Avery Singer was born in 1987 in New York, where she continues to live and work. Painting almost exclusively in tones of black and white, Singer's canvases teeter between abstraction and figuration.

Employing the 3D-modeling software, Google SketchUp, to create an under-drawing, Singer applies acrylic paint to the canvas via an airbrush, creating images that are both digital and analog. The artist's conceptual considerations are bolstered by her deep sense of art history, to which the titles of her works occasionally make references. In her juxtaposition of unexpected props that appear part human and part cyborg, Singer finds her inimitable signature style.

Christina Quarles (b. 1985, Chicago) lives and works in Los Angeles. She received an M.F.A. from the Yale School of Art in 2016 and holds a B.A. from Hampshire College. Quarles was a 2016 participant at the Skowhegan School for Painting and Sculpture. She was the inaugural recipient of the 2019 Pérez Art Museum Miami Prize and in 2017 she received the Rema Hort Mann Foundation Emerging Artist Grant. In 2021 Quarles joined the board of trustees of the Museum of Contemporary Art, Los Angeles.

Jennifer Packer creates portraits, interior scenes, and still lifes that suggest a casual intimacy. Packer views her works as the result of an authentic encounter and exchange. The models for her portraits—commonly friends or family members—are relaxed and seemingly unaware of the artist's or viewer's gaze.

Born in 1984 in Philadelphia, Jennifer Packer received her BFA from the Tyler University School of Art at Temple University in 2007, and her MFA from Yale University School of Art in 2012. She was the 2012-2013 Artist-in-Residence at the Studio Museum in Harlem, and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA, from 2014-2016. Her most recent solo show, Tenderheaded, exhibited at the Renaissance Society, Chicago in the fall of 2017 before travelling to the Rose Museum at Brandeis University in March of 2018. Packer currently lives and works in New York and is an assistant professor in the painting department at RISD.

Based in Brooklyn, María Berrío grew up in Colombia. Her large-scale works, which are meticulously crafted from layers of Japanese paper, reflect on cross-cultural connections and global migration seen through the prism of her own history.
Populated predominantly by women, Berrío's art often appears to propose spaces of refuge or safety, kaleidoscopic utopias which in the past have been inspired in part by South American folklore, where humans and nature coexist in harmony. To these apparently idealised scenes, however, Berrío brings to light the hard realities of present-day politics.

Driven by his desire to "make new myths" responsive to our times, Robert Nava has created a chimerical world of metamorphic creatures, drawing inspiration from sources as disparate as prehistoric cave paintings, Egyptian art, and cartoons.

Painter Issy Wood turns subjects like Joan Rivers or an ornate silver tureen into dusty, sad relics of fading luxury. Her works are populated by an absurdist menagerie of subject matter that seems desultory, but is distinctly the artist's own. Wood uses auction catalogues and a collection of items bequeathed to her by her maternal grandmother as source materials in some of her work, which includes painting and installation, as well as writing. Her searingly sardonic tone comes through in her titles, like Kettle (By which I mean you die in a fire) (2018). Wood, who calls herself a "medieval millennial" in reference to her classical style, envisions a dark world in which women have been battered by consumerism, heritage is turned into a transaction, and humor is as trenchant as a pair of gold teeth. Wood is featured in The Artsy Vanguard 2020.

Drawing the eye in with electric colors and seemingly pulsating lines, Lauren Quin's (b. 1992, Los Angeles, CA) abstract paintings exist at the juncture of the deeply personal and the universal, the point where each begins to bleed into the other—for, as she proves in her work, if you go too far into either, you are certain to loop back into its opposite. The artist is dealing in modes of communication both micro and macro, internal and external, to achieve her keenly allusive repertoire of imagery and forms of mark making.

Louis Fratino draws upon memory, art history, and an amalgamation of visual cues from the canon of Western art to create familiar scenes of coalescing figures in domestic spaces. The works draw their viewer into a rich interior world, where the male figure is presented in a state of casual languidness traditionally reserved for the female nude. Fratino's emotionally charged, atmospheric paintings explore queer identity with a contemplative tenderness.

Fratino received his BFA from the Maryland Institute College of Art, Baltimore, MD (US) in 2015. He was the recipient of a Fulbright Research Fellowship in 2015 and a Yale Norfolk Painting Fellowship in 2014. The artist's first institutional solo exhibition, curated by Jared Ledesma, will open at the Des Moines Art Center, IA (US) in November 2021.

Jordan Kerwick has quickly acquired global recognition for his bold, raw and unapologetic approach to palette and pattern, executing vivid, expressionistic and highly-stylized compositions. Domestic objects, predatory animals, and mythical beasts — taxidermy rugs ornamented with geometric markings, double headed king cobras, ferocious fanged tigers, and feather-maned unicorns — populate his figurative canvases and create a contemporary folklore or fable that is playful, kinetic and arcane. Using a variety of materials, from oil, acrylic and spray paint on canvas, to oil stick and collage on paper, the artist's "the more mistakes, the merrier" approach rejoices in the fortuitous relationships that arise between unexpected combinations of color, texture, and form.