DF5

Charles Eladio Beronio, 2023
Wood paddle with carved and burned text
6 x 71 x 1”
Private collection, Brooklyn NY

$950, unique multiple, upon request

This is a common vernacular/slang expression that is often spoken as a salutation upon one’s departure.  It is said to originate as a term of encouragement amongst graffiti writers for their work to have a lasting presence before being buffed and painted over.  My version as it is carved in a canoe paddle is hopeful and optimistic, perhaps a wish to keep one’s “head above water.”  Stay up is also reminiscent of “Stay Gold” spoken amongst the characters in the film and book The Outsiders.

Ezekiel Honig, 2026
Printed canvas stretched on wood
24 x 24”

$3,000

Bumping Into a Chair While Humming: Sounds of the Everyday, Listening, and the Potential of the Personal

This piece is a redesign, reformatting, recontextualization, of the book of the same title, which explores the sonic potential in everyday objects, spaces, and interactions. There is a focus on how to create a personal soundscape by listening differently, and searching for, and creating, sound in one’s immediate environment that resonates with the individual.

This piece is the entire text, printed on 24" x 24" canvas. Rather than an object that can be held and experienced in different spaces and moments, this version can be fixated on a wall, and experienced in a different way, over a longer period of time.

Krystiana Kosobucki-Howell, 2025
Repurposed acrylic yarn
9 × 11”

$300

As a textile artist interested in reclaiming and repurposing existing materials, Krystiana Kosobucki-Howell plays with the boundaries between two-dimensional and three-dimensional work and the purpose of objects, making visual art out of yarn originally used for garments, or garments out of textiles originally used for housewares. In this piece, Krystiana uses antique and reclaimed acrylic yarn to show the material itself as a potentially beautiful object. Some of the yarn contains color irregularities which highlight how this material has lived a life before this one – repurposing these materials extends their lifespan and honors objects and processes that are not historically included in fine art.

Krystiana Kosobucki-Howell, 2025
Repurposed acrylic and cotton yarn
9 × 11”

$300

As a textile artist interested in reclaiming and repurposing existing materials, Krystiana Kosobucki-Howell plays with the boundaries between two-dimensional and three-dimensional work and the purpose of objects, making visual art out of yarn originally used for garments, or garments out of textiles originally used for housewares. In this piece, Krystiana uses antique and reclaimed acrylic and cotton yarn to show the material itself as a potentially beautiful object. Some of the yarn contains color irregularities which highlight how this material has lived a life before this one – repurposing these materials extends their lifespan and honors objects and processes that are not historically included in fine art.

Krystiana Kosobucki-Howell and Lynnette Therese Sauer (Circling Studios), 2026
Acrylic, ink, and cotton thread on paper
16 x 11.5” (matted, framed 24 x 18”)

$600

In this mixed media piece, Lynnette Therese Sauer and Krystiana Kosobucki-Howell combine their respective practices through a process of layering Lynnette’s drawings and paintings together into a collage and then integrating Krystiana’s stitchwork. As longtime friends and collaborators, it has long been part of Lynnette and Krystiana’s vision to make more physical work together – living in different places, the artists completed this work long-distance, mailing it back and forth in a shipping tube to prepare it for exhibition. In both symbol and in process, Theories of Intimacy explores the ways that each of us, our artistic sensibilities, inspirations, and outputs are shaped and transformed through the portal of relationship.

Jason Nunes, 2026
Microphone, mic stand, found hood ornament, chrome paint
15 x 6 x 6”

$750

My art practice is part assemblage, part scavenger. I build from things found on long walks, with a little leftover instinct from my years as a prop maker on 90’s straight-to-video horror films. Mostly, I mess around until I find out what I'm making.
Taking Flight is a ritual object for sound journeys: a microphone fitted with wings I found on one of those walks. It's an instrument for calling something down, or sending something up.

