ROOTS
Digital catalog
LENS 1
Tangible
Lisa Osorio
Un amanecer en el Malecon, 2023
Digital photograph | Havana, Cuba
8” x 10”
Una tarde en Havana, 2023
35 mm film photograph | Guatape, Colombia
8” x 10”
La vista del Peñol, 2022
Digital photograph | Havana, Cuba
8” x 10”
ARTIST STATEMENT
This collection is a love letter to the everyday life and unique beauty of Latin America. The photographs, taken in Guatapé, Colombia and Havana, Cuba, each reflect a moment of connection that invited me to pause, feel, and recognize the deep admiration I hold for my roots and my people.
Being multicultural has always made me question where “home” really is. But over time, I’ve found that home doesn’t have to be a fixed place. It can live in a feeling, in a language, in a color that reminds me of my childhood, or in the warmth of a stranger who speaks with familiar rhythm.
Yoga and photography have both taught me the same lesson: stay present. Whether I’m guiding a yoga class or capturing a fleeting moment, I’m practicing my ability to witness what is raw, real, and happening at the present moment.
These images, captured in both 35mm film and digital, are invitations to remember that art is everywhere, and so are our roots. Each frame holds a story, a reflection, and a soft invitation to see the world, and ourselves with more depth.
I hope this collection reminds you that art is everywhere and that home can be found in more places than one. We are always allowed to return to the parts of ourselves we thought were lost.
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lisaosodel.com
Eszter Bornemisza
Overprinted, painted newsprint, threads
102.3” x 29.5”
Competing Quarters, 2017
ARTIST STATEMENT
Eszter Bornemisza is a fiber artist working with recycled newspaper, textiles, and soft, often unconventional materials. Her primary creative process centers on printing, painting, and cutting, complemented by machine stitching. She also creates large-scale installations, three-dimensional objects from handmade paper pulp, and layered wall hangings.
Experimentation and research are essential to her process, often leading to unexpected discoveries. Even unsuccessful trials become fertile ground for new directions and material innovations.
A central focus of Bornemisza’s work is the experience of urban existence. Over decades, she has developed a visual language using city maps—distorted, layered, and distressed—to explore the complex nature of orientation and identity. Transparency plays a key role, allowing multiple layers of meaning to appear and fade. These textured compositions echo the way we navigate memory, place, and belonging, reflecting an ongoing, delicate negotiation between the physical, mental, and spiritual dimensions of being.
Her works explore the layered process of seeking identity and orientation in a shifting world. Overlapping, transparent maps of varying densities reflect the complex web of memories, experiences, and information that shape our sense of place.
Bornemisza’s pieces invite reflection on how we navigate disjointed inner and outer landscapes, and how we construct meaning, identity, and belonging in a world of perpetual flux.
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Sean Ferguson
Hailey Hartigan
LOOP, 2025
Audio visual installation
ARTIST STATEMENT
LOOP is a mixed-media project by Hailey Hartigan and Sean Ferguson, blending Hailey’s expertise in visual arts and Sean’s passion for audio to elicit emotions of our audience that cannot be described in words. There’s only so many ways in which humans can verbalize the complex emotions we feel, and being that we are creatures of connection, it’s much easier to relate on a deeper level when you can find something to transport you back into a moment and unlock that memory. As connected and similar as we are to one another, we process and remember things in different ways, for example Hailey is more drawn to visual cues while Sean is more audio-responsive. We wanted to share the same feeling from each of our own lenses through two different mediums to not only better understand one another’s viewpoint, but so that we can also create a more complete picture for our audience. Each painting is paired with a unique soundscape that are interdependent of each other to demonstrate that all of us are distinctly our own selves united by shared experiences.
As the opening chapter of “LOOP”. this installation introduces an ongoing collaboration between Hailey and Sean. Further works are in progress, in preparation for a second installation in February 2027.
Angela Muno
Transmutation, 2025
Prints and deadstock fabric
ARTIST STATEMENT
The inspiration for this project comes from a quilt comprised of t-shirts that belonged to my father before he passed away. I’ve kept this blanket with me through many moves, and although I didn’t understand how important it would become when my mother gave it to me at 10 years old, it’s taken on an incredible significance as I’ve grown up.
In meeting other people who have also experienced the grief of a lost loved one, I’ve ruminated on the question of what we do with objects - specifically clothing - after someone is gone.
How do these decisions - keeping something, giving it away, or turning it into something new - connect to grief itself? Do we create these connections to remind us of what we lost? Who we aim to become? Or to literally manufacture closeness? Clothes are, after all, the closest thing to us at all times - a layer between our skin and the rest of the world.
