2026 Top Thirty works
Take a look at the top thirty selected works from the competition, accompanied by commentary from RISD professors and critics on each piece.
“Dancing Through Galleries”
Karin Sugiyama
Comments from judges
Joe McKendry: “I really like the concept of this, but the execution doesn't do justice to the idea. At this point, it feels more like a physical sketch for a more finished piece to come, mostly because the piece feels flimsy and a little crooked. I think seeing this in person might change my perception slightly as I'm not able to appreciate the details of each level.” Katie Commodore: “I love the concept of the piece, the execution could have been better. Using a stiffer board for the structure would have helped it hold the corners and walls better.” Jason Brockert: “Lovely piece. The interior spaces are quite provocative and beautiful. The exterior doesnt seem as well crafted and I wish it was cleaner and more "straight" in its craft to contrast with the seductive interiors” Ming Ying Hong: “There is whimsy in the content and the use of saturated colors. The construction and craft of the piece can be improved.” Winnie Sidharta Ambron: Beautifully executed, with impressive detail and evident care. I especially appreciate the idea of translating music into sculpture. The emotional complexity of Tchaikovsky's composition is successfully conveyed through the three stacked scenes. My main feedback concerns the sculpture's spatial experience. At the moment, one side feels visually open and engaging to the viewer, while the other sides appear more enclosed and flattened by the cardboard walls. This draws my attention back to the DIY construction rather than allowing me to feel fully immersed in the sculptural world. I would encourage the artist to consider breaking beyond the rectangular divisions between the sections. For example, the composition could expand in a spiral or unfold through layered elements visible from multiple sides. This might better capture the movement, complexity, and emotional richness of the music while making the sculpture more fully engaging from all angles.
“Dream Series: Fantasy and Pain”
Zhitan Ge
Comments from judges
Joe McKendry: “Great work. I love the concept. The foreground scissors and pan and beautifully rendered as is the figure. I would love to see the 'dream' quality explored even more in future work. You might look to Salvador Dali of Francis Bacon for ideas.” Katie Commodore: “Beautifully rendered painting, with a great concept behind it that allows the viewer to interpret it in many ways.” Jason Brockert: “Very interesting concept. The color relationships are a bit strong in their contrast (red to blue) and I wish the red was more limited and subtle to surprise us as opposed to shocking us” Ming Ying Hong: “The cohesive palette makes the pops of red stand out brilliantly, while the fisheye perspective and broad background strokes add a great layer of disorientation. To improve cohesion, consider warming up the main figure—its cool whites currently feel a bit alienated from the rest of the warm blue-green environment.” Winnie Sidharta Ambron: I appreciate the intentional use of color and the psychologically charged surrealist scene. The blood-red contrasts create a strong sense of violence and wounding, making the imagery especially visceral. The softly blended edges also contribute effectively to the hazy, dreamlike atmosphere. My main feedback concerns the use of perspective and the color scheme. Experimenting with a more unconventional or extreme point of view could heighten the sense of terror and disorientation, pushing the scene further into the realm of a nightmare. I would also encourage further exploration of the blues through variations in depth, saturation, and temperature. A more nuanced range of blues could create greater harmony and visual complexity while preserving, and perhaps intensifying, the painting's sense of beauty and unease.
“Packed Memories”
Manyu Luo
Comments from judges
Joe McKendry: “The piece is well done. I really love the arrangement and composition within the suitcase. You did a good job arranging darks and lights. I also like the yellow outline around the suitcase and think that 'language' could be explored more. I'm seeing hints of the outline in the hat above left. It feels like you're exploring something new with the outline, but are still using older, more familiar ways of working inside the suitcase.” Katie Commodore: “It's a great painting, however, the even use of lose brush strokes don't create any focus. There's nothing that really draws the viewers eye to specific objects to highlight the story.” Jason Brockert: “I like the stylized quality with the changing color of the outlines and I wish that was done more and more consistently” Ming Ying Hong: “The level of detail here is fantastic—it hits the right balance without over-explaining, really capturing the frantic energy of packing. The yellow border adds a great playful element. It could be interesting to push that further, either by making the border more pronounced or experimenting with its placement in other areas.” Winnie Sidharta Ambron: This is a well-executed acrylic painting with a clear and direct composition, almost like looking at a picture within a picture. I appreciate the use of outlines to emphasize flatness rather than pursuing a fully photorealistic approach. My main feedback concerns the ambiguity of the objects and how they are rendered. I would be interested in seeing greater specificity and detail that might encourage the viewer's curiosity about the objects and their possible connection to the artist's sense of belonging and identity. This could also be explored formally. For example, variations in texture, surface treatment, or shallow spatial depth could make the objects feel as though they are emerging from the picture plane, creating a more dynamic relationship between flatness and space.
“The Forgotten Companion: Reconstructing the Self Through Childhood Memories”
Yiyi Lu
Comments from judges
Joe McKendry: “Great color and vibe overall!” Katie Commodore: “I feel that the concept could have been pushed further to give more of a universal feeling of loss and nostalgia.” Falaks Vasa: “Making absence feel present is no easy task, and I feel all the convoluted combinations of those in this work -- an absence, a presence, the presence of an absence and the absence of a presence. The handmade teddy bear itself becomes part of a wider narrative within the lexicon of photography, becoming a stand-in for the artist, even as the person is missing. Redaction becomes a generative act, and space is made for my/your/our memories. No notes.” Jason Brockert: “I wish the "magical: figure felt more a part of this old school carousel... It fees like it sits separate from the carousel and thus doesnt impact in as believable a way as it might.” Ming Ying Hong: “The desaturated color scheme works incredibly well here—it immediately hints at the nostalgia underlying the piece. For the composition, I’d be curious to see what happens if you remove the figure and let the teddy bear take center stage. As an object so loaded with personal and symbolic meaning, it has enough presence to carry the focal point by itself.” Winnie Sidharta Ambron: I'm particularly drawn to the space surrounding the figure. The carousel horses feel haunting and strangely alive, especially because of their facial features and the uniformity of their colors. In contrast, the central figure feels almost emptied of presence, a void whose ambiguous outline makes it difficult to determine their age or gender. Since the work explores themes of forgotten or unforgotten childhood, I would be interested in seeing this idea pushed further. For example, it could be compelling to portray an adult-like figure engaged in distinctly childlike behavior, creating a tension between adulthood and childhood. Alternatively, the artist might explore childhood through photographs of memorabilia, arranged or documented in an obsessive and repetitive way. Either direction could further develop the work's sense of memory, absence, and the lingering psychological presence of childhood.
