2025 ARTISTS/
ARTISTAS

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Alison McNulty

Ancient Conversation (Wireworks)

109 S William Street

  • Wood, pigment, hardware

  • This project materializes a connection between our bodies, the bodies of trees-turned-wood, the building ruin, and the vast infrastructure used to manipulate movements of water in our constructed landscape with the intention of remembering, recording, and releasing the flows of water across time.  

    The architectural remainder of Murray’s Luncheonette is defined by several thresholds that connect movements above the viewer to those below and provide continuity between interior and exterior. The sidewalk and driveway flow down to the low point of the property, which was once a natural pond. Retention tanks now sit below the asphalt and concrete, visible through the grates on Wireworks’ patio and back lot. The water still gathers there, and in wet times, overflows through a vast network of pipes under our city streets, down into the river, rejoining the path of a river carved by glaciers during the last ice age.

    The grain of the wood records the climate and weather over the life of the trees and has been shaped by the ways water flowed through it, the way water flows through the installation site and the river, and the ways water erodes and shapes the materiality of our city and the mountainous landscape of the highlands.

    Between the ever-changing weather movements in the sky and the deep, slow time of geological accumulation, erosion, and tectonic shifts, the bodies and structures of our animal and vegetal realm act as conduits for water. We are witness to, and part of, an ancient conversation between water and land, between the river and the highlands in the area that we know today as Newburgh.

  • Alison McNulty is an artist, educator, curator, and gallery director based in Newburgh, NY. Her interconnected roles serve a collective spirit of community and co-mentorship that tends to the margins, values diversity and nuance, and includes the nonhuman world. Through all aspects of her work, Alison prioritizes embodied practices in knowledge and culture-making, offers an expansive and inclusive vision of where and how art might be experienced in the world and who it’s for, and works to compel meaningful engagements with art, each other, and the environment through deep modes of attention and care.

    Alison’s interdisciplinary research across and outside the arts is characterized by a poetics that strives to weave intellectual rigor with the somatic and mysterious. Through ephemeral and site-responsive artwork, Alison reveals layered histories, ecological entanglements, beauty, violence, loss, and playful absurdities embodied in ordinary, natural, and reclaimed materials and precarious places. Alison’s work has been presented at museums, galleries, conferences, farms, historic sites, forests, performance spaces, and abandoned and neglected spaces throughout the US and in Europe and Columbia.

Andrea Moed

The Young and the Weedy

111 Chambers Street

  • Printed paper, wallpaper paste, pokeberry ink

  • When I walk past a yard that has been allowed to grow wild, it’s like I see that space through anthropomorphic goggles. The inner lives of the weeds—the interlopers, the stalwart locals, the volunteers—become amplified. Resource competition, seasonal die-back, the literal throwing of shade—all this and more unfolds in this fenced-in slice of wilderness. The Young and the Weedy is my invitation to step into this world through the magic portal of a house-sized romance comic.

  • Andrea Moed is a cartoonist and ceramicist poking at the boundaries between human perception and the possibilities of beyond-human cognition, with the city as a field of play.

*To be installed by 10/1

Ari Jahanshahi + Gregor Bugel

Newburgh Lost & Found

60 Dubois Street

  • Parged concrete over wood and cement board frame, glycerin, led lights.

  • The Newburgh Waterfront has changed drastically over the past 150 years—no section more radically than Front Street between 3rd and what was once 5th Street.

    This artwork embodies that transformation through a dynamic sculpture that evolves over the course of the exhibition. A model of the site as it exists today—its streets, uses, and built structures—serves as the foundation. Layered over it is a translucent “ghost” model, formed from Sanborn Insurance Maps of 1884, the same year Newburgh first received electricity.

    As the exhibition progresses, the 1884 structures slowly erode. Each waning building leaves behind a hidden light, glowing more brightly as the form dissolves, remaining as a memory of what once stood. Through this slow transformation, the piece invites reflection on density, change, and collective memory—asking viewers to consider what fades, what remains, and how time reshapes place.

  • Gregor Bugel brings his experience from the fields of architecture, museology, interior design, and furniture making into his personal work as a multi-disciplinary artist. This approach to artmaking yields artworks as varied as drawing, sculpture, photography, and assemblage that often reference an individual’s place in a larger society of other individuals.

    The natural world, both at the grand and micro scale, is ever-present in his thinking about art and how he makes it, manifesting itself either as found organic and geological materials and forms, or as reused and reinterpreted human-made objects given a second life and pressed into sculptural purpose.

    Gregor’s work has been published in New York Magazine, Lonny, and Dezeen, among others. He was an Exhibition Designer at the Columbia University Graduate School of Architecture, Planning, and Preservation; Studio Faculty at the Pratt Institute School of Design, and currently has his own restaurant and home design practice in the Hudson Valley.

    Aria Jahanshahi, AIA, NCARB Architect: After graduating with a Bachelor of Architecture/Minor in Philosophy from the University of Kentucky, Aria has worked as a Designer and Architect throughout New York State. Aria established his New York City-based practice, opa architecture in 2015, which applies robust architectural theory and operates in a wide range of project typologies and has been published in Dwell Magazine, Architectural Digest, and Lonny, among others.

    Aria has volunteered with Storefront for Art and Architecture and been a guest critic at Pratt Institute and Wentworth Institute of Technology. Aria is an Adjunct Professor at Spitzer School of Architecture, City College of New York.

    Aria collages with various mediums, often exploring his cultural identity as an Iranian American, at his home in Peekskill, New York.

