Homiens Spring 2026
Dylan Lisle, East of the Sun (detail), 2025, Oil on canvas, 20.1″ x 24″ (510 mm x 610 mm).
With great excitement, we present our Spring 2026 exhibition. In bringing these extraordinary pieces together, we are struck by each artist’s profound engagement with what it means to hold onto memory, to legacy, and to the fleeting moments that comprise the textures of our lives. We believe there is a beautiful, very human tension evident here between the enduring and the impermanent. We see the quiet devotion of hyper-realistic expression heightened against playful and sentimental modes of experimentation. And we find fragmented, dreamlike landscapes conversing gently with raw and grounded sculptures.
Beneath these varied approaches, a shared warmth reverberates throughout this collection. Each of these gifted artists is looking so closely at the world around them. Whether they are capturing the extraordinary play of light at home or on bodies, finding subtle ways to ask incisive questions, or reflecting the riches of our world back to us, their work is rooted in care and appreciation. Through their practices, these artists show us how to carry forward wisdom, protect what is vulnerable, and keep alive what we still need today. It is a joy to share their masterful work with you, and to invite you into an exhibition that so exquisitely captures our common instinct to remember, to preserve, and to hold on.
The Homiens Art Prize is Now Open
Dragos Burghiu
Burning Bush 2025
Acrylic on hardboard
31″ x 16″ (787 mm x 406 mm)
Born in Brasov, Romania (1988), Burghiu currently lives and works in Ann Arbor, Michigan. He has exhibited his work in various regional venues and has been a four-time participant in the international art competition ArtPrize (Grand Rapids, MI). Additionally, his work has been featured in numerous art fairs and public exhibitions throughout Michigan. Burghiu continues to work independently, with his pieces held in various private collections.
Sarah Evans
Corner Shop Lemons 2025
Color pencil on cartridge paper
16.5″ x 23.4″ (420 mm x 594 mm)
My work focuses on creating detailed color, still life pencil drawings of objects and modern foodstuffs with a playful edge. The subjects I choose are commonplace with a distinct Britishness about them. Elevating the mundane and trivial rituals that we cherish everyday is a driving factor in my work. I stage and photograph my subjects with particular attention to contrasting textures and materials, in order to create a more vivid and life-like artwork.
Pencil on Paper was established in 2017 by architect turned artist Sarah Evans. Her intricate skill and attention to detail functions to create work that resembles a perfectly lit photograph. She instils color and energy into all of her work. Sarah is the author and illustrator of book Super Realism! How to draw amazingly lifelike objects with colored pencils (Thames & Hudson / Skittledog, 2024).
Timothy Sawyer Shepard
Wandering around Kita-Shinagawa, Tokyo, Japan – a view of the fujizuka 2025
Archive print on handmade Ichibei Iwano Japanese Dai Oban sized washi, AP 1/2
17.7″ x 21.7″ (450 mm x 550 mm), framed
My landscape works begin with walking. I wander a place without fixed intention, carrying a camera and gathering whatever catches my attention. I may visit a place once, return several times, or revisit it across years. These photographs are not planned as components of a final image; they are fragments of attention, gathered before I understand why.
Back in the studio, I cut, layer, and recombine hundreds of these photographed fragments into a single composition. The resulting work does not depict a place as a camera viewed it. Instead, it attempts to recover the feeling of having been there – the accumulated experience of a landscape as it is held in memory.
I am drawn to the Japanese ukiyo-e tradition of Hokusai and Hiroshige. Their prints name real places, yet they are not documentary records. They are distillations of wandering: impressions carried inward, rearranged in the studio, and made true to experience even when the actual geography has been altered. My method follows a related principle. The walk gathers material; the studio work remembers it into form.
I call the resulting view omnijective: many perspectives, one vision. Each element is objectively real – a tree that stood, a bird that passed, a stone that was photographed. Yet no single viewpoint contained them all. The finished image is therefore neither a straightforward photograph nor an invention from nothing. It occupies the space between documentation and imagination. Its parts are real; its unity is composed.
This is where photography and painting meet in my practice. Photography is tied to a particular instant and vantage point. Painting can gather time into one image. My work borrows painting’s freedom of composition while retaining photography’s discipline of the real. Nothing in a final image is absent from the place I wandered, although it was never all present at once.
