Matías Alvial
Matías Alvial (b.1997, Santiago, Chile) is a New York & Santiago based multimedia artist and community organizer. At the core of his work, he explores interpersonal relationships through a queer lens. This is best illustrated in his 35mm Diary, an ongoing documentary project that consists of capturing the 2020s through film photography, inspired by the early practices of Nan Goldin, Lyle Ashton Harris, and Ryan McGinley. His gallery debut was in Albert Merola Gallery in Provincetown, MA, alongside artists such as John Waters, Jack Pierson and Peter Hujar. Matías has photographed for i-D, New York Magazine, Paper Magazine, PIN-UP, Document Journal, among others. He holds a BA in ‘The Aesthetics of Commerce’ from New York University.
Artist Materials
“No Soy de Aquí, Ni Soy de Allá”, 2025, photographs & memorabilia, 75” x 52” x 59”
Postcard Set : $25
Venmo @matias-alvial
Statement
“No Soy de Aquí, Ni Soy de Allá” is a meditation on belonging and change. Through sixty postcards and fragments of journal entries, I retrace the places I’ve wandered — searching for a home during visa issues. Having lived half my life in Chile and half in the U.S., my identity drifts between languages and places, between who I was and who I am becoming. These images and words are an attempt to reconcile that in-between space—to find unity in duality, and to understand that home is not a location, but the connections that anchor us.
William Bigby
William Bigby is an artist and writer based in New York City and Los Angeles, California. His work is centered around themes of self identity, the beauty of banality, and the liberation of the Black body. The veracity to his work is affirmed by what he sees around him on a day to day basis - he encourages you to open your eyes.
Artist Materials
Mekhi, 2024, Photography, 22.25” x 18.375”, hung on wall)
Me, 2024, Photography, 22” x 22”, hung on wall
Malcolm, 2024, Photography, 22.25” x 18.375”, hung on wall
Statement
In order to reflect, we must first sit still - reflection calls for vulnerability. These works encapsulate reflection, and vulnerability - yet encourage a response to follow. Protected and surrounded by the poignant sun, trees, and flowers, we’re allowed to be. There is a comfort in this silence as it is no longer taboo, rather, its salient forcing us to take in what surrounds us. Sometimes the fondest memories are rooted in stillness and silence. When we surrender to the comfort of nature and embrace solitude - our bodies become free, and our minds even freer.
Iris Erwin
Iris Erwin (b.2002) is a lens-based artist living in New York.
Artist Materials
2025, Archival Pigment Print, 16x24 $125
Statement
The collection of images shown come from a growing untitled body of work inspired by an unauthored still found in my family archive from 2007 of my brother being tossed into the night sky. I pass through spaces focusing on the forms created in stilled movement that can only be captured through the lens, a moment where the scene is suspended between inhale and exhale, capturing something between memory and tangibility.
Jeffrey Jin
Jeffrey Jin (b. 2003) is a queer, Chinese American photographer born and raised in the suburbs of Houston within the confines of a pious Chinese church community. Since taking their first Are You Gay? quiz at age twelve, religious faith has been supplanted with a devout interest in both analog and digital photography as tools to strengthen identity and preserve what’s most familiar: their family and queer friends of color. In doing so, their work unveils narratives surrounding upbringing, corporeality, and a deep affection for the physical and virtual landscapes they inhabit—from Texas' winding roads to the Internet’s deep caverns.
Artist Materials
Bennett (2025), 4x5 inches
Boys Kissing (2025), 4x5 inches
Chin Up Baby, Smile (2024), 4x5 inches
Dad's Legs And Mine (2025), 4x5 inches
If They Ask For My Pronouns Ima Just Pull Out A Dead Fish From My Pocket (2025), 4x5
Family Photo (2025), 4x5 inches
Fernanda (2025), 4x5 inches
High As Fuck In My Bathroom (2025), 4x5 inches
Mom's Mirror (2024), 4x5 inches
Ready For What The Day Brings Me (2025), 4x5 inches
Untitled (2025), 4x5 inches
Sisters (2025), 4x5 inches
Untitled (2025), 4x5 inches
What It Feels Like For A Girl (2025), 4x5 inches
Untitled (What You Gave & Took Away) (2025), 4x5 inches
Untitled (2025), 4x5 inches
But First Let Me Take A Selfie (2025), 30x53 inches
Statement
This collection of self-portraits introduces different versions of myself to one another, serving as a reminder of my multitudes, my past (and future), and my channels of expression. The work is light-hearted but encourages the viewer to question deeper themes of interiority and definitions of self-portraiture--with today's incredible democratization of cameras, it's easy to dismiss the power of a quick flick; my images contend that photographs of ourselves, from iPhone selfies to large format self-portraits, are imbued with an irreplicable and immeasurable kind of magic.
Elinor Kry
In the summer of 2025, Elinor Kry traveled to Vinh Long, Vietnam in an attempt to understand why her mother had recently left the US and moved back to the country she was forced to leave 44 years ago as a child refugee, seeking lineage and a sense of home.
Upon arriving, Kry was struck by how unfamiliar and distant her mother had become. She had become bony like the chickens she raised, darker skinned from laboring in the fields, her demeanor sharper yet newly confident. The only thing that seemed unchanged was her mother’s flourishing love for growing plants like dragonfruit, ginger, and countless others.
Over time, it became clear that her mother’s return was marked not by belonging but by violent and disorienting attempts to reintegrate into Vietnamese life. The roots and connection with her family she had hoped for remained out of reach. Her relatives bore the same scars of war, and their demonstrations of affection masked a transactional dynamic based on her mother’s position as a Vietnamese-American.
Witnessing these tensions reshaped Kry’s perspective of the distance that had grown between her and her mother. Her mother was tending to not just plants, but the abandoned child that had defined her for decades. Kry holds onto the version of her mother that she once knew, and learns to see the version she was becoming.
Artist Materials
Bloodletting, 2025, 40” x 70”
Untitled, 16 x 20 $300
Untitled, 16x 20 $300
Untitled, 20x24 $450
Statement
Over the course of the summer of 2025, Elinor Kry documented a glimpse of her mother’s life in Vietnam following her return from the United States. Her mother had been sent away alone at the age of seven, during the Vietnam War, when her parents arranged for her escape to the U.S. Decades later, she returned to the country she had fled as a child. Kry began photographing hoping to understand what her mother’s life had become without her — entering it as an outsider who believed that photographing might bridge the distance between them. Through the act of making these images, however, Kry came to see that her mother’s return was marked not by belonging but by estrangement and that her attempts to reintegrate into Vietnamese life were as violent and disorienting as the act of leaving America itself. The photographs explore a woman looking for connection to a family and homeland she had idealized, only to find that they too bore the unhealed scars of war. When her mother ultimately returned the land to her aunt in the fall, Kry came to see it as an act of release — a quiet letting go of the imagined home and family her mother had been holding onto.
Nadine Zhan
A green iPhone 5C changed the course of my life at the age of 10. Curating the perfect Instagram feed and making edits for my One Direction fan page sparked my devotion to visual storytelling. My upbringing in a traditional Chinese household collides with my eccentric New York lifestyle, and my work– featured in i-D and The New York Times–navigates family, queer identity, and community. Today, I merge food, photography, and play: cooking for friends, climbing rocks, and teaching myself interdisciplinary practices like bookbinding to expand how I tell visual stories. I am excited to continue using my camera as a tool to tell underrepresented stories in my city, and further explore the concept of post-memory by documenting Chinese immigrant communities in NYC.
Artist Material
Ring Camera Portrait, 40 x 50 in, 2025
Marker of New Beginnings, 8.5 x 11 in, 2025
199x, 8.5 x 11 in, 2025
“Sisters” – 8.5 x 11 in 2025
Christmas, 8x5 x 11 in, 2025
Statement
The iconography of my conventional home is disrupted by my identity– a walking contradiction of the traditional values of femininity and womanhood I was taught growing up. Looking back at photographs of my mother, my sister, and myself as a child, I trace how traditional expectations of femininity were passed down. In contrast, the self-portrait incorporates nudity, body accessories, and modern visual language within the domestic space, traditionally defined by decorum and convention. Portraits become almost life-sized, acting as mirrors and confrontational markers to unspoken tensions.