Ashley Lyon

Self-Same, 2013

13 Park Place

  • Pigmented ceramic, concrete

  • Selfsame was inspired by a suburban yard I came across while at an artist’s residency in Nebraska. A cement lion was guarding the entrance to a home with a chain link gate around it. A tankini top obscuring the lion’s face was drying in the summer sun. When I returned on another day, to my surprise, I saw that the vicious guard lion was instead a goofy collie dog, tongue hanging out of its mouth in slobbery welcome. 

    By removing the faces of my sculpted guard lions, I create a void to be filled by the viewer’s self-projections. They are made of colored clay, darkened like a shadow or spatial void. Still welcomers, gate keepers, and guard dogs, they also transform into photo shoot props, “insert self here,” receivers, and portals. Their gaze meets the viewer as mirror.

  • Ashley Lyon received an MFA in Sculpture + Extended Media from Virginia Commonwealth University and a BFA in Ceramics from the University of Washington. Lyon has been awarded residencies at the Archie Bray Foundation, Anderson Ranch Arts Center, the European Ceramic WorkCentre and Bemis Center for Contemporary Arts. She is an NYFA Fellow (Sculpture/Crafts 2023) and an Elizabeth Greenshields Grant recipient (2011 and 2014). She is currently an Assistant Professor of Art at SUNY New Paltz University and lives and works in Newburgh, New York.

Bam Bowen and Sara Gurevich

i'm trying to rewrite what happened before

400 Liberty Street

  • i'm trying to rewrite what happened before is a meditation on undoing, the passage of time, and the fine edge between meaning and non-meaning.

    Over the course of Terrain Biennial 2025, the words on this quilt will, one by one, be undone, leaving new sentences, and perhaps meanings, or non-meanings, to be experienced by passersby.

    The quilt, comprised of found, upcycled materials built to weather the elements, is stitched in a nine-patch pattern of mostly blue hues. The nine-patch pattern was used primarily during the early 19th century as a utility quilt, and eventually became known for being “lower class.”

    i’m trying to rewrite what happened before
    i’m trying to rewrite what happened
    i’m trying to rewrite what
    i’m trying to rewrite
    i’m trying to
    i’m trying
    i’m

  • Bam Bowen (they/them) is a Newburgh-based multidisciplinary artist whose practice spans sculpture, collage, painting, embroidery, and more. They studied sculpture at the University of the Arts in Philadelphia, where they explored working in different forms and materials. Bowen’s work embraces experimentation across mediums, weaving together texture, color, and narrative to create pieces that invite curiosity.

    Sara Gurevich (she/her) is a Newburgh-based artist working in multiple mediums. Her performance work has been presented by Movement Research at Judson Church, Dixon Place, Newburgh Open Studios, and many others. She currently performs with Raja Feather Kelly’s the feath3r theory. She has previously collaborated with Bam Bowen to create site-specific, interactive installations. Gurevich is also a psychoanalyst in private practice.

Carla Aurich

41.5034 N x 74.0104 W

39 Bay View Terrace

  • The title of this piece is the actual longitude/latitude lines of 39 Bay View Terrace. These lines are imaginary and create a grid system on earth to pinpoint locations and uniquely identify any place on earth.

    I substituted patterns and colors from my drawings of this site for numbers which are repeated in the same sequence, creating a visual language of the space. This unique place on the matrix has been resurrected from an abandoned house in my neighborhood. What was once a poison-ivy palace is now abundant and thriving. The small actions we take affect the larger community across the grid. The latitude and longitude lines run from pole to pole, an invisible matrix, representing connectivity and our relationship to the larger global world.

  • Carla Aurich is an artist and educator currently residing in the Hudson Valley after many years in Manhattan. After receiving an MA and MFA from the University of Iowa, Iowa City, with a focus on painting and printmaking, she has taught in NYC for over 25 years. Originally from the vast plains of the Midwest where the light, space, and vast sky continue to influence her art.

    Her work is exhibited nationally and internationally, included in private and corporate collections. She is a recipient of a NYA 9/11 grant, Pelzer-Lynch fellowship, a Soaring Gardens Residency, and recently a Estudio Corazon Residency at Ghost Ranch, New Mexico.

Dan Daly/Ofo Theater

FOR THE BIRDS

27 Johnes Street

  • Wood, fasteners, theatrical paint, music stand, written text

  • Every night, between April and November, between sunset and dusk, a performance of operatic scale happens in the sky over Newburgh. Hundreds of chimney swifts gather over Liberty Street swooping and spinning until they descend all at once into an abandoned industrial chimney on Johnes Street. These birds perform seven shows a week for us and it is only fair we give them a performance in return. FOR THE BIRDS places a small theater stage and script across the street from the chimney the swifts live in and gives passersby an opportunity to perform for, or with, the birds. FOR THE BIRDS continues a body of work where people are invited to perform for nature and the lines between audience, public, and performer blur.

  • DAN DALY is a scenic designer specializing in site-specific and immersive work. A proud member of the National Queer Theater Collective, Dan designs the scenery for its OBIE award winning Criminal Queerness Festival. Dan’s work has appeared Off-Broadway with the immersive play Tammany Hall at SoHo Playhouse, at SxSW with Third Rail Project’s Yours to Lose, and at RuPaul’s Drag Con where he designed the booth for Monét X Change.

    OFO THEATER creates performances that do not fit neatly into the definition of “theatre” and exist below what is deemed commercially viable. Ofo Theater is committed to exceptionally small, experimental works that cannot scale, performances that eschew historic theatrical space, and shows that only tangentially relate to what we are taught theater is.

