Aubrey Barnett
University of Texas - Arlington

Mouth-blown glass assembled via Stained Glass
11in x 11in x 11in
$2,300

My work explores the relationship between perception, reality, and time. It examines their collective impact on our sense of self, inviting viewers to ponder the human experience with curiosity and wonder._Rooted in the rich traditions of architecture and stained glass, I handcraft custom-hued glass panes. These glass panes are then installed in other worldly, remote environments. Using the interplay of color, light, and the passage of time to activate the work, the work creates sense of distorted reality. These kinetic pieces respond to viewers' movements, the shifting position of the sun, and the surrounding environment, prompting viewers to pause, contemplate, and rediscover the complexity and beauty inherent in everyday life.

Luis Bracero
Houston Community College

Acrylic
18in x 25in
$185

The artwork depicts the alienated feelings of depression.

Laura Cano
Houston Christian University

Mix Medium, Wooden Panel on Wooden Frame, Acrylic Paint, Crystals, beads,and clay 
40in x 15in
$1,800

Art defines me as a person and shapes me into the Artist I am today. My art invokes powerful manifestations of womanhood, culture, and heritage. I have focused on the reinterpretation of Latino/Latina folk and fine art. I use mixed media materials which give me the freedom to be able to build visual, multi layered pieces of work using both painting techniques, ceramics, beads and other art materials. As an artist I create art, but the process of creating Art is the everyday lesson of hundreds of hundreds of hours of failures, successes and experimentations. The process of creating Art is also the weeks and months and years of self-discovery, frustration when what is in your head cannot be express and pure joy when it all comes together in a masterpiece. The process of creating art is the same process of creating the life you want. I want to continue to grow and give back, and this is why I would like to pursue a master’s in fine arts. I feel that Houston Christian University can elevate my career as an Artist and my commitment to promoting images of cultural interpretation and affirmation; but mostly my commitment to be of service to community.

Sean Clark
Stephen F. Austin State University

Acrylic on Masonite
18in x 5.75in
$300

My work is concerned with the human form as a symbol. I strip it from its context and, by forcing its interaction with other decontextualized icons, reduce any narrative to its most essential parts and allow that narrative to unfold dynamically. By rendering the various subjects in a firmly 2-dimensional, abstracted manner, I allow color and plane and frame to become equal participants in the narrative, and cement the subjects’ as parts of the object. The resulting images/objects are instinctual in composition, informed by a repertoire of icons which I continually return to, some consciously and some automatically. Hands, stones, instruments of violence, cyclopes, dogs, bare trees, cubes and coffins, whether consequences of an affinity for illustration, or versatile solutions to formal problems, these things find their way time and time again into my compositions for reasons I have yet to fully apprehend. My work is both a means of investigating and of honing this symbolic vocabulary

Dominic Clay
Houston Christian University

Ceramics
Art: 23.875 x 13.375 x 9.5"
Stand: 20 x 24 x 55"
$1,500

For the last three years, I have been exploring and producing ceramics. I’m inspired by ancient African antiquities such as Ife bronze and terracotta busts. My construction practice combines both mask making and half bust techniques. The results are tactile and visually stimulating expressions of Blackness that combine beauty, history and culture for the viewing pleasure of my patrons. Motifs and imagery of African culture proudly convey the Motherland’s unequivocal contribution to life as we all know it. Ceramics by nature is intimate. Clay is wet, messy and very tactile. It is then entombed in otherwise infernal conditions yet emerges stronger and more beautiful each time. How this parallels our very existence is not only not lost on me but emboldens my creativity. My art is a direct and unambiguous reflection of the community I represent and serve. My images and narratives invoke pride and affirm a sense of self in a world where representation matters but is seldom offered. When I create work, I strive to serve the imaginations of underserved and underrepresented communities. African American enclaves seldom experience artwork that is permanent in their homes and communities and that is representative of them. I aspire that my work will symbolically be a lasting representation of identity and purpose. Who we are has always been greatness and my work reverberates that.

