Exhibitors 2026

I'm a self-taught artist based in Miami. For more than 30 years I worked as a scientist, a career I deeply valued, until neurological issues led me to step away in 2015. During my long recovery I turned to art, and it became a vital part of my healing and transformation.

I work in textiles, creating quilted narratives that distill the quiet resonance of everyday life. My minimalist figurative compositions draw on color, pattern, and cloth to evoke fleeting moments with clarity and tenderness. I use meticulous free-motion quilting as a form of drawing, turning the sewing machine into a tool for mark-making to capture both the vitality of my surroundings and the intimacy of lived experience.

We're collaborating with Red Thread Studios in Miami to create an experience centered on fiber works and literacy. In response to the sudden destruction of literature, whether for AI or ‘sensitive content,’ we turn to textiles as a means of preserving the masterpieces of civilization.

Ruby/Dakota and Ipso Facto, two New York-based projects, will bring a presentation of six artists from New York and Kansas City! Painting, some drawing, and sculpture. Ruby/Dakota ins a nomadic project.

Balnearo is a solo exhibition by Nicolás Beltrán exploring the bathhouse as a space for queer intimacy, leisure, and encounter.

Presented at Clandestina, held at the Gold Dust Motel, the exhibition draws from Miami’s "MiMo" era and its culture of motels, pools, tourism, and escape. Through pool and shower scenes, alongside glimpses of sexual encounters refracted through glassware, Beltrán places the body within spaces that shift between privacy and exposure.

Water, reflection, and fragmentation blur the boundaries between bodies and their surroundings, imagining the bathhouse as both a real and remembered space—one shaped by intimacy, anonymity, desire, and the architecture of Miami.

Snabbits leap from soft sculpture into bold, modern line drawings, inviting you to color, explore, and create alongside them. Inspired by hand stitched textures and crafted details, each page opens a doorway into a universe where threads become characters and storytelling shapes their adventures.

Whether you’re a collector, a collaborator, or simply curious, this

limited‑edition tactile, interactive experience brings the

During Miami Art Week, when attention often gravitates toward monumental installations and large-scale presentations, our proposal offers something quieter: an opportunity to encounter original works that are personal, thoughtfully crafted, and rooted in the vitality of Miami's independent artist community.

The project brings together a curated selection of original artworks that reflect the breadth of contemporary artistic practices within Tower Artist Studios Miami. The exhibition includes painting, fiber-based works, mixed media, and sculpture, creating a dynamic dialogue between material, texture, color, and form.

Although each artist explores different themes, the works share an interest in memory, place, transformation, human experience, and the poetic potential of everyday materials. Together, they demonstrate how diverse artistic voices can coexist while enriching one another through shared space and creative exchange.

The Believers focuses on the importance of artist-funded spaces—spaces that give artists greater control over the conditions in which art is made, shown, and experienced.

Clandestina is the third pop-up presented by The Believers, following earlier editions in New York and Denver. Through these exhibitions, The Believers has worked with more than 20 artists, returning 100% of artwork sales directly to the artists. This model is central to the project: supporting artists financially while building community, trust, and a more direct relationship between artists and audiences.

Clandestina brings together Linda Bishara, Max Kauffman, Ralph Rodriguez, and Brandon Opalka. Each artist works through a distinct material and visual language, with practices spanning ceramics, embroidery, bronze, and calligraphic abstraction. Together, the exhibition reflects the spirit of The Believers—artist-driven, collaborative, and rooted in the idea that artists can create their own spaces, opportunities, and systems of support.

This year I discovered a new paper-like substrate that has transformed my studio practice and opened unexpected avenues of experimentation with scale, translucency, and process.

My initial investigations with this material were driven by curiosity rather than predetermined outcomes. I wanted to understand its possibilities and limitations through direct experimentation. Looking back, a surprising thread emerged: many of the works revolve around words beginning with "Ch." Growing up, "ch" was taught as the fourth letter of the Spanish alphabet before it was later removed as a separate letter. Without consciously planning it, words such as change, choose, challenge, and chibirico became recurring protagonists in these paintings. Each piece stands independently, yet together they form an evolving conversation about language, memory, and transformation.

