Patricia Cazorla & Nancy Saleme
Patricia Cazorla & Nancy Saleme began working together in 2010 focusing on immigration issues. Since then, they have been awarded exhibitions and commissions such as the 2012 Juried exhibition at the Hammond Museum & Japanese Stroll Garden, North Salem, NY; 7th Berlin Biennale for Contemporary Art, Berlin, Germany; Art in City Hall, Philadelphia, PA; Jose Cuervo Traditional Mural Project, NYC; Armory Artsweek by Lehman College Art Gallery at Andrew Freedman Home, Bronx, NY; The Garment District NYC, Not Festival 2013, Copenhagen, Denmark, Market Street Convergence at Gallery Aferro, Newark, NJ, Pierro Gallery, South Orange, NJ and the Puffin Foundation, Teaneck, NJ. Their work has been reviewed in Univision News, Remezcla, EFE Spanish international news agency, El Diario – La Prensa, Univision 41, Daily News- New York-Bronx, and Riverdale Press. They have participated in the DUMBO Arts Festival 2013 and lately they have been commissioned a public art piece by Taller Puertorriqueño, Philadelphia, funded by the Knight Foundation. They have been awarded with the NFA Artist/Ensemble Project Grant by NALAC for the public art project Lighting the Road at the Port Authority of NY & NJ commissioned by the Garment District NYC.
Mia Duran seeks to represent herself and other women of color in strong and empowering paintings. In art history, women of color have very rarely been given agency over their image. By having ongoing conversations with her subjects, Duran works towards ensuring that these women feel they have a voice over their image, their bodies and their agency.
Focusing on women, Duran plays with the idea of ‘femininity’ and how it can be portrayed in traditional and nontraditional materials and interpretations of her subjects. While the main focus of her work is painting; weaving, sewing, crocheting and other crafts traditionally seen as women’s work is both rendered and used direct. Along side these ‘feminine’ materials, strong ‘male’ objects, many times phallic weapons such as knives, and jobs, such as painting, play with the complexity of her subjects.
Culture is another topic that is inseparable from the women being represented. The background of these women plays a subtle, but key part of the color palette, background and objects chosen.
Mia Duran was born into a strong Latino community in Fresno, Ca. She received her BFA in painting from the San Francisco Art Institute in 2014. She has lived in the greater New York Area since 2014.
Dominique Duroseau was born in Chicago and raised primarily in Haiti. Duroseau’s work has been exhibited in the Dumbo Arts Festival and Bushwick Open Studios, Brooklyn, NY; Harlem Art Walking Tour, New York, NY; Nave Gallery, Somerville, MA; Walsh Gallery at Seton Hall University, South Orange, NJ; Gallery Aferro, Newark, NJ; and forthcoming in “Power, Protest, and Resistance” for Rush Philanthropic Arts Foundation at Skylight Gallery, Brooklyn, NY. Duroseau earned an Architectural degree from the New Jersey School of Architecture and a Fine Arts degree from Kean University.
Not every social issue should be boiled down to a buzz-word, simply to catch attention. We live in a time of media distractions that trend then reduce many social issues to white noise.
Dominique Duroseau has created a series of narratives which document our time, her own timeline, demonstrating our constant striving within today’s society. Taking into account culture, language, and social aspects, Dominique’s work depicts our contemporary struggles. Favoring more everyday matter as materials — repurposed goods, found objects, “clean trash” — She transforms our social dilemmas into abstracted imagery that reflects our long-growing list of struggles, and distill them into art. Through this multi-media approach, Duroseau has translated her observations into a series of works which are conceptual while representational, architectural yet abstract. Dominique uses sculpture, video performance, photography, printmaking, text and site-specific installations to devise a visual language representing the black sub-culture; these are victims of cultural indifference, coded vernacular, entrenched economic dispositions, and many more such issues.
In this series, Duroseau analyzes the etymology of the Haitian Creole word “nèg” — French spelling “nègre”, rooted in the Latin term for “black” — which has a number of racially-charged permutations across different languages, most notably the word “Nigger.” Through juxtaposition, translation, contextual placement, and other techniques, Dominique is creating analytical platforms where observers should question the historical complexities of a word and its continued presence in advertisements and media.
Anne Dushanko Dobek is a multidisciplinary conceptual artist whose installations, focus on issues of social justice and/ or the environment. The source material for all her work, collectively titled SILENT VOICES, is specific: news stories found in the New York Times. However, the installation sitings and presentation are more reductive, opening the works to individual memories of current narratives: the seemingly endless repetition of similar disasters worldwide.