At a time when images can be generated from nothing, this distinction matters to me. I use Photoshop, but only as an instrument of assembly. The work begins in the body and consciousness, with the act of attentive wandering, and ends in the hand, with ink on handmade paper. Between those physical acts, technology helps me hold together hundreds of fragments that no physical collage could practically sustain.
The prints are made on Echizen washi from the Iwano workshop in Japan: kōzo paper formed by hand, without chemicals, in a tradition now in its ninth generation. Ichibei Iwano is recognised as a Ningen Kokuhō, a Living National Treasure. This paper carries the same material lineage as the ukiyo-e prints that first shaped my thinking.
The scale of the washi sheets also matters. It creates an intimate encounter with landscape – something closer to holding a memory than standing before one.
There is a passage in the Brihadaranyaka Upanishad that has long stayed with me since my student days. In my own paraphrase: when we fall asleep, having gathered the things of the day, we take them apart and build them anew, dreaming by our own light.
This is close to what I hope these works do. The walk gathers the material of the world; the studio takes it apart and reassembles it; the finished image becomes a kind of dream – made from what was really there, yet shaped by the inner light of memory.
Timothy Sawyer Shepard is an American-born artist based in Notting Hill, London. His life has been shaped by movement between the United States, Britain, France, and Japan, and this experience of belonging in several places at once continues to inform his work. Over many years, he returned to the Montagne Noir in southern France, where he worked from a rooftop studio and made ephemeral interventions during solitary walks through the surrounding landscape.
Shepard studied Fine Art and Theology at Columbia and Georgetown Universities, an education that informs his interest in memory, perception, consciousness, and the imaginative life of place. His Wandered Landscapes grow from solitary wanderings: walking with a camera, he gathers fragments of a place, then recombines them in the studio into composite images that evoke memory rather than literal geography. Influenced by Hokusai and Hiroshige, he treats landscape as an omni-jective accumulation of encounters: many perspectives resolved into one imagined view.
His practice is also informed by a decade as an assistant to the painter Michael Kidner RA, and by a parallel life in music, including album artwork, films, and sample-based compositions made from records found along Golborne Road. Recent solo exhibitions include Wandered Landscapes at The Green Gallery, London, and By Chance I Did Rove at Aldeburgh Beach Lookout.
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Milly Aburrow
The Salty Crisp Pub 2025
Installation
Variable dimensions
Milly Aburrow (b. 2001, Chichester, UK) is a multidisciplinary artist based in Margate, who is currently on the associate programme at Open School East. her work employs a bold, playful stylisation with vibrant colors and exaggerated forms, transforming familiar everyday objects into humorous yet thought-provoking sculptures and installations. Inspired by food culture, consumerism, and personal experience, Aburrow creates uncanny simulations inspired by everyday experiences. She seeks to foster a sense of community, inviting audiences to engage with the artwork and immerse themselves in a space that evokes personal memories and reflections while gaining insight into the artist’s own life.
Her installations allow her to revisit lived experiences and reclaim agency as a creative practitioner. By stepping into a fictionalised service industry role blurring the boundaries between reality and performance, Aburrow explores the limitations and inaccessibility of certain professions within her personal life as a disabled artist, using these playful yet critical simulations to challenge societal perceptions and reimagine alternative narratives, and question the structures that dictate who is permitted to occupy specific roles in both artistic and professional spaces.
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Jessica Alazraki
Pregnant Diptych 2025
Oil and foam on wood panel
48″ x 36″, 24″ x 16″ (1219 mm x 914 mm, 610 mm x 406 mm)
In this diptych pregnancy becomes a symbol of family and continuity. The rounded belly, the egg on the plate, and the repeated organic shapes echo fertility and creation. The leash extending across the panels parallels an umbilical cord, reinforcing ideas of connection, care, and domestic intimacy.