The main wall will feature a culmination of drawings and prints developed during and after a month-long residency at Nes Artist Residency in northern Iceland. I was accepted into the residency through an application process and traveled to a remote fishing village where artists from around the world gathered to live and work in an isolated environment focused entirely on creative practice.These found objects inspired a series of detailed graphite drawings incorporating text cut from books. The work began exploring the idea that memories and histories become embedded in the objects we encounter and preserve. The isolation of the residency allowed me to slow down and develop this concept in a more intuitive and reflective way.Since returning from Iceland, I have continued expanding this body of work as a printmaking associate member at The Bakehouse Art Complex, creating monotypes combined with etching techniques that further investigate memory, place, and material traces.

Barro6 brings together five artists working with ceramics: Viviana Ruz, Macarena Salinas, Catalina Vial, Fanny Auger, and Jacqueline Schapiro.

Barro6 presents an installation, a view from the end of the world, understood as an experience of transit. Every journey contains what has already been traveled and what remains ahead, and between the two there are moments of pause, when we do not know where to go next or what the next destination will be. Every move is one of those pauses. It means taking apart what is safe and familiar (the house, the objects, the routines, the places that knew us) and packing it into boxes without quite knowing what is coming. Moving forward means leaving behind places, objects, and versions of ourselves to reach the next place or goal, and between what is left behind and what has not yet arrived lies a suspended space: uncertain, at times unsettling, and at the same time full of possibility.

The intervention transforms the room at the Gold Dust Motel using packing materials: honeycomb packing paper, packing tape, and corrugated cardboard. Honeycomb paper is the material in which ceramics travel; it protects fragile things on long journeys, and we come from the farthest point of the continent. Our works cross half the world to arrive here, and that packaging, normally invisible and disposable, becomes both skin and protagonist. All the furniture in the room (beds, nightstands, lamps, tables, and other elements) is wrapped in this light, flexible paper, which expands like an accordion, alters the perception of the space, and suspends its everyday function.

Over the past year, I have been working on a series of collages that stemmed from a mistake made working on a piece that was in last year’s show.

In this process, I’ll make 3 prints of a photo I took, manipulate them in the drying process, cut each print in a separate way and then reassemble.

Last year II was working with a stripped-down version of my work. How far could I break it down before losing my vision. This year I see it as a move forward from that space. this new process lets me build upon foundations that I used for many years. Such as layers, color fields and my own warped sense of reality

In an earlier period of my work, found photographs shaped the narrative, and through them I tried to express the nuanced, often untranslatable realities of human experience. Traces of that thread remain in my new body of work, like a distant but familiar relative who reappears, but now I've brought the idea closer to home. My approach to the everyday has become more personal and immediate, almost intimately voyeuristic.

Clandestina presents the inaugural edition of its Artists Residency. The residency represents a year-long collaboration between the artists and the fair to expand their proposal and develop new experimentation opportunities.

The artists will both be exploring imagery and storytelling around their exhibition "The Fire Eaters". Hannah is a painter and ceramicist. Carin is a ceramicist, painter and photographer. Their belief in sharing ideas and using collaborative thinking while creating work as individuals is a way to establish a vocabulary of thought from which to leap. Their process of such intentional overlap highlights the irrefutable path of the singular mind of an individual artist. We will both be exhibiting paintings, small sculpture and ceramics.

My name is Xxavier Edward Carter (X______ E_____ C_____) I am a transdisciplinary artist based in Dallas, Texas. I am Black and Mvskoke and turn 40 this year! My work springs from research on ecologies, currency, world mythologies, and the histories of people in the Americas. I think of my work as an American project designed to dismantle dominant power structures that have subjugated and killed non white people of the continent through cultural exchanges, objects, storytelling, and interventions in public and private spaces.