The images and materials are purposely selected to have an initial surface attraction, which upon closer examination, reveal more difficult content. A collage aesthetic informs her presentation and her practice and this physical as well as referential layering expands the potential readings of the works.
Over the past two decades Dushanko Dobek has created a ”library” of techniques and images that are physically or conceptually repurposed in new works providing both visual and referential continuity. In many instances they can be read as attributes alluding to specific details of the issue or as evidence. Often, there is an intentional opposition between the reality of the images and the perception, which she uses to reinforce the political contradictions inherent in the issues.
Many of the Anne’s works are created in challenging and remote outdoor locations demanding photographic documentation before they are destroyed or damaged by natural forces (ocean, wind, rain, snow). The precarious and transient nature of the installations parallels in some measure the sites; geographic or physical of the original narratives. This is most evident in the Parallel Migrations series; Field Fire and No Olvidado both of which began outdoors but now include indoor variations. Promises, Promises is more surreal in the outdoor version.
By adding light and sound components she heightens the visual drama and emotional intensity while encouraging the viewer to follow pathways through or into the installations. By creating a more interactive and immersive experience Dushanko Dobek provides a platform for conversations and contemplation of the issues.
What’s on top? What’s on bottom? What’s near? What’s far? If something is on top, why does it look like it’s on the bottom? If something’s far, why does it look near? Why do things look near or far while they’re actually on the same plane? What is empty space, what is light, what is material? What is constant, what is changing, why is it changing if it’s static? How can it be static if it’s changing? The shifting is illusory. Or is it?
Gilbert Hsiao (b. 1956) spends his time between Jersey City, NJ and Olivebridge, NY. He attended Columbia University and Pratt Institute. Solo exhibitions include Jump and Flow (2012) at Minus Space, Brooklyn, NY, Assymetrical Symmetry (2011) at SNO, Sydney, Australia, Filtered (2011) at Galerie Sonja Roesch in Houston TX, and Light Noise (2010) at dr Julius | ap in Berlin. Recent group shows include Unlikely Iterations of the Abstract (2013) at Contemporary Arts Museum Houston curated by Bill Arning, Buzz (2012-13) at Gallery Nara Roesler in Sao Palo, Brazil, curated by Vik Muniz, and Doppler Stop (2012-13), curated by Mel Prest which toured several European countries in 2012 and was recently shown at Parallel Art Space in Bushwick in 2013. He was NYFA fellow in 2008 and was a resident of the Marie Walsh Sharpe Art Foundation Space Program in New York in 2012-13. He is represented in collections including the Indianapolis Museum of Art, Bristol Myers Squib Collection, Progressive Collection, and the collection of Barbara and Eugene Schwartz, New York, NY.
Valerie Huhn moved to the New York City area to pursue a life of art and education at The New School – Parsons and the School of Visual Arts. She then moved west and completed her BFA and MFA degrees at the San Francisco Art Institute.
Valerie works in a variety of media from photography and video to mixed-media to sculpture and site-specific installation. Her work has been shown throughout the United States and internationally. Residencies include Chashama, NYC, Long Beach Island, NJ and Aspen, CO. Her work is in the MoMA Books Collection as well as private collections. She has won numerous awards, including several for her recent fingerprint work, which continues to provide her with new material and ideas to explore.
Hal Laessig & Yoland Skeete
As an artist Hal Laessig works in architecture and urban-inspired drawings and public installations. Often working in collaboration with architect Thomas Bish, his work has been exhibited at the 1985 Venice Biennale, the Queens Museum of Art, The Newark Museum, Aljira A Center for Contemporary Art, and other venues.
Hal provides design and management for projects for local arts organizations and for public art installations. Recent projects include a collaboration with artist Charlee Swanson for the winning entry in New Jersey Transit’s Juried Public Art competition for the Davenport Light Rail station in Newark, NJ, completed in 2014. Hal has also managed the conversion of an 8,000 s.f. storefront for Aljira, a Center for Contemporary Arts at 591 Broad St, Newark, NJ; HUD block grants for several non-profits from the City of Newark; installation of the outdoor artwork of Grace Graupe Pillard along the Hudson-Bergen Light Rail Transit Line and at the NJ Transit Aberdeen train station; and project management for two art installations by Willie Cole at the Washington Park station of the Newark light rail line.
