter, and collective ritual.
Sahar Askary_An Archive That Ferments_Video_2025
Bio
Sahar Askary is a Toronto-based multimedia artist working across installation, photography, video, and textile. Her practice explores memory, displacement, and identity through process-driven approaches. Her work draws on auto-ethnographic approaches developed through her MFA studies in Documentary Media. She examines how memory becomes embedded in objects, gestures, and environments, and how these traces persist and shift across time and geography. Her work has been presented in group exhibitions in Canada and internationally and has been recognized with awards including the Toronto Newcomer Arts Award. She has participated in artist residencies including The Ray Ferris Creative Tech Springboard and is engaged in community-based projects that bring together art and storytelling. Most recently, she curated Breaking Boundaries, a show featuring newcomer artists for Toronto Newcomer Week.
https://saharaskary.com/
Eli Greenhoe
Artist Statement
I’m guided by an interest in finding ecstatic ways to coax unity and focus out of complexity. I believe this is the manner in which writing music most closely resembles magical ritual. I think that one of the most fundamental experiences of being a conscious being is watching something specific and comprehensible emerge out of a vast field of information—like finding meaning in the shapes of clouds, or deciphering patterns of movement from footprints in snow. In making art we adorn that property of sentience and makes it sumptuous. In organizing the elusive and the overwhelming, we peek behind nature’s curtain. We observe and model the occult and obscure machinations of reality.
A page from the score of a piece for string orchestra, electric guitar, harp, piano, and percussion