The New World in an installation containing five individual works that recontextualize the myth of Sisyphus in the "New World". This myth has been explored by thinkers across the globe and is a recurring stand in for the struggle all people face in experiencing self actualization. This installation contains a large paper tapestry (mixed media collage) signifying the background to the performance of the myth. A recorded version of the performance, Sisyphus, with Spanish, English, and French readings of Camus's Myth of Sisyphus is presented on a television in the room. Three sculptural objects consisting of an urn, a ceremonial candle, and the baseball bat used in the performance of Sisyphus complete the installation.

This work concentrates on the examination of common objects and how those objects represent ideas and present possible metaphoric implications. Often referred to as “rhopography”; or a depiction of things which lack importance; these are the everyday objects of life the we we take for granted. The paintings stem from the personal possessions that I find curiously engaging. The work may result in objects contextually placed in a still life setting or more ambiguous spaces. Although, my primary concern is with the metaphors that these objects conjure up by themselves, I am aware that the simple juxtaposition of two or more objects present more complex meanings. Ultimately, I would like the viewer to draw their own conclusions.

The works depict environments that are strangely familiar yet unstable: expansive terrain, bodies of water, shifting horizons, turbulent weather, and atmospheric phenomena that appear to transform the landscape from within. Hints of rendered vessels recur throughout the series, intentionally interwoven with their surroundings. Rather than functioning as literal depictions of travel, they operate as quiet markers of passage, moving through time and unsettled terrain in search of connection and belonging.

Drawing from the tradition of the sublime, the project considers the contemporary landscape as a space shaped by natural forces and human intervention. Elemental energy coexists with subtle traces of human presence, creating environments that are simultaneously beautiful, precarious, and unsettled. Within this tension, resilience emerges through both nature’s persistence and the human impulse to move, adapt, and endure. I am interested in the moment when contemplation gives way to ambiguity – when the familiar begins to reveal something less certain beneath its surface.

I am a Japanese-born, Miami-based artist working primarily in printmaking, installation, and mixed media. My career began as a fashion illustrator. Through working in fashion, I came to realize that everything in the world is constantly changing and, like water, never remains in a fixed state. This realization led me to begin creating artwork as a way of capturing and preserving fleeting moments on paper.

My practice has traditionally been rooted in printmaking. I am drawn to the physical qualities of the process—the pressure of the press, the layering of color and imagery, transparency, repetition, transfer, and the unexpected changes that occur during printing. However, I do not leave the work entirely to chance. I respond to these unexpected elements, adjusting composition and balance and ultimately guiding the image toward my intended direction. This relationship between unpredictability and conscious control is an important part of my process.

In this new development of After the Wave, printmaking, AI-assisted moving image, sculptural structures, and three-dimensional interpretations of waves are connected rather than treated as separate practices. I am interested in how a single memory, sensation, or image can pass from one medium into another—from paper to moving image, from light to physical form—while still belonging to the same visual and emotional world.

We live within overlapping systems of mediation. Images circulate faster than they can be processed. Information arrives in fragments. Migration, ecological pressure, political polarization, technological acceleration, and the saturation of visual culture continuously reorganize how individuals understand place, memory, identity, and one another. AFTER CERTAINTY does not propose that every participating artist addresses these conditions literally. Instead, it places their practices in dialogue around a shared formal and psychological problem: what do we do when the whole is no longer available to us?

Third Space Studios Miami, an artist run studio and exhibition space in Allapattah.

TSS offers studio residents with individual workspaces, a flexible project space, and a supportive environment where they can meaningfully engage with other studio members as well as the wider art community. Additionally, TSS hosts exhibitions and public programs that highlight the work of emerging local talent.

The five studio members of Third Space Studio will come together to create a "mini" exhibition inside a hotel room during Feria Clandestina. The work on view in ALL TOGETHER NOW represents each artist's unique investigations into how identity is shaped through labor, community, and the spaces we inhabit.

Conceptually my interests lie within process-based representation, where material follows same physical rules as the subject it depicts.

