If I Can’t Get Down is a large tapestry hanging from the ceiling by a long dowl and two thin metal chains. It is made up of a combination of lightweight fabrics, some translucent, some iridescent, and some opaque. At the center of the work is an opaque satin black fabric in the shape of a man’s silhouette. Surrounding him are a combination of hot pink, magenta, baby pink, violet, wine red, crimson red, royal blue, and light blue fabrics of varying opacities and materials. The colorful fabrics are overlappingly stitched together in an abstract manner with most of the opaque fabrics focused near the top and center of the work. Near the bottom of the work, the irregularly cut sheer pink and blue fabrics end at different lengths. There are four evenly spaced out strings of half-dollar-coin-sized sequins sewn into the work. The two strings at the center end around the halfway point of the tapestry, by the man’s hips. The two longer strings of sequins on either side of the man go almost to the bottom of the tapestry, ending around the man's feet. These sequins perfectly match and complement the varying shades of pink, red, purple, and blue found in the fabrics. There is a small scalene triangle-shaped cut out near the man’s stomach, allowing one of the strings of sequins to show through. Nearly the man's entire body is visible with the exception of his left arm which is obscured by the rest of his body. The man is standing on one slightly bent leg while the other leg is subtly kicked back. His visible arm is held bowed out on the backside of his body. The details of the man's silhouette are built up with light blue and dark blue glass beads that highlight his features. The light blue beads are more concentrated on the left side of his body creating an illuminated effect. The man has a thick beard and his eyes and mouth are closed. He is wearing a beanie, a scarf around his neck, a jacket over his shirt, long pants, and sneakers. As people walk through the gallery, the lightweight fabric gets gently blown by the movements of attendees, allowing the fabric to flow calmly, and enlivening the dancing man.

Horizon is a contemporary tapestry painting depicting three young adults sitting next to each other with an abstract pink cloudscape behind them and a mostly teal quilt along the top. The three people’s bodies take up the bottom two-thirds of the painting which ends just above their knees. They are sitting on a brown and gray bench or booth that is mostly obscured by their bodies. The leftmost individual is a Black woman looking down at her phone which she's holding with both hands. She has a medium-length afro of black curly hair. She wearing thin silver-rimmed glasses and has bright green nail polish on. Most of the leftmost side of her body is out of frame, and she appears to have her left leg crossed over her right. She has on a blue high-neck article of clothing that could be a shirt or dress. Her visible thigh is exposed, suggesting she’s wearing a dress or shorts. The individual in the middle is a Black man sitting up straight also looking at the first woman’s phone. He has black earlobe-length twists flowing out of his dark blue baseball cap which is topped with a pair of silver-rimmed aviator glasses. He has on a white T-shirt army green shorts, and a navy blue backpack. He’s also wearing a gold chain necklace tucked into his shirt, a silver dog tag on the outside of his shirt, a black hair tie on his right wrist, and a blue bracelet made up of cylindrical beads on his left wrist. His legs are spread and he’s holding his phone in his right hand which is bent up by his chest while his left arm is resting on his left leg. His mouth is slightly open revealing his top teeth and he appears to be reacting to whatever is on the first woman’s phone. The woman on the rightmost side of the painting is a Black woman looking at the man in the middle with a blank expression. She has long black waist-length braids that are medium to large in thickness. She has on a half-black and half-white one-shoulder mini dress that’s leaving her right shoulder exposed. She’s wearing small rectangular sunglasses with a gold bridge as well as a gold septum ring and two thin gold necklaces. Her left side is mostly out of frame but her left hand is visible holding her phone up to her chest as her right hand is wrapped around the man’s left arm. Her complexion and some of her braids appear pink seemingly from the radiating cloudscape that is above/behind the young adults. This dome-shaped background has a bright pink underpainting with baby blue mixed in and white abstract-shaped clouds. Nearly everything in the work is tinted pink as if they are being illuminated by this magical horizon. The quilt portion of this work runs along the top of the dome shape and is made up of various floral and mandala print fabrics. Most of the fabric is cut into thin vertical pieces with some thicker rectangles mixed in. The most prominent colors of the fabrics are teal and turquoise but there are also some accents of royal blue, sunshine yellow, hot pink, violet, green, and brown.