Jessica Alazraki is a contemporary artist born in Mexico City and based in New York. She has presented solo exhibitions at institutional venues and commercial galleries in New York and has participated in group exhibitions nationally and internationally. Her work has been recognized with numerous awards, grants, and fellowships, and she has been selected for major residencies including Fountainhead (Miami, FL), Anderson Ranch (Aspen, CO), and dot-ateliers (Accra, Ghana). She has completed one public art project through the Percent for Art program in collaboration with the New York City Department of Cultural Affairs and the Department of Design and Construction. Her work is featured in New American Paintings and is held in public collections such as the New-York Historical Society and the National Museum of Mexican Art, as well as notable private collections.
Elizabeth Bizianes
This is a Pipe 2025
Acrylic on canvas
36″ x 24″ (914 mm x 610 mm)
Elizabeth Bizianes is a painter, raised in Louisville, Kentucky, where she lives and works. For more than 20 years her studio, Bizianes Fine Arts, has been home to her art practice and private atelier teaching. Bizianes’ work explores themes of time, family, and memory, through the eyes of an adoptee. Seeking familial resemblances ignited her desire to paint faces, recalling herself as a young girl searching for her own eyes amongst a crowd. Her work blends abstraction and figuration expressing the both hazy, and sharp, dreamlike quality of memory and invites viewers to experience the duality of nature and nurture, through vibrant, dreamlike paintings that celebrate life and the bonds of chosen family.
Bizianes is award-winning artist who has exhibited her work in local and regional galleries and was recently awarded an Honorable Mention in the 2025 AXA Art Prize exhibition held in the New York Academy of Art in New York, NY. In 2025 she earned a Master of Fine Arts degree from the Savannah College of Art and Design.
Leana D. McGuire
Le Roi du Château 2026
Oil on linen
16″ x 20″ (406 mm x 508 mm)
Leana D. McGuire began painting in 2022, having initially started her artistic journey with drawing during the pandemic in 2020. Once she dipped her brush into rich, buttery oils, she knew she’d found her creative home. Since then, she has had paintings included in the Oil Painters of America National Conference 2025, the initial round of Jackson’s Art Prize 2026, and the exhibition of Canada’s Art Comp 2026 at 100 Kellogg Lane. She was also accepted into, and attended, a 3-week art residency at Chateau D’Orquevaux (February, 2026) in Orquevaux, France. Primarily self-taught, she possesses an eye for beauty in everyday objects and is especially drawn to the expressive souls of individual faces. She strives to create an emotional connection with her viewers through the use of vibrant color and texture, something that she “will forever be experimenting with.” Major influences include Vincent van Gogh and Quang Ho, to name just a few. Her dream is to eventually work with a gallery that understands her vision of inspiring others to truly connect with art. When not painting, she is acting in community theater or traveling with her husband.
Rosalyn Driscoll
Breathing Ground 2025
Rawhide, cinefoil, steel, insulation fabric, leather, salt
38” x 252” x 50” (965 mm x 6401 mm x 1270 mm)
Rosalyn Driscoll is a visual artist whose work in sculpture, installation, photography, papermaking, and drawing is grounded in the body, sensory perception, and the exploration of natural forces. A decade of researching, making and exhibiting tactile / haptic sculpture is documented in her book, The Sensing Body in the Visual Arts: Making and Experiencing Sculpture (Bloomsbury, 2020). Her work has been exhibited as a member of the artist collectives Sensory Sites, ThinkAboutWater, ecoartspace and Boston Sculptors Gallery, and independently at such venues as: Minneapolis Art Institute, the UN, St-Gaudens National Park, Courtauld Institute, and October Gallery, London. She has been awarded fellowships from the Massachusetts Cultural Council (three times), New England Foundation for the Arts (twice), and residencies at Djerassi, Helene Wurlitzer Foundation of New Mexico, Dartington Hall Trust, UK, L’AiR Arts, Paris. Her work has been exhibited widely in the US, Europe and Asia and she has traveled extensively for research and exhibition. She initiated, developed, and teaches in a program in Dharma and the arts at the Barre Center for Buddhist Studies.
Dino “Edeth” Valdez
Legacy 94 2026
Archival ink print, adhesive, laser cut wood, laser cut and etched mirrored acrylic, acrylic paint. Artist frame made from polylactic acid and iron composite with a chemically induced patina.