Yoland Skeete has been a documentarian, and artist for as long as she can remember. Although making her living in photography and film, her personal work is a ritual of how life is experienced utilizing any and every medium to accomplish her goals. Ms. Skeete has exhibited her video and photography and multimedia installations in galleries and museums in the US and abroad including the Museum of Modern Art, the Queens Museum of Art, the Newark Museum, Museum of Contemporary Arts and Crafts in New York City, Biblioteque Nacional de Paris and The Musee D’Art Moderne De La Ville De Paris,. Husby Konsthalle, Stockholm, Sweden, and Estesio Gallery, Beddingstrande, Sweden.
Her photographs and video work are in the print collection of the Museum of Modern Art, African American Museum of Life and Culture, Dallas, Texas, Carolyn Alexander of Alexander Bonin Gallery in Chelsea, and American Express Corporation. She has been a recipient of the Glide Memorial Grant, The Graff Travel Grant, The New Jersey Council on the Humanities Grant and the Melon Grant distributed through New Jersey Performing Arts Center’s Humanities program. She has been an Artist in Residence at Art In General, The Arts Council of the Essex Area, and has received educational grants and awards for her work with youth and media. She continues to exhibit her work locally, nationally and internationally. In 2012 she participated in the exhibition “ A BILHA PROJECTO DE ARTE. CELEBRA O DIA DE PORTUGAL DE CAMOES E DAS COMUNIDADES PORTUGUESAS NEWARK” which toured the US and is permanently housed in the Bilha Museum in Portugal.
Tasha Lewis is a young cyanotype artist from Indianapolis, Indiana. She writes, “although almost all of my work is three-dimensional, I still consider my art to be in the photographic realm. I am drawn to cyanotype both because of its history and because of its ﬂexibility. My current body of work is drawn from an investigation into the cultural/scientiﬁc/historical context in which the cyanotype was born.
Popularized by scientists, and botanists in particular, the cyanotype is intrinsically tied into the scientiﬁc recording boom of the late 19th and early 20th century. These are the times of the curiosity cabinet, the prints of Anna Atkins and a rush of explorers/scientists to colonial lands to bring back specimens from foreign ecosystems. The cyanotype is a process of documenting. The resultant image— which is the basic fodder for all of my work— is a kind of scientiﬁc stand-in for the actual object in question. I realized that there is something too static about the way we record nature— a force which is anything but static. My pieces, in herds or swarms, have a kind of inborn rebellion in them. They break out of surfaces we expect to be solid, and in so doing are launching an attack into our personal space”.
Jacob Mandel’s work is influenced by a passion for the history of photography, and a constant engagement with attempting to define his perception of the world around him. Jacob believes photographic processes can be used to subvert ones expectations of what a photograph can and must do. Through that contradiction of purpose he believes his artwork mirrors our own understanding, and misunderstanding, of the world around us. This idea transcends philosophical discourse and becomes the basis for his personal and political ideals.
Mandel graduated from Rutgers University, Mason Gross School of the Arts with honors. He focused in Photography and got a minor degree in Art History.
Masakhane is a youth-driven organization promoting happy, healthy outlooks on sex and sexuality. They achieve this through a variety of interactive and innovative sex education programs.
Masakhane is a 501(c)3 non-profit organization currently working with an entirely volunteer staff. They were started in 2006, by their founder who wanted to provide a sex positive resource for young people in Newark and its surrounding communities.
WHAT DOES MASAKHANE MEAN? LET US BUILD TOGETHER. Masakhane wants to make sexuality education a community experience. Bringing it to young people, as well as adults. Providing workshops in schools, youth organizations, drug and alcohol treatment centers, parent groups, shelters, and lots of other places.
My work contrasts rational, conceptual processes with intuitive inquiry. I research, investigate, and shape materials using chance, accident, and random samplings, as well as imagery from the canon of art history. I am driven to create work that is richly layered, that feels expressive, measured, and substantial.
I have been employing manipulated wire grids. The wire grids are cut to create stencils for my mark making. Along with the wire drawings I have built a series of shapes based on the design technique of camouflage. These camouflage shapes are created from overlapped lines that are an accumulation of tracings from the canon of western painting. Shapes are interspersed with marks to create levels and a sense of motion and chaos in my paintings and prints.