“Face to Face”
Ziting Yan
Comments from judges
Joe McKendry: “I really love the message in this piece. I think this is something lots of people have experienced. Technically it's very well done, and the difference between foggy mirror and smily face is great. I wish the bottom of the robe didn't get so dark because my eye is drawn down. If you lightened that our focus would go to the head of the figure and stay there.” Katie Commodore: “Excellent painting that conveys the concept clearly to the viewer.” Jason Brockert: “Quite like the muted color of this piece the overall strange aesthetic it presents of this odd bathroom. I think the textures of the room, the sink and the smaller moments are very well seen and understood but I find the textural qualities in the reflection of the mirror and this wall To be slightly distracting to the main emphasis of the picture” Ming Ying Hong: “The level of detail here is wonderful—objects like the post-it notes and toiletries bring a great sense of intimacy to the space, and the care in rendering the figure and surroundings really shines. The perspective currently feels a bit caught in the middle, though. I'd recommend either exaggerating the foreshortening and warp to lean into that distortion, or committing to a tighter, more precise perspective system.” Winnie Sidharta Ambron: I love the way the smiley face is painted on the mirror. The artist has successfully captured the sense of humidity and condensation in the bathroom, and the painting is technically very well executed. There is also a voyeuristic quality to the image, as though we are looking into a private moment. My main question concerns the emotional tension described in the accompanying statement. While the work addresses expectations, pressure, devastation, and insecurity, the current image does not yet fully convey those feelings. Instead, the act of drawing on a foggy mirror feels somewhat playful and childlike. I would encourage the artist to consider ways of introducing greater tension into the surrounding environment or imagery. For example, magazine clippings depicting ideals of how women should look, multiple masks or wigs, or other visual references to self-image and performance could help make the pressures described in the statement more visible. Even transforming the figure's face, for instance, into a sad or painted clown-like mask, could create a stronger sense of unease. Because of its private, cinematic quality, I could also imagine this idea working beyond painting, perhaps as a photograph or a film still. Expanding the work into another medium could offer additional ways to heighten its psychological tension and visual impact.
“Terrace”
Kexin Dong
Comments from judges
Joe McKendry: “Beautiful rendering and color! It reminds me a bit of Edward Hopper, whose themes were often loneliness and isolation. Even though the colors are bright in this spot, the empty chair feels lonely to me. I'm wondering if adding some sign of life (maybe a book on the chair, or a steaming cup of tea nearby) would make this feel more inviting.” Katie Commodore: “I'm not getting the feeling of security or the influence of people in this image. It's reading to me as loneliness or aloneness.” Jason Brockert: “The execution as well done with clean color difference representing inside and outside and adding to the idea of a different space on the outside. I think there is an opportunity with the reflection to add something of the nature of the story is a little bit hidden at the present.” Ming Ying Hong: “A solitary chair in a tight space can easily feel lonely or alienating, but your warm palette, rich patterns, and small details like the window plants make the room feel genuinely lived-in and secure instead. I’d love to see what happens if you paint this subject from life—working directly from observation could be a great way to bring even more dynamic life and vitality to the space.” Winnie Sidharta Ambron: This painting has strong contrasting colors, and the lighting is very well rendered. However, the image currently feels somewhat passive and does not yet provoke a strong emotional response. If the light is intended to be a central and transformative element, I would encourage the artist to give it a more distinct, poetic presence. Simplifying the composition and considering which elements are essential could make the image more focused and effective. The handling of paint could also play a greater role in shaping the viewer's emotional response. For example, introducing more subtle shifts and interactions of color within the light and dark areas could heighten the sensation and atmosphere of the scene, making the experience of looking at the painting more dynamic and engaging.
“Fragments”
Yonghan Liu
Comments from judges
Joe McKendry: “Beautifully rendered work!” Katie Commodore: “I wish that the paintings were more blurry and ambiguous to really give that feeling of medicine haze and confusion.” Jason Brockert: “The format of circles is the most exciting thing about this project. I wish there was more color and "vagueness" exploration between the different circles to communicate the idea of more and less clarity” Ming Ying Hong: “The red-dominated palette works really well here, bringing strong associations of the body and memory. The low contrast nicely captures that hazy, fading feeling of recall. I particularly love how pushing the subject matter to the edges reflects how fragmented memory can be—it would be really interesting to experiment with pushing other subjects to the periphery in future pieces.” Winnie Sidharta Ambron: Each individual frame is very well painted. Arranged together, the works have an orderly, almost archival quality, like a collection of images that have been seen and remembered. Some images, however, feel stranger and more visually compelling than others, which makes them stand out. I would encourage you to explore greater continuity between the lighting across the individual pieces. This could help unify the variations and create a stronger sense of cohesion. You might also consider heightening the sense of memory and its distortions, allowing viewers more space to project their own experiences onto the work. Experimenting further with viewpoint, composition, cropping, and edges could help intensify the atmosphere and emotional impact of the series.
“Nocturnal”
Kate Wang
Comments from judges
Joe McKendry: “Love the texture on this! It feels like it's made from nature itself” Katie Commodore: “Excellent execution.” Jason Brockert: “Nice Exercise of material and exploration. I think there is an opportunity with the idea of flight and movement to push the material of the wings further beyond description of wings into movement of wings.” Ming Ying Hong: “Your commitment to using reclaimed materials is fantastic, and the level of craftsmanship here is really high. My main thought is about the treatment of the fabric: what if you allowed it to be a bit less tightly controlled? Giving the cloth more autonomy could let the material itself reinforce your core interest in assembling and reconstructing fragments.” Winnie Sidharta Ambron: I love the inspiration behind this piece, especially the use of symbolism and remnants of clothing to construct the owl. The work has a strong physical presence through its tactile qualities. My main feedback concerns the clothing remnants themselves. In becoming part of the owl's form, much of their original identity as clothing seems to be lost or sacrificed for the sake of the final image. I would be interested in seeing the garments retain more of their recognizable physical presence: their textures, shapes, and associations as objects once worn. Allowing the materials to remain more visible and identifiable could create a stronger resonance between the clothing and the owl. This might reinforce the idea of the owl as a symbol constructed through human projections of fear and awe, while allowing the material itself to carry its own history and presence.