Elizabeth Drake
Austin Community College

Oil on Canvas
20in x 40in x 1.5in
NFS

My body of work extends Donna Haraway’s concept of feminist dog-writing into my own practice of feminist dog-painting.1 Dog-painting invites humans to seriously engage with pet-centered accounts of life that are often sentimentalized and trivialized. In taking seriously the idea that companion dogs are not human accessories, but rather subjects in and of themselves who actively shape the world we live in, my work offers up the feminist principles of resisting hierarchies, dismantling oppressive power relations, and imagining liberatory futures. In my artistic practice I mostly use oil paint. I play with brush strokes, surface weave, color, scale, and employ repetitive conceptual focus to explore themes of subjecthood, objecthood, and dominance (or, rather, the resistance of). My work asks audiences to reflect on their relationships with dogs and power. After all, “to lie on the ground with dogs is to think through what an alternative world might look like.”2 Throughout this body of work, “my” dog Franky (along with the creatures and concepts that circle her) maintains her position as my primary point of focus– as she does on and off the canvas. 1 Haraway, Donna Jeanne. The Companion Species Manifesto: Dogs, People, and Significant Otherness. Vol. 1. Chicago: Prickly Paradigm Press, 2003. 2 Dayan, Colin. With Dogs at the Edge of Life: Columbia University Press. Columbia University Press, 2015.

Joseph Fuentes
San Jacinto Community College

Plaster, Canvas, and Photography
18in x 24in
$900

The artwork is inspired by nature and its intertwinement with concrete. The images display how more and more concrete frames nature and at times suffocates it; the plaster material surrounding the images is another expression of this. All in all, my main inspiration was how entrapped nature can become by modern-day items.

Rosie Ganske
University of Texas - Austin

Chip bags, laminate, acrylic, paint, marker, mod podge and brads 
30in x 40in
$450

My art practice has stages of play and meditation. I keep my curiosity and joy of discovery alive in my search for, and experimentation with, new artmaking materials. I’m in love with collecting, be it plants, wrappers or discarded items on the street that I see potential in, and hope I can make something transformed and magical out of. Guided by material properties, my approach varies, though I often consider translucency, light, layering, texture and pattern. Transformation of a specific material is where I dream and play until I figure out what I want to do. From there, I work meditatively in small steps, to process, alter and combine natural and man-made materials meticulously into intricate sculptural assemblages or functional lighting pieces. These are richly and warmly colored, sometimes metallic or glossy, and often made of many small parts that are stitched, glued, woven, or otherwise made into one body._Drawing is the traditional medium I work in, black and white with micron pens. I lean on pattern and layering when creating abstract architectural landscapes, which I mentally walk around in while making. These places are full of entry points and paths along flowing shapes and

patterns to follow. I’m interested in the tension between flat drawing, the illusion of 3D space, and physical texture and depth. While many of my assemblages consider my relationship with the environment, or the entirety of human impact.

Katelyn Girouard
Texas A&M University - Corpus Christi

Mezzotint
9in x 12in
$150

The goal of my work is to empathize, challenge, and change myself and the way I view the things I have been through. Whether through animal metaphor, surrendering technical control, or satire, I create something humorous and unexpected as I search for joy again.