11.5″ x 9.8″ x 2.25″ (292 mm × 249 mm × 57 mm)
This work was directly inspired by my mother and grandmother and the effort to continue their legacy of both strength and kindness. The center features an article written about my mother’s art career in the early ’90s where she was asked what it was like to be a self taught artist and actress raising a 4-year-old son. I laser etched the article into the backside of the red mirrored acrylic sheet and cut it to fit within the self-portrait.
The frame was designed referencing images of the decorative iron railing used on my late grandmother’s front porch, collected via Google Maps in the last year we shared a meal together. I converted the images into flat vectors, extruded selective shapes in CAD software, and molded them directly into the frame I designed for the work. My grandmother, much like this frame, is the person who holds us together and protects us to this day with her wisdom and compassion.
Dino “Edeth” Valdez is an interdisciplinary artist born in Detroit MI, whose work focuses on themes of violence and technology through painting, sculpture, and other multimedia based works. Central to Edeth’s practice is examining how social, political, and economic forces shape society, often leading to conflict and upheaval. Within this exploration, themes of resilience and natural order emerge, reflecting the tension between destruction and creation. His work serves as both a visual and philosophical inquiry into how societies and individuals respond to adversity, offering layered reflections on survival, cultural heritage, and the human impulse to find harmony in chaos.
With extensive professional experience, Edeth has worked in a range of galleries across Detroit, Michigan including founding KO Studio Gallery (Hamtramck, MI), as Exhibitions Manager at Red Bull Arts Detroit (Detroit, MI), and Curatorial and Exhibitions Coordinator at the Museum of Contemporary Art Detroit (MOCAD). Edeth has worked on a number of public art murals and installations for Apple (Detroit, MI), Southfield Public Arts (Southfield, MI), Foundation Hotel (Detroit, MI), Shady Records (Detroit, MI), and most recently, the Water Square Residences Collection in Downtown Detroit.
John Hall
Fold 8 2026
Acrylic, canvas, printed silk habotai, metal eyelets
12.6″ x 8.7″ (320 mm x 220 mm)
This recent series of works responds to the often accelerated cycles of urban development, gentrification and decay within contemporary city environments. Drawing on these shifting conditions, surfaces are developed through the reconfiguration of motifs and color palettes rooted in the visual language of “the street”.
Works are constructed through processes of bonding, folding, painting and sublimation printing, resulting in irregularly shaped forms that challenge traditional formats. Archival repeat pattern swatches from the artist’s commercial studio are often included within the compositions, introducing layers of history and cross disciplinary dialogue.
The resulting pieces bring together a dynamic interplay of material, color, and pattern, where fragmentation and reconstruction coexist, celebrating both the immediacy of painterly gesture and the complex narratives embedded within urban space.
John Hall is a multidisciplinary UK-based artist whose practice explores surface, pattern, and the material language of the city. Alongside his studio work, he runs the internationally recognised textile design studio About Pattern, collaborating with clients such as Uniqlo, Philip Lim, and Guy Laroche.
His work has developed through sustained investigations into abstraction, repetition, and the physicality of paint. His practice moves fluidly between painting, surface design, and textile thinking, allowing each to inform and challenge the other.
Recent works draw from urban environments including torn billboards, layered graffiti and overlooked surfaces – using these fragments as catalysts for abstract compositions and evolving motifs. His process involves folded, cut, and layered paint and paint skins, sublimated images, and repurposed textile swatches from his own design archive. These surfaces evoke both erosion and renewal through irregular forms and surfaces.
Color is central, often shaped by seasonal forecasting research from the fashion industry, creating dialogue between fine art and design. The work reflects ongoing interests in regeneration, gentrification, and the shifting textures of contemporary urban experience.
A recent recipient of an Arts Council England Develop Your Creative Practice grant, John continues to expand his painting practice through research, collaboration and experimentation.
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Laura Johansen
Give Me (from Sugarcoated America series) 2003
Photograph
20″ x 16″ (508 mm x 406 mm)
Sugarcoated America is about the colorful lies we tell ourselves about America. Like a game of telephone, the repetition over time forms a sort of hard, protective shell. The shell protects but also obscures, and can function as a confinement or limitation. These photographs were made by layering American cultural objects with sprinkles. I sourced ones made from overseas, and that were made with petroleum-derived paraffin, and artificial colors.