“Weaving”
Huantong Yong
Comments from judges
Joe McKendry: “Really nice rendering - the softness of the image lends itself to the mood” Katie Commodore: “Beautifully painted. You really get the feeling of love, warmth, and memory.” Jason Brockert: “Lovely idea, and for me the only aspect missing is a more clear sense of figure and background relationship. The organization of dark lights and grays beautifully tells the story of parent / child. Background space seems somewhat less resolved. I would look at the work of Kathe Kolwitz ( not for the emotional aspect but for the visual aspect )” Ming Ying Hong: “The gentle layering in this piece creates a beautifully tender mood, and using distinctly darker lines for the hands works wonderfully to make them the clear focal point. My main suggestion is to look closely at the edges where the figures meet the background. Right now, there’s a sharp distinction that cuts through the atmosphere; softening or integrating those contours would keep the overall mood much more cohesive.” Winnie Sidharta Ambron: This is a beautiful and intimate portrait, painted with a soft touch that conveys tenderness and love across generations within a family. My eye is repeatedly drawn to the red thread running vertically beyond the edge of the picture. I would be interested in seeing the thread become more integrated into the composition. For example, allowing it to weave back toward the hands of the woman and child could create a web of connections and entanglements, guiding the viewer's eye back into the image. This could also strengthen the thread's symbolic relationship to the bond between the two figures.
“A journey between vertebrae”
Yuemeng Zhu
Comments from judges
Joe McKendry: “The idea and colors are really nice. I like the idea of the hands breaking out of the skin which seems to convey a body that you want to escape. There are a couple choices that I'm unsure about - one is the green patterned skin that has a creature or superhero vibe. The other is the eyeballs in the spine. In a way I kind of like this, because it draws my focus. But it feels a little overdramatic. It can be a fine line” Katie Commodore: “The concept comes across immediately.” Jason Brockert: “There is a lot of potential here and what I like the most is the vibrant color showing different parts of the body and also showing expression and emotion. I would love to the work of Frida Khalo, who suffered from a spinal injuryAnd much of that work is about the expression strangle without over emphasizing too much of the struggle.” Ming Ying Hong: “The expressive marks and intense, saturated color do a fantastic job bringing a raw, visceral quality to the experience of pain. My main suggestion for pushing this further is to keep building your underlying anatomical foundation. Strengthening the structural drawing of the figure will give your expressive brushwork and color an even stronger anchor.” Winnie Sidharta Ambron: The sense of pain is somewhat obscured by the many symbolic elements in the work. The contrasting colors, patterns, eyes, and other imagery create a level of visual complexity that makes it difficult to focus on the experience of pain and suffering associated with illness. I would encourage the artist to consider simplifying the color palette and visual elements in order to bring greater attention to the body. For example, how does the body change when it is in pain? What gestures, postures, or physical forms might communicate illness, vulnerability, or discomfort? Focusing more closely on these physical expressions, and rendering them with care and sensitivity, could create a more direct and powerful emotional connection to the work.
“The Cove”
Muchen Cai
Comments from judges
Joe McKendry: “I love this piece, but I can't see the actual dress very well in this photo and would love to see if from different angles” Katie Commodore: “Simply beautiful and provocative.” Falaks Vasa: “The Cove is a wonderful example of a work that manages to thread the needle from artist's intent through technical execution and out the other side where the audience can understand and appreciate it. Needless to say, this is much easier said than done, and this artist does it through their attention to details like the makeup, the staging of the photograph, the lighting, and symbolism embedded within the piece itself.” Jason Brockert: “As I read the statement, I felt a better connection to the idea. I think the challenge with this piece is in the presentation and point of view. We don't see any of the red, or hardly any, so the sense of contrast is lost in the picture and seems imperative to our understanding. It is a lovely image but seems misaligned in its present form with the statement.” Ming Ying Hong: “The cool palette and fluid fabric do a great job evoking the ocean, and the model's styling brings a haunted, sorrowful mood to the piece. That said, the conceptual connection to a 'crimson sea' and environmental destruction isn't quite coming through yet. I'd be curious to see how you might introduce subtle visual cues or material shifts to make that ecological critique more legible to the viewer.” Winnie Sidharta Ambron: The photograph is beautifully executed and has the polished quality of a haute couture image from a glossy fashion magazine. Its dark setting, dramatic makeup, and gothic atmosphere are visually compelling. However, because of this strong aesthetic focus, I find myself drawn primarily to the fashion and mood of the image rather than to its intended message about the unnecessary killing of dolphins. If the goal is to communicate a sense of urgency around animal suffering, I would encourage the artist to make that connection more visible and direct. Incorporating imagery of the dolphin, or traces of its presence, could help bring the subject into the work. For example, images or fragments of the animal could be layered or projected onto the human figure and its environment. This could create a stronger relationship between the fashion imagery and the underlying message, transforming the image from a purely aesthetic portrait into something more unsettling and emotionally urgent.
“Stay up late”
Keren Yan
Comments from judges
Joe McKendry: “I would love to see more photos of the dress itself. I love the presentation in this photo - the moss to me feels like the end of night out where people end up at a beautiful outdoor scenic spot. The lights behind remind me both of a club and stars. So my reaction to the presentation has a lot to do with the overall composition, pose and attitude of the model, etc. The dress is a really nice combination of elegance and disorder.” Katie Commodore: “Very creative. Love the inspiration and think that comes across in the final piece.” Jason Brockert: “It's a lovely dress. When I read the statement in here of the layers of material, imagery and idea… I wonder what the main emphasis is? I think one main idea needs to stand clear of the rest and become the organizing principle for some of the other choices.” Winnie Sidharta Ambron: Ming Ying Hong: “The styling is fantastic, and the contrast between the dark background and bright lights immediately grounds the work in the night setting you describe. The garment has a delightful variety of textures that give it great fluidity and movement. My main recommendation would be to manipulate and transform the materials a bit more, obscuring their original sources would let the form itself take center stage.” Winnie Sidharta Ambron: I appreciate this image as a fashion photograph showcasing a designer garment. However, I would encourage the artist to consider how the photograph can assert a more distinctive identity in relation to similar fashion imagery. The ideas of nightlife and psychedelia could offer strong directions for making the image more specific and unique. For example, incorporating psychedelic patterns, dramatic lighting, or a graffiti-covered urban landscape could provide a stronger sense of context and atmosphere for the figure. These elements could help move the photograph beyond a conventional fashion image and create a more distinctive visual world.
“Cocooned”
Jungwon (Shelley) Bae
Comments from judges
Joe McKendry: “I love the idea of making a painting almost entirely of a wrinkled sheet! It's a great subject matter. I'm particularly drawn to the bottom half where it gets darker. One detail that I think would improve this would be to render the tile floor in a smoother way. The brushstrokes used to paint the floor are similar to the cloth. Making the tile floor look smoother would accentuate the difference between the materials.” Katie Commodore: “The paint in the blanket came out a little muddy, but I really enjoy the image and the concept.” Jason Brockert: “I quite like the handling of the figure and the blankets in the folds as they are fun and colorful in moving in well-crafted. I wish the background was slightly less "painterly" and a bit more precise as the nature of pattern in this case seemed to want to be pattern first, and paint second.” Ming Ying Hong: “I really appreciate how the work balances isolation and cozy solitude—the sharp figure-ground separation sets a quiet boundary, while the warm tones on the figure bring a genuine sense of comfort. It would be really interesting to experiment with pattern here. Adding a specific motif or pattern could shift the meaning of the space, depending on whether it anchors the figure or disrupts the quiet atmosphere.” Winnie Sidharta Ambron: The standout aspect of the painting is the way the blanket is rendered. Rather than evoking solitude, its fleshy, skin-like quality suggests shedding or transformation. The patterned background, however, competes somewhat with the subject; reducing the scale or intensity of the pattern might help maintain focus on the figure. I am also interested in the way the figure is almost entirely covered, as if their individual presence or identity has become secondary. This could be a compelling idea to explore further, particularly the tension between concealment, absence, and the physical presence of the blanket itself.
