Interviews From Yale Radio / Artists, Curators And More

Yatika Starr Fields, 2025. Portrait © Tom Fields 2025 Born in 1980 in Tulsa, Yatika Starr Fields is a member of the Cherokee, Creek and Osage tribes, as well as a member of the Bear Clan. Yatika Fields studied landscape painting at the University of Oklahoma’s Sienna, Italy summer program before enrolling at the Art Institute of Boston from 2001 to 2004. While living on the East Coast, the artist developed a keen interest in street art. His dynamic, vibrant graffiti works quickly attracted attention, generating public and private mural commissions across the country from Portland to Oklahoma City, Phoenix, Santa Fe, and Bentonville. In 2018, he completed Astonishment of Perception, a monumental site-specific mural in downtown Bentonville, as part of Crystal Bridges Museum’s Art for a New Understanding (2018–2019). Spanning the side of Cripps Law Firm’s two-story building, the work depicts lady justice peeking from behind her blindfold, highlighting the dissonance between America’s ideals and its judicial syst

Madeline Peckenpaugh (b. 1991, Milwaukee, Wisconsin) renders depth through iterations of adding and subtracting paint, creating a semblance of deep and flat space simultaneously. Probing the slips in perception between corporeal experience, memory, and imagination, she shifts the scale of everyday elements, interlaces components, and depicts forms in both single tones and fluctuating textures. The viewer’s trained perception of the landscape can become questioned, as monumental structures begin to vaporize, and natural forms become paper thin. There is a reconciliation of opposites: deep space of the real world with the flat space of the canvas. Peckenpaugh received an MFA in Painting from Rhode Island School of Design, Providence, RI and a BFA from the Pennsylvania Academy of Fine Arts, Philadelphia, PA. Peckenpaugh’s work has been exhibited at Alexander Berggruen, New York, NY; Bremond Capela, Paris, FR; 1969 Gallery, New York, NY; F2T Gallery, Milan, IT; Andrew Reed Gallery, Miami, FL; PM/AM Gallery, Lond

JD Raenbeau (b. 1985, Stony Brook, NY) currently lives and works in Rocky Point, New York. He received his MFA from The School of Visual Arts where he received the Paula Rhodes Memorial Award for Exceptional Achievement in Art Practice. He holds a BFA from Alfred University. Raenbeau has exhibited his work in New York, Brooklyn, Los Angeles, New Mexico, and the UK. His work has been featured in New American Paintings, Artsin Square Magazine, and Sensitive Content Magazine. He was recently an Artist in Residence at the Vermont Studio Center, The Golden Foundation for The Arts, and most recently was Artist in Residence at the Hafnarborg Museum in Hafnarfjordur, Iceland. © JD Raenbeau, “Canopy,” 2025, Oil on panel, 24 x 30 inches, Courtesy of CLAMP, New York © JD Raenbeau, “Full Moon,” 2024, Oil on panel, 12 x 16 inches, Courtesy of CLAMP, New York © JD Raenbeau, “X,” 2024, Oil on panel, 16 x 16 inches, Courtesy of CLAMP, New York

Abby Lloyd (b. 1988) is a multidisciplinary artist and independent curator based in New York City. Her work utilizes humor and familiar motifs to confront themes of loss, memory, and the emotional charge of objects. Lloyd’s recent solo exhibitions include On Display at Ptolemy (Queens, NY), Goodbye Dolly at Alyssa Davis Gallery (New York, NY), and Abby’s Room at Freddy (Harris, NY). She has organized several events and exhibitions, including the recent Artists & Recipes at Marvin Gardens (Ridgewood, Queens), based on her 2020 cookbook of the same name featuring over 40 artists. Her work has been featured in The New York Times, The Brooklyn Rail, Frieze, and Vice. She has performed and exhibited throughout the U.S. and internationally, including presentations at the Musée d'Art Contemporain (France), White Columns (New York), Kunsthall Oslo (Norway), Montez Press Radio (New York), and The High Line (New York). Installation view, Abby Lloyd: On Display, Ptolemy, Glendale, NY, 2025 Abby Lloyd, It's fun, 202

Artist portrait courtesy of Julian Espino. Born in San Francisco in 1986, Tony Huynh graduated from the California College of the Arts and now works from his studio in Sacramento, CA. His paintings are part of international collections and have been included in solo and group exhibitions, including at the San Diego Museum of Art, CA; Crocker Art Museum, Sacramento, CA; Marin Museum of Contemporary Art, CA; Pablo’s Birthday, New York, NY; Scroll NYC, NY; and Galerie Christian Lethert, Cologne, Germany. Tony Huynh, Memento, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin.  Tony Huynh, Morning Ferry, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin.  Tony Huynh, Wish I knew, 2025 oil on panel, in artist's frame 10 x 10 in 25.4 x 25.4 cm Image courtesy of Mikhail Mishin. 