Laura Johansen is an artist working in photography with themes of social justice, including the colorful lies Americans tell about themselves, climate and planet concerns, and the weaponization of money against people. She also shoots fine-art street photography, which she considers a form of anthropology. Her work is always concerned with human happiness.
She holds a BFA from Purchase Collage’s School of Art + Design, and lives and works in Kingston, NY.
Her work has been included in numerous exhibitions and selected for inclusion in shows by curators from the Solomon R. Guggenheim Museum, Whitney Museum of American Art, and MASS MoCA. Her work has also been recognized by the Fine Art Photography Awards, The Prix de la Photographie, Paris, and the Arte Laguna Prize, Venice.
Taerim Kim
Wall to Wall26-MA001 2026
Pumice stone, acrylic, pigment on canvas
11″ x 14″ (279 mm x 356 mm)
My recent body of work explores the persistence of human existence within the fleeting nature of life through the lens of fracture. Through tactile mixed media composition, I engage with materials that bear the marks of time – fractures, remnants, and discarded fragments – drawing inspiration from Geumho San, the ephemeral landscape of my childhood in South Korea.
In weathered surfaces, oil-stained scraps, and the spontaneous fractures of stone, I capture the passage of time – where even the most solid forms linger only briefly before eroding.
The muted tones in my work, drawn from the facing architecture and clutter of transient spaces, embody the quiet desolation of impermanence. The pervasive gray hues serve as a visual metaphor for the emptiness in human existence, a color of both erasure and endurance.
My practice is informed by a wide range of references including Art Informel artist, Alberto Burri, whose work channels personal emotions through raw, tactile surfaces. I also draw from Dansaekhwa artist Sang Hwa Chung, adopting a self-disciplined process of scraping and layering, where repetition itself becomes a meditation on time and persistence.
Like the fractures that form unnoticed, my work invites viewers into a quiet dialogue – one that lingers in the tension between endurance and decay, between what wears away and what remains. This conversation extends to the accompanying poem, a reflection on silent resilience and the unseen fissures that shape our existence.
Taerim Kim (b. 1995, Seoul) is an artist from South Korea currently based in New York.
Through tactile mixed-media compositions, I explore the tension between endurance and decay, incorporating fracture, weathered textures, and discarded fragments to reflect on the quiet desolation of impermanence. Inspired by Geumho San—the ephemeral landscape of my childhood in South Korea—I engage with my memory in the place while referencing artists such as Alberto Burri and Sang Hwa Chung. Using repetitive, meditative gestures of scraping and layering, I create poetic surfaces that embody marks of time—a silent dialogue on resilience, erosion, and the lingering trace of existence.
Taerim has exhibited in numerous group shows both nationally and internationally, including Youth, in Suwon (2020), Young perspective, in Seoul (2021), With, in Gwangmyeong, Echoes Presence: Trace at Paris Koh Fine Arts & Naus Art Collective in NJ (2024), and GODZILLAS at Latchkey Gallery in NY (2024). Taerim grew up in Seoul, South Korea, where he attended Kyonggi University and studied Bachelor of Fine Arts in Studio Arts. Most recently he has attained his Master of Fine Arts in Studio Arts at the School of Visual Arts in New York.
Dylan Lisle
East of the Sun 2025
Oil on canvas
20.1″ x 24″ (510 mm x 610 mm)
My current body of work is a meditation on the historical societal functions of folklore, mythology and traditional aphorisms. It is an inquiry into the important mechanism of folk wisdom and oral tradition relative to the cultural and psychological paradigm shift of the meta-modern age.
I am interested in the decline of moral instruction and “rules for life” that are carried and imparted by traditional narratives. These rudiments of social contract are given to us through our narrative culture from childhood. They play a massively important role in the development of balanced, morally aware and emotionally sensitive adults. I feel that this basic developmental stage is being replaced by the values of social media and the disconnect created by internet based interaction with the world.