Patricia Garces
University of Texas - Rio Grande Valley

Oil on Canvas
11in x 14in
$600

Ashe Gomez
University of Texas - Rio Grande Valley

Oil on Canvas
30in x 40in
$5,000

This body of work originates from my fascination with the resilience of nature and the human experience and how I can combine these two concepts. My inspiration draws from research into the symbolism of natural forms and the emotional landscapes they evoke, reflecting my desire to delve into deeper themes of protection, vulnerability, and the cyclical nature of existence. The cactus symbolizes protection and endurance; just as a bird’s nest with its spines for safety, we too create defenses against harm, illustrating the duality of strength and fragility. In contrast, the dead trees convey themes of neglect and the yielding to these negative emotions, reflecting how such feelings can shape our identities.The inclusion of the nude form highlights vulnerability and defenselessness in a harsh world, emphasizing the fragility of those who are gentle and soft-spoken, and how these experiences mold us and shape the way we interact with our surroundings, further demonstrating the challenges we face in navigating these dynamics. The protrusions coming out of the figure are meant to highlight the uncomfortability of succumbing to these difficulties, while the animals that inhabit these landscapes symbolize the people we encounter in life: those who seek us out when we are vulnerable, whether for shelter and guidance or for their own gain. These figures embody the complexities of human relationships, reminding us of those who may use our goodwill against us. At the heart of my work lies a central piece that bridges the concepts of life and death, emphasizing their interconnectedness. It illustrates how our decaying bodies nourish new life, perpetuating a continuous, harmonious cycle. Through this exploration, I aim to express the unity of existence, where life and death are not opposing forces but rather intertwined elements that sustain one another.

Hailey Harvey
Houston Christian University

Ceramic and Embroidery Thread
11in x 10.5in x 14.75in
$1,250

My work focuses on making physical the ephemeral nature of memory and tradition. By blending various mediums, such as ceramics, charcoal, and embroidery, I create tactile and visual vessels that keep our memories from ever fading. My works allow us to find refuge in moments we wish to remember and protect, as well as memories that seem never to leave us. Together, these materials intertwine, creating an alluring but unsettling narrative, where the viewer is invited into this space and encouraged to remember who we are and forget what has been lost. These vessels emotionally evoke a coexisting nature of comfort, yet pain, while physically containing softness and rigidity. They highlight the feeling of being grounded in familiarity while being led into the unknown, where intimacy and tension are tied and woven together as one. These materialized memories allow for rumination and reflection of such nostalgic sensations that bring the past back to life. Through this lens, my work becomes a visual dialogue between the past and present, a way of recovering what is otherwise lost over the passage of time. Each work is a moment suspended in time, a delicate container of shared lived experiences, that preserve the identity and tradition we hold dear.

Audrey Hatter
University of Texas - Arlington

Clay
8.5in x 10in x 8.5
$350

I enjoy taking inspiration from the world around me and the environments we live in. Life is busy, messy and unorthodox so I like to include the little things to show these structures are lived in and there is a story connected for everyone interacting with these pieces.

Abigail Holden
University of North Texas

Copper, Brass wire, Powder coat, gesso, colored pencils, resin
3.5in x 3.5in x 1in
$300

I make work that depicts animals and plants, both for the sake of recreating the subject as faithfully as I can and also by using them as a metaphor for complicated topics such as how trauma affects people and influences their actions. I enjoy depicting animals faithfully as I enjoy creating natural texture through metal.

Emily Holder
University of North Texas

Graphite and Charcoal
24in x 30in
$1,500

As a female artist navigating my 20s, I create large-scale oil paintings that serve as a visual diary of my mind. My work talks about taboo subjects, exploring internal struggles relating to sex, men, and religion. Through my art, I create a soft entry point into conversations about these challenging topics, using dark humor and whimsical imagery as a bridge to the harsher truths. I am inspired by sci-fi and fantasy artists Jeff Lee Johnson and Peter Ferguson, who use amusing hidden aspects and nostalgic fairytale elements. My work uses a blend of these components to present difficult subjects in a comforting way. My process begins with a mental idea that I research, find reference photos, and refine into a drawing. After putting down a colorful underpainting, I transfer the drawing to the canvas and pre-mix all my colors. My ideas represent the duality of humor and darkness, like using laughter as a self-defense mechanism. I believe that talking about heavy themes helps you to deal with them in real life. Through my approach, I create a connection with those who are like-minded in hopes that they too start to explore their own hidden thoughts and emotions.

