In Brun Del Re’s SERVE, every possible association with the word congeals together to form something of a single-word manifesto.

Villaseñor’s painting is pure horror.

Fernández explores the boundaries of her own humanness, as an embodied animal whose existence is intertwined with the natural environment around her.

Carter draws on her own past to construct paintings that explore what it means to be a woman and how that identity is separate from, but affected by, her identity as a mother.

Stringfellow views research as critical to her work, and considers it a responsibility, even a sort of implied obligation, to the site itself and to the viewer/observer/participant.

Naomi Nadreau’s vacuity detriment carries ancient knowledge while portending a cyborgian future.

Juan Miguel Cabrera uses the traditional medium of watercolor on paper to examine the modern archetype of the commercial break room.

Einar and Jamex De La Torre’s work in blown glass and lenticular imagery signifies the opulent excess of a time that may not last much longer.

Chan crafts wearable sculpture that is campy, entertaining, and totally absurd while also offering a pointed critique of the American hero as a social construction.

On Alcasid’s series, BMT (Blood and Marrow Transplantation), a meditation on time and suffering during the course of aggressive cancer treatment.

Self-aware and humorous, Taylor Chapin examines the ways in which consumerism has reached a point of fetishized ecstasy.

Montjoy cultivates community and comfort with her large-scale, collaborative weaving projects.

Iglesias investigates La Jolla’s colonialist history and present-day utopian image.

A meditation on bodily difference, in digital space and IRL.

The familiarity of drawing invites us to question the relationship among the artist, the body, and the chosen materials.

Swonger considers the complicated nature of the relationship between place and home.

Rigg’s work exemplifies the peculiarities of art’s past and future.

In her installation, Shape of Memory, Fukuyama crafts a collective recollection of San Diego’s North Park neighborhood.

Mohamed embraces disruption to make work about cycles, disorientation, and the perception of self.

Vincent’s installation activates wood and rope to uncover the charges of historical context they carry.