Yasmine Nasser Diaz is a visual artist whose work often inhabits domestic spaces to explore cultural identity, feminism, and social critique. Her work has been exhibited at the Getty Center, the Los Angeles County Museum of Art, Station Beirut in Lebanon, and the Poetry Project Space in Berlin. Her mixed media works are part of the permanent collections at LACMA, the Arab American National Museum, The Columbus Museum, and UCLA. Diaz has been awarded the Harpo Visual Artists Grant, the California Community Foundation Visual Artist Fellowship, and the Efroymson Visiting Artist Residency at the University of Michigan in Ann Arbor.

Lauren Elder is a ceramic and mixed-media artist originally from Los Angeles and currently based in Fayetteville, Arkansas. Her work explores the intersections of material, form, and narrative, spanning painting, ceramic sculpture, and bronze casting. Through these mediums, she investigates themes of transformation, memory, and cultural identity. Elder earned her BFA from the School of the Art Institute of Chicago and is currently pursuing her MFA at the University of Arkansas, School of Art. Her work has been exhibited internationally in cities including London, Hong Kong, New York, Chicago, Amsterdam, Toronto, and Los Angeles. She has also shown at notable institutions such as the Museum of Contemporary Art in Chicago and the Utah Museum of Contemporary Art in Salt Lake City. Through a multidisciplinary approach, Elder continues to push the boundaries of ceramics and mixed media, creating works that invite dialogue between tradition and experimentation.

Muriel Ahmarani Jaouich is a Canadian artist of Armenian, Egyptian, and Lebanese descent whose painting practice explores genealogy, intergenerational trauma, and historical violence. Deeply rooted in her family's histories of diaspora, immigration, and genocide, her work draws from oral histories, photographic archives, and inherited objects. She transforms these sources into narratives that weave memory and imagination, resonating with the complexities of ancestral grievance. Her practice is grounded in a continual process of listening, with the belief that attending to ancestral grievance can create pathways toward liberation for present and future generations.

Ahmarani Jaouich lives in Tiohtià:ke / Montreal, Quebec, on the traditional territory of the Kanien'kehá Nation. She is a recipient of the Lilian Vineberg Scholarship, Merit Scholarship, and Tom Hopkins Memorial Award. Her work has been exhibited at the Montreal Museum of Fine Arts, Patel Brown, CLARK Center, articule, Printemps du MAC, and Arsenal New York. Her paintings are held in institutional and corporate collections, including the Doris McCarthy Gallery, Hydro-Québec, RBC, and Scotiabank, as well as in private collections in the United States, Italy, Czechia, Spain, and Canada. Ahmarani Jaouich is represented by Patel Brown.

Samar Al Summary is a Saudi-American artist who has misshapen uneven teeth, so would be perfect period or low-income or foreign casting. Her work records the impact crater that appeared after we tried to go home. She was trained at Ashkal Alwan in Beirut and UCLA. She lives in the ativan sun of Los Feliz. Kidding, she lives to the south of those blessed neighborhoods.

Haniko Zahra is an Iranian artist based in Los Angeles. She received her MFA from the University of California, Los Angeles (UCLA) in 2024. Her practice explores the psychological and emotional dimensions of control, vulnerability, and displacement. Working primarily through figurative painting, she examines the body as a site where social structures, power, and personal experience intersect.

Shaped by her experience of living within patriarchal systems, Zahra’s work considers how external forms of control become internalized, continuing to influence gestures, behaviors, and relationships even after their immediate structures are no longer present. Her paintings often begin with familiar situations, bodies, and interactions that gradually shift into something unsettling or ambiguous. Through subtle distortions, interrupted gestures, and unstable narratives, she creates images in which care and control, intimacy and discomfort coexist.

Her practice is informed by the experience of moving between cultural and political contexts, exploring how displacement transforms one’s relationship to the body, identity, and belonging. Rather than illustrating these experiences directly, Zahra is interested in their lingering psychological effects and the tensions that remain unresolved.

Aneesa Shami Zizzo (b. 1992, Shawnee, KS) is a Los Angeles-based artist exploring shared memory through appliqued tapestries, soft sculpture and paper collage. Zizzo’s work has been exhibited nationally and internationally, including at the Barbican Centre (London, UK), Tribeca Festival (NYC), Craft in America (Los Angeles, CA), Kleefeld Contemporary Art Museum (Long Beach, CA), and the Torrance Art Museum (Torrance, CA), among others. Upcoming exhibitions include a solo presentation at Kleefeld Contemporary Art Museum, and participation in a group exhibition at Craft Contemporary. She holds a Bachelor of Fine Arts in both Fiber and Art History from the Kansas City Art Institute (Kansas City, MO), and is a recipient of the Arab American National Museum residency (Dearborn, MI), the IOS Willie Stoffer Visual Artist Grant (Inglewood, CA), and the Crafting the Future Microgrant (Los Angeles, CA). She is a frequent volunteer at Able ARTS Work in Long Beach, CA, where she collaborates with resident artists on various projects.

Zizzo often reflects on her identity as a second-generation Arab-American, intertwining personal history, world mythologies and the sublime to explore broader narratives of human experience and cultural memory. Through abstraction, she addresses feelings of ruination and the possibility of renewal by using textile industry waste to create soft sculptures, appliqued tapestries and rug weavings. Drawing from a lineage of craftsmen and quiltmakers, Zizzo taps into her subconscious while methodically hand stitching and knotting, considering the process of constructing and reclaiming one’s identity by attending to shared memory. The resulting meditative works reflect the cyclical nature of storytelling tradition, including tales of destruction, recovery, and hope, that comment on the societal systems contributing to waste and neglect, echoing themes of resilience in the face of adversity.