Ode to Joy/Ode to the Moment is a series of cube sculptures with abstract colorful paintings printed on them and lit from the inside. Ten of the twelve total collapsible sculptures are on display in Layers of Joy. The section of the gallery they are in is dimly lit, allowing the illuminating glow to fill the room. The cubes are spread out along the length of the room with 3 sets of 3 stacked cubes and one lone cube. Each face of the cube has a different abstract painting printed on the silk. The paintings feature brightly colored watercolor, acrylic, and calligraphy ink. The most prominent colors are electric blue, red, orange, light green, hot pink, and sunshine yellow. The titles of the paintings featured are as follows, on the top of each: Trying Not to Faint in Venice; each side panel features one of each of the following: Leaning into Happiness, Keep Going Until You Run Out of Paint, And So It Begins Again, and one of four images from the series A Vision of Prospering. Many of the works feature free-flowing watercolors, splattered paint, and overlapping freeform lines filled in with bright colors. They are lit with LED lights that compliment the colors of the paintings.

This contemporary realist painting, as the title suggests, depicts a family of three (soon to be four) in their kitchen. The perspective of the work is at eye level across the kitchen counter from the mother Nicole, who is at the center of the work. Nicole is a mature mixed-race Black woman with shoulder-length black loose curls. She has a warm closed mouth smile on her face and her eyes directly engage the viewer. She has on a sleeveless white shirt tucked into a colorful geometric patterned skirt that is halfway obscured by the counter. The pattern is made up of squares of cool-toned green and blue trapezoids and squares of warm-toned red and yellow stripes. Nicole is also wearing silver-toned spherical reflective earrings, a gold chain necklace with a small round dark pendant, a diamond nose stud, and a large ring with a round stone on the middle finger of her right hand. Nicole is standing with her hands flat on the counter, one arm on either side of her daughter who is sitting on top of the counter to the right of Nicole. Their daughter appears toddler-aged and has a fair complexion along with loose brown curls ending at her shoulders. She has on a bright blue t-shirt tucked into colorful overalls with a quilt design on the front. The overalls feature varying shades of pink purple blue and teal. The quilt on the top has a geometric pattern of mixed squares, triangles, and lines. The daughter’s body is turned inward towards her parents and her gaze engages the viewer. She holds up a small brown toy elephant in her right hand. Her facial expression is calm and neutral. Seth is sitting to Nicole's left in a chair hidden by the counter. Seth is a mature mixed-race Asian man with straight black hair. His hair is long and combed back on the top and nearly shaved on the sides. He has a mustache groomed to not exceed the sides of his mouth along with a a small tuft of hair below his lips and a small beard groomed to not exceed his chin. His arms are crossed on the counter with the leftmost arm closer to the viewer. His body position is slightly turned inward towards his family while his gaze engages the viewer. Seth appears to be wearing a wrap-style blue shirt with a white undershirt peeking through slightly. His facial expression is a relaxed slight smirk. He has a watch on his left arm as well as a thick silver wedding ring. The amount of detail is inconsistent throughout the painting, with the yellow and dripping red underpainting visible in some places like Seth’s arm and shoulder. The most amount of detail is focused on the family members, whereas the background has significantly less detail. The walls and the counter are similar shades of yellow to that of Seth's unfinished arm. From left to right in the background there is a stark white door with a wooden shelf above it, a brown famed artwork or blackboard, a completely white window, and a green hanging plant in the top right corner. On the shelf over the door, there are a couple of cream and red dishes and jars. Finally, on the counter, there is a small unfinished snack bowl and a small unfinished vase with a flower. 

