ANDREW CANTU – Hands of Tradition

I often think about my family lineage and how our views and life experiences differ, wondering what hardships and joys they may have known. Each moment they lived led to where I am today. Similarly, I imagine a fragmented vessel made from many works crafted by many people, with little chance of ever being brought together. Each fragment holds a distorted story, its origin fading with time. By forming my own fragments and cultural vessel, I create my own interpretation of what life may have been like for my family before me.

 

KORBYN CARLETON – Wilt

Rooted in Korbyn Carleton’s exploration of women’s loss of body literacy, Wilt frames bending not as collapse but as listening. The figure turns inward, toward sensation and gravity, suggesting that what appears exhausted may still be attentive. Reconnection begins not through resistance, but through yielding to what the body remembers.

 

LUCAS CARTER – Running Away from Home

Since childhood, I have always contemplated the way people interact with the substance that makes up interior life; things that are private, authentic, and vulnerable. This fixation manifests in my work through subject matter like domestic space, children, water/wetness, the female body and small animals.  Through primarily figurative sculpture, I study our curiosity towards the interiority of others, our desire to share and protect our own– to safely witness and be witnessed, and how modern dynamics of power, commodification and consumption shape these inclinations.

 

ELIZABETH CONWAY – In Defense of Beauty

In Defense of Beauty is a piece by Elizabeth Conway made in her first year at Lyme Academy of Fine Arts. The piece portrays a woman covering herself, pulling away from what is advancing her physically or mentally, in a moment of deliberation between temptation and dignity. In that moment she decides what true femininity means to her.

 

SAMUEL DAVIS – Aja

With this portrait, I wanted the final work to reflect the process that brought it into being. Marks remain on the base from the shaping of the clay that was roughed in around the shoulders and smeared with a block of wood. Across the portrait are the seams, an artifact of the casting process, a reminder that this work has transformed again and again in a process of destruction and rebirth to exist before us now.

 

SAMUEL DAVIS – Maelstrom

The two figures of Maelstrom oppose, compliment, and define one another, like day and night. They twist and glide forever around one another; whether they are moving upward, weightlessly rising off of their feet, or downward, burrowing and shaping the ground beneath them depends on which of the figures leads the dance.

 

CHARLOTTE IRIZARRY – Young Woman

For me, art is to communicate expressions that nature has already come up with. This was one of my first pieces, and I hardly feel I played a role in it. When I look at her, she seems to be entirely her own person.

 

LUKAS KUNJAN – Willow: Below the Rising Wind

Within my art practice, I am interested in uncovering new symbols which convey the psychological nature, the zeitgeist, of our time. In the sculpture Willow the most prevalent element is the wind. The figure’s shape, like that of an old tree, is dictated by her relationship to it. She exists in a constant tension to the wind, herself being hollow and as much a part of the wind as it is a part of her. What is this wind that moves us, contorts us, without our knowing?

 

CHRISTOPHER KUNK – To Fall For A Shadow: In Memory of Love

The full title of the piece is To Fall For A Shadow: In The Memory of Love. Shown here is the obverse of the two-sided medallion. The full piece stands as an epitaph to sorrow, and a symbol of hope and optimism towards a brighter future. The obverse depicts two flowers, foxgloves and lily of the valley.

The flowers represent protection or happiness but also have a natural beauty to them. I found it interesting to play with that meaning for this composition given their toxicity, and so it creates a tension for the viewer with the dual symbolism.

 

ALDO MACEDO – Tu Decision

Tu Decision centers around the choice to kill a hare, an action that confronts a passive character to become an active participant. The internal weight of this decision unfolds across a series of chapters, each shaped by memory, symbolism, and the presence of everyday objects. The work begins in a state of indeterminacy, developed without a predetermined meaning or form, and gradually finds relief through a process that draws from sensation and recollection, guided by intuition and improvisation.

 

MARINA MELLUZZO – Listening Inward

This sculpture is an exploration of form, inspired by the passage of time and its effects. The female nude is captured in a suspended moment. Her gasping downward, hands drawn to the chest, feet placed together in a subtle Contra Posto. The body listens to itself, shaped by breath rather than movement.