My work speaks directly to my world, marks and shapes are broken from a strict order; tumbling over; blocking; competing for space. The crowding marks and shapes reflect the shifting world as systems and beliefs shred and burst into new compilations. There are bits of the familiar but those are hints and allusions. I am not looking to create an order. I am recording a moment of being.
Anne Q. McKeown is an artist whose practice includes painting, printmaking and handmade paper. McKeown has traveled to and worked in Egypt, Ireland, Italy, Japan, Korea, Cuba and South Africa. She has worked with artists at the Artist Proof Studio and Phumani Paper in Johannesburg, South Africa. McKeown has spoken on art discussion panels, including an interview with Richard Tuttle at the New York Editions and Artist Book Fair 2008, she has juried exhibitions, including the 2007 Philagrafika Invitational Portfolio, and has presented her work as a visiting artist at various Universities, including the University of Johannesburg, South Africa.
McKeown has taught Art Appreciation and Drawing courses at the University of Connecticut in Stamford and Papermaking at Mason Gross School of the Arts; as well as many workshops and demonstrations, including the 2010 Pulp Painting Symposium at the Southwest School of Art in San Antonio, Texas. Since 2001 she has been the Master Papermaker at the Brodsky Center for Innovative Editions. McKeown holds her B.A in Studio Art, 1992 from Skidmore College and her MFA in Painting and Printmaking from Yale University School of Art. Over the last three years her work has been shown at the SOHO20 CHELSEA Gallery, New York where she is a Fellowship member. She has shown at the Hall of Awa in Yamakawa, Japan JARFO Gallery in Kyoto, Japan; at Rupert Ravens Contemporary and Gallery Aferro in Newark, NJ, at the Noyes Museum in Oceanville, NJ and the Hogar Collection Gallery in Brooklyn, NY among others. Her work involves exploration, working with painting, printmaking, papermaking and wire drawings. She makes and takes apart systems using color, chance and intuition.
Julie Ann Nagle is an artist working primarily in sculpture and installation. She is fascinated by uniting personal expression with science and innovation, and with the people who have found ways to do so to change the world. Her current work melds analytic investigations of specific sites with deeply personal narratives. After receiving her BFA at The Cooper Union School of Art she completed her MFA in Sculpture + Extended Media at Virginia Commonwealth University. Among the many residencies she has participated in, they have included the Museum of Fine Arts Houston Core Program, the MacDowell Colony and Yaddo. Additionally, she has been awarded a Jerome Foundation Fellowship grant and is a National Academies Keck Futures Initiatives (NAFKI) Grant subawardee among others. She believes knowledge is power, and sees each project as a means for immersing herself in the study of her subject. Her position as an Assistant Professor of Sculpture at William Paterson University is an extension of her studio practice.
Lori is a writer, teaching artist and producer, committed to writing which insists upon addressing issues of social justice; especially for the marginalized and disenfranchised. The intention of her story-telling, is devoted to the craft of performance. Her new collection of solo plays entitled Nothing to See Here, is in development with the support of Gallery Aferro, in Newark, NJ. Lori’s solo play Talk White, a work from the collection Nothing to See Here, was recently selected by the RestorationART and Billie Holiday Theatre as a part of their project, 50 in 50: Writing Ourselves into Existence, collection of solo plays written by women of color. Lori’s latest play, Hawks Tavern co-written with Rick Sordelet, is an historical play set during the Newark Riots of 67’. Hawks Tavern, has received developmental opportunities by Vermont Studio Center in Johnson, VT as well as The Kenyon Playwrights Conference in Gambier, OH. Lori is writing the book and lyrics for Elmora, a musical set in an immigrant-rich neighborhood ensnared in the deportation crisis. Elmora, which she is creating with composer Peter Ncanywa, is receiving developmental support from The United Church of Christ Congregational in Plainfield, NJ. Lori’s play, The Sisters Grey, recently received a complete page to stage development and production through the August Wilson Center for African American Culture’s “New Theatre Initiative.” The Sisters Grey received a staged reading at The College of William and Mary. An excerpt from The Sisters Grey was also featured in Luna Stage’s first annual short play festival.
