CY_HORN_Exhibit Price List


New work from Penland Resident Artists and Core Fellows
July 7 – September 11, 2021



Appliquéd cotton seersucker
17H x 31W x 2D inches

Penland Road
Appliquéd cotton seersucker
17H x 20W x 2D inches

For several years, I have been photographing wooden barns in various states of decay. I am attracted to the quiet way they fall apart and succumb to entropy; dust to dust. By camouflaging their portraits in seersucker, I hope to represent this gentle fade out of existence. These are the first pieces in a series that I hope to continue.


Third Cluster
Stoneware, terra cotta, terra sigilatta
Tallest form 20H

This work is my practice of recovering my own intuition using the archetype of the vessel as a channel to make spontaneous and fluid decisions, marks, and reactions within a lineage that spans human history.


MIA KAPLAN | Core Fellow
Generally Pointless Sculpture II
Brass, bronze, copper, silver, nickle silver, magnets, turned walnut handle, maple stand, fabricated with marriage of metal technique
14H x 6W x 9D inches

This piece is a sign that points everywhere and nowhere. During this pandemic, I have been feeling lost, directionless, and aimless. This sculpture addresses my internal confusion and is my response to the world getting turned around. The arrow is a ubiquitous symbol and icon that is a visual representation of movement. The moving pieces are meant for play and interaction. I am deeply interested in play and make believe because my relationship with fantasy has developed as a tool for retreat, escapism, protection, and imagination. Additionally, the process of creating this work is my own sort of self-indulgent coping mechanism, for making is what calms my mind, gives an outlet to my emotions, and absorbs me into an immersive physical process. The back of this sign is patterned off of dazzle camouflage; in WWI dazzle camouflage was painted on battleships to mislead enemies about a ship’s course. The front of this piece is based on a marquee arrow sign. Please enjoy this generally pointless sculpture and interact with it with the magnet wand.


the breath is round
Cast denim fiber, 18k gold leaf, faux gold leaf, graphite
46H x 70W x 6D inches as shown

This piece is concerned with the question of discernment, primarily in our inability differentiate the real and the fake, as well as our willingness to accept processes of concealment and transformation that leave no remnant of an origin. Formally, this series is an articulation of my interest on how minimal forms become evocative and enhance our attention to material and surface details that would be missed in more complex forms.


Remix #1
Cast glass on steel hardware
38H x 66W x 2D inches

Remix #1 attempts to stimulate through color in a playful and inviting manner to people of all ages and backgrounds. Each letter is cast glass, and formed from children’s play foam letters. The letters are familiar objects and point to the crucial place in time where humans develop so much of themselves, childhood. The utilization of a popular LL Cool J lyric, specific to Hip Hop culture and more specific to black culture, aims to open the accessibility of the gallery space. My additional lyric “But I’m Gonna LiFT you UP” is light-hearted, perhaps sweet, a twist on the aggressive original lyric. The underlying question to myself with this work, “As an artist, as a writer, as a mixed race female with potential to influence others, what do you have to share that is going to motivate or inspire those who will see the work?”


TONY SANTOYO | Core Fellow
No One Is Watching
Acrylic and pastel on unstretched canvas
67H x 59W inches

Tony explores overlapping layers, geometric forms and compositions through a self-intuitive process that contrasts decoration and abstraction. Currently, he aims to capture the power of gesture and emotion through dance and movement. Whether it is with the physical body or eye, he finds that the intersection of craft and movement brings us the opportunity to find joy, beauty and depth through the appreciation and expression of the body. This piece is a documentation of this exploration and expressionism through dance. Throughout the past year, Tony noticed the power of movement through the slowing down of the world around him: searching for momentum when there was little and using it as a way to mark those moments onto paper/canvas for sketches or beginnings to a painting.


from Lascaux Spoon Series
Walnut, hand carved
4.5H x 26W x 2D inches

My practice spans several media and is an ever-evolving exploration, a search for what role I want my work to play both in the context of my life and of the wider world. A search, also, for balance: not only of what the practice needs from me, but–as I was reminded more than ever during this “curious” year–what I need from the practice. Balance is a concept I return to often, though it seems to remain always just out of reach. This past year, my search manifested in a series of experiments with working in other modalities, as well as a reconnection to a medium and a form that feel familiar to me. The Lascaux Spoon series is an embodiment of my desire to work, hands-on, in reflective solitude with wood and hand tools, and for the outcome of my practice to be playful and inviting. It is also a symbol of the nourishment, calm and balance the practice gives back to me.


