h(u)m//Echoes captures the whispers of consciousness as we navigate the delicate threshold between our accustomed perception and reality's misty horizon. The exhibition’s enigmatic title suggests subtle vibrations and reverberations, weaving fluid connections between memory, perception, and transformation. Bringing together five artists—Jason Carey-Sheppard, Siheng Liang, Mitch Patrick, Maya Perry, and Zack Rafuls—the exhibition features works spanning painting, sculpture, video, and collage. While each artist confronts the fleeting, intangible, and fragmented, their use of materials and the act of making become ways to reflect and give form to their perception of the immaterial. Through their transformation of materials, the works provide a visceral passage—inviting us to pause, revisit, and return,while meditating on the intersection of the familiar and the extraordinary.

h(u)m//Echoes captures the whispers of consciousness as we navigate the delicate threshold between our accustomed perception and reality's misty horizon. The exhibition’s enigmatic title suggests subtle vibrations and reverberations, weaving fluid connections between memory, perception, and transformation. Bringing together five artists—Jason Carey-Sheppard, Siheng Liang, Mitch Patrick, Maya Perry, and Zack Rafuls—the exhibition features works spanning painting, sculpture, video, and collage. While each artist confronts the fleeting, intangible, and fragmented, their use of materials and the act of making become ways to reflect and give form to their perception of the immaterial. Through their transformation of materials, the works provide a visceral passage—inviting us to pause, revisit, and return, while meditating on the intersection of the familiar and the extraordinary.

Jason Carey-Sheppard’s works delicately echo the essence of late summer and early fall—harvest, surplus, and inevitable decay. The two small-scaled paintings are informed by color field painting and noise rock, while the wall sculpture reflects natural shape and form reminiscent of berries and shelf fungus. At the same time, hints of domestic life and advertising surface, subtly blended into the works. These elements, combined with poetic gestures, disrupt modernist ideals with their deliberate sense of imperfection and defunctness. The interplay of natural systems and human intervention creates an internal tension, bridging past and future in ways that remain unresolved. For Zack Rafuls, the exploration of image, materials, and gesture leads to rethinking both physical and conceptual forms. The two mixed-media reliefs on view transform the act of looking into links between past and present. The glow-in-the-dark star on his former bedroom ceiling—a universal pictorial, emotive, and religious icon—acts as a trace of touch, a fleeting mark tied to human presence and absence. His use of skewed framing devices and references to perspectival distortions echoes historical traditions of late medieval and early Renaissance art, where the picture plane serves as both a window and a portal to another reality.

In his practice, Mitch Patrick investigates the intricate processes of image-making and photography, focusing on the smallest components—handmade marks, machine-generated forms, and pixels. The 3D-printed collage* Solar Witness* and video piece "Struggling to See" reflect Patrick’s encounters with two solar eclipses in 2017 and 2024—natural phenomena that reveal the limits of human vision. Using tools like welding lenses, digital cameras, he documents these moments and renders them with asemic typefaces, dissolving them into readable pixel points so that a state suspended between chaos and control emerges.

The painting "We are Finally Together Again" by Siheng Liang was created during a residency at Yaddo in Saratoga Springs. Its resemblance to Georges Seurat’s pointillism art at first glance is exactly the visual wiles Liang is playing—the gap between painting’s physicality, its creation process, and the act of viewing. Using wax as a medium, Liang employs fire, blades, and hands to create layered compositions. Layers of textures are repeatedly scraped away, giving the edges a weathered, stone-like appearance. This process captures the spirit of place and the marks left by time. Maya Perry reclaims Risograph Masters discarded from screen printing and photocopying processes, transforming them into luminous, chimeric compositions that explore metamorphosis, resilience, and shifting identities. In her paintings, a canine merges with a cicada, or a moth dissolves into light—forms that suggest both lived organisms and spectral presences. By reactivating the residual ink and layering sculptural effects onto these two-dimensional objects, Perry’s process gives rise to an “internal multiplicity,” dwelling between fragility and strength, decomposition and rebirth, embryo and waste.