MIAMI SALON 2026

Artist: Loren Santiesteban

2025

Ink and color pencil on yupo paper

20 x 26 in

The ocelot is looking back over her shoulder one last time. She has decided at great cost to release her stake and be at peace moving forward. Making her way through a wheat field which was once prosperous.
Now barren, but still haunted by the locusts of agonizing memories. She moves forward to leave these painful memories and experiences behind. Also including the being who betrayed her innocence.
If she stays the haunting will consume her. Until finally she will become just like them. Hollow. Feeding to full-fill the empty caverns where love should reside.
The pearlescent inks illuminate in the light. A reminder. Even in the darkest of struggles there is always the light. The light to which the ocelot is resolute in following.

Artist: Peter Hosfeld

2026

Giclee print on paper

14 x 18 x 1/25 in

Warring Cyclopes is a drawing based on my 2024 painting, presenting immersive technology as a metaphor for the selective blinkering we are submitting to by ever more insistent narratives stoked by the darker angels of our nature.

Inspired by the observations of Sociobiologist E.O. Wilson, who called humanity an evolutionary chimera, picking up things from every age without fully transitioning out of any one era, characterized by “Paleolithic
emotions, medieval institutions, and godlike technology.”

Artist:

2026

Oil stick on paper, flamboyan flower petals, chipboard, masonite, light

14 x 11 x 3 in

Communion with a flamboyan tree (royal poinciana/Delonix regia).

This drawing holds evidence of the connections I have made with these trees throughout my life in Miami. A tree well known throughout the Caribbean, the flamboyan represents passion, vitality and resilience. Seeking out these energies, I spent the summer collecting flowers shed by a flamboyan tree close to my home. Despite the fragile nature of the flowers, I added them around the drawing as a protective element. Carefully adhered in a repetative snakeskin-like pattern. The warmth of this connection is made stronger through the use of light behind the piece.

Artist: Deryn Cowdy

2026

Black and white ceramic

6 x 12 x 12 in

Dirt Sex explores the ancient entanglement of eroticism, fertility and death. Beneath us is a dark, crowded world where innumerable organisms press against each other, penetrate, consume, exchange, reproduce, and die. Nothing remains itself for long. Dead matter, threaded by fungi, decomposes, is consumed, transforms, creates.

Dirt Sex stems from my desire to make this hidden world physical. White porcelain flowers open, pale and seductive, while black clay forms crowd together beneath them. One world is light, the other dark, visceral and largely unseen, but each hungry for the other.

Soil is both bed and grave. For millennia it has carried associations with burial, fertility, the underworld, ritual and magic. Ancient cultures understood sexuality and the fertility of the earth as part of the same mysterious force. Contemporary soil ecology reveals what was once understood as magic to be inseparable from biology: countless intimate acts of exchange, decomposition and regeneration continually making life.

Dirt Sex is my homage to that relentless appetite—the erotic force running through living matter, where sex and death are accomplices, and everything that dies becomes available to life again.

Artist: Ana Martinez Orizondo

2026

Soft pastel on linen

12 x 9 in

Tree Stories series

My Tree Stories series often begins with a specific tree encountered during my daily walks. Drawn to the markings, textures, and rhythms of its bark, I use these observations as a point of departure rather than a subject to replicate. Through an intuitive process, each work transforms into an imagined landscape inhabited by sacred beings, symbols, and evolving forms—inviting viewers to consider trees as living storytellers, keepers of memory, and participants in a shared ecological consciousness.

Working with soft pastel on linen, I push the medium beyond its traditional boundaries. By layering, watering, rubbing, and eroding pigment, I transform pastel into a painterly language that mirrors the fragility and resilience of living systems. This evolving process creates atmospheric surfaces that evoke memory, impermanence, and continual becoming.

Artist: Lauren Jane Clancy

2026

Acrylic, gold leaf, found materials, glitter, and resin on wood

18 x 18 in

Love Letters captures the tender, sometimes frantic search for the right words to say to someone you love. Scattered letters emerge through layers of pink, gold, texture, and light, as if affection is being assembled in real time. The work reflects how love is rarely expressed in perfect sentences, but instead through fragments, gestures, and all the things we are still trying to say. This piece is framed

Artist: Fahan Sky McDonagh

2026

Glass, Pate de verre

4 x 4 x 3 in

Series: Each piece is sold individually ($950), the different images are for context and reference.

