STATEMENT

In my current work, I use paper weaving to convey stories within stories, hidden between and within layers of papers and threads. The woven panels are constructed using honeycomb packing material and paper strips cut from magazine covers. My weavings represent a visual language where each strip of paper expresses a memory or thought; and images, objects, and text are concealed within deeply layered or sparsely woven layers. The quiet, rhythmic process of hand weaving and the layers I create represent the experiences of many people who navigate between visibility and invisibility, hiding and revealing—always cognizant of thoughts and feelings diminished and marginalized by societal norms that demand conformity.

BIO

Audrey L Pinto is a visual artist who is inspired by the beauty and intricacies of ancient woven textiles and traditional needle arts; she feels a deep connection to all women who have contributed, and who continue to contribute, to the ongoing evolution of the fiber and textile arts. Her work focuses on materials, labor-intensive techniques, and the process of artmaking. She enjoys the rhythmic and repetitive activity of working with her hands to create patterns, shapes, and colors that convey personal narratives. 
Audrey’s art has been exhibited in galleries in Chapel Hill (Carol Woods Art Gallery), Durham (Golden Belt Artists Gallery and the Golden Belt Grand Gallery), and Hillsborough (Eno Arts Mill Gallery), NC; Cambridge (Lunder Arts Center) and North Adams (MASS MoCA) MA; and New Britain, CT (Chen Art Gallery). In 2022, she curated an exhibit entitled “Insight” at the Eno Arts Mill Gallery, Hillsborough, NC; and, in 2024, she presented an artist talk on Process Art at the Carol Woods Art Gallery in Chapel Hill, NC. She has a BA in Anthropology from Arcadia University and an MA in Writing from the University of Massachusetts. After a long career as a science editor in public health and environmental health sciences, she returned to school for her MFA in Visual Art from Lesley University College of Art and Design.

STATEMENT

My textile sculptures explore the complexity of my relationship with the physical body, skin, and the cloth that covers it while expressing cultural concepts of gender, domesticity, and craft. By cultivating a sensitivity to materials and an attentiveness to narrative, I manipulate hand-dyed textiles, creating meaning through sculpted layers, openings and folds. My work frequently highlights themes of acceptance and rejection, drawing attention to both the hidden and the exposed.

BIO

Heather’s work is inspired by her relationship with the physical body. She is devoted to working with her hands, creating works notable for their deft finish and tactile nature. Her visual art has been exhibited at Mass MoCA, The Broad Institute of MIT and Harvard, The Wiregrass Museum of Art, The Gadsden Museum of Art, The Georgine Clark Alabama Artists Gallery, The Charles W. and Norma C. Carroll Gallery at Marshall University, Ground Floor Contemporary and Revolve Gallery, Asheville, NC. She also holds over 30 years of design and production experience in stage, television, and film, her credits including The Cherry Lane Theatre, The Theater Outlet, The Santa Fe Opera, The Los Angeles Opera, Maine State Music Theatre, Center Theatre Group, Carsey-Warner Productions and Comedy Central. Heather holds a BFA in Costume Design from UNCSA and an MFA in Visual Art from Lesley University, in addition to her studio practice, she is currently an Adjunct Instructor at The University of Alabama Huntsville.

BIO

Laura Esbensen is an artist living and working in Las Vegas, Nevada. She holds a BA in Studio Arts from the University of California, San Diego and an MFA in Fine Arts from Lesley University. Recent exhibitions include SOMA at Core Contemporary, Las Vegas, Nevada and Our Imagined Future at Bell Projects, Denver, Colorado. She currently works with the Art+Everywhere Foundation and is launching alternative space art venue Gallery RAG Las Vegas in October 2026. 

Her abstract, theatrical sculptures are made of construction materials and assorted plastics, exploring the blurry boundary between the authentic and the artificial. Her work connects with the contemporary grotesque, and utilizes humor as a proposition of hope, presenting a playful haphazardness alongside potential toxicity. Recent work is inspired by skeletal structures and desert rock formations.

STATEMENT

Experimentation and a mixture of humble materials, primarily paper, guide my contemporary sculptural forms. The craft techniques that I utilize such as papermaking, basketry, sewing and macramé are reminiscent of the process involved in women's work which is a core interest of mine. Environmental concerns are another issue I address heavily in my ephemeral sculptures. By imploring a hunter/gatherer style in both urban/rural settings, it provides a strong connection to place and a new purpose for reusable materials. The process is part alchemist/part witches brew, laborious and repetitious. Oscillating between strength and fragility, nature and industry, decay and beauty — my artwork contains skilled-craftsmanship and happenstance. This calculated yet reckless approach to the process permits the artist hand to work in tandem with the characteristics of materials to shape the outcome.

BIO

Nicole Uzzell was raised in New Jersey and moved to NC to attend UNC-Greensboro and Winston-Salem State University. She

received a MFA in sculpture from the Art Institute of Boston. Uzzell currently is a professor of Art at Salem College and Forsyth

Technical Comm. College while teaching clay handbuilding at the Sawtooth School for Visual Art in Winston-Salem, NC. Uzzell

lives and maintains an active studio practice at the base of Hanging Rock State Park in the foothills of Stokes Co., NC.

STATEMENT

My work is an intersection between the digital and the material, where photographic images transform into layered, dimensional objects. Through collage, layering, and suspension, I translate captured light and pattern into sculptural forms that pulse with color and shift with each viewing angle.

Working with transparent films, monofilament, and reflective surfaces, I build structures that activate light, creating works in constant dialogue with their environment and viewer's position. Undulating forms evoke waveforms and transmissions, inviting shifting modes of perception.

Color operates as both signal and emotion. Luminous purples, electric yellows, and cyan blues reference the RGB spectrum yet carry an organic vitality—breathing, glowing, almost biological. This speaks to the blurred boundary between natural and technological systems, between body and interface.

I'm interested in what happens in translation: what is lost, what remains, what transforms. By suspending photographic forms and layering translucent planes, I push photography beyond documentation into abstraction, where light becomes both medium and collaborator.

BIO

Rebecca Tully Fulmer is a visual artist based in Birmingham, Alabama, whose interdisciplinary practice explores the material life of images through photography-based media, collage, and fiber processes. Working primarily with transparent and reflective materials, Fulmer transforms photographs into layered, dimensional forms that exist between image and object. Her work invites viewers into an active perceptual experience where light becomes both medium and collaborator—shifting, refracting, and revealing the image anew with each change in perspective.

Fulmer holds a BA in Interior Design from Auburn University's School of Architecture and an MFA from Lesley University Art + Design. Her recent solo exhibition, Light in Tandem, was presented at the Gadsden Museum of Art in Alabama.