Emerging from Cleon Peterson’s ongoing exploration of power, violence, and the darker impulses of human nature, this edition reflects on the cycles of domination and revenge that continue to shape contemporary society. Rather than locating violence in a particular conflict or moment, the work points to a recurring pattern in which the pursuit of power produces suffering, retaliation, and further destruction.

Characteristic of Peterson’s practice, stylised figures and stark graphic contrasts reduce conflict to an almost archetypal struggle between power and submission. Behind this apparent opposition lies a more unsettling proposition: darkness cannot simply be attributed to an external enemy, but exists as a possibility within us all. Suspended between confrontation and uncertainty, the work asks what might be required to interrupt these cycles, while resisting the comfort of offering an easy way out.

Emerging from Cleon Peterson’s ongoing exploration of power, violence, and the darker impulses of human nature, this edition reflects on the cycles of domination and revenge that continue to shape contemporary society. Rather than locating violence in a particular conflict or moment, the work points to a recurring pattern in which the pursuit of power produces suffering, retaliation, and further destruction.

Characteristic of Peterson’s practice, stylised figures and stark graphic contrasts reduce conflict to an almost archetypal struggle between power and submission. Behind this apparent opposition lies a more unsettling proposition: darkness cannot simply be attributed to an external enemy, but exists as a possibility within us all. Suspended between confrontation and uncertainty, the work asks what might be required to interrupt these cycles, while resisting the comfort of offering an easy way out.

Emerging from Cody Hudson’s ongoing exploration of form, colour, and the natural world, Human Potential Redux (Farm Land Bird Textile) draws from the visual landscape of rural Wisconsin, where references to barn quilts, weather vanes, farmland, and birds are reduced to a vocabulary of abstract shapes. Built from cut paper forms, the composition moves between pattern and landscape, allowing familiar elements to surface without settling into a fixed representation.

Characteristic of Hudson’s practice, shapes are developed and rearranged intuitively, creating unexpected relationships through repetition, balance, and movement. His graphic language often sits between abstraction and recognition, allowing natural forms and lived environments to reappear in transformed ways. Translated here into screen print, the work evokes both the structure of a textile and a flattened landscape, bringing together folk references, personal observation, and the visual rhythms of the American Midwest.

Emerging from Saman & Sasan Oskouei’s ongoing exploration of nature and its relationship to human systems, Harvestcenters on a single wheat stalk, broken into two. A symbol of nourishment and abundance, the wheat becomes here an image of interruption, something essential separated from its source, bringing into focus the fragile relationship between food, labour, and survival.

Characteristic of the artists’ recent practice, a restrained material gesture opens onto broader environmental and social questions. Cast into handmade paper, the broken stalk leaves behind a delicate imprint, suspended between presence and absence, resilience and vulnerability. Through this tension, Harvest reflects on the systems and natural cycles that sustain life, and on how easily what we depend upon, and often take for granted, can become precarious.