Petals of Presence captures the delicate transience of the natural world, preserving three lotus-like blossoms in enduring glass through the meticulous technique of pâte de verre.
The trio features soft, distinct colorways—one blooming in crisp white with a glowing yellow center, another in a warm, gentle pink, and the third in a serene lavender. Each piece is individually crafted using packed glass powders and frits, kiln-fired until the fine particles sinter into a crystalline, sugary surface. Resting atop a dark reflective surface, their mirrored depths recall the stillness of a calm water garden.
The sintered glass catches ambient light from within, drawing the viewer into a state of quiet mindfulness. Petals of Presence serves as an invitation to slow down, honoring the beauty of impermanence and the grounding power of present-moment awareness.

Artist: $ @ K ¥

2026

Paperboard, Washi Tape and Laser printed inventory stickers

20 x 28 in

Portal II began with a photograph taken by the artist years earlier, during a moment of profound emotional pain when he felt as though the doors within himself had opened, exposing everything he carried inside.

Years later, while intuitively following the image's forms and recreating its internal shapes with washi tape, the artist realized he was mapping the opening of a portal. As the composition developed through successive colors, what had once been experienced as pain revealed itself as a moment of expansion and transformation.

The artist then surrounded the portal with light, evoking Broadway marquees and the illuminated mirrors of actors' dressing rooms. These lights frame the work with a sense of anticipation, possibility, and emergence.

At its center, however, the light remains deliberately dimmed. Much like the original photograph, whose interior was not entirely clear, the central illumination is partially veiled, allowing light to emerge gradually.

This veil reflects the emotional state captured years earlier: a moment when transformation had become possible, but its promise remained unrealized. The portal had opened, yet what lay beyond it was still uncertain.

Artist: Nancy Tobin

2026

Paracord, aluminum foil, tape, antique silk

9 x 12 x 4 in

Repose Man suspends an exaggerated 12-foot 1970s luxury coupe in mid-air over a motel pool, staging a dark comedy about standing on the precipice of collapse.

Under the theme Times Like These, the piece uses architectural exaggeration and liminal space to channel surrealist tipping points.

Constructed with economy of means, the sculpture relies on an internal skeleton of pure structural tension, wrapped in aluminum foil, paracord, and antique silk. Rather than a solid mass, the form is articulated like a minimalist line drawing suspended mid-air.

* The work is kinetic and moves with the wind. You can view videos of it in action on my Instagram:)
* The work would be suspended via two airplane wires fastened to the opposing balconies and tightened with aluminum toggle bolts. I would hire an art handler for two hours to help me install. The sculpure is very lightweight and will be ready to hang.

Artist: Silvia Cohen

2026

Acrylic on canvas

32 x 32 × 1 1/5

Through this painting I explore migration as more than leaving a place behind. It means leaving behind a life, memories, and people we love. I wanted to capture the intimacy of farewell, where tenderness and sorrow come together.

Artist: Carin Ingalsbe

2026

Clay

Dimensions variable

Artist: Sarah Laing

2026

Mixed-media embroidery on linen; machine and hand stitching

48 x 36 x 2 in

Worn & Torn is part of my Cathartic Shadows series, exploring the figures that emerge through spontaneous drawing and intuitive stitching. The original embroidered drawing was digitally scanned, repeated, and reassembled, then returned to the physical world through layers of machine and hand embroidery. This movement between digital reproduction and the handmade allows the image to fracture, repeat, and change.

A central figure is surrounded by others who surface and recede like witnesses. Their fragmented presence suggests the complexity of navigating an uncertain world, where identity, vulnerability, and human connection are continually challenged and reshaped. The figures seem simultaneously connected and isolated, occupying a space between recognition and estrangement.

I return to the surface through slow stitching, interrupting the digital repetition and reconnecting its fragments. In Worn & Torn, stitching becomes both disruption and repair: a way of sitting with what I cannot control and, in times like these, trying imperfectly to hold things together.