Daniel Giordano

Pleasure Pipe LXXIX [Jupiter Optimus Maximus (Revisited)]

113 First Street

  • Acrylic polymer emulsion, air dancer, Annie McCurdy’s hair, catcher’s mask, cement, chip brush bristles, Christmas bell, construction adhesive, dogwood, glazed bricks, hardware, hardware cloth, pigment, steel chair legs, stones, soot, tennis ball hopper, the artist’s hair, thread, upholstery foam, vinyl

  • Pleasure Pipe LXXIX [Jupiter Optimus Maximus (Revisited)] is my largest Pleasure Pipe sculpture to date. My vein of Pleasure Pipes revels in the legacy of my grandfather, Frank Giordano, who enjoyed smoking tobacco out of a wooden pipe.

  • Daniel Giordano (b. 1988, Poughkeepsie, NY) is an artist based in Newburgh, NY. Daniel earned his MFA from the University of Delaware in 2016. He participated in the Picture Theory Summer Artist Residency in 2025, Millay Arts Core Residency Program in 2024, and the AIM Fellowship at the Bronx Museum of the Arts in 2021. Solo exhibitions include MASS MoCA, North Adams, MA (2023); The Hyde Collection, Glens Falls, NY (2024); Ann Street Gallery, Safe Harbors of the Hudson, Newburgh, NY (2022); among others. Group exhibitions include Shadow Walls, Purling, NY (2025); High Noon, New York, NY(2024); Grimm, New York, NY (2024); The Bronx Museum of the Arts, The Bronx, NY (2024); Helena Anrather, New York, NY (2023); The Dorsky Museum, SUNY New Paltz, NY (2022); among others. His work has been featured in the New York Times, The Brooklyn Rail, Sculpture Magazine, among others.

Dave Sinor

Kingfisher

12 Park Place

  • This piece is representative of a larger body of work which incorporates different fish species with a complementing element, flora or fauna. This kingfisher, rainbow trout, and blossoms bring brightness and potency, inviting folks to savor nature both in realtime and as art. 

    This scale of work was a lot of fun for me, I look forward to even more large-scale work and murals which feature this style and subject matter soon. 

  • Dave Sinor is a Newburgh-based, California-born painter and tattooer. His aesthetic is classic Japanese subject matter combined with an American Traditional technique. 

    Growing up on the West Coast, Dave connected with skateboard graphics and designs early on and has been into making art most of his life. 

    His painting and multimedia work developed alongside his Tattoo career and has now been featured in international art shows and publications. 

    Primarily, Dave uses liquid acrylic paints on cold press watercolor paper. Often inspired by nature, local and exotic flora and fauna are featured in his work as well as his passion for fishing.

    He is currently living in Newburgh, NY and can be contacted via email at DaveSinor@yahoo.com.

Dylan Assael

Signal Banner

15 Henry Avenue

  • Acrylic polymer emulsion, air dancer, Annie McCurdy’s hair, catcher’s mask, cement, chip brush bristles, Christmas bell, construction adhesive, dogwood, glazed bricks, hardware, hardware cloth, pigment, steel chair legs, stones, soot, tennis ball hopper, the artist’s hair, thread, upholstery foam, vinyl

  • The latest piece is part of my ongoing exploration of iconography, ritual, and the power of flags as carriers of meaning. Inspired by traditions as diverse as secret societies, Asafo flags of Ghana, and esoteric mysticism, I use hand-sewn textiles to create emblems that feel at once familiar and otherworldly.

    The central eye radiates light and energy, a symbol of perception, vigilance, and spiritual awakening. It is framed by lightning bolts and stars, evoking both the celestial and the earthly, a reminder of the tension between the unknown above and the grounded reality below. The scalloped edge and gold fringe echo ceremonial banners and processional cloths, suggesting this piece belongs not only to an individual but to a collective—an imagined society seeking truth and illumination.

    My goal is to transform fabric into a vessel for inspiration. Each symbol is an invitation: to look deeper, to wonder, to carry a message of resilience and vision. In creating banners like this, I hope to revive the communal, uplifting spirit of flags while offering a contemporary language of mystic optimism.

  • Dylan Assael is a multimedia artist specializing in hand-sewn flag works that blend vintage sensibility with a deep love of symbols and storytelling. Working primarily with natural fabrics, his work is carefully pieced and stitched in Beacon, New York, carrying echoes of both maritime tradition and mystical lore.

    Dylan’s work draws inspiration from many worlds: the bold declarations of Asafo Fante banners, the quiet codes of the Freemasons and Odd Fellows, maritime signal flagging of naval vessels, the restless defiance of Pirate jacks and the high seas, and the protective charms of Amish hex signs. Together, these traditions form a symbolic compass, pointing toward wonder, resilience, and mystery.

    The result is a collection of flags that feel both familiar and otherworldly—meant to inspire, uplift, and energize the spaces they inhabit.

    Dylan’s work has been featured in the New York Apple Walk, Field & Supply juried selection, ArtPort Kingston, among others. Each flag serves as both an object of beauty with a wink and a nod towards a mysterious tale that may never be told.

E. Saffronia Downing

Cobble

10 Henry Avenue

  • Ceramic Installation

  • Cobble is a collection of ceramic tiles, embedded in the soil on Henry Street. This ceramic installation references vernacular garden making, cobblestone sidewalks, and brick architecture to illuminate connections between the natural world and the built environment.

  • E. Saffronia Downing works with wild clay to map material residues across time and place. She received her MFA in Ceramics from School of the Art Institute of Chicago. Downing has been a recipient of awards, fellowships, and residencies such as the Future Bodies symposium at the Gardiner Museum, Toronto, ON, and a studio session at A-B Project, Los Angeles, CA; grants from SPACE American Rescue Plan and Buck Lab for Climate and Environment; fellowships at College of the Atlantic, Lunder Institute of American Art, and Oxbow School of Art; and residencies at PADA, ACRE, and Tokyo Arts University. Recent solo and two-person exhibitions include A Beautiful Experience at John Michael Kohler Arts Center, Sheboygan, WI; Tracks and Other Signs at Old Friends Gallery, Chicago, IL; Clay-In-Place at Triangle Projects, Los Angeles, CA; and Field Dug Over at Bad Water Gallery, Knoxville, TN.