The backdrop of this photo series is inspired by my father’s quilt and Korean Pojagi curtains. I hope it stimulates consideration for what came before, while also providing a moment to admire the process of finding beauty in materials that are otherwise looked over or forgotten.
And so, I give to you these photographs of my friends wearing or holding cherished items that once belonged to their loved ones. These things have taken on new meaning, transforming into representations of grief. They also remind us that despite massive loss, the love still remains.
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Hailey Hartigan
Acrylic on canvas
30” x 24”
Before Beltane | LOOP I, 2025
The Playground Effect | LOOP II, 2025
Acrylic on canvas
24” x 30”
Acrylic on canvas
24” x 20”
Home, again. | LOOP III, 2025
ARTIST STATEMENT
LOOP I-III are the first of a series of paintings, each depicting a unique, and highly sensory sentiment. These feelings are not necessarily a single moment in time, but a state that is returned to, rather cyclically. Something that loops on its own esoteric axis. These are feelings that are rather difficult to capture in words, for they transform with every return, gathering layers of meaning and nuance. The paintings depict inner worlds.
LOOP is a collaborative audio visual installation. The project exploring perspective, memory, and interconnection, pairing a soundscape to each sentiment, providing an audio interpretation of the visualized feeling.
“Before Beltane” - The edge of cusping discomfort. The fruits of your labor are already showing, but the growing pains still subtly ache.
“The Playground Effect” - Shared giggles reverberating through space. Joy as a catalyst for collective movement. Positivity passed onto another through osmosis, and then another.
“Home, again” - Returning to a familiar state as an evolved version of self. What was once not found, is now brought forth from within.
Eszter Bornemisza
Elsewhere, 2023
Overprinted, painted newsprint, threads
59.1” x 133.9” x 7.9”
ARTIST STATEMENT
Eszter Bornemisza is a fiber artist working with recycled newspaper, textiles, and soft, often unconventional materials. Her primary creative process centers on printing, painting, and cutting, complemented by machine stitching. She also creates large-scale installations, three-dimensional objects from handmade paper pulp, and layered wall hangings.
Experimentation and research are essential to her process, often leading to unexpected discoveries. Even unsuccessful trials become fertile ground for new directions and material innovations.
A central focus of Bornemisza’s work is the experience of urban existence. Over decades, she has developed a visual language using city maps—distorted, layered, and distressed—to explore the complex nature of orientation and identity. Transparency plays a key role, allowing multiple layers of meaning to appear and fade. These textured compositions echo the way we navigate memory, place, and belonging, reflecting an ongoing, delicate negotiation between the physical, mental, and spiritual dimensions of being.
Her works explore the layered process of seeking identity and orientation in a shifting world. Overlapping, transparent maps of varying densities reflect the complex web of memories, experiences, and information that shape our sense of place.
Bornemisza’s pieces invite reflection on how we navigate disjointed inner and outer landscapes, and how we construct meaning, identity, and belonging in a world of perpetual flux.
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LENS 2
transformed
Colton Teri
Dog & Bone, 2023
Mixed media
25” x 25”
Locket, 2023
Mixed media
25” x 25”
Move!, 2023
Mixed media
25” x 25”
ARTIST STATEMENT
I am drawn to the feel of materials, the trial and error, the moment when something unexpected happens and shifts the direction of the piece. While I don’t begin with rigid concepts, the content emerges naturally through my relationship with aesthetics, design, and the chapters in my life I’ve moved through: skateboarding, basketball courts, music scenes. These early influences shaped how I see and what I gravitate toward.
Texture plays a major role in my practice. I’m often combining traditional and unconventional materials like basketballs, insulation foam, cement, elements from my parents' yard as a way of pushing both surface and meaning. I’m interested in the tension between control and chance.
This process is also personal as my family. That sense of craft and expression runs through my family, and I see my practice as a continuation of that lineage. Making work allows me to connect with that history and with the people around me.
Lately, I’ve let go of the need to produce “perfect” pieces. In doing so, I’ve found something more honest. The work becomes a space for reflection, release, and exploration.
PURCHASING INFORMATION
Steven Kleinrock
Box Canyon, 2022
Oil on canvas
40” x 32”
ARTIST STATEMENT
Box Canyon in New Mexico is a narrow gorge framed by tall, colorful rock walls in warm tones of red, ochre, and pink, dotted with juniper and sage trees. As the sun moves across the sky, shifting shadows and light heighten the canyon’s beauty and drama. Each time I walk through it, I’m struck by the contrast between the raw, rugged rock formations and the soft, subtle light and colors that together create a beautifully harmonious landscape. This painting explores my layered memories of walking through the canyon at various times of the day and years.