Chloe Hudspeth
Houston Christian University

Charcoal
22in x 30in
$1,000

My art is an invitation to slow down and reconnect with the natural world. Drawing inspiration from my family’s roots in Ecuador and my experiences exploring its lush rainforests, I seek to capture the serene beauty and intricate details of nature. For me, Ecuador’s landscapes are more than just a source of inspiration—they are a refuge from the busyness and fast pace of everyday life. Through my work, I aim to offer viewers the same sense of calm and reflection that I’ve found in these moments, a chance to step back and marvel at the beauty of the earth that God has so thoughtfully created for us. Texture plays a central role in my work. I am fascinated by the intricate layers found in nature—the rough patterns of tree bark, the subtle grooves of leaves, and the interplay of depth and light across natural surfaces. By integrating both 2D and 3D elements, I aim to capture the richness of these textures and their ability to tell a story. The tactile quality of my work is meant to evoke a sense of place and invite viewers to engage not just visually, but almost physically with the scenes I create. Through my art, I strive to share the beauty I’ve witnessed in Ecuador’s landscapes and encourage others to pause and explore the complex details of the natural world. For me, the textures of nature represent life’s interconnected layers—simple yet infinitely complex, still yet alive with depth.

Jaida Johnson
Trinity University

Screenprint
16in x 18in
$120

My body of work combines silkscreen printing and drawing to explore the art of observation and play. I begin with physical drawings, then translate them into screen prints, as I enjoy the process of transforming the tangible into something repeatable and experimental. Screen printing allows me to experiment with color and composition in ways that drawing alone cannot, aligning with why I create art in the first place. From a young age, I’ve been fascinated by the ability to bring ideas from my mind to paper, turning a blank sheet into something entirely new. This process gives me a sense of accomplishment, as I articulate visual ideas and manipulate them, transforming them along the way. My work plays with the themes of innocence, blending soft and aggressive tones, realism, nature, and muted yet engaging compositions. I want viewers to feel a sense of playfulness when interacting with my work, challenging their expectations and inviting surprise—just as I often feel surprised by the final product. Many of my creations emerge from accidents or unplanned moments, leading to pieces that constantly evolve in my mind. Through this approach, I hope to encourage viewers to feel supported in their curiosity, urging them to question what they see.

Kim JinSun
Texas A&M University - Corpus Christi

Mixed Media (Metal, Plaster)
16in x 10in x 63in
$1,000

Space is where we reside, create, and experience. It can be internal or external, encompassing both tangible objects and intangible actions. The first artwork explores the relationship between humans and urban landscapes where cities made of metal and concrete rise like giants from the earth. Cities, constructed from concrete and metal, reflect humanity’s relentless desire for progress, control, and permanence. Through this work, I aim to depict the rigid structures and their relationship with humanity. While each building stands tall on its own, they are interconnected beneath the surface through water pipes and electrical lines. This represents the interconnectedness between the buildings of a city and humanity. The second artwork portrays the relationship between the city and humanity through buildings made of metal and the organic form of a cocoon. It seeks to illustrate the tension between the cold, unfeeling materiality of the city and the warmth of human existence within it. Through this contrast, the work invites contemplation on how the urban environment influences our sense of identity, connection, and freedom.