“An Anatomy Of Sweetness”
Qianxun Jin
Comments from judges
Joe McKendry: “Great vibrancy is this! You did an amazing job rendering the fruit and the technique used on the skin of the fruit (thin and scratchy) is really nice. One comment would be to take a better photo. The bent edges of the piece is distracting.” Katie Commodore: “Very good academic painting.” Jason Brockert: “This is a well-crafted still life, but reads as an exercising observation without asking any other bigger questions. If it is even asked about the difference in surface of the different fruits as they weave through light and shadow, it would have piqued my curiosity more” Ming Ying Hong: “You've captured the roundness and shiny texture of the mangosteen skin brilliantly. To push this kind of observational study further, try playing with composition and varying degrees of clarity. Alternating between blurred edges and hyperfocused details could be a great way to guide the viewer's eye and emphasize the fruit's form.” Winnie Sidharta Ambron: This is a well-painted still life of fruit seen from above. The vivid colors and convincing sense of volume are particularly successful. However, the documentation makes the work difficult to assess fully, as the curved edges of the paper distort the image and my perception of the composition. My main feedback concerns the physical presence of the paint itself. I would encourage the artist to explore what painting can offer beyond what a photograph might achieve. Greater attention to brushwork, texture, surface, or the material qualities of paint could give the work a stronger physical presence and make the decision to paint the subject feel more essential and distinctive.
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“Comparison of Watercolor and Oil”
Youngwoo Lee
Comments from judges
Joe McKendry: “I'm assuming the top piece is watercolor based on the opacity of the blue in the bottom. The watercolor is absolutely stunning. I'm a watercolor teacher and have rarely seen work like this. So great job! Both pieces are beautiful. Would love to hear more about the red circles and subject matter which aren't mentioned in your description.” Katie Commodore: “You've definitely got some acuity with the materials, this is wonderfully crafted.” Jason Brockert: “I quite think the execution is stunning but I struggle just a little bit with the design of the page as some of the connections and relationships seem overly tense in their placement and none wonder why there isn't a little more and around this cow” Ming Ying Hong: “The technical execution in both paintings is fantastic. I really appreciate how the work directly challenges the traditional hierarchy between watercolor and oil. My main question going forward is about the content itself: how does your choice of subject matter support or complicate this conversation about medium? Finding ways for the imagery to mirror or challenge that material dynamic could unlock another layer in the work.” Winnie Sidharta Ambron: The artist demonstrates strong command of both oil and watercolor. I wonder whether placing the two mediums within the same parameters of realism and similar rendering is the most compelling approach. Instead, emphasizing the distinct qualities of each medium could allow their individual strengths to emerge more fully. Watercolor can build luminosity through transparent layers, while oil can create a more physical, opaque presence through its richness and ability to model form and light. Exploring these differences more deliberately could create a stronger dialogue between the two mediums and make the work even more visually compelling.
“Purged”
Xiaoman Luo
Comments from judges
Joe McKendry: “I love the idea of the arm coming out of the box. I wonder if adding a shadow under the hand would help that effect. The combination of the newspaper clippings is very effective and gives a sense of history. That play between past and present could be something to explore even more. The hand is really well painted but the rest of the figure could be improved. The distance between the elbow and shoulder is very short and feels awkward” Katie Commodore: “The painting clearly illustrates the concept to the viewer.” Jason Brockert: “Sometimes, a simple and balance design offers an easier foundation to tell a complex story and I think that is what this piece is doing well. It reads very well about body and culture and pressures and expectations and perception. My only suggestion is that I wish to hand cast a shadow onto the news clippings to further enhance the sense of spatial and boundary crossing” Winnie Sidharta Ambron: Ming Ying Hong: “The figure is painted with fantastic skill, and there is a great conversation happening between the two components of the work. My main recommendation is to rethink how those two components meet. Instead of using a simple border to separate them, consider ways they might directly interact or overlap to make that dialogue feel more dynamic.” Winnie Sidharta Ambron:I like the use of image transfer and acrylic in this piece. The message is clear and effectively conveyed through the imagery. The hands reaching beyond the border create a sense of rupture, allowing the figure to interact more actively with the surrounding space. My main feedback concerns the treatment of the central figure. I would encourage the artist to make its form and use of color more assertive and distinct. Strengthening the contrast between the central figure and the transferred imagery could help clarify the tension between fiction and reality, giving the work a stronger visual and conceptual presence.
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“Spaceship”
Youngwoo Lee
Comments from judges
Joe McKendry: “amazing work! Great use of shadow to help us understand the placement of the space shuttle. I also love the mountain shapes echoed in the shuttle. Really unexpected combination of objects and scenes, but really interesting!” Katie Commodore: “Beautiful use of watercolor, I'm very impressed. I wish I knew more about the concept behind the piece and what you were trying to communicate with it.” Jason Brockert: “This is a lovely, and slightly confusing ( but in a good way ) picture. I am not even sure how to completely understand it I am intrigued to figure it out. I maybe wish the cash shadow on the green having more vibrant color to act as a bridge between them or monochrome background in the obvious and colorful foreground” Ming Ying Hong: “Your composition feels really well balanced, and using jewel tones with atmospheric perspective does a great job capturing the vastness of space. I especially love the juxtaposition between those lively, saturated areas and the more solid forms of the mountains and rocket ship—it creates a great dynamic across the surface.” Winnie Sidharta Ambron: The artist uses watercolor very effectively in this piece. The composition is thoughtfully designed, and I am particularly drawn to its sense of flatness, which makes the painted forms resemble overlapping collage elements. This approach gives the work a strong graphic quality and an engaging relationship between shape, color, and space.