Elena Kalkova

No Human Is Illegal

375 Grand Street

  • Bamboo and crochet 

  • Kalkova is interested in conversations about what is forgotten and what is pushed out or erased for those who are stuck in this liminal space of non-be/longing. She is trying to talk about fragile permanence and abiding intangibility. Her works are intimate memorials that seek to monumentalize the intangible and non-monumental.

  • Elena Kalkova (she/her, b. 1991, Tver, Russia, lives and works in Newburgh, New York) is a conceptual Russian-American artist, sculptor, and educator. In her practice, she explores weaponization of memory, dangers of nostalgia, memorylessness, state propaganda, resistance to the systems of oppression and violence, and complex relationships with the home, especially when the home is a dictatorship. Kalkova seeks to connect personal and collective experiences, prioritizing coming together for the collective repair of fractured social ties and fostering horizontal connections.

    She holds graduate degrees in Liberal Arts and Fine Arts from School Of Visual Arts and Rhode Island School of Design. Kalkova's written research lies primarily in the field of Post-Soviet feminist and queer art and translation.

Grace McCoy

Velvet and Steel

29 Carter Street

  • Queer failure is generally defined as the intentional nonconformity to societal norms and is viewed as a radical form of resistance and a source of resilience, creativity, and transformative potential within queer communities. Velvet and Steel (2024) is a project that investigates how the concept of queer failure is represented and embodied within the dynamics and relationships of butch and femme lesbian communities. It explores how these identities challenge traditional norms of gender and sexuality and create a unique and meaningful cultural landscape.

  • Grace McCoy (b. 1994 Tahlequah, Oklahoma) currently lives and works in El Paso, TX. They earned their BFA in studio art from Northeastern State University after retiring from their career as a ballet dancer and is currently completing their MFA at the School of Visual Arts (SVA). Their work investigates the dynamics of butch and femme lesbians, challenging heteronormative norms by exploring queer identity and partnership through the lens of queer failure, informed by queer gender theory and the complexities of intersectionality within queer communities. They have been influenced by queer religious trauma, and power dynamics and abuse within religious institutions. They have participated in many group shows across the country, as well as a solo show at FemmeX in Columbia, SC. As an educator, they integrate dance and visual arts, teaching at performing arts schools and universities across the country.

Ian McMahon

Portico

73 Grand Street

  • The unique elevated porch of 73 Grand St. serves as an architectural stage for McMahon’s latest ephemeral plaster addition, Portico.

    By inflating custom plastic molds into the extant structure, layers of industrial plaster can be sprayed inside the makeshift chamber to carefully build a self-supporting shell. The exterior form is then removed, leaving a ghostly impression of pressurized air, rendering an extended moment with motion stilled.

    In contrast to and in concert with the crumbling facade of the building, the cast appears frozen in time. However, as the work is inextricably entwined with the architecture, it will decay alongside the structure. This stoic tension resonates through the delicate strength of the form, an ethereal monument to life in ruins.

  • Ian McMahon received his MFA in Sculpture and Extended Media from Virginia Commonwealth University (2010) and his BFA in Ceramics from the New York State College of Ceramics, at Alfred University (2004). He is the recipient of numerous grants and awards including the Jacob K. Javits Fellowship in 2009; NYSCA/NYFA Artist Fellowships in 2014 and 2023 in Craft/Sculpture from the New York Foundation for the Arts; and a Virginia Groot Foundation Grant in 2016. McMahon’s work has been shown at venues including: Crane Arts, Philadelphia; The Pacific Northwest College of Art, Portland, OR; Pierogi Boiler Room, Brooklyn, NY; Bemis Center For Contemporary Arts, Omaha, NE; Suyama Space, Seattle, WA; T & H Gallery, Boston: Tang Contemporary, Beijing, China; Practice Gallery, Philadelphia, PA; DeCordova Sculpture Park and Museum, Lincoln, MA; MadArt, Seattle, WA; among others.

    Through large-scale temporal site works to explorative furniture, McMahon’s work coaxes materials out of their everyday processes to extend the limits of what is possible. McMahon is currently based in the Hudson Valley with his home and studio located in Newburgh, NY.

Jennifer Rawlison

unraveling

260 Grand Street

  • Crocheted wire, wire mesh

  • The unique elevated porch of 73 Grand St. serves as an architectural stage for McMahon’s latest ephemeral plaster addition, Portico.

    By inflating custom plastic molds into the extant structure, layers of industrial plaster can be sprayed inside the makeshift chamber to carefully build a self-supporting shell. The exterior form is then removed, leaving a ghostly impression of pressurized air, rendering an extended moment with motion stilled.

    In contrast to and in concert with the crumbling facade of the building, the cast appears frozen in time. However, as the work is inextricably entwined with the architecture, it will decay alongside the structure. This stoic tension resonates through the delicate strength of the form, an ethereal monument to life in ruins.

  • Jennifer Rawlison was born, raised, and is a resident of the City of Newburgh who enjoys art-making with her family when the opportunity arises.

Jennifer Rawlison, Tamsin Hollo & Newburgh Clean Water Project

of substance

25 North Street

  • Mixed media

  • of substance represents the relationship between the City of Newburgh and the PFAS contamination that continues to challenge the health and spirit of a community exposed to "forever chemicals."

