Karma Gallery in New York

Party works across pastel, oil, and mural-scale wall painting, developing a figurative language drawn from still life, landscape, and portraiture that engages art-historical precedents—particularly old master painting—through vivid color and architectural installation.

A Paris-based painter working in oil on linen, Alftan constructs tightly framed compositions of interiors, figures, and everyday objects that interrogate the recursive logic of image-making and the tension between representation and pictorial flatness.

Working primarily in glazed ceramic and bronze, De Othello anthropomorphizes domestic objects—phones, lamps, televisions—infusing them with humor, bodily presence, and references to animist traditions and Haitian cultural heritage.

A self-taught sculptor working in raw and finished wood, Mosley develops towering abstract forms that synthesize African sculptural traditions, modernist abstraction, and an intuitive material sensitivity developed over decades of independent practice.

Wood's canvases map dense, pattern-filled interiors, still lifes, and sports arenas using flattened perspective and bold outlines, collapsing pictorial depth into decorative surface while sustaining recognizable imagery drawn from domestic and popular culture.

Ruznic develops large-scale figurative paintings populated by spectral, interlocking figures that draw on personal and collective histories of displacement, mythology, and the unconscious, rendered in luminous, atmospheric layers of color.

A Passamaquoddy artist, Frey creates intricately woven ash splint baskets of exceptional technical refinement, repositioning an ancestral Indigenous craft tradition within contemporary art discourse while maintaining deep fidelity to its material and cultural origins.

Thomson's practice engages mass-media image archives, found materials, and systems of reproduction and temporal displacement, producing works that reflect on how meaning accumulates and erodes across cultural and institutional contexts.