EMBRACE: Fernanda Caballero, Mel Davis, Donald Lipski, Lauren Luloff, Amy Myers, Ruth Shouval, Adam Stępień, Troy Stanley, William Wood, Yuriko Yamaguchi

In a world so often cleaved—body and mind, nature from machine, self from other— EMBRACE unfolds as an offering, a quiet yet insistent gesture towards unity. It is an act of gathering: of forms and philosophies, of artists and inquiries, of memory and becoming. Here, across diverse mediums, and sensibilities, the works do not merely occupy space—they hold it. They create it. They invite us in.

To embrace is to touch without possession, to hold without fixing. It is physical, yes—but also emotional, spiritual, ineffable. In the layers geometries of Amy Myers, we encounter this embrace as cosmic resonance: patterns that mirror the body’s interior worlds and vast designs of the universe itself. Fernanda Caballero turns inward, dissolving form into feeling, allowing gesture and breath to stand in for the body—presence without shape, essence without edge.

With Donald Lipski, the embrace becomes paradox: concealment as revelation. His wrapped objects resist easy access, yet whisper of intimacy just beyond reach. Ruth Shouval takes the square—a symbol of order—and loosens its boundaries, letting balance tremble into release, control surrender to motion. 

Lauren Luloff stains and stitches memory into cloth, where domestic fabrics and bleach speak softly of rupture and repair, of comfort and vulnerability. Each piece is a palimpsest of home, of hands, of history. In Mel Davis’ painterly worlds, the everyday becomes luminous: a brushstroke becomes a body, a shadow becomes a gesture—a reverent attention to the overlooked.

Adam Stępień offers color as contemplation, his abstractions unfolding like meditations—fields of feeling, spaces for stillness, portals for perception. Troy Stanley carves liminality itself: organic forms held in synthetic pause, a still life of living things suspended in the tension of our hybrid age.

William Wood seeks to tap into a private, emotional space—one marked by lush surfaces and layered complexity. Finally, Yuriko Yamaguchi returns us to nature—not as landscape, but as breath, as web, as whispered trace. Her sculptural constellations float in quiet equilibrium, speaking of connection, transparency, and the fragile grace of transformation.

Together, these artists weave a tapestry of togetherness—not through sameness, but through resonance. EMBRACE is not resolution; it is invitation. It asks us to see beyond the surface, to listen beyond the visible, to hold contradiction, complexity, and beauty—all at once. In this shared space, where the ephemeral meets the embodied, we are asked not merely to observe, but to feel.