Lexia Hachtmann (*1993 in Berlin) is a British-German artist. She completed her Art and Design Foundation Diploma in 2013 in Brighton and returned to Berlin to continue her studies in Fine Art Painting at Universität der Künste Berlin. Here, she obtained a Meisterschüler degree in the painting class of Prof. Mark Lammert in July 2021. Lexia Hachtmann is alumna of the 2022 Goldrausch Künstlerinnenprojekt and went on to study a Master of Fine Art (MA) in Painting at the Slade School of Fine Art, UCL London for which she received the DAAD Grant. Working in both figurative oil painting and printmaking, Lexia Hachtmann's work deals with conceptions around miscommunication, identity and social hierarchies. To her, the area of the canvas presents a space on which to comprehend, reenact and visualize universal feelings of isolation, intimacy and longing. Lexia Hachtmann's protagonists often move through displaced rooms, stagelike spaces of colour that are neither located in- or outside but rather depict moments of th

Iva Gueorguieva (b.1974, Sofia, Bulgaria, lives and works in Los Angeles, CA) received her B.A. from the Tyler School of Art, Philadelphia, PA. She has had recent solo exhibitions at Night Gallery, Los Angeles, Bradwolff & Partners, Amsterdam, and Gavlak Gallery, Palm Beach, FL. Her work is included in public collections such as the Los Angeles County Museum of Art, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA, among others. Iva Gueorguieva, Field 8, 2025 acrylic, charcoal and gauze on canvas 76.25 x 53 inches Iva Gueorguieva Animal 12, 2024 acrylic and gauze on canvas 72 x 50.5 inches Iva Gueorguieva, Kukeri: Birds, 2024 acrylic and gauze on canvas 78 x 50 inches Sketchbook of the artist referenced in the interview.

Graham Durward was born in Aberdeen, UK and currently lives and works in New York. Durward attended the Edinburgh College of Art (both Undergrad and Graduate) and studied in the Whitney Museum Independent Study Program. He has had solo shows at Maureen Paley, London; Marianne Boesky Gallery, New York; Peninsula, New York; Step sister, New York; Shrine, New York; White Columns, New York; Sandra Gering Gallery, New York; and more. He has also been featured in exhibitions at Peter Blum Gallery, New York; Gavin Brown, New York; and more. Durward’s work has been reviewed in Artforum, Art Newspaper, Art in America, and the New York Times. Graham Durward, International Male, 2025 32 h x 28 w inches Oil on linen Graham Durward, Jet Streaming, 2025 84 h x 60 w inches Oil on linen Graham Durward, Angel walking a dog, 2025 64 h x 52 w inches Oil on linen

Katja Farin works in figurative painting depicting the interactions between the subconscious and reality. The relationship between figures is uncertain; the everyday life of sitting at coffee shops, wandering in backyard gardens, answering boring phone calls becomes the backdrop for the internal dialogue with the self that contemplates traumas, coping mechanisms, dreams and distortions. The works are dream spaces that allow the viewer to peek into the interior worlds of the figures, their relationships with the self and others. Bright colors, glowing hands and distorted bodies create the dreamlike dysphoric space that these androgynous figures embody. Farin received a BA in Fine Art from the University of California, Los Angeles in 2018 and is a candidate for an MFA degree from the Slade School of Fine Art in London. Selected solo exhibitions include Friends Indeed (San Francisco), Era Gallery (Milan), Lubov (New York) and in lieu (Los Angeles). Their art has been included in group exhibitions at Pace Galler

Jovencio de la Paz (b. 1986) was born in Singapore, and currently lives and works in Eugene, OR. They received their BFA from the School of the Art Institute of Chicago, IL, in 2008, followed by an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI, in 2012. De la Paz has been included in group shows at Museum of Contemporary Art Denver, CO; EFA Project Space, New York, NY; Museum of Craft and Folk Art, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; Cranbrook Art Museum, Bloomfield Hills, MI; The Franklin, Chicago, IL; Uri Gallery, Seoul, Korea; among others. In 2022, Jovencio de la Paz was named a United States Artist Fellow for their significant contribution to the field of craft. The title of the exhibition, el lugar de los milagros / the place of miracles is a quotation from didactic signage at the necropolis of Mitla. Located in San Pablo Villa de Mitla, Oaxaca, Mexico, this archaeological site is ritually significant to the history of textiles. The walls of the pre-Colombian settlem

