Fletcher Williams III

Fletcher Williams III
north charleston, sc

Instagram: @fletcherwilliamsiii







2018, Tin roof, picket fence, interior wood paneling
and rebar
Courtesy of the artist

Throughout rural South Carolina, I’ve discovered countless examples of master craftsmanship, agricultural expertise, and architectural beauty. Homestead is an assemblage of various iconic materials collected during my explorations. The overall form of Homestead is representative of a multi-use barn, located near the outskirts of Walterboro, SC. It is a grand and elegant matrix of rafters, timber columns, and rusty corrugated tin. At its height, it housed grain, hogs, cauldrons, farming tools, and served as an appliance repair shop for neighboring businesses. I’ve represented the exterior structure with an exposed rafter system, comprised of reclaimed picket-fence and rusted tin roofing salvaged from a Freedman’s Cottage. The center concave segment is comprised of haint-blue tongue-and-groove siding; the platform is comprised of inverted picket fence decorated with a series of rebar hooks identical to those used by black farmers in butchering livestock.
I have used the picket fence in many of my latest works. It is an opportunity to critique and subvert a distinctly American symbol and bolster the creative practices that have allowed black communities to thrive, independent of proprietary ideas of prosperity and liberty. The picket fence is relegated to its aesthetic value and used only to elevate a cultural treasure.

Adrian Rhodes

Adrian Rhodes
Hartsville, South Carolina

Instagram: @adrian_rhodes








Searching for Callisto
2018, Woodcut print installation with dyed paper and sky chart wall collage
Courtesy of the artist

One of the most interesting aspects of working with prints is the way the image exists in multiple, allowing the opportunity to investigate the effect of repetition in the work. Restating adds emphasis, while also alluding to recurrent thoughts and patterns of behavior. Searching for Callisto has two impressions of a large-scale woodcut mounted on stretched canvas. Depicting an observatory surrounded by honeycomb, the image alludes to a search for understanding.
The installation incorporates the abundance of the hive with 400 paper bees folded from woodcut prints. The labor involved in their creation becomes another aspect of the work—the labor of the hive, the obsessive repetition of an act that builds on itself as it continues. Callisto, the nymph transformed into the constellation Ursa Major, is the mother bear of Greek myth. The print is mauled as if by claws. The primal nature of matriarchal bonds, in which we wound ourselves through our own struggles for understanding, is thus examined through the activity of the hive and the mauling of the bear.
The piece continues the theme examining the duality of ianabundance and loss with the honeycomb and the physical wounding—the canvas is slashed, on one side sewn back together with red silk thread, giving the appearance of muscle tissue. The other slashes pour out strips of dyed and printed paper—referencing blood and honey, abundance and loss.

Elizabeth Lide

Elizabeth Lide
Atlanta, Georgia

Instagram: @Elizabethlide





Three Sisters
2016, Plaster, pigment, my daughter’s hair, old fabric pieces, 8 mm video
Courtesy of Whitespace Gallery

Three Sisters references my grandmother and her two sisters with whom my father lived—from the age of 12 when his father died until he left home for college—in the 1830 house where the sisters had grown up in South Carolina. Several years ago, as I was preparing for a solo show Putting the House in Order, I cleared away some of my too-much-stuff in my home and studio, allowing me to see with fresh eyes and to think more clearly about how to approach my work. From six objects inherited from grandparents and great-grandparents, I made multiples (30 total) in paper pulp or plaster, adding pigment, old fabrics, and my daughter’s hair. Once again, my inclinations and methods were both meditative and contradictory!
The color of these tankards (the original belonged to grandmother Emma) came from memories of a cousin who lived close to the sisters, broke her hip and went to bed for the rest of her life. The only way I ever saw Aunt Ola was in a big bed with pink silk sheets. The 8mm film was taken by my father in the 1940s and 1950s, much of it during our family visits to my grandmother and great aunts.

Tema Stauffer

Tema Stauffer
Johnson City, Tennessee

Instagram: @temastauffer








Yellow House, Wire Road, Germantown, NY
2016, Archival pigment print
Courtesy of Tracey Morgan Gallery

My work examines the social, economic and cultural landscape of American spaces. My current series, Upstate, focuses on urban and rural landscapes, environments and relics in or around Hudson, New York. The first city chartered in the United States in 1785, Hudson has a long history of economic prosperity and decline. Located on the banks of the Hudson River, it has undergone vivid transitions from a thriving whaling and merchant seaport to a boom-and-bust factory town, then to a depressed and struggling city throughout much of the 20th century, and has been transformed again in recent decades by revitalization and economic growth.
The photographs of Upstate record the imprint of American industrial and agricultural history left on settings throughout this region. Lyrically depicted are ordinary houses, front porches, decaying barns, parked cars, winter branches and evocative landscapes, along with portraits of local residents. Each photograph in this series is captured with a medium or large- format camera on color film in existing light. Combining poetry with realism, these images express a quiet beauty and mystery in the vernacular architecture and artifacts reflecting the industrial era and rural areas in upstate New York and the shifting economic realities over time.