Lori has served as a faculty member of Words and Music, sponsored by the Pirate’s Alley Faulkner Society. During the 2010 Words and Music Festival, she launched the panel discussion about the relationship between race and literature by presenting a reading of her essay, Making War to Create Love, which placed as a finalist in the William Wisdom Creative Writing competition. Throughout her teaching career she has directed students, most notably, in a production of Shakespeare’s The Merry Wives of Windsor for which she and her students were awarded “Best Overall Performance” at the New Jersey Folger Shakespeare Festival. Lori is a theater adjudicator and workshop instructor for the New Jersey, Somerset County Teen Arts Festival. As a seventeen-year teaching veteran, her experiences as an award-winning educator fuel her dedication to powerful and honest writing. She is a recipient of the prestigious ING Unsung Heroes Award for Innovation and Excellence in Education. In that vein, Lori Roper created Atticus Theatre Workshop, a writing lab for aspiring playwrights. Her work as a playwright, essayist and poet cast illumination upon complex subjects such as education, race, gender, religion and class. Lori is also an avid poet who hosts workshops with adults and children. Her most recent workshop and performance took place at the Burgdorff Arts Center in Woodbridge, NJ.
Lori obtained her Master of Arts in English Education from New York University from which she graduated Summa Cum Laude. Lori is a graduate of The College of William and Mary where she received a Bachelor of Arts in English Literature and a Bachelor of Science in Sociology. She was awarded an annual Writer-In-Residence grant at the Ethical Cultural Society of Essex County, NJ and has served as a member of the faculty at Essex County Community College. Lori is an alumna of the Creative Capital Professional Development Program. Lori is Gallery Aferro’s first writer in residence.
Kern Samuel was born on the island of Trinidad in the West Indies. He is the son of tradespeople and his mother Maudlyn ran a small sewing shop from home. There is where he discovered art, spending many evenings keenly observing his mother as she created outfits or just doodling quietly to pass the time. At fourteen his family migrated to the United States and settled in New Jersey. By that time, he had developed a strong passion for art and creativity and knew he wanted to be an artist. At eighteen he received a full tuition scholarship to attend The Cooper Union in New York City.
After college he became very interested in community building and became a part of The Sable Project, a small off-the-grid artist community in Vermont. There, he had the opportunity to collaborate with many dance artists, often recalling his formative years at home with his mother, to create original costumes for performances.
He took his interest in community and collaboration back to New Jersey where he works as an Educator at The Newark Museum.
Michelle Suriel has a variety of artwork that she has done in the past. Michelle’s primary media include charcoal, pastel, watercolor, and pencil. The artworks she focuses on consists of human and landscape element. Each artwork shows the different ways she works and details she focuses on.
Amanda Thackray is a visual artist living in New Jersey whose work focuses on drawings, prints, conceptual artistsʼ books, installations, and multimedia experiments. She holds an MFA in printmaking from the Rhode Island School of Design and a BFA in Printmaking from Mason Gross School of the Arts at Rutgers University. She is currently a Scholar of Advanced Studies of the Book at the Center for Book Arts in New York and the printmaking shop technician at Princeton University. Her work is most inspired by the human body and its relationship with the natural world. Indulging a deep connection with process and the ephemeral, Thackrayʼs work is highly detailed, often utilizing minute repetitive mark-making techniques or actions.
Thackray has attended residencies at the Vermont Studio Center in Johnson, VT, the Womenʼs Studio Workshop in Rosendale, NY where she was awarded a book production grant, and was the Printshop Coordinator at Pilchuck Glass School in Seattle, WA in 2012. In addition to showing her work regularly in New York, New Jersey and nationally, she often curates shows and has lectured at the New Jersey Book Arts Symposium, Brown University, and Womenʼs Studio Workshop. Ms. Thackrayʼs work is in over a dozen national and international public collections including the Newark Public Library, Yale University, and Mediatheque Andre Malraux in Strasbourg, France.