“Feast of Immortality”
Yixing Chen
Comments from judges
Joe McKendry: “Really nice piece! I love the action that the overlapping swirling white lines bring to the piece. I'm now sure if I'm reading it correctly but to me these feel like ghosts or immortal beings - if that's the case the use of overlapping layers and broken up forms works well. My one pet peeve is that the central figure feels too static/still. The two figures on the side are in actions and feel greedy, but the body position of the one in the middle feels inactive.” Katie Commodore: “I'm not getting a sense of greed from this piece. The bright, happy colors read to me as a wonderful family dinner instead of something sinister.” Jason Brockert: “In Loveland surprising usage telling a story about Japanese folklore that I am unfamiliar with but I'm curious about because of the way the image has been crafted. My only wish is that the lines that are mostly white had more variety of color in their connection to the surrounding colors” Ming Ying Hong: “The rhythmic linework is employed effectively, functioning like lassos that physically and metaphorically confine the figures. To heighten the visual hierarchy, consider varying the color saturation across the figures. Establishing a range between muted and highly saturated tones would create a clearer focal point and guide the viewer's eye through the composition” Winnie Sidharta Ambron: The use of line and color is particularly effective, supporting the imagery while allowing it to feel both specific and loose. The dye-like treatment of the fabric, combined with the outlines, gives the work a quality reminiscent of stained glass or mosaic. My main feedback concerns the composition and balance of scale. I wonder whether giving more space to the background, or creating a more balanced relationship between the foreground and background, might strengthen the composition. At the moment, the foreground feels somewhat crowded.
Comments from judges
“Virtual - Screen Gills”
Mia Li
Joe McKendry: “I love the idea of the realistically rendered subway blending in seamlessly with your characters. You did a great job using lighting, shadow, and color to make them feel solid and believable in that space.” Katie Commodore: “I love the image. I just don't think it quite illustrated the concept you're trying for. With the heads and phones being the only color, it reads to me as a positive, happy moment of being addicted to your screen. Which isn't the goal communication.” Jason Brockert: “I like the idea and the characterizations that are offered, but I think the grayscale being used for both the characters clothes and what I perceive as a subway and subway station becomes confusing it is hard to find were characters end and space begins and vice versa” Ming Ying Hong: “There's a lot of creative thought in how you approach phones as gateways to virtual spaces. Right now, though, the environment the figures inhabit comes across a bit flat. Experimenting with atmospheric perspective—softening contrast and cooling colors (even with grays you can play with warmth and coolness) in the distance—could help you build believable depth and make the subway feel more expansive.” Winnie Sidharta Ambron: This is a very well-executed work with a strong concept. However, at the moment, it reads more like a still from an animation than an image that fully provokes or unsettles the viewer. I would encourage the artist to introduce more chaos or disruption into the already surreal composition. Pushing the environment further toward a distinctly digital or artificial world, through glitches, distortions, fragmentation, or other unexpected visual elements, could heighten the sense of unreality. This may help the work move beyond the appearance of an animation still and create a more complex and provocative visual experience.
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“Still Life”
Mia Li
Comments from judges
Joe McKendry: “This is a beautiful piece! You did a great job with the color within the grays - cool, warm, etc. Not an easy thing to do. I also love the rendering of the melting ice and how those shapes are echoed in the fish.” Katie Commodore: “Very well executed drawing, I just wish there was something more conceptual than just an academic drawing.” Jason Brockert: “This is a nice observational still life event difficult to paint subject matter. I love the textural differences between the band exclude the fish in the ice and I only wish the containers had less texture, or were less textural in their crafting because they become slightly distracting from the more interesting texture of the plastic fish and ice” Ming Ying Hong: “You've paid fantastic attention to detail here—the variation in surface texture is really well rendered. As you keep developing this work, think about how to push past a strictly mimetic copy of your source material. How can the choice of subject, or the specific way you render it, carry a distinct conceptual narrative or emotional weight?” Winnie Sidharta Ambron: This is an impressively rendered still life. The artist captures the varied qualities of the surfaces particularly well, while the cool color palette effectively conveys the coldness of the ice surrounding the wrapped fish. The subject is familiar, a scene one might encounter in a market, but the heightened attention to detail encourages the viewer to pause and look more closely. I also appreciate the contrast created by the fish's eyes, which introduce a striking sense of lifelessness and add an unsettling quality to the otherwise ordinary scene.
“Fragile Dominion”
Xinwei Li
Comments from judges
Joe McKendry: “Great use of fabric to convey these ideas. It's a beautiful piece. It combines so many different messages: power, delicacy, tediuous hard work, history, etc..” Katie Commodore: “Excellent use of materials to portray a complex concept.” Jason Brockert: “I think the concept of softness and harness is a beautiful and compelling possibility. Where I struggle visually is that the lace seems consistently stuck in the middle of hard and delicate and design look through searching for those movements that few harder in those moments that feel more delicate I struggle to find the tension between those extremes” Ming Ying Hong: “You have done a wonderful job utilizing lace to construct such an intricate form. To build on this foundation, consider exploring the organic, unpredictable possibilities inherent in the material. Allowing the lace to drop, unravel, or stretch naturally could introduce a dynamic tension between your structured design and the textile's physical autonomy.” Winnie Sidharta Ambron: The use of lace wrapped around a throne clearly suggests themes of femininity and female empowerment. I would encourage the artist to push the sculpture further visually and structurally. While the distinctive top of the throne is compelling, the arms and feet feel comparatively unresolved. Developing the intricacy of the lace and building a more defined, rigid structure could create a stronger contrast between softness and strength, making the sculpture more visually ambitious and intriguing.
“眾生 / Sentient Beings”
Caroline Sun
Comments from judges
Joe McKendry: “Really great subject matter. I love the closeup of the eye, which lets us contemplate the fishes existence: do they think, what do they feel, etc. Then these ideas translate to the human. Showing the two fish presumably dead immediately shows the meaningless(?) cycle of life” Katie Commodore: “I'm not sure that these two images completely illustrate the concept, but they are fantastic photographs on their own.” Falaks Vasa: “The abject can be beautiful and intriguing. 眾生 / Sentient Beings strikes this balance beautifully, bringing us to immediately confront death. The title gives us an entry point into how the artist intends for us to meet the eye of an/other -- as nothing less and no more than a fellow sentient being. The description of what I imagine is a film is deeply moving, and rooted in important existential questions, and I'm curious to see more.” Jason Brockert: “I am unsure as to how to understand this is I think this is a short film we are seeing stills…? the images presented seem to have only a slight connection to this text and I am struggling to understand the full piece” Ming Ying Hong: “The contrast between the warm oranges and cool blues creates a really striking separation between figure and ground. That said, the written statement and the images don't quite coincide right now. I'd love to see the text re-anchored around what's happening visually, or see the images push further to embody the specific ideas you outline in your statement.” Winnie Sidharta Ambron: Reading the artist’s statement, I feel that I want to see a stronger sense of humanity visually represented in the photograph. The details and colors are thoughtfully paired, but the image does not yet lead me to reflect beyond its surface. I would encourage the artist to consider how the subject or imagery might more directly evoke the human experiences explored in the statement, giving the viewer a deeper emotional or psychological point of connection.