Condensation is a body of process-based oil paintings that treat the fogged window, car glass, bathroom mirror, humid Lowcountry air made visible, as both subject and method. The paintings look like finger drawings traced into steam. I'm interested in a representation that follows the same physical logic as what it depicts, so a painting of condensation behaves like condensation: soft-edged and layered.

This project is rooted in the Lowcountry. The humidity here is a daily physical fact. Swamp ass, fogged glass, and sweat are inseparable from life in the American South, and I think that specific discomfort deserves the same care as any other subject worth painting. I want this room to feel like an act of empathy toward anyone who has ever been hot, sticky, and a little embarrassed about it, which in this heating up climate is everybody.

To come and go: a stay, was born in the intimacy of my bedroom, a space where light and shadow coexist alongside objects steeped in memory and a blend of wildness and stillness. There, emotional flashes emerge like fireflies: tiny illuminations forming imaginary constellations in my mind, inviting me towards them to contemplate and interpret their meaning. In these mental journeys, I explore memories, desires, and wounds that intertwine with my existential realities: the immigrant experience, my homosexuality, family distances and their precariousness, loneliness, and the constant need for healing.

A solo exhibition from artist Bella Lunel. Composed mainly of an oil painting series featuring the eyes of several species of Cetecea (whales) to a 1:1 scale. The showcase is intent on confronting the viewer with the intense feeling of reverence that is invoked when locked in the gaze of such behemoths.

All of the artwork is built upon a thorough research practice merging academic texts, cinematic composition, and historical lived experiences to create a connection that is both sacred and unsettling.

All species of cetacean are facing an impending threat: Extinction.

Feria Clandestina is recognized for its attention towards local artists exploring fresh and authentic perspectives. An intimate, enclosed space is exactly what i'm looking for to realize my curatorial vision. I believe your space would be perfect to exhibit my artworks and invoke a strong sense of community among a different species.

For Feria Clandestina, I propose transforming a motel room through collage, photography, drawing, video, and site-specific interventions. I am interested in the temporary nature of this environment, designed to be occupied for a limited time, and in disrupting its conventional use through images, objects, and interventions responding to its architecture.

Rather than presenting a conventional exhibition, I envision the room itself as the artwork, addressing temporary occupation, displacement, and belonging while exploring the tension between inhabiting a place and having the possibility of remaining there.

Maven Leadership Collective and Black Miami-Dade propose a multimedia installation examining Black queer rest.

Through archival photographs, video, zines, newspapers, and other ephemera, the installation brings historical materials into conversation with contemporary Black queer cultural production. Featured works include Black Miami-Dade’s How Josephine Baker Desegregated Miami Beach; images of Black queer Miami from the Black Miami-Dade Collection; Fierce & Unbothered, a video work by Hued Songs commissioned by Maven Leadership Collective; and Communion, a newspaper and queer meditation on collective leadership, human connection, and the replenishment necessary to imagine expansive cultural change.

These sculptures were imagined as part of an aesthetic breakwater to slow the inevitable creep of sea level rise around Miami Beach and Miami. Building these intertidal sculptures and caring for my father were both forms of creative, care-based interventions in the face of impending loss.

My artistic practice has been rooted in caregiving since 2011. As a sculpture student at the School of the Museum of Fine Arts, Boston, and a budding climate activist, I began caring for my dad’s aunt, Auntie Sister, at her home outside Boston. Over the next six and a half years, I fought against fossil fuel pipelines while sculpting with the tools, gardens, and domestic ephemera at Auntie Sister’s house as my artistic medium. After she passed in 2018, I created a simulation of her home at Real Art Ways in Hartford, CT and displayed another series of sculptures made from her home’s contents in 2020. After that I traveled to continue organizing against oil pipelines.

After a decade of fighting pipelines with mixed results, my practice has pivoted away from attempting to stop climate change towards adapting to its impacts. Along with supporting my dad, this shift prompted me to move home to help Miami prepare for the effects of climate change.