Hoda Kashiha (b. 1986, Tehran, Iran) is a painter whose work fuses humor, fragmented figuration, and political resonance. Trained at the University of Tehran (BFA, 2009) and Boston University (MFA, 2014), she spent several years in the U.S. before returning to Tehran in 2016. Her artistic language combines Persian miniature and pop influences—with digital collage, airbrushed flat shapes, and emotive cartoon references—to probe identity, gender fluidity, and everyday acts of resistance. Kashiha’s recent solo exhibitions reflect her international trajectory and evolving visual strategy. In 2021, In Appreciation of Blinking at Parallel Circuit in Tehran, followed in 2022 by I’m Here, I’m Not Here at Passerelle Centre d’Art Contemporain in Brest. She was presented in Brussels in 2023 with Another World Is Waiting for Us at Galerie Nathalie Obadia. Most recently, she held her first New York solo exhibition, The Doubt Between Us Sways Like Hung Mirrored Eyes at episode, on view from April 12 to June 27, 2025. The

A photo of the artist: Judith Simonian with Charles Yuen Many of Simonian's works in the exhibition at JJ MURPHY Gallery are still lifes, such as “Marysia’s Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi’s still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre. In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian’s paintings deal with intervals, or the spaces between points. Simonian’s still lifes often open up an interior space to an exterior one. In “Marysia’s Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse o

phot of the artist by Ralph Gabriner Dena Schutzer in her fifth solo show at Bowery Gallery in New York City titled “Agitation and Retreat”, describes the work saying, “Together, these oil paintings are a chronicle of observed moments in public and private spaces.” Schutzer’s imagery reflects this wide-open approach—what has caught her eye ranges from a view of a New York street in the giant shadows of looming new skyscrapers, to an intimate scene of the artist’s elderly mother taking a bath. Intuiting a kind of drama in these elements of direct perception provides what Schutzer calls the “initial jolt” that impels her to respond in paint. For Schutzer this mysterious process—the joy and struggle of proceeding from that first sensation to a new, composed reality on the canvas--has everything to do with her pleasure in the possibilities of paint itself.  Her loose but decisive brushwork and bold color tensions and harmonies—acid greens, clashing blues, pervasive violets—don’t let go of the viewer until one h

Julianne Nash Julianne Nash (b. 1991, Massachusetts) is an artist whose work exists at the intersection between photographic collage and digital painting; she utilizes algorithms inherent to Photoshop in conjunction with traditional compositing techniques to create densely layered landscape images that contend with both personal and climate-driven grief. Color is an integral aspect of Julianne’s work; ranging from dark, depleted and disappearing images to artificially saturated color palettes driven by neural imaging algorithms. All of Julianne’s landscapes are of no specific place – rather are meticulously created collages of numerous photographs. Often inspired by places within the environment that evoke an unknown sadness, fear or discomfort, Julianne’s work explores the complex relationship between personal, cultural and natural histories visible within our ever-changing landscape. This interview was done on the occasion of her exhibition, Flora non Grata at Amos Eno gallery. Julianne Nash,, Junipe

Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016. She lives and works in Berlin. Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019). Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY Elizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). C

Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects. Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018. Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (202

Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.   Fragione has exhibited extensively in solo and group

New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook’s paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade. Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angel

Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling. Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City. Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna. Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5 C

Mark Mulroney was born in Redondo Beach when he was very young. He spent a lot of time alone in his room on restriction due to his poor behavior. While in his room, alone, he started to draw, mostly pictures of the Space Shuttle and Vikings. He liked being alone in his room so much that he decided to try and make a career out of it. He is now 52, living in Connecticut, and spending almost all of his time in a room, by himself, drawing. When not in his room he enjoys talking to his wife about how he doesn't want to go on hikes The End. Mark Mulroney, What Black Hole?, 2025 Oil on Canvas 74 x 92 inches 188 x 233.7 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo. Mark Mulroney Kal-El, 2025 Ink on Paper 71 x 46 inches 180.3 x 116.8 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo. Mark Mulroney Clark 2, 2025 Oil on Panel with Gum 29 x 22 inches 73.7 x 55.9 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo