Passionate and opinionated, a self-described feminist and atheist, Megha Joshi is unapologetic in her work and life, questioning misogynistic beliefs and practices. Her sculptures and installations, made with sacred items such as oil lamp wicks, beads, and incense sticks, often take an ironic turn as ritual function and subject matter collide.
Raphaela Vogel’s practice has evolved like the proverbial rolling snowball. As a student, she became interested in the performative aspects of painting, which led her to video (featuring herself and sometimes her dog as performers), to self-recorded music and what she calls “video sculptures,” as well as to large-scale installations combining all of these elements.
Daniel Steegmann Mangrané does not believe in the autonomy of art. Taking a sensorial, phenomenological, and collaborative approach to sculpture (as well as to film, sound, augmented reality, gardens, and drawing), he views art-making as primarily about experimentation, potential relations, and new alliances, a chance for discovery in which process is more important than the finished object.
I come from a dance background. Both of my parents are dancers—I came out of the womb, and they were like, “Here are your tap shoes, here are your ballet shoes.” I had a show coming up in New York, and Curtain Call seemed like the perfect subject matter; it was where my heart was leading me.
Recipient of the International Sculpture Center’s 2023 Educator Award For more than three decades, Shirley Tse—longtime CalArts faculty member, Guggenheim Fellow, and Hong Kong representative to the 58th Venice Biennale—has created sculptural interventions that interrogate notions of place, politics, and ecology.
Shary Boyle has had a dynamic international career, yet, somehow, the United States is just catching on to her captivating interdisciplinary work. Boyle, who represented Canada in the 2013 Venice Biennale, works fluidly across many modalities.
For Hugo Aveta, who works and lives in Córdoba, Argentina, time, ghosts, and memories become conceptual raw material. In his devastated, dehumanized scenarios—realized through photographs, videos, sculptures, models, drawings, sound installations, and immersive, site-specific works—what persists is the echo of what was and will never return.