Joshue Ott, 2026
Interlaced pigment print on backlight film, acrylic lenticular lens, LED lightbox
48 x 17”

$8,586.25

This score is a record of drawings, gestures, and movements made during a live session with superDraw, a software instrument the artist has performed with and refined for over 20 years. Ott’s scores, which are part of a series, are descriptive rather than prescriptive: they are records of a performance rather than a blueprint for creating one.

superDraw is built around the idea that a hand-drawn line can generate animation and sound: gestural movement and mark making forming a temporal narrative, conveying meaning from the interplay between light and sound in space and time. Its output is inherently fleeting: video and sound, with no lasting record or object. A lenticular lens holds animation within a still physical object, creating something that moves without moving and translating the original performance into something new.

Todd Polenberg, 2023
Audiovisual installation
LEDs, computer, control systems, speakers, knob
Site-specific installation

Not for sale

Vibe Check is an interactive audiovisual environment that explores the use of synchronized light and sound to create a visceral psychedelic environment.

Todd Polenberg, 2022
LEDs, control system
Site-specific installation

Not for sale

Annelid (2022) is a light-based artwork, a fully algorithmic meditation, and a loamy translation of the organic into the digital. As each moving lightform is birthed, given a lifespan, form, and behavior, and then disperses, it never repeats, generating a parametric infinity of motion.

Sarah Porter, 2026
Collage, photo transfer, watercolor, acrylics, and special-effects acrylics on tinted paper
18 x 24”

$1,200

A crowd with distorted faces—pleated in on themselves—gazes up at a world which exceeds their comprehension while still holding them enmeshed. They appear alienated from the larger realms of being by the solipsism of human concerns, but they are still yearning for reunion. Red lines of connection tumble from the sky: the thicket that entangles all living beings.

Kate Raudenbush, 2025 and 2026
Mixed media
28.5 × 52.5”

$4,320

Out of Darkness began in Raudenbush's studio after January 20, 2025, when she sensed chaos and dread building across the country, along with the courage and resolve many people were finding in response. She made the totem as a personal reminder to hold onto her inner light and stay on a path of integrity, whatever comes. Its circles follow the Fibonacci sequence, the pattern behind the evolution of life, and a reflective white line runs through them, literally catching light in the darkness.

Kate Raudenbush, 2021
Laser-cut steel, LEDs
Site-specific installation

Not for sale

Kate Raudenbush's first indoor installation depicts an altered state of mind grounded in nature and inner knowing. Read from left to right, it begins with roots inspired by mycelium networks and mangroves, the coastal trees that hold soil and shoreline together and shield communities from storms. Here, at Delight Factory, they stand for rooting into dance, music, and community. The eye at the center represents instinct, intuition, and guidance. From there the form opens into wings, as if about to take flight. The work mirrors the space’s purpose as a place of exploration and seeking, a place to get lost and found, and as a portal it builds anticipation for what waits on the other side.

Kate Raudenbush, 2021
Laser-cut steel, LEDs
Site-specific installation

Not for sale

Lynnette Therese Sauer, 2022
Colored pencil and ink on paper
30 × 44“

$2,500

Lynnette Therese Sauer makes slow, pattern-based drawings that retain the imperfections and rhythm of a handmade object. Serving as both records of devotional practice and practical tools of contemplation in their own right, each work is evidence of duration and the density that builds with recurrence. Created years apart but presented together for this exhibition, Untitled (layered meditation) and Summer Trio act out the patterns of returning and observation which are inherent in all contemplative practices. Whether to a sacred text, the sink full of dishes, one’s diary, or the ever-changing present moment, meaning accrues and deepens through this ritual of coming back over time. Each drawing in Lynnette's broader practice documents instances of return to attention – some sustained, some brief – and invites viewers to do the same.

Lynnette Therese Sauer, 2026
Acrylic on panel
3 panels, each 10 x 8”

$900

Lynnette Therese Sauer makes slow, pattern-based drawings that retain the imperfections and rhythm of a handmade object. Serving as both records of devotional practice and practical tools of contemplation in their own right, each work is evidence of duration and the density that builds with recurrence. Created years apart but presented together for this exhibition, Untitled (layered meditation) and Summer Trio act out the patterns of returning and observation which are inherent in all contemplative practices. Whether to a sacred text, the sink full of dishes, one’s diary, or the ever-changing present moment, meaning accrues and deepens through this ritual of coming back over time. Each drawing in Lynnette's broader practice documents instances of return to attention – some sustained, some brief – and invites viewers to do the same.