Sydney Lemmon
Texas A&M University - College Station

Oil on Canvas
36in x 36in
$3,000

From expressive depictions of cats to abstract interpretations of lemons, my work spans a wide spectrum of subjects. Through this diversity, I aim to tell hidden stories throughout my art. I enjoy pairing unlikely objects in uncommon scenarios to create a narrative that invites the viewer. Whether the tone is witty or somber, each piece aims to evoke meaningful connections, offering layers of discovery for both myself and my audience. My creative process is guided by a deep understanding of light and color. I approach shadows and highlights with the principle that shadows are cool and highlights are warm, shifting the conventional black-to-white value scale to a spectrum of blue to yellow. I completely omit black from my palette and minimize the use of white, allowing a full range of unmuted, vibrant colors to emerge. Central to my work is the color yellow, which serves as a unifying foundation rather than a mere accent. Yellow amplifies vibrancy, enhances spatial depth, and diffuses beautifully into highlights, tying the composition together with energy and cohesion. To set the tone for a piece, I begin with a bright underpainting, allowing it to peek through in subtle yet intentional ways—often in unexpected details, such as the pupil of an eye or the grout between tiles. This transparency, combined with thick brushstrokes, creates a layered and dynamic interplay between highlights and shadows, adding dimension to the work. By merging bold, playful imagery with technical precision, my paintings celebrate representational art in a fresh, contemporary context, inviting curiosity and connection through both narrative and technique.

Blanca Luna
Texas State University

Oil on Canvas
36in x 36in
NFS

Growing up as a young Mexican American, I often felt like I didn't fully belong, struggling to navigate the complexities of both American and Mexican cultures. My artwork explores this search for identity, delving into who I am, the people who have shaped me, and how I bridge these two sides of my heritage. Mexican Saddle" is a homage to my father. For him, horses and the countryside are an integral part of his identity. As a departure from my usual style, I challenged myself to work with a more desaturated palette, drawing inspiration from the work of Edward Hopper. The subdued background, with its subtle variations in tone, creates a serene atmosphere; allowing the saddle, boots, and their accompanying shadow to become the focal point. 'El Patio de mi Abuela' celebrates the profound influence of my grandmother. She raised nine children, demonstrating unwavering strength, hard work, and an unwavering kindness that I deeply admire. This painting evokes cherished childhood memories of her home, a place I frequently visited before leaving for college. 'Border' represents the connection between two worlds, showing how one can embrace both cultures. At the same time, it highlights the controversial nature of borders—how they can be seen as symbols of division, restriction, or exclusion, yet also as points of identity, belonging, and protection for others."

Don Mims
Houston Community College

Dry Point
23in x 31in
$500

Frederic Marmolejo
Trinity University

White Charcoal on Black Paper
19in x 26in
$471

I developed my love for nature and traditional art through my grandfather, a painter. While studying at my university, I made these artworks while researching artists like Frank Stella, David Hockney, and Bob Ross.

Noah Melendez
University of Texas - Rio Grande Valley

Textiles
12in x 8in x 19in
$75

Rory McCarthy
Trinity University

Drypoint Etching with Watercolor Pencil
9in x 6in
$30

I had been trying to find ways to make my prints more environmentally friendly. One day, I stumbled upon artists recycling old CDs by turning them into etched prints and was inspired. Dedicating my prints to three Texas state creatures that hold a special place in my heart, I hope to remind people to help take care of the beautiful world around us and bring life back into these CDs so that they can continue to spread art in a different form.

Isabella Posca
University of Texas - Arlington

Blown Glass on Wooden Shelves
Shelves are 43"x10"x2" each. Heads are each 6.5"x4.5"x5"
NFS

Thank you for your participation. In researching glassblowing as art therapy, I interviewed glassblowers on their unique and diverse lived experiences. I paid tribute to these participants by displaying 18 idiosyncratic heads– the range of what’s considered an adequate number of participants– on shelves to be reminiscent of a spreadsheet. As a scientist, it was necessary to transform this collection of lived experiences into data: analyze, categorize, and stripped of any identifying information; dehumanization for the benefit of humanity. However, as an artist, I honor the human experiences of my participants, because their individuality and unique perspective is what makes the research valuable at all.

Mariana Ruvaculba Cruz
Texas A&M University - Corpus Christi

Ceramic
4in x 1in x 11in
$300

Drawing upon a constant sense of “being in the middle,” uprooted and suspended from a sense of belonging. I create a visual language that defies conventional boundaries and challenges the established reality. By merging, distorting, and manipulating the human form alongside natural elements, I blur the line between the tangible and the imagined. In this “middle ground”, I craft hybrid creatures including depictions of human-tree figures, hermit crab shells, ravens, and floating islands, that give a physical form to the complexities of my experience of being perpetually “in between” identities and places.