“Puka Inti”
An Phan Phu
Comments from judges
Joe McKendry: “Really nice color and composition. I would love to see more work along these lines in a series exploring the subject” Katie Commodore: “The piece leaves me with questions, but doesn't completely communicate the concept the artist was going for.” Jason Brockert: “I quite like the figure in the oddness of color and mark making as it seems very intentional and fun and even a little horrifying. I find the space around the figure less compelling as the sense of scale and space Is overwhelmed by the handprint” Ming Ying Hong: “The variety of textures you've built into this piece is fantastic. My main recommendation is to look at the overall weight of the composition. Right now, it feels pretty heavily anchored on the left. Experimenting with atmospheric perspective or overlapping forms to create deeper space on the right side could help redistribute that weight and lead the viewer's eye across the whole surface.” Winnie Sidharta Ambron: I love the color scheme and the strong contrasts in this piece. However, I would encourage the artist to push the work further to create a stronger sense of conviction and visual engagement, both in the subject matter and in the handling of paint. Developing additional details, textures, or a more specific setting could help enrich the image and give it a greater sense of depth and presence.
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“Two Ghosts of My Childhood”
Yiling Bao
Comments from judges
Joe McKendry: “I love the top part of the piece! This is where your work shines. The figure (I'm presuming that's you) and the dog don't feel like they fit. Both approaches are great on their own, but together feels strange. I think making the figure and dog bigger and more prominent would help. Very nice work though and it's clear how much work and care went into it.” Katie Commodore: “Excellent use of color and texture. The way you've rendered different materials, from the flatness of the clouds and waste basins to the fully rendered areas, really creates interest for the eye.” Jason Brockert: “I quite like the warnings and it's somewhat Surrealistic but uplifting feeling. I am unsure about the dog in the character holding the dog as they feel overly rendered as compared to the slightly more graphic world. They almost feel like they don't quite belong in this world even though they are the main characters” Ming Ying Hong: “At first glance, the piece hints at a dark or horrific world, but the bright, saturated colors flip that mood into something much more lively and positive. That high saturation does cause the figure to recede into the background, though. Pushing the value or color contrast between the figure and the environment would help lock the subject into focus while keeping that energetic backdrop.” Winnie Sidharta Ambron: A wonderfully surreal painting with an imaginative and engaging visual world. The details are exquisitely rendered, particularly in the use of colored pencil, which adds a delicate richness and intricate texture to the work.
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“Applause”
Jungwon(shelley) Bae
Comments from judges
Joe McKendry: “I would love to see this in person. The baking soda seems like it adds a texture we can't appreciate in a photo. I'm really interested in the use of color within each flower. For instance the greens and oranges used within the yellow rose. I'm also seeing beautiful colors in the white flowers - greens, pinks, yellow, etc.. The overall effect however feels a little dark and gloomy. Which in itself isn't a bad thing. I actually sort of like the way it works here, but it feels melancholy which I'm not sure was the vibe?” Katie Commodore: “Very strong academic painting. The concept could be pushed farther.” Jason Brockert: “A totally fine observation study of flowers but as with the other observation studies as seen in the show, I wonder why bigger question about the nature of flowers or a group or light or something wasn't asked to further the use of materials in their exploration” Ming Ying Hong: “Your textural experiments really paid off—they give the surface a great sense of motion and life. My main suggestion is to push the contrast even further. Dropping your darks and boosting your brightest highlights would make that spotlight effect feel much more dramatic and focused.” Winnie Sidharta Ambron: I love the expressive brushwork and the strong tactile quality of this painting. I would encourage the artist to experiment with different lighting conditions for the still life. More controlled lighting and a darker environment could create greater drama and open possibilities for a more pronounced chiaroscuro effect. For the textured surface, I would also suggest experimenting with flexible molding paste instead of baking soda, which may offer greater control and durability while allowing for a wider range of textural effects.
“ZIT HAPPENS”
Laula Morris
Comments from judges
"Grotesque and alluring at the same time. Garish yet beautiful at the same time. I really appreciate the reference materials you got in order to render all areas of this piece. Great "intense" color palette as well. I feel like this piece accurately captures the horrific-ness of teenage changes." "Interesting narrative, the piece is both humorous and disturbing" " Nice concept. Love the expression on the tiny face being "Popped." I wish some of the other faces had similar expressions as far as their impending doom is concerned. They seem way too relaxed for what is about to happen..." "Nice hyperreal sensitivity." "Humorous painting of a relatable subject that is made personal by adding portraits of friends. Would love to see this on an even larger sized canvas. If you haven’t already, check out how Jenny Saville’s figures push against the picture plane to shorten the space between the viewer and the painted figure."
"Dreamer's collection"
Lin Cong
Comments from judges
“There is some incredible refinement skills displayed in this piece! Clearly, the artist is a master of value, temperature, and composition. I was shocked when I read it was pastel - and commend the ability to get detail out of such a soft medium! WOW. I'd love to hear more about the symbology used here with the floral and fauna elements, and how it could potentially relate to the vulnerably placed young female. I recognize some flowers that relate to strength, integrity, and perseverance, but I can't help but shake that the living human is almost displayed like a slain animal of the Dutch banquet still lives. Make sure you get a better photo with no distortion and clean edges eventually!” “Ambitious and carefully considered composition with the beginning of a narrative created by the relationship between the figure and the still life. Difficult to see from the digital image, but possibly considering finding color in the various darks to help relate them to more saturated neighboring areas in the drawing. If you haven’t already, take a look at Paula Rego’s pastel portraits.” “Very well executed piece. My only wish is that the object she is holding felt slightly more important in its crafting than the other objects. This would add to a concept of a deeper connection with the figure sitting in this space.” “Very meticulously done work, a little too closely resembles the reference photograph” “I find this composition particularly engaging, as it draws from the rich tradition of the "vanitas" while reinterpreting it through a contemporary lens. The work carries the symbolic depth and contemplative nature of the genre, yet reframes it in a way that feels fresh, personal, and relevant to our present moment. The technique is well executed.”
"Still Life"
Nadia Bandy
Comments from judges
"I value the way you so attentively capture the distinctive qualities and character of each material you work with — whether metal, glass, or fabric. Each medium retains its own voice and tactile identity within the composition, allowing their inherent textures, densities, and reflective or absorbent properties to speak." "Very beautiful handling of multi-directional studio lighting. Incredible attention to detail and mastery of surface - I love the paint handling on the multitude of material, particularly that metallic copper pot in the back left." "Amazing still life."