  • The Newburgh Clean Water Project (NCWP) is a nonpartisan grassroots group engaged in advocating for City of Newburgh’s long-term access to clean drinking water, comprehensive health resources for those who’ve been affected by PFAS and lead, and the restoration of our watershed—now and for future generations. It iis particularly important with the dissolution of legislative protections and policy in current times to ensure the City of Newburgh, impacted by PFAS contamination is seen and heard.

Johnna Arnold

Believe Together

9 Central Avenue

  • Eco-solvent prints on wet-strength paper, ceramics, thread

  • Home, at its best, is a space of supportive growth—a living weave, porous to shifting personalities, ideologies, and cultural currents. It is a place where who we are and what we desire can be considered with clarity, stability, and love. A sustaining home rests on a mutual act of belief: belief in oneself and in those with whom the space is shared.

    This piece is a literal weaving of the people who inhabit this home—their skin, their treasured objects, the land and sky that hold them. It is both celebration and acknowledgment: of the effort required to create a home, and of the love and support that such creation makes possible.

  • Johnna Arnold is an artist and educator whose work explores the complex human desire to discern and act upon what we imagine to be in our best interests. Working in photography, ceramics, and social practice, her recent projects include From Inside This Earth, analog photograms made with used motor oil, and Expanding Space, a participatory meditation initiative. She holds a BFA from Bard College and an MFA from Mills College. Arnold has exhibited at the Headlands Center for the Arts, Oakland International Airport, and SF Arts Commission Gallery, and has taught photography at SFAI, USF, and currently SUNY New Paltz.

Judy Thomas

Curly Q

35 S Lander Street

  • Using simple industrial materials like PEX, vinyl, and hosiery, Thomas creates work that activates the senses. Colorful tendril-like forms unfurl and intertwine in a weird curvilinear space, suggesting a Dr. Seussian world of ribbons or musical notes.

    The play of light and shadow, real and implied volume, and high-key color that Thomas practices in her work evokes a sense of whimsy and wonder that speaks to all generations.

    Underlying the playful nature of Thomas’s work is an investigation into the formal elements of color, line, and form, while revisiting 20th-century abstraction through a 21st-century lens that is informed by scientific theories of chaos and order.

  • Judy Thomas is a multidisciplinary artist based in Newburgh, NY. She holds an MFA from CUNY Hunter College in Painting, with an emphasis on color theory. Thomas grew up in the midwest and began formal art studies at the University of Iowa, studying drawing and printmaking, followed by schools in Virginia and Paris. After graduate school, she joined the mass exodus of young artists to Williamsburg, Brooklyn. The pioneering, renegade spirit of the early 90s helped shape the direction of Thomas’s art, and she began to create temporary, large-scale sculptural installations in abandoned warehouse spaces along the Brooklyn waterfront. 

    Thomas has created site-specific public installations for The Arsenal Center for the Arts, Watertown, MA, Brandeis University, The Saugerties Public Library, Samuel Dorsky Museum of Art in New Paltz, among others, and her work has been shown at galleries and museums in the US, Europe, and Japan. Thomas has been featured in the New York Times, Boston Globe, Time Out New York, The Detroit News, Huffington Post, the Mid-Hudson Times, Chronogram, and  the Wikipedia page Brooklyn Immersionists.

    In 2015, Thomas won a New York State Council on the Arts Individual Artist Commission grant for her community-responsive piece MATRIX: RENEWAL. In 2023, The Orange County Arts Council selected her design for a bespoke bike rack to be fabricated and installed in the City of Newburgh in 2025.

Katarina Jerinic

In fall the days start to fade away

18 Lander Street

  • Cyanotype on fabric

  • In fall the days start to fade away charts the stars overhead in Newburgh at 2:19 pm on September 22nd, the exact moment of the autumnal equinox. This moment marks the planetary shift from summer to fall in the Northern Hemisphere—and shorter, darker days.

    This sky map is aligned to where you are standing so that you can see the stars made invisible by the Sun, but always all around you. It is printed as a cyanotype, a photographic process which uses the Sun to reveal images in shades of blue, resembling the colors of a daytime sky. This map remains sensitive to sunlight and will fade over the course of the Biennial, mirroring in time the fading daylight as we shift towards winter.

  • Katarina Jerinic makes photographs, prints, and ephemera about the landscape found on streets and sidewalks. Her projects have been presented both indoors and out, including at Baxter St at CCNY, New York, NY; SPACES, Cleveland, OH; Storm King Art Center, New Windsor, NY; BRIC, Brooklyn, NY; Marjorie Barrick Museum of Art, Las Vegas, NV; and flying over the Gowanus Canal in Brooklyn, NY. Her work has been supported by Puffin Foundation, Teaneck, NJ; Times Square Alliance, New York, NY; Brooklyn Arts Council, NY and chashama, New York, NY. Residencies include Wave Hill, Bronx, NY; SPACES, Cleveland, OH; Baxter St at Camera Club of New York, NY; Center for Book Arts, New York, NY; Lower Manhattan Cultural Council, New York, NY; and MacDowell, Peterborough, NH.

Lexa Walsh

Freak Flag, Mini

26 E Parmenter Street

  • Synthetic hair, feathers, dowel, hardware

  • I began my "Freak Flag" series while simultaneously watching the summer olympics and wars televised. A new body of work emerged composed of rallying objects, like cheer poms, flags, shields, and military-adjacent forms—a continuation of my work about military decoration and Victorian mourning jewelry. Freak Flags, a term coined by Jimi Hendrix and popularized by David Crosby, defined the act of defiance for counterculture youth, particularly hippies, such as growing out one's hair.

  • Lexa Walsh is a Kingston-based artist, cultural worker, and experience maker. Her upbringing as the youngest of 15 informs her work, as does practicing collectivity while coming of age in the Bay Area post-punk cultural scene of the 1990s.

