Haruka Motohashi is a Tokyo-born, New York-based editor, colorist, and Emmy®-nominated documentary filmmaker. Rooted in visual arts, her work explores memory, geography, and identity. While her trilogy—Back Home, Nostalgia for Tokyo, and There Tokyo—probes familial separation, Motohashi shifts her inquiry toward the human impacts of displacement in her current project, Soilless Gift.

Srija Wang is a Bharatanatyam artist trained in the Kalakshetra style under Guru Banshri Bhavi Shankar and Guru Kalayimamani Rohakanan. She’s trained rigorously since 2015, completed her arangetram in Chennai in 2023, and has continued into advanced karanas training under Dr. Padma Subrahmanyam, while also leading her own school, Nrityaarpana School of Bharatanatyam.

Behro placed his mouth on the desk, shaping the lips into a silly sneer he hoped would make Atau smileside. He deignited the light and headed back to his quarters when an idea floated up and returned him. He sent a directive to his mouth to do a chattering teeth gag in case of physical touch application. That might go as far as making Atau chortle wag.

Ben poked his head into my office. “Hey bud, gonna need you to get the key to the green door before end of day. Thanks.”

Arrushi Chakraborty's work focuses on exploring the liminal space between disparate cultures, translating profound human emotions into graphic forms, and capturing the everyday poetry of urban environments. In this interview, she shares her creative transition from corporate graphic design to narrative illustration. She discusses the intense physical and emotional process of generating a wordless picture book about family heritage.

For pianist Hyunju Jung, performance begins long before sound enters the room. It begins in study, in listening, in the patient work of understanding how a score is built and what kind of attention it asks from the performer. Trained across Korea and the United States, Jung has developed an artistic life that moves between solo piano, collaborative performance, church music, choral settings, and teaching. Her practice is shaped by discipline, but its center is relational.

I won’t pretend to know what the shark is thinking. I just know it can’t keep its eye off me. I am full of vague memories and lost smells. I visit places I will never again exist. I touch metal leaves and the dog goes crazy.

I won’t pretend to know what the shark is thinking. I just know it can’t keep its eye off me. I am full of vague memories and lost smells. I visit places I will never again exist. I touch metal leaves and the dog goes crazy.

Yes, it’s true: I do things the hard way. I have no other choice! When I want a cup of coffee, I get up and make it. Sometimes I grind the beans and other times I use pre-ground ones that I’ve traded for. Either way, they end up in my coffeemaker. What’s that? Oh, it’s a little device I made—it’s not magical, it just saves a little time. Yes, while I do things the hard way, I sometimes think of workarounds and shortcuts. Things to make life a little less labor-intensive.

Finleigh Zack's work focuses on bringing perspective, awareness, and inspiration to conversations around mental health through community-centred movement and collaborative choreography. In this live conversation, Finleigh discusses founding her bicoastal dance company and implementing an artistic direction that prioritizes the emotional well-being of her dancers.

Wendy Wixom tore her underwear to shreds. She had a sense memory of doing this as a child to her Wonder Woman underoos, though that had been an accident. Sometimes it felt like most of her childhood had been an accident, so she tried to be as deliberate as possible as an adult.

Rui Yang’s work lives in the fascinating friction between razor-sharp engineering logic and fluid artistic critique. As a New York-based multidisciplinary artist and full-time commercial CG generalist, Yang utilizes everything from high-end CGI and animation to custom AI workflows to dismantle how technology reshapes our modern world. In this text-based conversation, we trace the roots of his practice and his double life balancing corporate CG production with gallery fine art

The old castle up on the hill? I don’t know much about it, I’ve never been inside. Did I say castle? I meant house. Yeah, the old house up on the hill, that’s it. I don’t think you need to worry about that place. Nobody’s trapped inside the walls. There are no children in there trying to solve any mysteries. I don’t think anyone’s lived in that castle for a long time. House, I mean.

Jerry White Jr. is a filmmaker, musician, writer, and founder of the Vidlings & Tapeheads Film Festival. He began making films as a teenager through home movies and public access television in Metro Detroit, later studied at the USC School of Cinematic Arts, and has continued to move across film, writing, music, and collaborative creative communities. He has also described himself, quite rightly, as someone drawn to niche creative subcultures, outsider artists, and passionate

My reasons for making the jump were the usual ones: body failure and a lot of pain. To be spry and vital and strong and sharp again—a do-over. It wasn’t that I was filled with regrets. I’d learned a lot during my first go-round and was eager to apply that knowledge and wisdom to the next life.