Gallery Aferro’s 3rd Sustainable Arts Foundation Fellow
Mary A. Valverde (born 1975, Queens, New York) is an interdisciplinary artist, writer, and professor based in New York. Valverde teaches at Hunter College, CUNY and has lectured at institutions including The Ford Foundation, Stanford University, University of Pennsylvania, F.I.T., and Long Island University’s MFA departments. Valverde is Commissioner (Sculptor seat), Arts Commission/Public Design Commission of the City of New York, since 2015. She received her MFA at the University of Pennsylvania in 2012 and her BFA from the School of Visual Arts, NY in 1999. Valverde is the recipient of University of Pennsylvania’s Graduate School of Design’s Full Dean’s Diversity Fellowship, and in 2010 received the Artist Fellowship, Inc. Individual Artist Award and the Mayer Foundation Grant. She is the 2017 Parent-Artist Artist-in-Residence at Gallery Aferro, NJ. Mary A. Valverde was the 2011 MFA Lecturer at the ICA Philadelphia, was the Thomas Hunter Ceramic Artist in Residence in 2014, artist in residence at Artist Alliance Residency 2007, and at Aljira Center for Contemporary Art’s Emerge Program in 2006. Valverde has exhibited her work at MoCA North Miami, The New Jersey State Museum, BRAC, Art Center South Florida, El Museo del Barrio, The Queens Museum of Art, Jersey City Museum, Momenta Gallery, Saltworks Gallery, Corridor Gallery, Rush Arts Gallery, Diaspora Vibe Gallery, Abrons Art Center, Cuchifritos Gallery, Gallery Aferro, Tribes Gallery, among others. Valverde has contributed to various projects through the BASE collective.
In addition to paintings that exist as discrete objects, over the last two years I have begun creating paintings that are made as insertions in specific architectural spaces. I create optically active paintings on canvas, modified or interrupted by physical displacements, dissections, insertions or reversals. Paintings are visual objects. Usually we think of the ‘object’ part as supporting the ‘visual’, of the wooden stretcher and canvas as just being there to hold up the image that we are meant to see. But my paintings usually involve a smaller or larger interruption of such a relationship. I am working with the space created when the parts of painting are dislodged from their usual roles.
Ken Weathersby‘s paintings were seen in a 2010 solo exhibition, Perfect Mismatch at Pierogi Gallery in Brooklyn. His works were also recently on view in The National Academy of Art Museum’s 183rd Annual: An Invitational Exhibition of Contemporary American Art in New York, in the exhibition Continuing Color Abstraction at The Painting Center in New York, in Postconceptualism at Moderno in Washington, DC, and in Visual Phrasing at Maloney Art Gallery at the College of St. Elizabeth. He is the recipient of a Mid-Atlantic Arts / New Jersey State Council on the Arts Fellowship in Painting. Weathersby grew up on the gulf coast of Mississippi. He received an MFA in Painting from Cranbrook Academy of Art in Detroit and has lived in or near New York City since 1990.
Over the last year and a half Juno Zago’s artwork has developed to reflect his growing abilities as a painter but continue to reference elements that have become more or less key to his work. Using new and recycled canvas, oils and acrylics, scissors and paintbrushes, magazines and newspapers Zago is decidedly interested in interplay and complexity but does not shy from achieving (or attempting to achieve) these things with simple and straightforward results. More often than not these images take on the form of portraits, some of the artist some of his friends but Zago is also comfortable stretching his output to include more minimalist or abstract works of art.
In today’s 2017, 2016 is remembered as a literal elephant in the room. And whilst countless artists retort and bleed for their audiences amidst America’s present landscape by creating socially aware and politically charged works of art, Zago is dealing with another series of emotionally taxing experiences. Instead of allowing the fascist hubbub to infiltrate his work, Zago’s been inspired by the suicide of recent Ramapo graduate and friend, Jason Mejia, that took place June 3rd of 2016 and the Pulse Shooting in Orlando which took place roughly a week later, June 12th.
His most recent artworks therefore focus almost exclusively on color and material choice. Zago’s approach is to use watercolors, colored pencils, and chalk pastels to lay out color juxtapositions that hopefully end in organic shapes that please his and his viewers’ eyes. Zago considers these experiments both a natural evolution from the expressive use of color employed in his portraits as well as a departure from his previous figurative imagery and the angular confines of the square motif prevalent in most of his work throughout 2016.
Born in Brazil, João (Juno) Zago moved to the United States with his parents at the age of eleven first settling in Newark, NJ where he attended and graduated Arts High School in 2012. Zago’s desire to pursue art professionally, coupled with prior art school rearing helped him operate through valuable volunteer and internship opportunities with the Montclair Art Museum, Gallery Aferro, and Aljira, a Center for Contemporary Art as well. His artworks pull from a variety of historical and contemporary references, most recently dealing with portraiture, the color gold, and religious iconography.
Zago currently lives in Kearny, NJ and received his BA in Visual Arts with concentrations in Drawing and Painting, and Art History from Ramapo College of New Jersey in 2016. His work has been featured in solo and group exhibitions in Newark, NJ, Mahwah, NJ, and Beacon, NY.