Jackie On The Floor is a mixed-media work with a large screenprint on linoleum as well as a found object light fixture. The screenprint is hanging up on the wall and the light fixture is on the floor in front of it. The work centers around a flash photo of Cameron’s aunt at a family event, presumably a wedding. She is a middle-aged Black woman with straight black hair styled in a pixie cut. In this photograph, she is standing center with her left hand on her hip and a big smile on her face. She is wearing a white dress with purple and blue animal print designs with a watercolor effect. She is also wearing a set of light pink pearl earrings with a matching necklace and bracelet. She is also wearing a rectangular ring on her wedding finger and bright pink lipstick. Behind her, there are a few other family members facing the other way including a gentleman in a gray suit and white fedora on the right and a few indestinct women on the left. Also behind her is a garland of string lights wrapped in tule, giving off a very soft pink glow which almost mirrors the watercolor design of her dress. The flash of the photo in the dimly lit room makes the woman appear to glow and radiate light. The bottom third of the photo has a higher concentration of the blue ink than the rest of the print. Throughout the work and especially in the tulle garland there are spots of pink and blue ink from the process of printing a large multi-layered work like this. This photo is printed straight on a light-medium brown wood print linoleum that is nailed to the wall. The top and sides of the linoleum are framed with wood trim, leaving just the bottom of the linoleum to overflow onto the floor. The last physical element of this piece is the gold and glass wide-mount flush ceiling light fixture which is placed in front of the print on the overflowing linoleum along with its cord which is wrapped around the right side of the work.

This untitled abstract painting is made up of 8 canvases measuring 72 inches by 36 inches. The canvases are hung very close together with the exception of a small gap between the 4th and 5th panels. This work was painted live in front of an audience on November 16th, 2024. After the performance, seangarrison touched up the work and added some more details. The first two panels feature the first thing Sean painted, a dark silhouette of a figure. The figure is in a running position and lacks a defined head. The figure also has a purple chain across its chest and a yellow halo shape over its heart. Behind the figure are dark cool-toned colors including navy blue and dark purple with accents of light blue and light purple. In the background, there are also two small squares filled in with yellow paint as well as red outlines of squares starting from the figure’s back arm and going off the canvas. The figure is outlined with red paint which when viewed with the 3-D glasses in the gallery appears to jump out. The red outline continues from the front arm of the figure throughout the rest of the work. The third panel features mostly light blue with some circular yellow shapes with gray outlines near the bottom as well as an abstract purple flower. The fourth panel is overall mostly yellow and orange with a little bit of light blue near the top. At the center, there are two large yellow circles outlined with light purple. On the bottom of this panel, there are four small electric blue waves going towards the direction of the fifth panel. The fifth panel features an additional small wave on the bottom and is overall mostly orange and yellow with some light blue at the center, similar to panel four. However, on this canvas, the warm and cool colors are clearly defined and separated by the continuous red line. Near the top of the panel, there is one large yellow circle with a blue line down the center and halfway outlined with red. The sixth panel is more visually chaotic and features light blue, gray, purple, yellow and orange muddled together as well as yellow squares leading from the large circle on the fifth panel to the center of the seventh panel. The top of the seventh panel is mostly yellow and orange outlined in red with blue circle accents. The bottom is light blue with dots of green and the center is a series of purple abstract shapes. There is also a red halo over the purple shape closest to the sixth panel. Finally, the last panel is chaotic and has the most purple of any of the canvases. The final canvas features a mixture of Purple, yellow, light blue, orange, and green. Layered on top of these colors are a small red circle in the top right as well as abstract flowers painted in brown, white, and Red. The red flower stands out as it is the most defined flower shape on the work.