"Jan Van Eyck (self portrait)"
Nadia Bandy
Comments from judges
"The scoring of 3s should not be seen as negative here - but just a nod to the master copy nature of the piece! I was glad to see a master copy in the line up of selected student works, and I think this is an exemplary example of one. The mastery of handling the light emerging from shadow, the richness of the dark pigments, and the edge and texture control. Fantastic brush control! I would only just suggest to watch the warmer temperatures in the shadow areas of the flesh. I love the way you have it here, but I think there are a lot more cooler hues (such as raw sienna and ceruleans) in the original." "Excellent skill to be able to copy Van Eyck so well."
"Wide-eyed"
Natalia Alderson
Comments from judges
I would have scored this piece much higher, but the presentation was impossible to overcome. When you are presenting your work for any public consumption, you must eliminate any obstacles between your viewer and their best opportunity to view the work. The shadows falling across the piece make it impossible to see the piece as it is meant to be seen. Always crop your work.
“Green"
Axel Genova
Comments from judges
"I was struck by the depth and directness of the emotional resonance of this work. The symbolic/conceptual choice of green ( as newness and growth) contradicts itself in such a sophisticated and effective way, reading as strange, alien and "wrong" as applied to the portrait. This productive contradiction, along with the corroding metal substrate, are simply genius choices for visually conveying and materially enacting the process of degradation and aging. The beautifully captured, detailed and clear facial expression of doubt and regret, is a truly impressive accomplishment, that powerfully reinforces the narrative of this portrait. The image of this outstanding and mature work will stay with me." " Excellent portraiture, but would be more affective without the green."
"Untitled"
Axel Genova
Comments from judges
"We all need money, and mostly all owe our mothers! I love the artificial glow of the stylized bird here - and this tells me of the self generated or perhaps manufactured type of hope that one may need to summon to rise from a dark place. I love the back and forth between what areas have more render and what areas a left more suggestively... I'd just a few more moments of refinement to the figure's left hand (especially since it's DEAD CENTER). Now go call your mom! ;)"
"Sokcho"
Ellie Kim
Comments from judges
"Upon first viewing this image, I saw a quiet yet inviting town that was nestled between these two intensely exaggerated (and almost threatening) naturalistic scenes. I was intrigued, and wanted to come in closer to view all of the beautiful details. After reading the description, I really loved hearing about the back and forth between memory and faded experience. The paint strokes and materiality of the paint is really great - the details of the city scene are fantastic - the small cards along the ocean, the rhythmic power lines and house windows, and the glow of artificial light. Perhaps because this composition is so strongly horizontal (almost separating into four bands) there is a heavy pressing weight. I think this is why I felt a sense of threat or doom." "Interesting exaggeration, the sky adds the drama that the painting needs."
"Daydream"
Xinwei Li
Comments from judges
"Very expressive painting, with a lot of risks taken with the medium" "That you are willing to experiment with the nature of the paint and giving it its own life, separate from the depiction of flowers is exciting." "A fresh painting – seeming effortless handing and active brushstrokes of creamy oil paint."
"People"
Jungwon Shelley Bae
Comments from judges
"The brush stroke and energy in this piece has a level of heaviness and opacity that really echo what the description of intent states. It has echoes of past styles as explored in the Mannerists and the Baroque, but still has more current sensibilities. While there is abstraction and suggestiveness, I can really feel the push and pull of real anatomy. Make sure to get a proper photo/scan without sticks or clips on the periphery." "The art work is most true to the concept and depth- excellent. The chaos and the energy are perfect. Not so much the beauty, but the violence and raw human behavior are perfect.. Excellent palette." "Very dynamic composition and concept, good use of color and textures."
"Crawling Rot"
Lucy Crook
Comments from judges
"This work presents a fascinating concept and skillful execution. It carries echoes of the vanitas tradition, with its symbolic meditation on time and mortality, yet it is also infused with a sense of Surrealist influence. The technical quality is consistently high, demonstrating a strong command of the medium, while the conceptual approach reflects a notable degree of creative freedom."
“RISD Friends"
Wendy Tong
Comments from judges
“Rhythm created by repeated verticality of legs creates a strong composition moving left to right and back again. Details in the clothing, posture, and tattoos contribute to personality of each figure, and combined with the saturated pink ground, provides insight into the artist’s sense of youthful fun and humor.”
“Pearls”
Chloe Haydon
Comments from judges
“This is an intriguing painting, particularly in the way it seems to pay homage to the Baroque tradition. The composition carries a sense of drama and theatricality characteristic of that movement, yet it interprets these qualities in a personal and contemporary way. The use of chiaroscuro is especially noteworthy: the interplay of light and shadow is handled with sensitivity and precision, giving the image depth, atmosphere, and a strong sense of three-dimensionality. Technically, the work is skillfully executed.” “Impressive 5/5“
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"Meditation"
Lila Mosberger
Comments from judges
There's no comments for this piece of work
“Keep Your Feet on the Ground”
Laula Morris
Comments from judges
"I kept coming back to this piece, and every time I was more and more drawn into it. There's a sort of intense saccharine quality to this that is not only inviting but off-putting at the same time. There's a fun push and pull between realism and "cartoon" that makes the viewer understand this is about both the real and imagined aspects of childhood. I really feel like you are just starting to explore with the change in style of the two elements, and would strongly encourage you to keep pushing that duality - perhaps with a saturation shift or medium change? I love the childlike break of the edge of the canvas as well - hinting to the childlike creativity being uncontrollable - while all sitting on a control square composition. Really quick suggestion might be to add to the visual depth of the composition by moving the rigid figure on the left to perhaps behind the playground sphere?" " Beautifully conceptually realized meeting of reality and a more cartoony world. For me, the cartoon world is exciting and beautifully depicted. I find the more naturalistic figures slightly out of place. I almost wish they felt like they were stickers, stuck on to this space. I feel there is a relationship between the naturalistic figures and the more cartoony world that needs a slight nudge into better harmony." "Dynamic composition, interesting use of color"
“BRACE FACE”
Laula Morris
Comments from judges
"The play of the distortion of the artist's face is really well felt and rendered in this piece. The soft grittiness of the flesh-tones also gives a beautiful but unsettling feeling as well. Because the faces on the braces are so specific, I feel like there is a more personal narrative to the larger "artist's" world - I would love to hear more especially since those faces have a varying interaction with the viewer."
"Untitled"
Shriya Gajavelly
Comments from judges
"I am drawn to this piece by the beautiful handling of the subtle color palette, play of depth of field, and the artistic choices on what parts to pull from observation and allow emotional render to take over. Very nice movement of the compositional elements and drawn textures."