    Walsh was Social Practice Artist in Residence in Portland Art Museum’s Education department. She received SOEX’s Alternative Exposure Award, the CEC Artslink Award, the Gunk Grant, the de Young Artist Fellowship, and Kala’s Print Public Residency Award. Walsh has participated in projects, exhibitions, and performances at Apexart, de Young Museum, di Rosa Center for Contemporary Art, Exploratorium, Federal Hall NYC, Field Projects, FOR-SITE, Grand Central Art Center, Kala Art Institute, Marin MoCA, Mills College Art Museum, Oakland Museum of California, NIAD, Portland Art Museum, SFMOMA, Smack Mellon, WAAM, Walker Art Center, Williams College Museum of Art, and Yerba Buena Center for the Arts, and in many DIY and public spaces.

Liz Nielsen

Owl Landscape

234 Grand Street

  • Traditional, yard-style, real estate sign post, photograph printed on metal, suspended by thin chains

  • Liz Nielsen’s Owl Landscape is a playful exploration of the fluid, ever-shifting dynamics between the animal kingdom and the natural environment. Presented as a yard-sculpture and hanging from a traditional real-estate post, the metal sign features an owl with a landscape inside of it. The image reveals the omniscience of this magical bird and at the same time protects the home it sits in front of. 

    Created through her unique photogram process, Nielsen works in total darkness, employing a complex layering system of materials and objects to expose light-sensitive paper, then developing the image with traditional color chemistry.This intricate process requires trust in the medium, mirroring the vulnerability and unpredictability of human relationships. The resulting work, both bold and ephemeral, celebrates light as a creative force and invites viewers to see love as an ever-changing interplay of form, color, and energy.

  • Liz Nielsen (b. 1975) is a New York-based artist celebrated for her innovative approach to photography, which she refers to as “light painting.” Using photograms—a technique that predates traditional photography—Nielsen creates one-of-a-kind compositions in the darkroom. Her process involves a complex layering system of materials and objects to project light onto photosensitive paper, building intricate, multi-exposure images that combine detailed planning with moments of spontaneity.

    Nielsen’s work often explores the interplay between perception, physics, and the intangible forces that shape our world. Her vibrant photograms, ranging in size from intimate to monumental, feature bold colors and geometric forms, evoking themes of duality, movement, and transformation. Speaking about her medium, Nielsen has said, “Light is like love—you can know it, but you can’t hold it,” a sentiment that resonates deeply in her practice.

    Her work has been exhibited extensively both nationally and internationally, with solo exhibitions at Miles McEnery Gallery in New York, Black Box Projects in London, and SOCO Gallery in Charlotte. Nielsen’s work has been featured in major publications, including Artforum, The New Yorker, The Financial Times, and the New York Times.

    Nielsen earned her MFA from the University of Illinois at Chicago and her BFA from the School of the Art Institute of Chicago. She is represented by Miles McEnery Gallery (New York), SOCO Gallery (Charlotte), Black Box Projects (London), and Horizont Gallery (Budapest). She has also collaborated with institutions like Hermès and Google and participated in prestigious art fairs, including Paris Photo and Photo London.

LotuZ

One light...Refracted

61 Temple Ave
The Sanctuary at Crystal Lake

  • LotuZ is an Artivist, Multidisciplinary Visual Artist, Spoken Word Lyricist, Playwright, Sculptor, and Singer. She uses her “Creationz” to amplify truth, challenge perspectives, and inspire transformation across visual, performance, and literary art. Her work is rooted in racial and social justice, environmental and educational awareness, and advocacy against housing insecurity and domestic violence. LotuZ engages community through art, mentoring, and performance—purposefully transforming spaces into safe environments that spark reflection, connection, and inspiration. In addition to her creative practice, she invests her time and resources as a philanthropist and continues to serve as a strong advocate against domestic violence. Her artistry reflects an enduring dedication to truth, empowerment, and justice.

Margaret Roleke

Housing Rights

312 Grand Street

  • Steel, plexiglas, paint, mesh, corrugated plastic and  solar lights

  • Housing Rights is an outdoor installation addressing the urgent crisis of housing in America. The piece takes the form of a house-like structure, with panels bearing phrases such as “Everyone Deserves a House” and “Safe Homes.” Some panels are made of plastic, while others are mirrored, reflecting the surrounding environment and the viewer—inviting personal reflection on the issue. Placed in a homeowner’s yard, the work becomes both a public statement and a neighborhood conversation starter, urging us to consider housing as a fundamental human right and the inequities that leave so many without it.

  • Originally from Long Island, New York, Margaret Roleke lives and works in Brooklyn and Connecticut. Roleke earned her MFA from Long Island University, CW Post Brookville, New York, and a BA from Marymount Manhattan College. Her work appears nationally in galleries and museums. Currently, Roleke also has outdoor work included in exhibits at Jackie Robinson Park in Harlem and Mother-in-Laws in Germantown, New York. Roleke will begin a 9-month residency at the Textile Arts Center in Brooklyn in October 2025.

Matt Greco

FireSail

189 Montgomery Street

  • Steel, wood, nylon, wire

  • FireSail is a site-specific sculpture installation composed of wood, canvas, wire, and metal located at the Newburgh Historical Society’s Crawford House. The sculpture resembles sails attached to a mast in connection with the rich maritime history of cities along the Hudson River such as Newburgh. Shipping and maritime commerce move goods between people and places while moving culture, science, and ideas along with it. This shared tradition of moving and mixing is at the heart of our civilization, at the heart of our sense of curiosity, of self, and is critical to a time when we’re all trying to regain some stability in our lives. I hope this work gives space to ask ourselves what is gained when we create more connections and what is lost when they are severed.