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Eszter Bornemisza
Suburbia, 2017
Overprinted, painted newsprint, threads
63” x 27.6”
ARTIST STATEMENT
Eszter Bornemisza is a fiber artist working with recycled newspaper, textiles, and soft, often unconventional materials. Her primary creative process centers on printing, painting, and cutting, complemented by machine stitching. She also creates large-scale installations, three-dimensional objects from handmade paper pulp, and layered wall hangings.
Experimentation and research are essential to her process, often leading to unexpected discoveries. Even unsuccessful trials become fertile ground for new directions and material innovations.
A central focus of Bornemisza’s work is the experience of urban existence. Over decades, she has developed a visual language using city maps—distorted, layered, and distressed—to explore the complex nature of orientation and identity. Transparency plays a key role, allowing multiple layers of meaning to appear and fade. These textured compositions echo the way we navigate memory, place, and belonging, reflecting an ongoing, delicate negotiation between the physical, mental, and spiritual dimensions of being.
Her works explore the layered process of seeking identity and orientation in a shifting world. Overlapping, transparent maps of varying densities reflect the complex web of memories, experiences, and information that shape our sense of place.
Bornemisza’s pieces invite reflection on how we navigate disjointed inner and outer landscapes, and how we construct meaning, identity, and belonging in a world of perpetual flux.
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Hailey Hartigan
Dancing Alone, 2020
Acrylic on canvas
8” x 10”
ARTIST STATEMENT
“Dancing Alone” is a visual expression of the feeling of moving emotion through the body.
Colton Teri
Psycho, 2025
Mixed media
40” x 30”
ARTIST STATEMENT
I am drawn to the feel of materials, the trial and error, the moment when something unexpected happens and shifts the direction of the piece. While I don’t begin with rigid concepts, the content emerges naturally through my relationship with aesthetics, design, and the chapters in my life I’ve moved through: skateboarding, basketball courts, music scenes. These early influences shaped how I see and what I gravitate toward.
Texture plays a major role in my practice. I’m often combining traditional and unconventional materials like basketballs, insulation foam, cement, elements from my parents' yard as a way of pushing both surface and meaning. I’m interested in the tension between control and chance.
This process is also personal as my family. That sense of craft and expression runs through my family, and I see my practice as a continuation of that lineage. Making work allows me to connect with that history and with the people around me.
Lately, I’ve let go of the need to produce “perfect” pieces. In doing so, I’ve found something more honest. The work becomes a space for reflection, release, and exploration.
PURCHASING INFORMATION
Colton Teri
Kamal, 2025
Mixed media
20” x 30”
ARTIST STATEMENT
I am drawn to the feel of materials, the trial and error, the moment when something unexpected happens and shifts the direction of the piece. While I don’t begin with rigid concepts, the content emerges naturally through my relationship with aesthetics, design, and the chapters in my life I’ve moved through: skateboarding, basketball courts, music scenes. These early influences shaped how I see and what I gravitate toward.
Texture plays a major role in my practice. I’m often combining traditional and unconventional materials like basketballs, insulation foam, cement, elements from my parents' yard as a way of pushing both surface and meaning. I’m interested in the tension between control and chance.
This process is also personal as my family. That sense of craft and expression runs through my family, and I see my practice as a continuation of that lineage. Making work allows me to connect with that history and with the people around me.
Lately, I’ve let go of the need to produce “perfect” pieces. In doing so, I’ve found something more honest. The work becomes a space for reflection, release, and exploration.
PURCHASING INFORMATION
LENS 3
TRANSMUTED
Mireim Alibrahim
Lady of the Sea, 2025
Acrylic on canvas
24” x 30”
ARTIST STATEMENT
Raised in Iraq during uncertain times, I turned to sketching to express what words could not. Today, I revisit those early memories, transforming them into layered mixed media paintings that explore migration, culture, and identity. Each piece often begins with a fragmented memory, an old sketch, or an inherited story, then evolves through collage, symbolism, paint, and texture—echoing the emotional complexity of displacement.
This body of work, titled Maktub—an Arabic word meaning “it is written”—bridges past and present. It offers a contemplative space to reflect on how trauma and resilience can coexist, carried across time, memory, and generations.