Handwoven linen and stainless steel, cyanotype, devoré burnout, wooden platform
24H x 24W x 48D inches

The piece “landing” is woven with linen and stainless steel, exposed with cyanotype, and then parts of the linen yarns were burned out using devoré. The patterns exposed with cyanotype reference breeze blocks that are often used in Hawai’i because of the strong winds, while the stark blue and white surface mimic itajime shibori and indigo. With this piece I was thinking about grounding; I feel most centered in my body in the water or in wind, which are always in motion, and I think this is partially why I love weaving. The motion of throwing a shuttle back and forth and using your feet on the treadles is similar to the rocking you would feel in an ocean current.


Any Given Waking Moment
Paint and mixed media collage on stretched canvas forms
72H x 84W x 2D inches

Any Given Waking Moment “depicts” consciousness as a shifting set of circumstantial psychic components in arrangement or constellation. Taking inspiration from “stream of consciousness” literary form, the work is a flattened version of the perpetually narrative tendency of thought. Like a book whose pages have been removed and spread evenly over the surface of a table (to be perceived as a simultaneous, if unintelligible whole) the work organizes content when context has collapsed.


ADAM ATKINSON | Resident Artist
A Snake in the Garden
Basswood, concrete, acrylic, hand carved wood and cast concrete base
25.5H x 14W x 14D inches with attached base

I am an animal in the sense that I am categorically a living, breathing creature. It’s easy to forget this undeniable fact when the cultural lens we view ourselves through often separates us from our natural history. A Snake in the Garden is an invention of my own making, an apparition of culture and nature combined into a hybrid organism. It is a reminder that we are still fragile animals with wild instincts. It would be nice to let go of how we imagine ourselves from time to time, so we can get closer to who we truly are.


NATE COTTERMAN | Resident Artist
Blown glass, brass hardware, patina
36H x 24W x  6.5D each modular unit, as shown (for wall or ceiling)
5500. sold individually


JULIA HARRISON | Resident Artist
Painted steel, aluminum; bent, punched, riveted
90H x 90W x 3D inches

This piece reflects my growing acceptance of change and uncertainty; it reminds me that perception is a matter of perspective.


JASON HARTSOE | Resident Artist
The Space of Forty Days
North Carolina clay, white slip and transparent glaze.  Wheel thrown in sections and stacked,wood fired to cone 9.
Tallest form 31.5H x 8.5W x 8D inches
2900. as shown, group of four

I wish for this series of vessels to communicate the tedium and banality of our shared isolation of the previous year of quarantining. Each vessel is irritably individual in a narrow and claustrophobic shaft of its own space yet shares an experience of anchored isolation with the group. This is an unspoken isolation latent in the most normal of years but provoked by our grief and exasperation of 2020. The forms themselves suggest the curious formal similitude of monuments of the funeral and also the victorious, the sepulchral and the triumphant, the trophy and the tomb. They are an expression of grief and also the steadfastness of our will to persevere.


EVERETT HOFFMAN | Resident Artist

🙂 A few light kisses

😐 Tenderly will I use you

:0 Whatever happens thrills me with joy

Bronze, vintage rhinestones, light components
11H x 11W x 4D inches
3500. sold individually

A good night, a night light, a crack in the door—each ritual created a veil of refuge as I slept through the night as a kid. These night lights made 25 years later from bronze and encrusted vintage rhinestones emote their own feelings, and offer their light for protection. They adorn the walls with their fear, joy, and ambivalence existing as a sentinel and friend telling us it’s ok to be afraid of the dark.


KIT PAULSON | Resident Artist
Coral, Ivory, Blood and Bone
Flameworked borosilicate glass
3H x 12W x 6D inches, each piece
14,000. pair

These were started almost a year ago and have borne witness to the peculiarities of this year.


ELLIE RICHARDS | Resident Artist
Interior Landscape Series

Two May Sit (a seat for space to share)
136 year old salvaged bleached red oak, carved, soap finish
32H x 48W x 36D inches


ELLIE RICHARDS | Resident Artist
Interior Landscape Series
New Heights (a staircase for climbing above)
Polychromed red oak, sculpted with chainsaw, shellac
46H x 44W x 24D inches

ELLIE RICHARDS | Resident Artist
Interior Landscape Series
Holding Patterns (a small dish for gatherings)
Milk paint, carved red oak, wax finish
42H x 22W x 24D inches


ADAM WHITNEY | Resident Artist
Untitled Rhyton
.999 fine silver, 24kt gold, raising, chasing, repoussé, Keum Boo
15H x 14W x 9D inches, on base as shown

The rhyton project started before the pandemic in January 2020 and became my intense focus and ideal distraction over the past 18 months. Through the months of lockdown and during relocating for the Penland residency this piece was my center of attention, and I’m thankful that I had this project to usher me through a curious year.