  • Matt Greco is an artist and educator living and working in Brooklyn NY. He is an Assistant Professor of Photography & Imaging at Queens College CUNY, and Co-founder and Director of The Klapper Digital Imaging Lab and Digital Fabrication Lab at Queens College. He received his BFA from Armstrong Atlantic University and his MFA from Queens College CUNY. His work has been exhibited domestically and internationally including New York, California, Georgia, Ohio, Ireland, Germany, and Ukraine. Greco’s work varies in subject and medium, and of late has explored the innovative ways people problem-solve in their everyday lives. He, along with Chris Esposito, form the public art collaboration Damfino, who focus on public art with a concern for traditional construction methods and reclaimed building materials.

**To be installed 10/3
Matthew Lusk

Bus Stop

20–24 Chambers Street

*To be installed 10/4

Matthew Lusk

OURS

110 Washington Street

Megan Porpeglia

Noticing Prana

5 Liberty Street

  • Yarn, twine, thread

  • A continuous thread in my work is the discovery of methods to visually articulate the ambiguous, perceptual spaces between an individual and their environment. I am persistently invested in how steady observation can reveal a delicate relationship between human and landscape or human and object. I ask what it means to be here—to question an attachment to a home, to honor the places that behold us, and to remember the spaces that reveal our human scale and interconnectedness. 

    My visual and tactile investigations emerge as crocheted panels in this work. These panels are a meditative practice, where each turn of the fiber marks a step in the process of building and discovering the form. The tangible mark making is like a hand reaching out to guide the observer. The forms are reminiscent of domestic textiles. The composed tactile panels offer an invitation to witness the intimacy of something adored and cherished in the home or shared gathering space such as the Newburgh Yoga Shala. These tactile paintings encourage a familiar felt presence and a warm welcoming home.

  • Megan Porpeglia (b. 1990) is a Hudson Valley, New York based artist making paintings and drawings that engage the particularities of objects in her daily surroundings. The work is impacted by aspects of Megan’s lived life between urban and wild environments.

    Megan received her BFA in Painting from SUNY New Paltz in 2013 and her MFA in Painting from Pratt Institute in Brooklyn, New York in 2017. She has attended residencies in Calabria, Sardinia, and New York. Megan has shown her work internationally and nationally.

Natalya Khorover

FOREVER STOLEN FUTURES

42 Fullerton Avenue

  • FOREVER STOLEN FUTURES talks about the contradiction of what endures, of what we choose to protect, exclude, contain, or discard. At a distance, the installation appears joyful, even whimsical: a burst of brightly colored, exotic blooms and words cascading across a chain-link fence. But step closer, and the illusion dissolves—these flowers are fabricated entirely from discarded plastic—the very material choking ecosystems, littering landscapes, and outlasting us all; the words are calls to action inspired by the youth climate activists wishing to protect their futures.

    FOREVER STOLEN FUTURES is both warning and invitation—to see differently, to reckon with the permanence of our waste, and to imagine a world where beauty does not come at the cost of the planet.

  • For two decades, Natalya Khorover has reclaimed and repurposed materials in her art, guided by a thrifty upbringing in Leningrad, USSR, and New York City. She creates site specific installations from single-use plastic waste, including Arcadia Lost (The Social Fabric, ArtsWestchester) and Hothouse (Collaborative Concepts, Tilly Foster Farm Museum).

    A Pratt Institute BFA graduate, Natalya transitioned from careers in fashion and film to focus on studio art. Her work has been exhibited in Quilt National (Dairy Barn) and Quilts=Art=Quilts (Schweinfurth Memorial Art Center). She shares her expertise through teaching, lectures, and workshops, including at the Hudson River Museum as a 2023 Teaching Artist in Residence.

    Natalya founded REPURPOSER COLLECTIVE, a community for artists exploring sustainable materials, and hosts SALVAGE, a podcast featuring artists working with repurposed materials.

    Her work has been featured in Surface Design Magazine, Fiber Art Now, SAQA Journal, and more. She is a member of SAQA, SDA and the Silvermine Guild of Artists.

Niki Lederer

Double Digit Diptych

185 Liberty Street

  • 2 flagpole

  • In my recent work, sculptures take the form of bold flags. In keeping with my low-carbon philosophy, my artwork explores themes of recycling, repurposing, overconsumption, and the vocabulary of public political display by showcasing and celebrating materials that others discard as cast-offs. I source all fabric used to create these textile pieces from umbrellas harvested from curbside recycling, garbage cans, and the streets of New York City.

    The flags, banners, and pennants I create reveal their past life, demise, and ultimate rebirth. The combination of the cast-off material, with the emotional content inherent in the display form of a flag creates an artistic expression, hybridizing function, aesthetics, and form.

    I seek to draw the viewer’s attention back to these discards—to take a moment to notice how wonderful they are.

  • Niki Lederer creates sculpture from discarded materials. Born in London, Ontario, and raised in Vancouver, she received her BFA from the University of Victoria and her MFA from Hunter College in NYC. Solo presentations of her sculpture include Kino Saito, Verplanck, and Catskill Art Space, Livingston Manor in upstate New York.Group exhibitions in NYC include White Columns and the Bronx Museum of the Arts. Venues outside of NYC include Wassaic Project and Kino Saito. Internationally, Niki has exhibited in Groningen, The Netherlands, and Hamburg, Germany, with solo exhibitions in Canada at Open Space, Victoria, and the Art Gallery of Ontario, Toronto.

    Niki’s work has been featured in The Brooklyn Rail, Toronto’s Globe and Mail, and the New York Times. This spring, she was awarded a Lewes Public Art Commission bringing her large-scale sculpture to the Canalfront Park in Lewes, DE.

