Rj Raizk is a contemporary artist whose work explores the tension between chaos and control through layered abstractions of color, form, and texture. Working with pigments, inks, and mixed mediums on canvas, Raizk builds dynamic surfaces that pulse with energy and emotion. His process is rooted in experimentation, allowing material reactions, gravity, and intuition to guide the outcome while maintaining a refined sense of balance and composition.

Drawing inspiration from natural phenomena, emotional states, and the movement of light, Raizk’s paintings blur the line between the organic and the ethereal. His use of color, often glowing, reactive, and shifting under different light, creates an immersive visual experience that invites reflection and curiosity.

Raizk earned his Bachelor of Fine Arts from the School of Visual Arts in New York City, where he developed his foundation in experimental painting and mixed-media practices. His work has been featured in exhibitions and private collections across the United States. Based between New York and New Orleans, he continues to expand his practice through collaboration, large-scale installations, and ongoing explorations into the material possibilities of paint and pigment.

Amy Neill is a visual artist based in New Orleans whose work explores the emotional landscape of nature through abstract florals and gestural line drawings. Raised in the rolling hills of Baltimore County, Maryland, she draws inspiration from the changing seasons and the fleeting beauty of nature, light, and memory.

Her paintings are meditations on aliveness - an attempt to translate energy into form and capture the way playful gestures soften color and edges. Informed by the lush, sensory world of New Orleans, her work is largely intuitive and lively, intimate but open.

A graduate of Tulane University with studies at the Maryland Institute College of Art and the New Orleans Academy of Fine Arts, Amy’s creative practice extends beyond the studio into her love of cooking, gardening, and family life - all expressions of her devotion to beauty in everyday moments.

Blainey Kern, a New Orleans native and daughter of renowned float builder Blaine Kern, grew up immersed in the creative world of Mardi Gras. As a child, she worked alongside painters, sculptors, and builders, experimenting with papier-mâché, fiberglass, clay, and plastics, influences that continue to shape her vibrant use of material and color.

Kern earned her Master’s degree in Sculpture from the Rhode Island School of Design (RISD). Her work has been exhibited at the International Sculpture Conference, Market House Gallery, Woods Gerry Gallery Sculpture Biennial, Sol Koffler Gallery, and Jonathan Ferrara Gallery, among others. She has received prestigious residencies at the Skowhegan School of Painting and Sculpture and the Fine Arts Work Center in Provincetown.

Working across sculpture, collage, drawing, video, and performance, Kern creates multidisciplinary works that merge play, ritual, and storytelling. She currently lives and works in New Orleans, where she also teaches children’s art classes at Trinity and the New Orleans Academy of Fine Arts.

Martha Gibbs, also known as Martha Gottwald, is a painter whose work reflects a deeply personal exploration of femininity, memory, and self-expression. Influenced by fashion, interiors, and the rituals of adornment, her practice translates the visual language of style into painterly form, where color, texture, and gesture become tools for storytelling.

Drawing from her lived environment and creative life, Gibbs approaches painting as an extension of atmosphere and identity. Her compositions often evoke intimacy and playfulness while examining themes of transformation, nostalgia, and the evolving experience of womanhood. Balancing spontaneity with careful composition, her work captures fleeting emotional states and the expressive energy of everyday life.

Based in New Orleans, Gibbs moves fluidly between disciplines, bringing a stylist’s sensibility to her studio practice. Her paintings reflect a world shaped by beauty, experimentation, and uninhibited creativity, inviting viewers into spaces where art, personal mythology, and lived experience intersect.

Helen Kohnke is a mixed media painter and photographer influenced by nature, history, and the entropy and decay of her hometown, New Orleans, Louisiana. Her work explores the fragility of life and the mysterious beauty found in seemingly mundane places, objects, and forms within her surroundings.

In her studio, Kohnke collects materials from her environment, including photographs taken with her 35mm camera, scrap wood and metal, fallen leaves, tree bark, shells, and other found objects. These mementos inspire her work and often become integral to the creative process. Whether using tree bark to create surface texture or a fallen leaf as a living muse, she consistently looks to the natural world for guidance.

In an era defined by constant digital stimulation, Kohnke’s practice reflects a desire for deeper physical connection with nature. Working with tangible materials, creating by hand, and attuning herself to nature’s subtle beauty allows her to remain grounded in both self and place.

Aaron Broadbent makes art in response to what he sees as the overlooked miraculousness of everyday life. Through sustained observation, ordinary surfaces begin to lose their mundanity. Sidewalks reveal rainbows, darkness suggests distant stars, and wood grain transforms into imagined landscapes. These moments of perception are central to his practice and serve as an ongoing source of motivation and inquiry.

Since graduating from the Rhode Island School of Design, Broadbent has worked simultaneously in the fields of construction and fine art, maintaining a dialogue between the physical act of building and artistic transformation. Where construction offers the grounded satisfaction of planting a lemon tree, art becomes the act of making lemonade from its fruit. His ongoing exploration of wood grain emerged from years spent working with building materials, studying sheets of plywood until their surfaces seemed to look back.