Using traditional indirect painting methods and the dark aesthetic of the painters working in the baroque period, I create paintings that encourage the viewer to reconsider the messages carried by traditional narratives within the frame of the digital media age. I aim to encourage discourse on the impact of replacing the function of narrative heritage with social media and internet based communication.
Dylan Lisle is British figurative painter. He studied at Gray’s School of Art in Aberdeen, graduating in 2000, and has since developed a practice rooted in the exploration of historic indirect painting techniques and contemporary thematic objectives.
Lisle worked from studios in Aberdeen and Edinburgh for many years before relocating to Manchester, where he has been based for the past 13 years, working from 1853 Studios in Oldham. His work has been exhibited extensively across Scotland and England, with solo exhibitions in London, Edinburgh, Aberdeen, and Manchester as well as group shows in New York, London, Eton, Edinburgh, Glasgow, and Manchester. He is included in the Royal Society of Portrait Painters 2026 exhibition in London.
Jaden Story
BT010600 2026
Oil and foil on canvas
60″ x 48″ (1524 mm x 1219 mm)
These animals are neither alive nor dead; we don’t know if they are a living creature suspended in action or if they are posed that way by humans (e.g. taxidermy). While trophy hunters treat them as objects that only hold aesthetic value, without respecting a living animal’s right to exist, I try to make them look as beautiful as possible, symbolically elevating each creature through ornate historical / visual references.
There is a sense of vulnerability in the act of being displayed in curated and subliminal spaces–removed from what they know. Each animal engages the viewer in their own unsettling way; tightly confined and not allowed to escape, accusing the viewer of making choices that negatively impact wildlife. Even indirectly, animals are being exploited and dominated by mankind. Rather than becoming so consumed with what humans are doing, my work serves as a reminder that we share this planet with other animals and not to take that for granted. We want them to be alive; this series aims to be a stepping stone to getting them through that door.
Outside of this series, I explore other complex relationships such as domestication, mythology, naturalism, mutualism, parasitism, predator / prey, conservation, and habitat changes.
Jaden Story is an animal-focused oil painter from Brooklyn, just entering the professional art world as a painting graduate from Pratt Institute. She has been featured in exhibitions throughout the country and internationally, and has an extensive knowledge of many different art mediums. She briefly helped lead a collective who put on student-led exhibitions in spaces throughout NYC, and has created illustrations for the AZA (Association of Zoos and Aquariums) SAFE Sharks and Rays handling app. Her goals include entering the conservation and restoration field of paintings, and providing support towards wildlife funds and charities.
Lynn Weiler Liverton
Ho’omau 2023
Ceramic, ti leaf lei
13″ x 9″ x 7″ (330 mm x 229 mm x 178 mm)
Ho’omau is the Hawaiian word that means to be steady, constant, enduring, persevering and unceasing .
The leaves around the base of the figure are those of an ulu tree. The ulu symbolizes sustenance for the Hawaiian people brought with them on the original voyaging canoes. The figure is resolute, her people have weathered through much adversity, yet she stands with pride.
The finish of the piece was found after trying to burn off many layers of pigment; I felt that my attempt to beautify was thwarted over and over, when I didn’t really need to apply anything at all
Lynn Weiler Liverton’s art practice is split between portrait commissions in bronze and in contemporary figurative sculpture.
“Lately I have been wondering how I can tune out… but tune in. I want to un-hear some of the things out there in the world that distract me from figuring out the baseline – the internal dialogue. I use the figure to say what wants to be heard, or maybe what needs to be tuned out. With the life-sized commissioned pieces, the figures are not made up by me, but I learn know the subject through sculpting them. With these figures and portraits, I am looking for (and finding) that connection.“
After earning her Bachelor of Architecture and practicing in Boston and Honolulu; Liverton returned to school and in 1996 earning her MFA. The most ambitious project to date is her multi-figure United by Sacrifice, a memorial to the Armed Services with editions installed in Hawaii; Georgia; and Michigan.
Liverton received the Carey Boon Nelson Award (126th Annual Catharine Lorillard Wolfe Art Club Annual Awards Exhibition) and was featured on the cover of Fine Art Connoisseur Magazine with her bronze piece, Imiloa in National Sculpture Society’s 90th Annual Awards exhibition edition.