All My Sisters and Me is a large tapestry hanging from the ceiling by a long dowl and two thin metal chains. It is made up of lightweight translucent and iridescent fabrics hand-stitched together in a mosaic manner. From left to right the colors of the fabric are bright spring green, light pale green, ocean blue, pale sky blue, bubblegum pink, mauve purple, pale lavender, and grape violet. The silhouettes of 4 women dancing are stitched into the fabric with black, blue, yellow, and orange thread. Right below the women’s knees, the the silhouettes become less defined as the fabric ends at different lengths, and leaves the stitching hanging off the edges. The woman on the far left is made up of black stitching and has a round afro, a backless mini dress with puffy sleeves, and an open-mouth smile. Her arms are bent at the elbows, and she has one leg in the air bent at the knee. The second woman, also made up of black stitching is so close to the first that their figures mesh together. The second woman’s hair and left side are partially obscured by the first and she is leaning her head back with her eyes closed and is wearing a mini dress or romper. The third woman who is almost exactly at the center of the work is made up of yellow stitching on her top half and blue stitching on the bottom half. Her shoulder-length straight hair is crowned with a large flat-rim hat that frames her head. Her eyes are closed and she has a large open-mouth smile on her face. She is wearing a ruffle blouse and her bottom half is mostly obscured. The final woman all the way on the right is made up of orange stitching and nearly her entire body is visible. Her body position is slightly bent at the knees with her arms in front of her body, slightly bent at the elbows. She has her curly hair pulled back into a bun and is wearing a high-neck blouse with trousers. Her eyes are closed and she has a big smirk on her face, emphasized by a smile line on the left side of her mouth. As people walk through the gallery space, the fabric gets gently blown by the movement of attendees, allowing the fabric to flow calmly, and enlivening the dancing women.

Snowbirds and Nebula is a colorful contemporary realism painting that depicts a Black woman with her cat and dog posing outside in front of the cab of a renovated ambulance. The most amount of detail and realism is focused on the Woman and her pets, whereas the background has less defined details and more unnatural colors. The woman is standing facing the viewer with her left leg propped up on the ambulance’s running board. Her propped-up leg is also helping support her cat who she is holding in her left arm. Her right arm is hanging down in a relaxed position while her hand grips the dog's blue leash. The woman is wearing a pinstriped peachy-toned white shirt with a relaxed fit and the top few buttons undone. She is also wearing light peachy-pink fitted pants and pale pink sneakers. On her head, she is wearing a warm-toned brown circular flat-rimmed hat and round silver-rimmed sunglasses. She also has a silver septum ring and a silver piercing just to the right of her bottom lip. She has shoulder-length warm-blonde locks flowing out of the hat. Her facial expression is candid with her mouth slightly ajar and her eyebrows slightly raised. The cat she is holding has black, white, and grey stripes as well as green eyes. The dog who is sitting on the ground, appears to be a mixed breed brown and tan shorthair dog. The dog has his tongue hanging out and is wearing a silver dog tag and a navy blue harness. The top half of the dog has significantly more detail than the bottom half which still has a decent amount of the orange underpainting showing through. The bright unnatural orange and pinks used in the background stand out and contrast with the more realistic colors used for the subjects. The white renovated ambulance with navy blue and orange stripes is somewhere in between these different styles. It leans more towards realism overall, however towards the front, the orange underpainting is showing through again, leaving that area less defined. Additionally, there are three light sky blue abstract geometric shapes off-center on the left side of the painting. The viscosity of the blue paint is quite thin, allowing the underneath details to prevail, and giving the effect of tissue paper pasted on the work. The colorful nature background is visible in the top left corner. This stylized depiction of trees features both some realistic brown branches with green leaves as well as well as more unnatural colors like the mint green pine tree and magenta and orange sky. The bright magenta and orange underpainting can also be seen in the foreground of the work. In the lower-left corner of the foreground, there is a prismatic-colored half arch with a white lens flare in the middle, effectively serving as a stylized depiction of a light glare from the sun.

I See/I Feel/Somehow I Know #1 is an abstract painting from a series of the same name. This work is a colorful acrylic painting on canvas with a custom frame. It features many abstract lines, squares, and circles, as well as small and large brushstrokes. The work is overall balanced with the bright nonrepresentational shapes filling most of the canvas, allowing a somewhat consistent amount of the cream background to show through. A little above the center of the work is the only legible words in the work, “I see” written with yellow paint. The most prominent color in this work is hot pink, along with accents of other bright shades of pink, orange, yellow, green, blue, purple, and white. The vibrant colors come together to create an overall whimsical and playful energy.