Between Pages and Walls: A Viewing Room

Emmett Moore is a Miami-based artist and designer whose interdisciplinary practice moves fluidly between art, design, and architecture. His work examines the shifting relationship between the built and natural environments, using functionality as both a structural premise and a conceptual provocation.

Working with the forms of everyday objects, Moore explores the universality and endurance of the utilitarian, reframing the familiar through shifts in material, color, and context. His material language often draws from secondhand goods, repurposed construction components, and found refuse, strategically employed to collapse traditional hierarchies between the refined and the commonplace. Within this framework, functional objects become vessels for broader cultural, and ecological narratives, ultimately transcending their intended purpose to occupy an elevated role.

His work has been shown institutionally at the RISD Museum, the Frost Art Museum, the Miami Art Museum, the Bass Museum of Art, and is in the permanent collection of the Perez Art Museum Miami. He was the first Miami-based designer to exhibit a solo exhibition at Design Miami. Moore’s work has been covered by Art in America, The Guardian, The Miami Herald, Cultured Magazine, Architectural Digest, Artsy and The Art Newspaper among others. Moore was named the Miami New Times’ Best Visual Artist in 2015 and 2021.

Emmett Moore, Coral Chrome Table Lamp, 2025. EPS, Urethane, Silver Nitrate Paint, Enamel, 10 x 12 x 11 in.

Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Colorado) and Raphael Martinez Cohen (b. 1989, New York City). As a sculptural practice, Ficus Interfaith pursues projects that investigate ingenuity and novelty as it emerges from craft. Their methods and research focus on historical imagery and materials that are ubiquitous to the point of being overlooked or misunderstood. Ficus Interfaith embraces the spirit of collaboration and reuse while reimagining how craft can enter our lives and affect the spaces we create and inhabit. Selected solo exhibitions include In Lieu (Los Angeles), Deli Gallery (New York), and Prairie (Chicago). Selected group exhibitions include “Noplace” at P.P.O.W. Gallery (New York) and “In Practice: Total Disbelief” at SculptureCenter (New York). In 2024, they were visiting artists at Salmon Creek Farm in Albion, California as well as Numano Hashi in Tokyo, Japan.

Ficus Interfaith, Chalkboard, 2024. Cementitious terrazzo and wood, 36 x 60 x 3 in.

Estefania Puerta’s (b. 1988, Manizales, Colombia) work incorporates organic and inorganic materials to form a new poetics of transformation and translation. She is interested in what is gained and lost in the process of making and the new worlds that can emerge from recontextualizing materials. Her practice is rooted in world making, shape-shifting, border crossing, and language failure. Her research in psychoanalysis as it relates to the history of hysteria, natural medicine and folklore, and personal histories of immigration and undocumentation in the United States has led to questions around what is considered “natural” and “alien” in her materially diverse work.

Puerta was awarded the 2024 Philip Guston Rome Prize. Her work has been exhibited at the Berkeley Art Museum and Pacific Film Archive, Palazzo delle Esposizioni, Lyles and King, Micki Meng Gallery, Hesse Flatow, and Someday Gallery. In 2022 her work was included in the New England Triennial at DeCordova Sculpture Park and Museum. Puerta received her MFA from Yale School of Art in 2018. She lives and works in Vermont and New York.

Estefania Puerta, Trumpet, 2025. Synthetic hair, stained glass, oil paint, flower, epoxy clay, aluminum leaf on wood panel, 6 x 8 in.

Ana Benaroya (b. 1986) is an artist born in New York and raised in New Jersey. She received her MFA in Painting and Printmaking from the Yale School of Art in 2019. From a queer perspective, Benaroya’s work explores notions of power and desire by exaggerating and distorting the human body, playing with its form, and its relationship to other bodies. She draws from the languages of comics, caricature, and pop culture and is influenced by images of bodybuilders, cartoons, gig-posters, and artists such as Tom of Finland, Robert Colescott, the Chicago Imagists as well as children’s artwork. Music and song lyrics often appear in the titles of her works. Benaroya’s work utilizes the subversive power of humor to create an image that at first glance might seem funny and appealing to the eye but upon closer examination, reveals a darker, more serious nature.

Ana Benaroya, Lady Fortune, 2024. Oil on canvas, 24 x 20 in.