Philippe Halaburda

Coordinates of Memory

297 Grand Street

  • 2 flagpole

  • Coordinates of Memory transforms a suspended chain of pit balls, soccer balls, basketballs, and footballs into a flowing map of recollection.

    Inspired by how the brain distributes different memories across interconnected regions, the installation weaves gradients of color and material as symbolic “nodes.” 

    Just as the hippocampus coordinates factual, spatial, and motor memories, the piece links playful objects from childhood and sport into an abstract cartography of experience. 

    Each ball becomes a marker, each shift in hue a passage, together forming a living diagram of how memory connects across time, body, and place.

  • Philippe Halaburda is a French-born artist based in Newburgh, New York. With a background in graphic design, he began his artistic career in Paris before relocating to the US in 2016. His work explores the intersection of emotion, memory, and environment through abstract mapping. Drawing influence from psychogeography and urban semiotics, he creates bold, colorful compositions on paper, canvas, and installations. His work has been shown in solo and group exhibitions across Europe and the US, and is part of private and public collections internationally.

www.halaburda.com
@halaburda

Rob Mounier

Words Inspire

111–117 Broadway

  • Acrylic paint on window

  • Words Inspire is a hand-painted mural on the street-facing exterior windows spanning the fronts of The Ritz Theatre, Safe Harbors of the Hudson, Grit Works Gallery, and Baristas on Broadway.


    This piece depicts my illustrated character hand-painting bubble-lettered-style words of inspiration and positivity on each of the window panels to the right of him for all to see. It serves as a motivational and inspirational message for the entire community to enjoy.


  • My name is Rob Mounier. I am an artist and designer from New Windsor, New York, a small town north of New York City. 

    After working and making art in Los Angeles, Las Vegas, and Columbus, Ohio, I am back in New York to create art in my hometown and surrounding areas. 

    Growing up, I found inspiration everywhere, drawing from an eclectic mix of classic Saturday morning cartoons, the pulsating fashion of the 80’s, the raw rhythmic style of hip-hop culture and street art, and the rebellious spirit of BMX and skateboarding.

    My creations are made up of bold, colorful, and imaginative character work with a retro 80’s and 90’s flare, as well as an appreciation and focus on self-growth and mental health themes—which are of particular importance to me, having gone through bouts of depression on and off throughout my life. 

    I’ve made a distinct effort to infuse witty, humorous, and motivational themes into the details of my work along with many inspirational callbacks to make my art more than just some fun cartoon drawings. It’s a creative vessel for my voice and life journey to shine through.

    Most of my projects include creating canvas art, painting murals, visiting schools to conduct workshops, and vending at festivals and art markets across the country.

Roman Minin

Optimism

36 Carter Street

  • Acrylic paint on window

Sheldon Stowe

Ties to Newburgh's History

36 Carter Street

  • Acrylic paint on window

  • For years I have collected antiques, found objects, and metal rods, and incorporated them into art. For this historic location I hope to create an installation that complements this unique house. The boat line "ties" the art to pieces, arches and architectural, which are placed in front of the Thornton Niven house. History is important to Newburgh and I hope to enhance its beauty.

  • As a native of the Newburgh area who specializes in antique chair restoration for more than 50 years and has been involved with many historic sites and activities, I have created this art to show how both history and art can be paired together. A degree in American Cultural Studies from Empire State College and a teaching degree had me employed for many years in the educational field. Many of my jobs were directed to historic themes such as Revolutionary War interpreter for local sites and in the National Park system. Teaching local history and crafts as director of the Sands Ring Homestead and offering history programs to local schools with artifacts allowed me to educate and entertain students.  

    My love of the Hudson River got me involved with the MV Commander and Bannerman Island for two decades. My art combines furniture parts with boat lines and metal from the discarded power lines from Con Ed’s proposed hydro-electric power plant on Storm King Mountain. (Some of my family’s property above the river in Cornwall-on-Hudson was condemned for this project.) The aluminum rods are from the power lines left behind.

Stuart Sachs

Newburgh Cacophany

75 Broadway

Vivien Collens

Froebel's Gifts

195 Front Street
*call 917-705-8498 for gate code

  • My two main lines of inquiry have been architectural/geometric forms and their relation to portrayals of energy. My Froebel’s Gifts series is based on the teachings of Friedrich Froebel, who invented Kindergarten in Germany in 1838. He gave children basic 3-dimensional geometric forms to play with, believing that through play they could sharpen their perception and understanding of math, physics ,and engineering. Not only was Maria Montessori influenced by him, but so were Buckminster Fuller and Frank Lloyd Wright. Learning about Froebel led me to see him as the father of modern design and architecture and inspired me to create architectural sculptures invoking the spirit of play. 

  • Vivien Abrams Collens is a senior abstract artist whose current practice focuses on large-scale, site-specific or site-responsive sculpture installations. She received her BFA from Carnegie Mellon University in 1968 and MFA from Instituto Allende in 1971. While developing her studio practice, she worked at the Cleveland Institute of Art and the Cleveland Museum of Art until 1977. After achieving regional recognition for her large, painted, relief wall constructions she moved to NYC to find a wider audience for her work. 

    There she received numerous residency fellowships, exhibition opportunities, and sales as Vivien Abrams. She married in 1985 and moved to the Hudson Valley to raise her family and continue her work as Vivien Collens.

    Since learning to weld in 2017 at age 70 during a sculpture residency at Salem Art Works, Collens has focused on public art, creating welded sculptures in her studio in Cornwall, New York. Her large-scale outdoor sculpture has been exhibited in public sites in cities, sculpture parks, and museums.