Jaynie Crimmins dismantles the overlooked ephemera of daily life — mass marketing catalogs, magazines, and discarded envelopes — and reconstructs them into meticulously hand-crafted surfaces. Drawing from the Pattern and Decoration Movement and her own family’s traditions of frugality and reuse, Crimmins imbues scraps of consumer detritus with new life, offering poetic narratives that are at once personal, cultural, and ecological. Her practice is a meditation on transformation and a call to reimagine the overlooked.

Linda Ganjian creates intricate paper collages inspired by architecture, reliquaries, and manuscripts, reimagining devotional spaces that hover between the medieval and the futuristic. Rooted in her SWANA heritage, Ganjian embeds fragments of memory, postcards, and cultural references into symbolic cityscapes that evoke nostalgia, resilience, and collective history. Her works conjure spaces where personal memory and lost homelands converge with universal themes of light, structure, and belonging.

Joanne Ungar works with painted cardboard boxes encased in encaustic wax, transforming disposable packaging into luminous, time-capsule-like objects. Through this alchemy, Ungar elevates the throwaway materials of consumer culture into enduring relics of contemporary life. Her process — layering, embedding, and sealing fragments of consumer detritus — highlights the paradox of fragility and permanence, chance and control, reminding us of the delicate balance between consumption and sustainability.

Amy Cheng brings a cosmological lens to her intricate Mandala paintings, inspired by astrophysics, quantum physics, and ancient philosophies. Her richly patterned, ornamental works hover between micro and macro scales, evoking lace, brocade, cells, and the cosmos. In these radiant orbs of color and geometry, Cheng imagines “worlds within worlds,” offering contemplative visions that unite science, spirituality, and aesthetics into profound meditations on consciousness and the mysteries of the universe.