PURCHASING INFORMATION
Michael Dupuy
If Your Rap Is Strong, You Can’t Go Wrong, 2025
Digital and mixed media triptych
24” x 54”
Birds Don’t Sing
24” x 18”
Reality
24” x 18”
Outlaw
24” x 18”
ARTIST STATEMENT
I am a graphic designer who enjoys combining video and animation with typography and layout design. From video posters to magazine covers to party flyers, the slightest glimpse of my work will show that I am heavily influenced by music especially rap and Hip Hop culture. Hip Hop was built on four main elements – Djing, MCing, Breakdancing and Graffiti. I believe my work is redefining and elevating the Graffiti element because I have the opportunity and resources to mix media and create pieces that represent me and my culture. I can add spray paint to what I made in Photoshop and give it to the world. I believe I’m at the forefront to a new movement and style of art that will last even after my lifetime. To me, music is therapy. I listen to it, study it, absorb it every day and night. My use of typography reflects how I hear lyrics. Loud and impactful. Vibrant and dangerous but it brings me peace – a feeling of being centered within myself. That’s why I chose to share this collection of pieces. I find peace in these words even though outsiders see/hear them and think they’re too “violent”, “explicit” or “OBSCENE” I’m grateful to be able to have the freedom to create these designs without being censored. Rap is what helped me cement my style as an artist and designer. This music is the voice of the unheard. If it’s hard to hear it, I make it possible to see it.
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Max Rykov
Home, Interrupted, 2025
Three-channel CRT video installation (20 min)
ARTIST STATEMENT
The evening before I left my home in Kyiv for the last time, I filmed the swallows circling around the sky from the balcony of the apartment I grew up in. Their bird calls mixed with the distant sound of children still playing in the yard, a cool breeze moved through the trees, and the smell of my grandmother’s cooking drifted from the kitchen. Even as I stood there, I knew that I would look back on this moment as it was passing, trying to hold on to every detail. That clip became the final record of home as it was, before war, before my grandmother’s death, and before my return became impossible.
There is a fragile bond between witnessing and remembering. From an early age, the sights, sounds, scents, tastes, and textures around us anchor our sense of belonging to a place and form the core of our identity. When belonging is interrupted by migration or exile, the act of remembering becomes both a tether to cultural identity and a reminder of its fragility. The grasp on our roots survives only in fragments as our recollection of these experiences blur.
Home, Interrupted displays seeing and remembering as a process of transmission, rather than absolute preservation. Our memories are not fixed records but unstable signals. They fade, re-assemble, and distort over time, especially with distance and separation.
This three-channel installation is structured around the image of the eye, cycling through final records of home from the balcony, distorted sequences of VHS footage of my childhood, and mass media recordings from Ukrainian television of the 1990s and early 2000s.
This work asks how we carry home with us, and what remains once memory itself begins to fade.
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Colton Teri
1975, 2020
Mixed media
20” x 14” each
ARTIST STATEMENT
I am drawn to the feel of materials, the trial and error, the moment when something unexpected happens and shifts the direction of the piece. While I don’t begin with rigid concepts, the content emerges naturally through my relationship with aesthetics, design, and the chapters in my life I’ve moved through: skateboarding, basketball courts, music scenes. These early influences shaped how I see and what I gravitate toward.
Texture plays a major role in my practice. I’m often combining traditional and unconventional materials like basketballs, insulation foam, cement, elements from my parents' yard as a way of pushing both surface and meaning. I’m interested in the tension between control and chance.
This process is also personal as my family. That sense of craft and expression runs through my family, and I see my practice as a continuation of that lineage. Making work allows me to connect with that history and with the people around me.
Lately, I’ve let go of the need to produce “perfect” pieces. In doing so, I’ve found something more honest. The work becomes a space for reflection, release, and exploration.
PURCHASING INFORMATION
Mireim Alibrahim
Dinner Time, 2025
Oil and spackling compound on canvas
30” x 40”
ARTIST STATEMENT
Raised in Iraq during uncertain times, I turned to sketching to express what words could not. Today, I revisit those early memories, transforming them into layered mixed media paintings that explore migration, culture, and identity. Each piece often begins with a fragmented memory, an old sketch, or an inherited story, then evolves through collage, symbolism, paint, and texture—echoing the emotional complexity of displacement.
This body of work, titled Maktub—an Arabic word meaning “it is written”—bridges past and present. It offers a contemplative space to reflect on how trauma and resilience can coexist, carried across time, memory, and generations.
PURCHASING INFORMATION
Leah Lowery
Retrospective, 2024
Mixed upcycled media on canvas
24” x 18”
Unravel Now, 2023
Mixed upcycled media on canvas
24” x 18”
ARTIST STATEMENT
I am passionate about making art that explores the layers of how we experience life. That be it a person, place or thing, the textures, colors and details play an important role in the spirit of my work and messages that are embedded through intention. My goal is to create art that inspires change and personal transformation on both a conscious and unconscious level.
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