The figure becomes a quiet language of sensation. Freed from narrative and identity, the body carries feelings rather than story. Gesture replaces speech; posture becomes a site of vulnerability and balance, stillness and tension.

Cast in bronze, the work carries the weight and permanence of its material, contrasting the fleeting nature of breath and sensation. I was involved in each step of the process, guiding the form into its final material. In this space, the sculpture is not meant simply to be seen, but to be felt, opening an interior moment of calm and presence, inviting the viewer to enter through their own breath, their own silence.

 

KELLY MICCA – Abigail

Kelly Micca is a painter and sculptor from Philadelphia and currently resides in Brooklyn, NY. She trained in Rome studying landscape and portraiture in both painting and sculpture and received her BFA at the Pennsylvania Academy of Fine Arts in 2020. She is currently pursuing her MFA at the New York Academy of Art.

Kelly has received public sculpture commissions, notably a 3 ft. tall bronze portrait sculpture of Michael Sacco, the President of the Seafarers International Union in Maryland. At the National Sculpture Society, she placed 1^st in the Richard McDermott Miller portrait sculpture competition in 2025 and 2^nd place in 2021.

Kelly was awarded the Certificate of Excellence from the Portrait Society of America in 2025 for her portrait painting of Zoe.

 

ANNE ROFFLER – Offering

Anne Roffler (b 1996) is a scientist, potter, and writer from Taipei, Taiwan. In both her artistic and scientific inquiries, Roffler studies the incongruities of the self that is coming to terms with temporality and how the self creates meaning in the face of that temporality. Offering is a meditation on the idiom “飲水思源”, meaning “when you drink water, remember the source.” Using a wood kiln to finish this piece, Roffler aims to show the cumulative effect of the fleeting moment. We call these moments “memory”.

 

GABRIELA SANTANA – El Kiosko de Mama

My work explores memory, space, and time, inspired by early childhood experiences in my grandmother’s house in the Dominican Republic. When I returned years later, I was struck by the gap between memory and reality, which made me think about how memories shift and change. I primarily work with wood, referencing Dominican craftsmanship and its resourcefulness. The material is also personal to me, since Madera is my mother’s last name. Through my sculptures, I create spaces that feel both familiar and unfamiliar, inviting viewers to experience them the way memories surface, layer, and evolve.

 

MICHELLE WEN –  The Chariot

The vessel’s imagery is based on the Tarot card The Chariot. This card represents the power of harnessing dualities, like dark and light, masculine and feminine, in order to triumph. The sphinxes symbolize this duality, under a canopy of stars or divine power. The vessel also features Buddhist imagery, one depicting Marici the Goddess of Dawn, a deity in a chariot drawn by seven boars. The other is the Tibetan Wind Horse, the bearer of good fortune and an emblem of speed. By combining Tarot and Buddhist imagery, I connect my personal spirituality with that of my Chinese culture.

 

MICHELLE WEN –  Winding Dragons

My porcelain vessels are references to historical ceramic designs, reimagined through personal narratives and contemporary processes. Winding Dragons references a Hirado porcelain vessel from the late Edo Period, that originally featured a painting of a Chinese lion and similarly sculpted dragons. I chose this design because it merged two cultures together, reflecting an exchange of ideas through porcelain.

My work explores present-day themes of identity and transformation, using symbols from myths, memories, and stories of perseverance or growth, as well as traditional Chinese motifs. The dragon encapsulates many of these themes and appears as a recurring motif in my work.

 

MAIA WILLIAMSON – The Dance

In the spring of 2025, I was inspired to create this multi figure composition about the joy and intimacy of female friendship. I am intrigued by the subject, both in how it plays a role in my life and in the lives of the women around me. In this piece, I hoped to evoke a sense of tender love and delight.

 

MAIA WILLIAMSON – February’s Face

In this sculpture, I sought to place my subject in a world separate from the viewer. Enfolded in drapery with her head bare, she gazes up toward an unknown, unseen subject. While sculpting this portrait, I was inspired by the work of German woodcarvers from the Renaissance. Drawing from their exaggerated gestures and geometric drapery, I leaned more into a design idea rather than naturalism in this portrait composition.