Constintine St. John
Houston Christian University

Graphite on Paper
16in x 20in
NFS

I create art because it's my way of exploring, understanding, and coming to terms with the experiences that have shaped my life. My work focuses on themes like identity, military life, homelessness, and the human condition, all drawn from personal experiences. These aren't just random topics to me—they're pieces of my story, and working through them allows me to reflect, heal, and grow. I don't create art for an audience. My focus has always been on creating work that feels true to me. I believe that when you create for yourself, the work is the most honest it can be. It's not about forcing a message or trying to make an impact—it's about putting myself into the work and letting it speak for itself. The mediums I use—graphite, charcoal, pastel, oil—are my creative language. I've spent years mastering these techniques, which've become second nature. They allow me to tell stories with depth and emotion. For me, these tools are like the building blocks of writing: they form the letters, the words, and the sentences that communicate the bigger picture. Each stroke or mark I make is part of a narrative, and as I work, I feel like I'm crafting a story that goes beyond words. My work is now grounded in exploring experiences I've lived through. Each piece serves as both a connection to those moments and a way to release them. It's about facing memories, understanding them, and then moving forward. The process is a journey that starts with raw emotions and ends with clarity. By the time I finish a piece, it feels like I've worked through something important, and there's a sense of peace that comes with that. Looking forward, I know my themes will evolve. Life has a way of shifting perspectives, and as I grow older, I'll naturally reflect on different aspects of existence. Fatherhood, legacy, and even mortality are themes that will come into my work. I don't see these ideas as heavy or somber but as opportunities to explore life. My approach to these themes will always remain rooted in a sense of curiosity and creativity. My art is a way to connect—to myself, my experiences, and maybe even others who see their own stories reflected in my work. It's not about solving anything or coming to definitive answers; it's about the process of creating and discovering. Every piece is part of that process, part of a larger story that continues to unfold.

Frank Stinson
Stephen F. Austin State University

Oil on Canvas
18in x 24in
$1,000

As a child struggling with school, I found solace in the repetitive handwriting exercises of elementary school. These drills helped me organize letters on the page and gain a sense of control over how to spell words. Initially, my attempts to adapt and translate reading and writing led to scribbles and patterns that I used to mask my insecurities. Over time, these patterns evolved into the drawings and paintings I create in the studio today. By complicating letters to the point of illegibility, my artwork invites viewers to decode language in a way that mirrors my own experiences with learning challenges.

Caleb Terry
Texas A&M University - Corpus Christi

Lithograph with Embossing
8.5in x 11.5in
$400

Caleb Terry is a multidisciplinary artist and senior getting his BFA at Texas A&M Corpus Christi, focusing on photography and printmaking. His practice explores the intricate relationships between memory, identity, and self-expression, seeking to illuminate the complex and ever-shifting nature of human experience. Through incorporating botanicals and the experimental nature of Alternative Process photography, Terry's work weaves together the organic and the intimate, reflecting on the fragile and fleeting aspects of human existence. By embracing the unpredictability of these processes, Terry's images embody the dynamic and mutable nature of memory, identity, and the self.

Emma Valenzuela
University of Texas - Arlington

Spray Paint and Oil Paint
60in x 48in
$800

Emma Valenzuela is a North Texas-based artist who explores the complexities of familial relationships through oil paint and spray paint. By embracing the dynamic movement and rich texture of paint, she conveys her unique perspectives on both the beauty and challenges inherent in these connections. Her work has been featured in exhibitions across North Texas, including a solo show at Tarrant County College and, most recently, at the Arlington Museum of Art. Emma is currently pursuing a Bachelor of Fine Arts in Painting, with a minor in Glassblowing, at the University of Texas at Arlington.