Interior, Furgary Shack #6
Hudson, NY
2017 Archival pigment print
Courtesy of Tracey Morgan Gallery

Tom Schmidt

Tom Schmidt
Charlotte, North Carolina

Instagram: @thom.schmidt






Notebook Series
2019, Cast porcelain, ceramic decals, acrylic frames, and neodymium magnets
Courtesy of the artist

Paper is a material I associate with the recording of our thoughts and questions; fleeting notes and scribbles that often fill the periphery of our lives. On one hand we use paper and ink to visually chart space in the form of maps and blueprints, while at the same time we use paper to scribble out multitudes of seemingly unimportant lists. Regardless of the significance, paper captures traces of ourselves over time. By recreating notebook pages in porcelain, I hope to give a sense of permanence to these fleeting tactile experiences in a post-digital age. The imagery is loosely autobiographical, including scribbles and sketches from art school, as well as commercial floral decals from my time teaching in Jingdezhen, China. Like our own mutable sense of memory, disparate imagery might overlap, the focus can shift from crisp to blurry, and the content may range in degrees of coherence

Kristi Ryba

Kristi Ryba
Charleston, SC

Instagram: @kristiryba




Massacre of the Innocents, after Giotto
2018, Egg tempera and 22k gold leaf on panel
On loan from the artist

Enchanted and intrigued with Medieval and Renaissance altarpieces and manuscripts, I used their iconography in earlier work depicting my family. After the 2016 election I began combining current news, commentary and especially “tweets” and quotes, with the religious and political content of these historical images from early Western European royalty and religion. All the gold, elaborate surroundings and messages of morality and ethics corresponded with what was happening in our government; the gutting of our social safety net and health care, eliminating environmental protections, the lack of restraint in spending money on personal enrichment and pleasure and the build-up of military spending and deficit in international diplomacy to name a few. I use 22k gold leaf and egg tempera on wooden panels and sometimes animal skin (vellum), attempting to replicate the look and feel of Medieval and Renaissance imagery.
Massacre of the Innocents is my response to our former Attorney General’s imprisonment of immigrant children at the Mexico/US border and is still relevant to what is happening to this day.


Chapel of Perpetual Adoration II
2018 Egg tempera and 22k gold leaf on panel and
mixed media
On loan from the artist

These images are a continuation of an earlier installation of 10 paintings and mixed media based on the actions of the current President of the United States.

Johannes Barfield

Johannes Barfield
Winston-Salem, North Carolina

Instagram: @johannesbarfield


This year’s Young Affiliates of the Mint juried show features three prizes. Johanes Barfield of Winston-Salem, NC, is the winner of the $10,000 Atrium Health Best in Show Award.

We encourage the public to visit the exhibition and vote for the $1,000 people’s choice award. Voting will be open through December 31.





In The Bilge Again
2017, Concrete, asphalt, wheatpaste, and fluorescent lamp
Courtesy of the artist

This work was inspired by a book that was distributed in Esso gas stations during the Jim Crow era in America called The Negro Motorist Green Book. The Negro Motorist Green Book was created by a black mailman named Victor H. Green, who collected data on safe spaces and friendly people who could aid or accommodate black people throughout their travels in America. The first thing I did when I got my hands on one of these books was to see if my hometown was on the list and what accommodations were listed. Fortunately my hometown Winston-Salem was on the list. Next, I checked for my father’s hometowns and was surprised to find it as well. I chose Winston-Salem, North Carolina, and Meridian, Mississippi as the core content of the piece.


The Green House on Cornell Blvd
2019, Photograph printed on woven fabric, yellow canvas, hand harvested red clay soil (Ultisol), liquid polymer asphalt, and joint compound
Courtesy of the artist

In this work, I use a childhood memory to explore ancestry and being from the South. The childhood memory is of myself and my good friend and cousin Kesha (the person who is in the portrait above) playing in the woods and falling down a large red clay hill and getting in trouble for being so dirty. The red clay soil is unique to the Southern region of America and can also be found in places like Africa.
The yellow canvas covered in asphalt symbolizes the road and both our relationship and proximity to one another. She travels the country transporting buses and I have been floating around the country for the past 3-4 years. The portrait also steams from a previous project about the limitations of cameras and the amount of light and skill needed to properly capture dark skin members of my family. So I began to photograph members of my family to create close-up portraits with proper exposure and lighting to get every detail of their faces.

Eleanor Annand

Eleanor Annand
Penland, North Carolina

Instagram: @eleanorannand








2019, Die-cut and laser cut cardboard forms and paint
Courtesy of the artist

I rely on the premise that my artwork has the ability to evoke a visceral and direct response from my viewer. In my work, I bring a sensitivity to materials, form, and composition to incite emotions that appeal to innate proclivities for order and rhythm. Seeking both tension and balance, I utilize intuitive and analytical processes that push and pull off of one another.
My current body of work plays with disruption, entropy, light, and shadow. Embracing a lack of permanence, I’ve been working primarily with cardboard and recycled paper scraps to create modular units that can be arranged in a myriad of ways. Compose, decompose, compose, decompose, is a cycle in my process that mimics cycles of life and which I am exploring further in the impermanence of my materials.

Time is unyielding. It is beauty and heartbreak simultaneously.