"Untitled"
Frida Holm-Jorgensen
Comments from judges
" The dramatic shift from light to dark and the wall of intertwined fingers pushing against the picture plane gives a nice sense of tension. Also nicely nuanced changes in temperature as the skin is painted in cooler green yellows to warmer oranges and pinks to purple-red form shadows. The imperfect edges of the nail polish provide some subtle character in this self-portrait." "The attention to detail and the mastery of oil paint here is quite impressive. I like the moments where you are deciding to refine the detail and the other areas where you are using the softness of the oils to express the luminosity of light on the flesh. Insanely good value, color, and temperature control." "Skill and abilities way beyond your years." "Nice cropping and composition"
“Self Perfection ”
Melanie Qi
Comments from judges
"Interesting concept, the piece is very evocative, good composition"
"The lady in the wind"
Sarah Moon
Comments from judges
"This is an extraordinary photograph — so much so that, at first glance, I mistook it for a painting. The composition is exceptionally strong, carefully balanced in a way that draws the eye seamlessly through the image. The technical execution is equally impressive, with a refined control of light, focus, and tonal range that enhances the work’s visual impact. would have appreciated more detailed technical information in the description."
"Untouched Wild"
Mae Sadler
Comments from judges
"Lovely experimental vignette of a landscape. My only wish is that compositionally, the edge of the vignette felt more intentional. The border around the landscape feels somewhat unresolved compared to the lovely work done within the landscape." "Good experimentation with the medium, the landscape has a strong sense of mood"
"Tactics"
Lila Swortwood
Comments from judges
"What I value most is the expressiveness and the penetrating gaze of that face. It conveys a wealth of emotions, drawing the viewer in and establishing a direct, almost intimate connection. There is something in the look — both vulnerable and compelling — that invites us to linger and engage with the work on a deeper, more emotional level. The pencil technique is fully consistent with the concept: the lines are charged with expression, carrying not just form but mood and nuance." "The placement of the pill bottle and how it feels like both the bottle and even an ice pack or something you put on your skin for relief is quite striking. That the bottle seems to glow with its own light beautifully takes what the visual language can do to emphasize the idea." "Great use of color pencil and colors in the face"
"Skeleton Study"
Nadia Bandy
Comments from judges
"The piece draws the viewer in, interesting use of folds, good sense of form and depth."
"Still Life"
Nadia Bandy
Comments from judges
"Expertly conveyed the delicacy of gauzy cloth next to solid vessels and objects of metal and glass." "Excellent still life."
"Still life"
Nadia Bandy
Comments from judges
"I value your technical skill and the precision with which it is applied. I find it particularly interesting how a narrative emerges through the transparency of the glass, allowing layers of meaning to be perceived simultaneously. I also appreciate the observational subtlety at play — the way you capture and highlight faint, almost imperceptible details, giving them presence and significance." "What I find exciting in this piece is your willingness to moderate some of the detail and information. You could have overwhelmed us with all of the information of the objects but some of it you chose to deemphasize, and that is what makes this piece work." "Excellent still life."
"Memory"
Nadia Bandy
Comments from judges
"This is an exceptionally strong work. The loving and nostalgic emotional resonance is maturely expressed through subtleties of light, composition and portrayal of the interaction of the mother with her babies. I am impressed that the young artist created this composition from multiple reference photographs. The nuance and specificity with which the composition and visual design of light, color and atmosphere come together, is communicating a depth of experience of love, family and the passage of time, making it present and real for the viewer. Outstanding work!" "good technique but does not go beyond the photo" "This artist has abilities way beyond their years. Rather perfect- everything."
"Jodhpur Woman"
Nadia Bandy
Comments from judges
"Nice composition. Excellent palette. Evokes the human condition/environment extremely well."
"Untitled"
Axel Genova
Comments from judges
"This painting has a cinematic quality, as if from a film still."
"Komorebi"
Kate Howe
Comments from judges
"There's no comments for this piece of work "
"Between Centuries"
Wesley Bowen
Comments from judges
"Thoughtful use of allegory with artist’s own individual story, combined with skillful use of achromatic palette for dramatic effect. If you haven’t already, check out how painter Kyle Staver uses Greek and Roman mythology and lighting to tell her own stories." "Interesting choice of monochromatic palette, strong sense of movement and composition, good use of texture"
"Untitled "
Sol Cuneo
Comments from judges
"I'm really enjoying the limited palette decisions in this piece. The conversation of warms and cools very nicely guides they eyes around the composition, and has a nice timing where I start with the central figure, lift upwards to the all seeing eyes, and then travel down through the yarn and into the hands. While the subject matter is of fabric and yarn, it has very strong echos of flesh, veins, arteries, and blood. Maybe this was intentional!"
"Memorial"
Mira Chi
Comments from judges
"The muted palette, short brushstrokes, and circular composition are a nice reference to mosaics, while also using highly personal subject matter."
"The Uglies "
Ava Critz
Comments from judges
"There's no comments for this piece of work "
"Espiralize-se"
Yasmin Lapa Furtado
Comments from judges
"There's no comments for this piece of work "
"Mi Ciudad ( My City)"
Evangeline Garcia Darres
Comments from judges
"I greatly value the cultural imprint that emerges from this work, as well as the thought-provoking tension between its title, Mi Ciudad, and the imagery it presents — a human figure intertwined with ghostly, almost spectral presences. I am also intrigued by the compositional dynamics: certain elements assert themselves with a strong, almost anchored presence, while others are rendered with transparency techniques that give them a an immaterial quality. This interplay between solidity and evanescence creates a layered visual experience, where the tangible and the intangible coexist, deepening the work’s emotional and conceptual resonance"
"OTIS"
Evangeline Garcia Darres
Comments from judges
"There's no comments for this piece of work "
"Black Baroque : Untitled Face"
Kameirah Johnson
Comments from judges
"There's no comments for this piece of work "
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"Remember Life"
Ira Zuckman
Comments from judges
"There's no comments for this piece of work "
"Jodhpur Woman"
Comments from judges
"Nice composition. Excellent palette. Evokes the human condition/environment extremely well."
"Untitled"
Comments from judges
"This painting has a cinematic quality, as if from a film still."
"Komorebi"
Comments from judges
"There's no comments for this piece of work "
"Between Centuries"
Comments from judges
"Thoughtful use of allegory with artist’s own individual story, combined with skillful use of achromatic palette for dramatic effect. If you haven’t already, check out how painter Kyle Staver uses Greek and Roman mythology and lighting to tell her own stories." "Interesting choice of monochromatic palette, strong sense of movement and composition, good use of texture"
All Submissions 2026
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2024