Katie Stout is regarded as one of the leading designers of her generation. Her works have been featured in T Magazine, the New York Times, Apartmento, Artforum and numerous other publications. Stout’s work can be found in museums and private collections across the globe, including the permanent collections of the San Francisco Museum of Modern Art, San Francisco, CA; the Dallas Museum of Art, Dallas, TX; and the Museum of Arts and Design, New York, NY. Katie Stout’s first solo exhibition was in Miami with Nina Johnson (then Gallery Diet) in 2015.

Raised in the Southern foothills of the Appalachian mountains to a family of preachers and teachers, Seth Cameron became neither and both. At the turn of the century, he expatriated to New York City, graduating from The Cooper Union School of Art before establishing the iconoclastic artist collective, The Bruce High Quality Foundation. The Foundation has been included in Greater New York at MOMA PS1, The Whitney Biennial, and The Sundance Film Festival, and was the subject of a 2013 retrospective at The Brooklyn Museum of Art. Beyond the collective’s artistic practice, Cameron founded and directed its free experimental art school, BHQFU (2009-17) alongside other forays into the field of art education, including leading The Intradisciplinary Seminar at Cooper Union, serving as Critic-in-Residence at the Hoffberger Graduate School of Painting at Maryland Institute College of Art (2022) and as Executive Director of Children’s Museum of the Arts (2020-2023).

In his practice Cameron draws influence from Chinese literati painting, New Wave cinema, Romantic landscape painting, postmodern confessional fiction, and post-painterly abstraction, creating philosophically and emotionally charged paintings and literary works that ask empty cups to be as sweet as the punch. Recent solo exhibitions include The Tourist (2024, Nina Johnson Gallery), The Fair Mountain (2020, Nina Johnson Gallery) Sunless (2019, Nathalie Karg Gallery) and Suns(2018, McClain Gallery).

Seth Cameron, Untitled, 2023. Sumi on linen, 12 x 6 in.

Madeline Donahue (born Houston, TX 1983) makes figurative paintings, drawings and ceramics that center on her experiences of pregnancy, birth, motherhood, and owning a postpartum body. Her work is part of the recent explosion of dialog in the contemporary artworld about once taboo subjects: motherhood, intimacy, and caregiving.

Donahue’s most recent work explores desire through the lens of motherhood, midlife and her studio practice. Desirous and powerful women, especially older women, are often censored and depicted as monstrous, grotesque and something to be feared. Desire emerges in the new work as a hyper-sexed character, a sort of twin to the familiar maternal character in her work. The twin is present at all times as the mother goes about her day. Desire is only seen by the viewer and the mother, allowing the mother to be herself with her children while acknowledging the often suppressed and ignored aspect of self so readily present and available for men in our culture. The goal of the work is to continue to push boundaries around perceptions of the body, intimacy, our connectedness to ourselves and each other.

Madeline Donahue, Dollhouse, 2023. Oil on linen, 46 x 36 in.

Patrick Dean Hubbell (Dine’, b. 1986) He is To’ahani'(Near to Water Clan), Born for Dibe’lizhini (Black Sheep), Maternal Grandfather is Kinyaa’aanii (Towering House People), Paternal Grandfather is Hona’ghaahnii (One Who Walks Around Clan). He is originally from Navajo, New Mexico, located near the Northeast region of the Arizona, New Mexico border of the Navajo Nation, in the Southwest region of the United States. Hubbell’s work has been exhibited at galleries, museums and institutions nationally and internationally and can be found in numerous public and private collections. In 2017, Hubbell was awarded the Pollock-Krasner grant. He is the recipient of the New Artist Society Award (SAIC, 2019), The James Nelson Raymond Fellowship (SAIC, 2021), and is a recent graduate from The School of the Art Institute of Chicago. He currently lives and works on the Navajo Nation.

Patrick Dean Hubbell, Nizhonigo Nahaałtin: Your Gentle Rain Came Down To Soothe And Rejuvenate My Spirit, 2025. Oil, Acrylic, Enamel, Natural Earth Pigment, Synthetic Polymer, Staples, Leather, Buckskin, Commercial Tanned Deer Hide, Satin Fabric, Tarp, Tyvek Pinkwrap,Velvet, Synthetic Textile, Sewing, Canvas, 75 x 24 in.